Schult’z installation at the Renaissance Society was a refreshing use of the exhibition space’s ascendant architecture and intense natural light. Most of the gestures, text, and placement of works pointed upward, and prior to the performance already seemed to speak about temporality, structures, and the artist’s need to develop her own systems via process and transformation of materials. The performance heightened attention on the more banal aspects of the materials and mark making within the installation, but it felt harder to connect with what was going on while these bodies were working in the space as opposed to my prior experience of getting to move freely through the exhibition. For a while I was able to connect as more of a voyeur, wondering if the moves were planned, and how the actors/participants were communicating. Eventually I felt idle in comparison, and wanted to be jumping off of the lift and pressing girders to make prints. Like a lot of things in life, I was also wondering just how long it was going to go on for…and whether all of the work they completed was going to stay in the space afterwards.
It turns out it was the last day of the show, but I was told that Schultz typically completes her performances at the beginning of her exhibitions’ runs. http://www.renaissancesociety.org/site/Exhibitions/Intro.Nora-Schultz-parrottree-building-for-bigger-than-real.643.html
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