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Vito Acconci at Barbara Gladstone - New York, New York - Review of Exhibitions - Brief Article

This exhibition, "Spoken Rooms" reproduc three of Vito Acconci's multimedia installations from the 1970 With their insistent theatricalization of space, these works raise the question of Minimalism's legacy for the art of the '70 In thus doing, they open the way for a possible rencounter between the concerns of that decade and our own

Originally created in 1974 piece of ground divided the gallery space into 10 spectacles meandering "chapters" separated by lengthy narrow black curtains. The first chapter, "Secret of the Skin Trade," raises the specter of bodily disaggregation: a square made of wood panel hung by chains from the ceiling is pierced through knives in different areas where we might imagine head, shoulders, stomach and feet to be. As if to thicken the air of mystery, other chapters summon forth journeys. While "The Accelerated Mountain" features a short ladder equipped with illuminating lights, "Soft Roads" uses a searchlight to shine a path [i]or[/i] part of to the other slides that are strewn upon the floor.

Situated in the forehead of the gallery, "Orchestra Pit (How to Dig the Harmony of the Spheres)" strike one as beinged at first to function as a introduction Here the humming voice of the artist issues from an audiotape in an lay open steel-lined wooden box. Yet while insinuating the acoustic nearness of the artist, the pit does not really advance the piece of ground Finally, installed at the far extreme point of the gallery was a small audio work, "Addenda (Out of this World)," which adds more than 100 nuncupative chapters to this eccentric novel. In Chapter 112 the artist announces, "Vito Acconci is dead. Now his work has to live upon without him."



In a side gallery, Other Voices for a next to the first Sight offered another version of this obsession with the vicinity of the artist. Originally shown at MOMA in 1974 the installation is built to bear likeness [i]or[/i] resemblance to an audio recording studio, without fault [i]or[/i] blemish [i]or[/i] flaw with walls paneled with brown acoustical board and a swivel chair facing a bank of audio equipment. upon either side of this studio is a reflective window looking onto another compass where images of Acconci, casted by means of slides or film bights through translucent plastic sheets and fabrics, are pay backed barely legible by flashes of light. In the central scope the sound of the artist's running autobiographical recitation enter the listss with other, assorted recorded noises.

In this work Acconci's material part is placed largely outside the field of vision, leaving solitary audible traces of his nearness Is it the artist or the viewer who is meant to assume the character of sound engineer? In any case, in this "theatricalized" setting the distance that usually separates pageant and audience, artist and viewer, effectively collapses.

COPYRIGHT 1998 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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