before 8/ Walling Blackburn and Hammond talk about this unrehearsed event. Hammond (in the role of the war criminal) will repeat the recorded text read from writings of M.C. Richards by Walling Blackburn.
Goodly Object; Sleazy Performance the initial hallucination of a coming event (or perhaps an incantation for future objects; ones that embody the extreme resistance performance use to engage).
This is not a performance.
It is a beginning iteration by Walling Blackburn which includes some of her ideas about performance and the object and capitalism and incarceration brought to the surface by a true account told to her by a human rights lawyer in The Hague during the trials of Bosnian war criminals.
After about 40 minutes the standing-room only guests engaged with Walling Blackburn for a searching, often personal conversation.
The account: The human rights lawyer had to interview these Bosnian war criminals. She went to the prison, but they weren’t in there cells. She was directed to the rehabilitation/art room. There she found these men working with clay. All were making clay sculpture versions of their erect penis.
Walling Blackburn used the text from the book by Black Mountain artist M.C. Richards, Centering in Pottery, Poetry and the Person to structure some pathways for her questions and anger and perspective.
Early in her practice, Walling Blackburn, chose ‘performance’ as the way to work artistically as she found it to be somehow resistance to capitalism. She’s lost her crush on performance and has become doubtful of its political efficacy—as performance seems now to be the ‘brand’ of the artist.
Not a painter, she made objects (these small drawings and painting) using clay and paint. She wonders—out loud—”how do I let the object lead?”