WHOEVER SHOWS: STRIKE UYP TH’ BAND! / 2019
Raymond Pettibon, Whoever Shows:
Strike Uyp th' Band!
Penedo da Saudade Cultural Center, Coimbra, Portugal International
Conference
Organised by the Institute of Ethnomusicology — Center for Studies
in Music and Dance Dance Research Group.
Drawing and Performance: Creating Scenography
26–28 March 2020
Paper Proposal:
Drawing from Scripts / Writing on Drawings: Pettibon's "Whoever
Shows" * Sozita Goudouna
If we regard drawing and performance as artistic media that bestow
meaning to expression and communication, then parallels can also be
traced in the history of their development. Both creative processes are
able to carry across their particular histories, but at the same time can
provide new ways of thinking within newly found contemporary contexts.
The formative relationship between drawing and performance becomes
critical in understanding the intermedial nature of the so- called
performative work and its scenography, as well as the ways media types
are created and remodelled in changing historical, cultural, social, aesthetic
and communicative contexts.
The paper will discuss the common emergence of both media in the oeuvre
of Raymond Pettibon and more speciAcally the ways that syntactical
elements that come from drawing and performance can be combined to
create a new entity and scenography as in the case of the project "Whoever
Shows: Strike Uyp th' Band!" at the New Museum in New York. Raymond
Pettibon is perhaps the most prominent contemporary American
artist to concentrate on drawing as his primary medium and"Whoever
Shows: Strike Uyp th' Band!" is a staged performative reading at the New
Museum of a collaged collection of excerpts from Pettibon's scripts, including
those originally produced for videos like The Whole World is
Watching: Weatherman '69 (1989–90), Sir Drone: A New Film About the
New Beatles (1989–90), The Holes You Feel, Andy Warhol, Jim Morrison,
and Batman. Beginning in the 1980s, Pettibon produced a series of low-A
videos made with friends and shot on commercial home video equipment.
These feature-length works focus on radical subjects drawn from
1960s and '70s American counterculture, including the Manson Family,
the Patty Hearst kidnapping by the SLA, the Weather Underground, and
the beginning of the American punk movement. Re[ecting upon the notion
of collaborative work, this assemblage of Pettibon's fragmentary
scripts, scenes, and lyrics attempts to envision personal perspectives and
imaginative approaches to the historical past and the edges of society.
New Museum ~ 14 November 2019
Co-presentation with Performa 19 Biennial
Initiated and produced for Performa Biennial Consortium by Sozita
Goudouna
Sven Sachsalber, Willard Morgan, Stella Schnabel, Pauline Daly, Young Kim, Kim Gordon, Mitchell Watkins, Frances Stark, David Larsen, Thomas Felhmann, Raymond Pettibon, Spencer Leigh, Sozita Goudouna
@Photos Alison Rose Munn
A livestream of the performance is available here.
"Whoever Shows: Strike Uyp th' Band!" is a staged reading at the New
Museum of a collaged collection of excerpts from Raymond Pettibon's
scripts, including those originally produced for videos like The Whole
World is Watching: Weatherman '69 (1989–90), Sir Drone: A New
Film About the New Beatles (1989–90), The Holes You Feel, Andy
Warhol, Jim Morrison, and Batman.
Veronique Bourgoin & Raymond Pettibon
Beginning in the 1980s, Pettibon produced a series of low-A videos made
with friends and shot on commercial home video equipment. These feature-
length works focus on radical subjects drawn from 1960s and '70s
American counterculture, including the Manson Family, the Patty Hearst
kidnapping by the SLA, the Weather Underground, and the beginning of
the American punk movement.
Mark Beasley, Raymond Pettibon, Juli Susin, Oliver Augst, Angela Choon and Frances Stark
Although some of these works like The Whole World is Watching and
Sir Drone have become classic video works of the period and have been
shown widely alongside Pettibon's signature drawings, several other
scripts like Andy Warhol and Jim Morrison have yet to be produced or,
in the case of The Holes You Feel, were staged and shot but ultimately
lost.
Mitchell Watkins, Mark Beasley, Willard Morgan and Kim Gordon
Re[ecting upon the notion of collaborative work, this assemblage of Pettibon's
fragmentary scripts, scenes, and lyrics attempts to envision personal
perspectives and imaginative approaches to the historical past and
the edges of society. This event at the New Museum is one of only a
handful of select public readings of his scripts that Pettibon has organized
over the past several years. The continuous reading at the New
Museum will feature an ensemble of artists, musicians, and Pettibon's
friends.
Mitchell Watkins, Frances Stark, David Larsen, Thomas Felhmann, Raymond Pettibon and
Spencer Leigh
Participants include Oliver Augst, Mark Beasley, Veronique Bourgoin,
Angela Choon, Brian D'Amato, Pauline Daly, Marcel Dzama, Ray Farrell,
Thomas Fehlmann, Sequoiah Thomas — Fraser, Kim Gordon,
Sozita Goudouna, David Larsen, Young Kim, Spencer Leigh, Charles
Louis-Aristide, David Rimanelli, Sven Sachsalber, Stella Schnabel,
Ricky Sepulveda, Frances Stark, Robert Storr, Juli Susin, Mitchell
Watkins, Mike Watt, Hans Weigand, and Lauren Wolchik.
