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!!!Repetition & Phasing / Steve Reich {br}{br} ---- \|t {cap}'''bouncing backward into a corner for over an hour'''{/cap}{br}{br}{small}{cap}Nauman did his last live performance in 1969 ^[titled ''Bounce'' or ''Bouncing into a Corner''^], during the exhibition [Anti-Illusion : Procedures/Materials\|https://archive.org/details/antiillusionproc61whit], held at the Whitney Museum of American Art in New York from May 19 to July 6. The ''Bounce'' performance was a part of the "Four Evenings of Extended Time Pieces and a Lecture" programme, and took place on May 26, 1969.{br}For an hour, the performers in the piece — Nauman, his wife Judy, and the dancer Meredith Monk — stood in different corners of the space, facing the audience. Over and over they left themselves fall back, then pushed themselves off the walls of the corner, a foot and a half away, bouncing back to the point where they would nearly lose their balance — ^[see the video work ''[Bouncing in the Corner No. 1\|https://www.youtube.com/watch?v=EdEMB-PhgFE]'' ^]. The effect of this rigorous, physically exhausting exercise, "bouncing backward into a corner for over an hour", was intensified by the thumping sound it produced. Because the performers could not see each other, they were in varying degrees in and out of sync both with each other and with the pounding sounds they produced. Nauman employed a similar effect in his 1985 neon pieces on sex and power.{/cap}{/small} {br}{br}---- {small}''Je pense que ^[Bruce Nauman^] a le sens musical. Je me rappelle avoir participé à une de ses performances qui avait une dimension musicale tout à fait fascinante. C’était en 1969. Nous nous trouvions dans une salle au deuxième étage du Whitney Museum of American Art. Bruce, sa femme et moi-même nous nous tenions debout chacun à un coin de la pièce, le dos au mur. Notre tâche consistait uniquement à se laisser tomber en arrière, le dos contre le mur, à se laisser à nouveau tomber en arrière, puis à se redresser… et ainsi de suite pendant une heure. Le bruit sourd des corps se laissant tomber et les configurations rythmiques et visuelles changeaient continuellement parce que chacun de nous tombait de façon différente et à intervalles différents. En repensant à cette performance aujourd’hui, je m’aperçois que sa conception était musicale. ^[…^] Nous ne tenions pas compte d’une mesure précise. Chaque personne pouvait tomber en arrière et se redresser quand elle le voulait. L’ensemble produisait quelque chose que l’on pourrait rapprocher d’un jeu de percussion, d’un morceau de batterie.''{/small}{br}— {small}('''Meredith Month''', Entretien avec Christine van Assche, novembre 1996, In Bruce Nauman, Image-Texte 1966-1996, Éditions du Centre Georges Pompidou, 1997, pp. 77-78){/small}{br}---- {br}{br}{br}{br}{br}{br}---- ---- {small}''« Subject Matter » de'' '''Dan Graham''' ''(qui aborde également la sculpture dite « minimale ») prend pour sujet une performance de Steve Reich et Bruce Nauman pour y repérer un glissement de l’objectalité en art (minimal) vers la perception du champ phénoménologique par le corps du spectateur, assimilé au corps de l’art – à son « sujet » ; matter (le titre de l’article est difficilement traduisible du fait de la polysémie de matter, désignant non seulement la « matière » mais encore le « sujet », au sens de « contenu ») renvoyant aux processus de modification physique de l’objet perçu et changeant formellement dans le temps. La relation sujet/objet, rendue matériellement (corporellement) perceptible, est le « thème » de beaucoup de ses performances, films et installations.'' — (Vincent Pécoil){/small}---- \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/nauman/1969_bounce_400.jpg]{br}{small}Anti-Illusion : Procedures/Materials, collective exhibition, Whitney Museum of American Art, New York - "Four Evenings of Extended Time Pieces" programme — ^[[Source (The Whitney Review, 1968-1969)\|https://ia601701.us.archive.org/26/items/whitneyreview6869whit/whitneyreview6869whit.pdf]^]{/small}{br}{br}{br}{br}---- {small}{cap}'''Bruce Nauman''' {/cap}{/small} : {br}{small}{cap}“Well, the first time I talked to anybody about body awareness was in the summer of 