Last Friday, ARTINFO reported that famed choreographer Yvonne Rainer was sending a letter in opposition to Marina Abramovic’s “exploitative” performance planned for L.A. MOCA’s annual gala. We included the text of a draft of the letter in that report, but the full text of the letter, written after Rainer attended a rehearsal of the performance, can be found below, as seen on Artforum.
The blow back from the conflict seems to have turned against Rainer. The Los Angeles Times’s Culture Monster blog reports that the participating performers largely found the experience positive, and that guests either enjoyed or ignored their presence at the dinner.
Continue on for the full, final letter from Yvonne Rainer.
To Jeffrey Deitch:
After observing a rehearsal, I am writing to protest the “entertainment” about to be provided by Marina Abramović at the upcoming donor gala at the Museum of Contemporary Art where a number of young people’s live heads will be rotating as decorative centerpieces at diners’ tables and others—all women—will be required to lie perfectly still in the nude for over three hours under fake skeletons, also as centerpieces surrounded by diners.
On the face of it the above description might strike one as reminiscent of Salo, Pasolini’s controversial film of 1975 that dealt with sadism and sexual abuse of a group of adolescents at the hands of a bunch of postwar fascists. Though it is hard to watch, Pasolini’s film has a socially credible justification tied to the cause of anti-fascism. Abramović and MoCA have no such credibility—and I am speaking of this event itself, not of Abramović’s work in general—only a questionable personal rationale about the beauty of eye contact and the transcendence of artists’ suffering.
At the rehearsal the fifty heads—all young, beautiful, and mostly white—turning and bobbing out of holes as their bodies crouched beneath the otherwise empty tables, appeared touching and somewhat comic, but when I tried to envision 800 inebriated diners surrounding them, I had another impression. I myself have never been averse to occasional epatering of the bourgeoisie. However, I can’t help feeling that subjecting her performers to possible public humiliation and bodily injury from the three-hour endurance test at the hands of a bunch of frolicking donors is yet another example of the Museum’s callousness and greed and Ms Abramović’s obliviousness to differences in context and some of the implications of transposing her own powerful performances to the bodies of others. An exhibition is one thing—again, this is not a critique of Abramovic’s work in general—but titillation for wealthy donor/diners as a means of raising money is another.
Ms Abramović is so wedded to her original vision that she—and by extension, the Museum director and curators—doesn’t see the egregious associations for the performers, who, though willing, will be exploited nonetheless. Their cheerful voluntarism says something about the pervasive desperation and cynicism of the art world such that young people must become abject table ornaments and clichéd living symbols of mortality in order to assume a novitiate role in the temple of art.
This grotesque spectacle promises to be truly embarrassing. I and the undersigned wish to express our dismay that an institution that we have supported can stoop to such degrading methods of fund raising. Can other institutions be far behind? Must we re-name MoCA “MOUFR” or the Museum of Unsavory Fund Raising?
Ginger Brooks Takahashi