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Mierle Laderman Ukeles | Mierle Laderman Ukeles | ||
https://timeline.com/mierle-ukeles-cleaning-museum-64d274a0a19c | https://timeline.com/mierle-ukeles-cleaning-museum-64d274a0a19c | ||
Astrid Reischwitz | |||
https://www.reischwitzphotography.com/stories-from-the-kitchen-table | |||
Revision as of 12:12, 28 November 2022
I WILL MAKE EIGHT HOURS OF MY PAST UNDONE.
The aim of this project is to create a performance that will last for eight hours – the normalized span of a working day (at least in Western-European conceptions of employment). The performance refers to my personal past, working as a tailor for several studios and workshops.
I will invest eight hours of labor in undoing my own work by taking apart a jacket that I have made myself (within more than 60 hours of handcrafting).
The performance should take place in a shop window.
The project poses questions of what it takes to undo or erase – what can possibly be undone through the process of taking apart and what new things, objects, ideas, feelings, memories, and values emerge from it?
Is it possible to undo work? And with it erase passed time? Ultimately, will it be possible to undo time?
Other notions that are entangled with the performance are those of labor and the creation of value. Since my time spent in using the skills I have trained so hard, is translated into a financial equivalent, does the worth of a piece increase, as I spend even more time with it? Or does it decrease, since it comes apart? At the same time it goes over from being one single object into several single objects – and following capitalist ideas more is always better…
On yet another level, the act of undoing my own work evokes reconnecting to personal memories, since they are inscribed into the “handwriting” of each individual stitch. The memories are unfolding in a Proust-like manner: the stitching is the Madeleine, it carries all the interactions, conversations, thoughts, and emotions preserved within it. The memories, of course, are also connected to the treatment of low-paid workers, power structures in crafts and fashion industry, and generally understanding of labor in the textile industry and therefore represent not only a personal struggle, but can refer to a bigger problem of our turbo-capitalist society.
However, in order to make the unfolding of those memories visible, I will have to find another layer of expression. One possible Layer could be inviting passers-by to sit and chat with me as I am (un)doing my work. Another one could be to invite old colleagues for talks and exchange about shared memories. Additionally I am thinking about writing short letters to the past that could be displayed.
And after the work is (un)done, we can think of the pricing.
Documentation of a first tryout
(taking apart a jacket that somebody else has made)
excerpts from instagram stories
References
Tehching Hsieh https://www.tehchinghsieh.net/
Sigalit Landau https://www.sigalitlandau.com/
Mierle Laderman Ukeles https://timeline.com/mierle-ukeles-cleaning-museum-64d274a0a19c
Astrid Reischwitz https://www.reischwitzphotography.com/stories-from-the-kitchen-table