68. Meredith Monk was in San Francisco. She had thought about or seen some of my work and recognized it. An awareness of yourself comes form a certain amount of activity and you can’t get it from just thinking about yourself. You do exercises, you have certain kinds of awareness that you don’t have if you read books. So the films and some of the pieces that I did after that for videotapes were specifically about doing exercises in balance. I thought of them as dance problems without being a dancer, being interested in the kind of tension that arises when you try to balance and you can’t…”{/cap}{/small} — {small}(In Avalanche 2, April 1971){/small}{br}{br}{br}{br}---- ----{small}{cap}The performances of Reich and Nauman, ''Pendulum Music'' and ''Bouncing in a Corner'', appear to '''Dan Graham in his article “Subject Matter”''' (1969), to flesh out two different modes of subjectivity, one in a state of pulsation and another in a static state of self-presence.{/cap}{/small} — {small}Eric de Bruyn, “Sound Is Material”: Dan Graham in Conversation with Eric de Bruyn, In Grey Room 17, Fall 2004, pp. 108–117){/small}{br}{br}---- {small}{cap}— — My work changed with minimal art, in two ways. Main thing is, I would go more interested in the spectator rather than the performer, and secondly, I got very – and actually, subject matter, I talked about this beautiful Bruce Nauman performance at the Whitney. He, his wife, and Meredith Monk were bouncing off the wall of the Whitney, and making a phasing pattern like Steve Reich, and also, he played the architecture, because you can go anywhere in the architecture and you can hear yourself in relation to the architecture.{/cap}{/small} — {small}(Dan Graham, INTERVIEW BY SABINE BREITWIESER, MOMA New York, November 1, 2011){/small}{br}---- {small}{cap}Dan Graham’s portrayal of Nauman’s performance ''Bouncing in a Corner'' ^[in his essay, Subject Matter^], which he attended during the Whitney Museum’s Anti-Illusion exhibition of 1969.{br}{br}In ''Bouncing into a Corner'', three performers used the walls of the museum as a kind of musical instrument or sounding board by dropping their backs against the wall. It was not possible, however, on entering the performance space to see all three members of the performance group at once. Hearing a “discrepancy in the beats,” Dan Graham decided to move around the room, and only then did he discover the presence of a third performer.{br}Graham attempts to describe the transitive quality of this auditory environment :{br}Everybody is shifting in relation to the kinaesthetic, visual, aural, and informational totality of the process... instead of activating and playing upon the audience’s collective or individual tensions, the audience shifts attention as they and the players shift the tensions of their muscular framework… there is no inside or outside to the sound-space or in its relation to the instrumentality… shifting time of performance shifting—shifting the time of the collective relations.{br}Passing to the limit, Nauman’s performances gradually give way to a kind of smoothed space, which no longer possesses the metric properties of a Euclidean geometry but the intensive and directional qualities of a vectorial field.{br}In such a topological space no fixed boundaries and no central position of focus are available to the observer. As Graham writes, the observer has become in-formed by a transformational field of sensory and semantic relations. The space does not contain the performance ; rather it is the performance that constitutes the space: “Everybody is shifting in relation to the kinaesthetic, visual, aural, and informational totality of the process.”