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In this video, I’m trying to recall some of the chords to one of my favorite songs to play, “Even if it’s a Lie” by Matt Maltese, although rather unsuccessfully because of the chaotic noise in the background distracting me as well as my lack of practice with it. The papers surrounding me are some of the many songs I’ve written in my lifetime. The noise in the background may be the chaotic events outside of the moment, maybe they’re my internal feelings of unrest, but regardless I keep pushing through to get to the song. I no longer play much because a lot of the feelings I was trying to cope with no longer plague my life, and I was never interesting in becoming a big performer anyway. Regardless, it holds its place in my heart and I’ll pick it up from time to time in order to relive the peace that it brought me.

What struck me the most was the treatment they faced during their performance, and how it very much aligned with what we may have expected of these types of exhibitions in the past, even during their performance in Argentina. The things they were put through during the course of their art, down to the copywrite battle over their own documentary, is a bleak and upsetting reality of performance art.

This analysis of performance art across history has only deepened my respect for it as a medium, seeing as how at it’s core it is anti-establishment and anti-commercialism, which is something I appreciate about postmodern art. Any artistic medium that baffles art critics and museums is a good art medium to me (not to diss other traditional forms of art, I’m no critic). I think the use of performance art to make statements especially in times of great social or political strain is an excellent strategy to make your point heard, and I think the mystification of its uses historically only makes it that much more interesting and ephemeral as an art form.

When it comes to Shameless, however, the feelings and scenarios portrayed by Fiona Gallagher are all too real to me, and is one of the few characters that I cry with. Her struggle to keep everything together while she’s actively falling apart is a feeling that cuts deep for me and for many others, so for this project I wanted to display just some of the moments I really resonated with her in this way. Her strength and perseverance despite all the odds stacked against her (for those unfamiliar, raising all 5 of her siblings because of her absent, mentally ill, and addicted parents) are traits that inspire me, even if the story is fictional.

Bill Viola “Ascension”

Nam June Paik is considered the founder of video art. This installation was used to predict the future of telecommunications.

Bruce Nauman “Bouncing in the Corner, No. 1” (1968)

“Matthew Barney’s epic Cremaster cycle (1994–2002) is a self-enclosed aesthetic system consisting of five feature-length films that explore processes of creation. The cycle unfolds not just cinematically, but also through the photographs, drawings, sculptures, and installations the artist produces in conjunction with each episode.” (Nancy Spector, Guggenheim)

It seems to me that projection is an intrinsically human medium, and that Cubitt is desperate for artists to begin diving into and redeveloping this medium under a less mortality-centered perspective but rather under a perspective of natality, or becoming. In this way, projection is a method of people and objects to project their existence through time and space.

The use of implied motion in addition to implied time seems like a natural yet difficult process to follow, as you have to display both of these things so that they are perceived as working in conjunction with each other, rather than being two completely separate processes.