New York Times Performance Tour in Battery Park, NYC
Pia Lindman The New York Times Performances 2003-2006 __________________________________________________________________________________________________ In Battery Park City, Manhattan, NY, 09/09/05 ___________________________________________________________________________________________________ I have collected images from the New York Times issues published between September 2002 and September 2003. Eliciting the bodily gestures out of the news context (be it mourners of the World Trade Center, a terrorist attack in Israel, a funeral of a Palestinian, a Chechnyan, or a Russian, etc.) I reenact them in a live situation without revealing their original context. __________________________________________________________________________________________________ After videotaping myself reenacting these gestures, I trace them from the video stills with pencil. By exhibiting both the tracings and the enactments, I try to illuminate some of the relationships between a photograph, its mediation, and the idea of original content, in this instance human emotional reaction to terrorism. ___________________________________________________________________________________________________ I perform the re-enactments in public spaces such as squares, parks, museums, and malls. These public performances animate a relationship between personal emotions and public monuments. The locations have varied and range from a window display at a New York gallery to Foley Square in Lower Manhattan in front of the Freedom of Expression National Monument. In some cities, I took the audience on a guided tour and performed for approximately five minutes in front of each monument we visited. This video documents a guided tour performance in Battery Park City, Lower Manhattan, New York. The tour was commissioned by Lower Manhattan Cultural Council to be part of the International Summit "What Comes After, Cities, Art + Recovery". The summit discussed what questions pertain while rebuilding after disaster (referring to the destruction of the World Trade Center in Lower Manhattan, NY). In my opinion monuments are deposits of collective memory and unprocessed trauma. My aim is to set this emotional potential of monuments in process by my temporal and particular gestures, animating what the monument cannot.
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