{/cap}{/small}{br}— {small}(Eric de Bruyn, Topological Pathways of Post-Minimalism, In Grey Room, Fall 2006, Vol. -, No. , Pages 32-63, doi: 10.1162/grey.2006.1.25.32){/small}\| {br}---- [../files/articles/nauman/1968_bouncing.jpg] {html} <iframe width="853" height="480" src="https://www.youtube.com/embed/EdEMB-PhgFE?rel=0" frameborder="0" allowfullscreen></iframe> {/html} {br}{small}Bruce Nauman, Bouncing in the Corner No. 1, 1968 — Duration : 59mn41 — ^[[Source\|https://www.youtube.com/watch?v=EdEMB-PhgFE]^]{br}---- — For this videotape, Nauman turned the camera sideways and positioned it so that his head is cropped from the frame and his body is presented from neck to ankles. As he stands in the corner, his back to the wall, he appears to be lying down; falling backwards into the corner and then pushing himself off the wall again, he appears to be trying to levitate himself... As he performs these actions, his hands slam into the wall to break his falls, and the sounds become an integral part of the activities filmed. -- The EAI Archives Online{/small} {br}{br}{br}{br} ---- {html} <iframe width="853" height="480" src="https://www.youtube.com/embed/erpRzrVD44M?rel=0" frameborder="0" allowfullscreen></iframe> {/html} {br}{small}Bruce Nauman, Bouncing in the Corner No. 2 : Upside Down, 1969 — Duration : 60mn — ^[[Source\|https://www.youtube.com/watch?v=erpRzrVD44M]^]{br}---- — The EAI Archives Online{/small} {br}{br}{br}{br} ---- {html} <iframe width="853" height="480" src="https://www.youtube.com/embed/IMSyhyvr0mw?rel=0" frameborder="0" allowfullscreen></iframe> {/html} {br}{small}Bruce Nauman, Wall floor positions, 1969 — Duration : 60mn — ^[[Source\|https://www.youtube.com/watch?v=IMSyhyvr0mw]^]{br}---- — The EAI Archives Online{/small} {br}{br}{br}{br} ---- {html} <iframe width="853" height="480" src="https://www.youtube.com/embed/hbT9GGJdKOs?rel=0" frameborder="0" allowfullscreen></iframe> {/html} {br}{small}Bruce Nauman, Lip Sync, 1969 — Duration : 60mn49 — ^[[Source\|https://www.youtube.com/watch?v=hbT9GGJdKOs]^]{br}---- — The EAI Archives Online{br}{br}---- Bruce Nauman and Dan Graham have regularly compared the dimension of time in their early works with the musical output of composers like Steve Reich, whose “phasing” technique, based on the superposition of several identical lines of sound played at slightly differing speeds, foreshadows the use of a time delay in pieces like Bruce Nauman’s ''Lip Sync'' (1969).{br}''Lip Sync'', 1969, in which the camera is again upside down, focuses on Nauman’s mouth, chin, and throat as he repeats the words lip sync over and over, articulating them in a exaggerated manner. Nauman hears the words through the earphones that he wears, and then repeats them ; but the rhythm of the sound track on which he says the phrase is not synchronized with the movements of the lips on the screen — which are made even harder to comprehend because of their inversion. The lips and sound go in and out of sync. In contrast to the grainy, lyrical images of his films of 1967-68, which suggest a visual field on which one is free to impose one’s imagination, this video image separates what one hears from what one sees, forcing the viewer to try to match up sound and image. — (Coosje van Bruggen, Sounddance, In Bruce Nauman, Edited by Robert C. Morgan, Baltimore Mar. / London : The John Hopkins University Press, 2002, p. 60) {br}{br}— — ''Des artistes comme Bruce Nauman et Dan Graham ont régulièrement rapproché la dimension temporelle de leurs premières œuvres de la production musicale de compositeurs tels que Steve Reich, dont la technique du phasing, basée sur la superposition de plusieurs lignes sonores identiques jouées à des vitesses légèrement différentes, préfigure l’utilisation d’un décalage temporel dans des pièces telles que ''Lip Sync'' (1969) de Bruce Nauman.''{/small} {br}{br}{br}{br} ---- \|t {cap}'''NAUMAN & STEVE REICH'''{/cap}{br}{br}{small}{cap}^[…^] Nauman compares his procedure of taking events in and out of synchronization to the composer Steve Reich’s use of a similar technique in ''[Violin Phase\|PENDULUM5]'', 1967, and ''[It’s Gonna Rain\|PENDULUM2#It_s_Gonna_Rain__January_1965_]'', 1965. In the latter, several sound tracks are played a slightly different rate so that the phrase, « It’s gonna rain », repeated over and over, is altered at the points where the tracks don’t align. This not only causes the cadence to change but also breaks the sequence of the words, giving them a different meaning, somewhat in the manner of Nauman’s ''[First Poem Piece\|http://krollermuller.nl/bruce-nauman-first-poem-piece]'', 1968, and ''[Second Poem Piece\|http://www.artic.edu/aic/collections/artwork/146916]'', 1969. It interested Nauman, too, that Reich had picked up the phrase from a man voicing his opinion on New York’s Central Park. This was in accordance with his own practice of using the titles of popular songs, as in the drawing ''Love Me Tender, Move Te Lender'', 1966, and in his neon piece ''Suite Substitute'', 1968. In 1972 he took an exhortation, sprayed in red letters about 5 feet high on an overpass in Pasadena, California, for his yellow-and-pink neon piece ''[Run from Fear, Run from Rear\|https://mcachicago.org/Collection/Items/Bruce-Nauman-Run-From-Fear-Fun-From-Rear-1972]''.