THE TOTAL VOMITORIUM
THE TOTAL VOMITORIUM
tragicomic reenactment of the history of meta-theater from religious
ritual to live-streaming, Zoom, and Twitch. The artists transition
between multiple genres, genders, ages, tropes, eras, and personae,
with Felix Bernstein playing Onkos, the Greek mask of tragedy, and
Gabe Rubin playing multiple versions of Eros. They play-through
arcane and new modes of performance documentation from Classical
diagrams to Victorian photo journals, as well as the parallel
domestication of Eros into Cupid. The vomitorium is traced from its
origin as a passageway in amphitheaters to the current socially
reflexive architecture built for Instagram selfie-stories—comparing
the way audiences watch each other watching each other binging and
purging media. The impossible wish for a 360-degree perspective is
shown to mark both panoptic social media and counter-surveillance
tactics; normative and queer gazes. Played on four unconnected
is inlaid by Baroque frames—juxtaposing maximalist convolution with
the fashionable metaphysics of presence and transparency. Virtually
real versions of Vomitorium
will be simultaneously made available on the new media app Ortvi.
Betwitched (1-channel video; 50 min.) A stopwatch tracing the stages of grieving attention spans from immersion to alienation to fake depth to deepfakes to Twitching and Zooming—charting the relative degrees of distance and closeness that each platform incentivizes as a method of providing control and relief.
Vomitorium 360° (4-channel video; 3-hr. and 360-video; 1 hr.) Virtual documentation and instant replayof Vomitorium as presented at The Kitchen’s Queenslab space in Ridgewood, NY, in March 2020.
Vomitorium 720° (4-channel video; 7 hrs.) A re-doubly-bound version of Vomitorium, offers a totalizing backstory for Eros and re-members the trajectory of branded artifact distribution from the scarcity of the Disney Vault to the surplus of Disney Streaming. Premieres on Ortvi and at Luma on July 10.
Onkos (ὄγκος): Named after the tumorous masks of Greek tragedy, Onkos narrates and annotates performance documentation in a degenerative vicious circle that constantly re-views and revues until preview precedes essence.
Eros (ἔρος) & Anteros (ἀντέρως): Rival cherubic mimes in the Stade du Miroir engage in a mimetic rivalry between vice and virtue; cruelty and tenderness.
Eris (Ἔρις,) & Harmonia (Ἁρμονία): Commentating influencers/muses, who guide Onkos in a debate between theater-y immersion and theatrical alienation.
Anti-Eros (ᾰ̓ντ’-ἔρος): Dark angel who replaces reflexive counter-gazing as the locus of subjectivity with Ejectivity—a vacant, automated watching towards death.
Eris and Harmonia lead Onkos through a memory palace made up of broken automated tropes from the history of metatheatre, as he attempts to cease looping through the stages of grief.
Eris and Harmonia teasingly reveal stage sets and show off their stagecraft to Onkos in an adaptation of Gian Lorenzo Bernini’s The Impresario
Onkos leads Eris and Harmonia in a symposium on the splitting and unifying of Eros—from the ancient mythology of brothers Eros and Anteros to Giovanni Baglione’s moralistic splitting of Profane and Sacred Eros as a rebuke to Caravaggio’s Amor Vincit Omnia. Harmonia and Eris then debate various ways of representing queerness and attaining Metaxy (the in-betweenness of Eros). Finally, they trace the shift from hoarding to streaming art, and how this process has always already administered, totalized, and automated by the church and state via the Baroque economy of emblems, collections, and indulgences. And after that, they review the reviews of movie version of the musical Cats.
Eros and Anteros stage impromptu interludes from Theocritus and Ben Jonson to Edna St. Vincent Millay and Heiner Müller.
Anti-Eros delivers Onkos to an ejection of all forms of gazing and reflecting but Onkos re-lapses by binging (and purging) on the sight of yet another Caravaggisti angel.
Costumes: Martha Tuttle and Sophie Kay; Director of Photography: Bayley Sweitzer; Production Design: Marie de Testa; Choreographer: Greg Zuccolo; Gaffers: Jay Warrior and Ryan McCluney; Grip: Diego Llaca Ojinaga; Production Assistant: Carola Pellegrino; Art Design: George DuPont; Scenic Design: Emma de Kooning-Villeneuve; Makeup Design: Paige Fallon; Musicians: Michael Foster and Joe Moffett; Sound Mix: Andrew Barker and Liam Fox O’Brien; Sound Engineer: Leila Bordreuil; Animators: Courtney Dreher, Dara Hamidi, Kiara Doerr, Greyson Horst; Editors: Emanuele Michetti and Michael P. Conroy; Virtual Reality: Thomas Martinez.
Felix Bernstein and Gabe Rubin are Brooklyn-based artists. Their work together has been presented at MOCA Los Angeles, Issue Project Room, Anthology Film Archives, the Drawing Center, Reena Spaulings Fine Arts, Pilar Corrias Gallery, Artists Space, David Lewis Gallery, the Kitchen and the Whitney Museum of American Art. At the Whitney, they staged and performed Bernstein’s libretto Bieber Bathos Elegy in 2016 and Mayo Thompson’s Victorine (with Art & Language) for the 2012 Whitney Biennial. Rubin performed in Jill Kroesen’s Collecting Injustices at the Whitney in 2017. Bernstein’s writing has been featured in Art in America Art forum, Poetry Magazine Spike Arts Magazine Bomb, Mousse, May Revue, Bookforum, and Texte Zur Kunst. Rubin and Bernstein presented an earlier version of Vomitorium in March 2020, for The Kitchen’s Queenslab space in Ridgewood, NY, which was curated by Tim Griffin and Matthew Lyons.
Founded in 1971, The Kitchen is one of New York City’s oldest nonprofit spaces, showing innovative work by emerging and established artists across disciplines. Our programs range from art, dance, music, and film, to performance, theater, and video, in addition to artists’ talks, lecture series, and literary events. Since its inception, The Kitchen has been a powerful force in shaping the cultural landscape of this country, and has helped launch the careers of many artists who have defined the American avant-garde. https://thekitchen.org/
This exhibition was curated by Tim Griffin and Matthew Lyons.
The Luma Foundation’s exhibition spaces Luma Westbau and schwarzescafé are part of the refurbished and expanded Löwenbräukunst art complex in Zurich. Luma Westbau opened in 2013, presenting international projects, exhibitions and events commissioned and produced by the Luma Foundation. http://www.westbau.com
ABOUT THE CURATORS
Fredi Fischli and Niels Olsen are directors of exhibitions at the Institute of the History and Theory of Architecture (gta) at the Swiss Federal Institute of Technology (ETH). Since 2014, they have been curating exhibitions and events at Luma Westbau in Zurich, where they also established schwarzescafé – a multi-purpose space designed by Heimo Zobernig. Together they’ve curated numerous international exhibitions on art and architecture including Readymades Belong to Everyone at the Swiss Institute in New York, Trix and Robert Haussmann at the KW Institute for Contemporary Art in Berlin, and Nottingham Contemporary or Inside Outside / Petra Blaisse. A Retrospective at La Triennale di Milano (all 2018). Upcoming projects include Retail Apocalypse at Harvard University GSD, a thematic exhibition in collaboration with Armature Globale at Fondazione Prada’s Osservatorio, as well as an exhibition with Felix Bernstein and Gabe Rubin at schwarzescafé | Luma Westbau in Zurich.