Directed by Raymond Pettibon and produced by Sozita Goudouna.
Angela Choon and Spencer Leigh
Young Kim, Kim Gordon, Mitch Watkins, Frances Stark, David Larsen, Raymond Pettibon
The project is dedicated to the memory of Kevin Killian.
Raymond Pettibon (b. 1957 in Tucson, Arizona) graduated from the
University of California, Los Angeles in 1977. His work has been the subject
of numerous solo exhibitions at institutions around the world, including
the Renaissance Society, Chicago (1998); the Drawing Center,
New York (1999); the Philadelphia Museum of Art (1999); the Museum
of Contemporary Art, Los Angeles (1999); Museu d'Art Contemporani de
Barcelona (2002); Museion, Bolzano, Italy (2003); the Whitney Museum
of American Art, New York (2005); Centro de Arte Contemporáneo
de Málaga, Spain (2006); Kunstmuseum Luzern, Lucerne, Switzerland
(2012); Kumu Kunstimuuseum, Tallinn, Estonia (2015); Deichtorhallen
Hamburg — Sammlung Falckenberg, Hamburg (2016); and Museum der
Moderne Salzburg, Austria (2016). Pettibon has also participated in a
number of important group exhibitions such as the Whitney Biennial
(1991, 1993, 1997, and 2004), the Venice Biennale (1997 and 2003),
Documenta XI (2002), and SITE Santa Fe (2004 and 2010). In 2017, the
New Museum organized a major exhibition Pettibon's work title A Pen of
All Work which travelled to the Bonnefantenmuseum in Maastricht, the
Netherlands. A related exhibition title The Cloud of Misreading travelled
to the Garage Museum of Contemporary Art, Moscow. Pettibon currently
lives and works in New York.
Sozita Goudouna is a curator, adjunct professor at CUNY, and the author
of Beckett's Breath (2018), published by Edinburgh & Oxford University
Press. She is head of operations at Raymond Pettibon Studio.
Sozita has taught at New York University as the inaugural Andrew W.
Mellon Curatorial fellow at Performa NY and has curated and produced
projects for documenta 14, New Museum, Onassis Foundation NYC,
EMST, Hunterian Museum among other institutions and museums.
Brian D' Amato, David Larsen, Sequoiah Thomas — Fraser
Brian D' Amato & David Larsen
David Larsen, Spencer Leigh, Sequoiah Thomas — Fraser, Brian D'Amato, Mike Watt, Oliver Augst, Juli Susin
Marcel Dzama, Jason Grisell & Stella Schnabel
Charles Luis-Aristide
Supersession (Pettibon) band with Raul Morales, Ray Farrell, Rick Sepuldeva. Right: David Larsen, Thomas Felhmann
Hans Weigant
Mike Watt & The Ensemble
Performance Poster
Performa Biennial 2019 Opening Gala focused on the 100th anniversary of the founding of
the Bauhaus
On the occasion of the 100th anniversary of the founding of the Bauhaus
in Weimar in 1919, Performa 19 will examine the Bauhaus' revolutionary
approach to interdisciplinary experimentation. It will look to the intense
social and political environment that encouraged the merging of
art and life in events designed by the theater workshop in and around
the Bauhaus school; it will examine the opportunities provided for students
and faculty to explore the intersections of art, industrial production,
and technology, revealed in a prescient exhibition "Art and
Technology; The New Unity" organized at the school in 1923; and the
Performa Institute will use this detailed exploration of the Bauhaus's
radical approach to education to ask the question, 'what is the art school
of the 21stcentury?', considering how best to equip young artists with
the ethical as well as aesthetic tools needed for our fast-paced future.
Research for each Performa Biennial begins with an examination of a
critical moment in art history when performance was a powerful motor
driving conceptual and artistic shifts of the time, using the earlier material
as a point of departure to explore contemporary art and ideas. Previous
history anchors have included Futurism, Russian Constructivism,
Dada, Surrealism and the Renaissance.
Performa 19 Grand Finale presented by Raymond Pettibon
About Performa
Founded in 2004 by RoseLee Goldberg, Performa is the leading organization
dedicated to exploring the critical role of live performance in the
history of 20thcentury art and to encouraging new directions in performance
for the 21stcentury. Part of Performa's mission is to present a biennial
of visual art performance in New York City that illuminates the
critical role of performance in the history of art as well as its enormous
signiAcance in the international world of contemporary art.
Since launching New York's Arst performance biennial, Performa 05, in
2005, the organization has solidiAed its identity as a commissioning and
producing entity. As a "museum without walls", Performa contributes
important art historical heft to the Aeld by showing the development of
live art in all its forms from many dinerent cultural perspectives, reaching
back to the Renaissance. Celebrated worldwide as the Arst biennial to
give special attention to this remarkable history, the Performa Biennial
transforms the city of New York into the "world capital of artists' performance"
every other November, attracting a national and international
audience of more than 50,000 for three-weeks of live performances. Performa
has presented seven international biennials, commissioned and
produced nearly 300 performances, worked with more than 700 artists,
and toured commissioned performances and exhibitions in nearly 20
countries around the world.
For more on Performa and its programs including the Performa Biennial,
please visit http://performa-arts.org/.
Join the conversation: @PerformaNYC #performa19 #livearthistory
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Essay by Sozita Goudouna
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