{br}{br}Nauman met Reich in 1968 at the University of Colorado, where he was visiting William T. Wiley. Wiley and Reich were collaborating on a performance they entitled ''[Overevident Falls\|PENDULUM6#Performance_1___08_1968_Over_Evident_Falls]'', and Nauman became interested in Reich’s working methods while observing him as he recorded over the course of two days. Wiley recalls that Reich suspended a pair of microphones from a swing. Each time the wing passed in front of a set of amplifiers feedback was produced — a shriek, followed by a kind of howling sound when the swing reached the height of its motion before swinging back in the opposite direction. Meanwhile, Wiley poured soap flakes on the swing ; these fluoresced under a black light and softly drifted down to form a pile beneath the swing. Later that same year Reich used a similar device for his piece ''[Pendulum Music\|PENDULUM6]'', performed at the Whitney Museum of American Art. ^[…^]{/cap}{/small}{br}{small} — (Coosje van Bruggen, Sounddance, In Bruce Nauman, Edited by Robert C. Morgan, Baltimore Mar. / London : The John Hopkins University Press, 2002, pp. 60-61) {/small}{br}{br}---- \|t \|t \|t \|t \|t \|t \|t \|t [../files/articles/nauman/1968_naumanpendulum.jpg]{br}{small}Bruce Nauman, playing [Pendulum Music\|PENDULUM6] by Steve Reich, Whitney Museum of American Art, New York - May 27, 1969{/small}\| \|t [../files/articles/nauman/1968_studypoem_500.jpg\|../files/articles/nauman/1968_studypoem.jpg]{br}{small}Bruce Nauman, Study for First Poem Piece, 50 x 65 cm. (19.7 x 25.6 in.), 1968{/small}\|t \|t \|t \|t \|t \|t \|t \|t {br}{br}---- {small}{cap}Bruce Nauman, First Poem Piece, 1968{br}{br}you may not want to be here{br}you may want to be here{br}you want to be here{br}you want to be{br}you may want to be{br}you may not want to be{br}you may not want{br}you may want{br}you may be{br}you may not be{br}you may not be here{br}you may be here{br}you may not want to hear{br}you may want to hear{br}you want to hear{br}you may not hear{br}you may hear{br}you hear {br}{/cap}{/small}\| {br}{br}{br} ---- {small}(Click to enlarge){/small}{br} [../files/articles/nauman/1970_naumanmonkserra_950.jpg\|../files/articles/nauman/1970_naumanmonkserra.jpg]{br}{small}Meredith Monk, Bruce Nauman, Richard Serra - Santa Barbara Arts Festival - 1970{br}---- Nauman and Serra placed subjects and matters in various constellations, with the aid of their own body, as well as different objects such as neon tubes or lead; performances in which they both participated also accentuated the process-oriented character of their constellating work. Especially the performance that they presented in 1970 together with Meredith Monk at the Santa Barbara Arts Festival demonstrates the relational, process-oriented way of dealing with their own body: Monk, completely in red, was moving for one hour across the stage, singing and talking. Nauman lay down on the edge of the stage, rolled towards the stage centre and back again, kept falling over the edge and climbing back on, and then started all over again. Eventually, Serra’s activities consisted in turning and lifting: occasionally, at his will, he would lift Monk and set her down again at another point of the stage. Thus, Monk, Nauman, and Serra functioned as those who structured the continually changing relations to one another, to the space, the architectural elements, and also the audience. — (Beatrice von Bismarck, [Relations in Motion, In Curating Performing Arts, Frakcija #55, Performing Arts Journal\|http://velocitydancecenter.org/stance/wp-content/uploads/2015/11/Curating-Performing-Arts_Frakcija_55_second_run.pdf], summer 2010, pp. 54-55){/small} {br}{br}{br}{br}
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