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!!1976 — Grommets #3 (Jean Dupuy) ---- — — ''Performance, from 2 to 5 Dec, 1976''{br}{br} \|t [../files/articles/anderson/1976_grommets1_600.jpg\|../files/articles/anderson/1976_grommets1_1000.jpg]\|t \|t \|t [../files/articles/anderson/1976_grommets2_400.jpg\|../files/articles/anderson/1976_grommets2_1000.jpg]{br}{small}(Laurie Anderson performing, viewed through the grommet){br}''(In Jean Dupuy, Collective Consciousness, Art Performances in the Seventies, Edited by Jean Dupuy, Performing Art Journal Publications, New York, 1980)''{/small}{br}{br}---- [../files/articles/anderson/1980_collectiveconsciousness.jpg] ---- \| ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t — — "J’ai choisi de travailler avec les limites physiques de la cabine en m’asseyant sur une chaise coincée entre le mur et la cloison en toile. Je jouais le violon de sorte que l’archet pouvait seulement être déplacé d’environ 1,25cm de part et d’autre. Le son était essentiellement percussif, avec de courts bips tonaux. Je crois que pour le public, le spectacle devait avoir une espèce de côté « télé » - vous les voyez, mais ils ne peuvent pas vous voir. Quand je ne pouvais pas être présente dans la cabine, j’y plaçais une doublure. C’était une petite diapo d’une émission de télé - Mary Hartman assise à sa table de cuisine. Une statuette en argile de Mary était placée juste devant la diapo de sorte qu’elle semblait sortir de la télé, comme au 21ème siècle, quand la télé sera réellement en hologrammes à trois dimensions, que toutes vos vedettes préférées débouleront dans vos maisons et Mary Hartman (la vraie) Mary Hartman (l’hologramme) sortira pour s’attabler dans votre cuisine, boire votre café, et tailler une bavette. Voilà, c’est ça, un grommet." — {small}(Laurie Anderson, In Jean Dupuy, catalogue À la Bonne Heure, Semiose éditions / Villa Tamaris Centre d'Art / Villa Arson Nice, 2008, p. 59){/small}\|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t ''— — One of the thing I like about Jean Dupuy’s Grommets show wad its step-right up, corny feeling. Everyone installed in their own little booth, singing, dancing, entertaining. It came close to nightmares I have about Soho - everyone’s at home working away and you never really know if it makes a difference to anyone « out there » of not.{br}I chose to work with the physical limitations of the stall and sat in a chair squeezed between a wall and a divider. I played the violin so that the bow could move only about half-inch back and forth between the walls. The sound mas mostly percussive, with short tonal bips. After about an hour of doing this, I looked out of my grommet and saw a long lines for other holes but none near mine. I had no idea whether people had been there or not.{br}I think fot the audience, the show must be have had a kind of TV quality - you can see them, but they can’t see you. When I couldn’t be in the stall, I put a stand-in there. It was a small slide taken off a TV - Mary Hartman sitting at her kitchen table. A clay figure of Mary was placed slightly in front of the slide so she seemed to be coming out of the set, like in the 21st century when TV will be 3-D and holograms of all your favorite TV stars will ooze out into your house and Mary Hartman (real) Mary Hartman (hologram) will clump out, sit at your kitchen table, drink your coffee, and chew the fat. Now that’s a grommet.'' — {small}(Laurie Anderson, In Jean Dupuy, Collective Consciousness, Art Performances in the Seventies, Edited by Jean Dupuy, Performing Art Journal Publications, New York, 1980, p.155)\|{/small}\| ---- \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t \|t — — ''A few blocks up from Canal, in Jean Dupuy’s loft, another performance turning private info public action was going on all weekend. But while Geoff Hendrick’s activity was a 12-hour process available for continuous viewing, Grommets presented around 20 different events simultaneously for an hour. Each event, taking place in its own discrete area of a two-story structure, was masked by muslin and visible only through a grommet. A grommet is a metal eyelet which reinforces a hole in fabric. This is the second Dupuy’s grommet pieces ; the first, at PS1 earlier this fall, presented simultaneously activity in one room which could be viewed through grommets in the canvas doorhanging. Because the structure generated an aura of voyeurism, it’s not surprising that many of the pieces were about private activities, or private parts. ^[…^] Thursday night I heard Pooh Kaye was throwing dirt around with some kind of fantastic machine, and I saw Laurie Anderson’s tiny 3-D projection of Mary Hartman. Saturday night, Anderson was playing one violin note, obsessively, and the Mary Hartman grommet was taped over. Kaye was throwing punches, moving her body around abruptly, moving close to the grommet, punching at it, moving away.'' — {small}(Sally Barnes, first published in Soho Weekly News, Dec. 9, 1976 ; In Jean Dupuy, Collective Consciousness, Art Performances in the Seventies, Edited by Jean Dupuy, Performing Art Journal Publications, New York, 1980, p.48){/small}\| ---- {br}{br} {br}{br}
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