“Why only mothers? Why not women in general?”
“I like it because I’m pregnant. Baby is on the mind.”
“My first thought was, ‘Hey! I’m one!’”
“It’s a very strong statement.”
“I mean . . . it’s just plain cool.”
“The piece is very applicable to us. We’re on a mothers’ getaway weekend.”
“I appreciate the kinetic aspect of the piece.”
“Honor your mother!”
“Where’d they get the beams to make sure it’s structurally sound?”
“I didn’t understand it at first and I still don’t. You know, like, why does it rest on that pedestal? Things like that.”
“I like being able to be under it. I also loved the idea of a big neon THING going around and around and beaming out at night.”
“Mothers make the world go around.”
In the spirit of Martin Creed’s humor, we thought we would share a short Martin Creed video for those who perhaps had a bit too much to eat (or drink) for Thanksgiving. Here is Martin Creed’s Work No. 610, Sick Film, 2006.
Please note: true to the title, the film does depict the act of vomiting.
“I wanted to try to control myself,” says artist Martin Creed, maybe a third of the way through his Work No. 1020 (Ballet). “I feel like life is out of control all of the time.” Onstage to his left, dancer Lorena Randi coughs into her hand, then replaces it where it belongs when you’re in third position and you’re doing ballet.
Work No. 1020, 90 minutes sharp, happens this way. It just happens to be formal, in a way. There’s a large, long video projected at the end of the work, of a young woman squatting to take a dump in a white room. There are thirteen cacti in a row upstage right, the shortest nearest center, the tallest adjacent to the wings.
Diagonals emanate from this upstage right corner during the performance. They cut through an orthogonal grid marked on the floor with three colors of spike tape (blue, green, and lime). When ballet shapes “work,” it’s because the dancer’s body expresses distinct tensions between orthogonal and diagonal lines. Ballet lives in the play between the grid (en face) and its corners (effacé, croisé, écarté). Creed’s performance lives in the play between its viewers and the play between ballet and Martin Creed.
Work No. 1020 looks at the house of ballet before going in, looks at the basics of ballet’s envelope. One of many songs the five-member rock band plays during the piece is an alphabet song, and there’s a counting song, too. The five dancers, including Randi, walk through ballet’s five positions like piano students practicing their scales. Their dancing is basic, their technique so-so. The projected numbers that keep pace during the breakneck counting song are big and crisp and black-on-white, and so are the letters that take turns behind Creed and the band during the alphabet song. The musicians and their instruments (drums and guitars) are in a diagonal line, from the upstage right corner to downstage center. Well, just a little to the right of center, the place dancers call “eighth.” Yeah, there.
“I hope you feel free, at least,” says Creed to the audience, after explaining that he doesn’t feel free. Over a black T-shirt, he wears a knit sweater vest, sleeveless like the faded Van Halen T-shirt the one male dancer, Karl Friedrich Wilhelm Gehrig, wears not tucked into the waistband of his footless black tights.
“As soon as you’ve got rules, then you do things wrong,” Creed observes, offhandedly. When he swaps electric guitar leads a little later, the new cable comes up short. He’s unable to both play his guitar and stand where he belongs, just a little to the right of downstage center, like at eighth. A production coordinator hurries to the stage to help push a heavy amplifier closer to Creed, to bridge the gap. It’s not a tense moment for us in the audience, because no one onstage seems concerned. “I didn’t plan this,” Creed tells us, “but I wish I had, because I like it.” People laugh. The Work continues, back on script.
The program notes for Work No. 1020 (Ballet) include a brief statement by Creed, which concludes, “A ballet dancer is standing up straighter than anyone else. It is an extreme example of the work of living. That’s what I like about it.” Yes, but the five dancers in Work No. 1020 are not extreme in their execution of ballet building blocks, taking turns in closed cycles and patterns. There’s slack in the cable connecting each dancer to the big, buzzing box of ballet. Instead of “stage face,” we get “class face.” We can see the work behind the art. During another song, Creed forces out these lyrics, his stare intense: “I’ve been practicing, practicing, practicing for you.”
When Creed’s choreography touches complex, it backs off, and chooses another fundamental dance-making strategy to approach and assess. Deep within ballet, where the Work does not go, precise épaulement and dynamic phrasing deliver ideas through the form. In this Work, the figure is still hidden in the stone. This Work is preliminary bulk reduction done with eyes wide open, the hacking away at a corner not needed, the standing back, the looking at the big stone, the taking away of another chunk, the identification of forms the big block might contain.
With the same number of strides, taken simultaneously but with different lengths, the five dancers enter from stage left. Farthest upstage, Gehrig’s strides are full splits, to the floor, which take him all the way to the opposite side and the tallest cactus. Randi’s steps along the edge of the stage, conventionally scaled, take her only about half as far.
The three other dancers’ strides deposit them regularly between, so the group arrives in a diagonal line in unison. They turn around and exit the way they came in, taking their final steps offstage together.
The Work is the play between constants and variables, with themes and variations waiting in the wings. In the middle of the Work, on video, one by one, a little dog, a big dog, and a man cross a white room on the diagonal, while voices direct these three animals from out of frame.
Ballet’s codes, traditions, architectures, aristocratic beginnings, physical demands, and abstract ideals are like a giant sphere in this Work. Creed’s work covers this sphere’s surface with dimples as it makes its way around and presses into it with different fingers and degrees of pressure. He says at the beginning of the show that he wants to try to show us something, that the Work will contain “things designed to be looked at.”
The magic part is how these meetings around a membrane reveal glimpses of cores. In the age of hermetic pockets of fluency, here’s a performance of approach, an investigation, a detective’s first visit to a crime scene, a student’s thoughts after his first lesson. Following the last dance, Creed says, “there’s no real ending.”
Then all of the performers, standing shoulder to shoulder, take their bows at the very lip, coming as close to those of us watching as they can without falling off of the stage.
Martin Creed’s Work No. 1020 (Ballet) received its US premiere at the Edlis Neeson Theater, November 16 and 17, 2012. These two performances marked the eleventh month of the artist’s yearlong residency, Martin Creed Plays Chicago, at the Museum of Contemporary Art Chicago.
Today Martin Creed released his newest album Work No. 1370, Chicago (2012) which he says is the best music he’s ever made. Tonight and Friday night he and his band perform on the MCA Stage. Don’t miss it. Tickets and more information are available here: http://bit.ly/TFMjnd
Martin Creed is presenting Work No. 1020 (Ballet) on the MCA Stage this week. This is his last trip to Chicago as part of his yearlong residency at the MCA. Creed is an artist who sees little to no distinction between disciplines, moving sinuously between visual art, music, film, and with this work, dance. In fact, he sees little distinction between making art and just being in the world. I really love that idea—the idea that art and life are inextricably tangled in each other, that just being in the world is making art. It makes perfect sense when you see some of Creed’s installations that are scattered throughout the MCA.
In this performance, Creed plays lead guitar with his London-based band and dancers culled from Sadler’s Wells Theatre. The composed dance uses only the five core positions of classical ballet, each paired with a musical note. Having been a dancer, I know that the five positions are the basic language of dance, the building blocks. I was immediately intrigued by the idea of creating a dance using only these somewhat restrictive and obviously minimalist postures. The simplicity of the movement belies the discipline, and limitations are always a way to explore creativity.
Along with presenting the ballet, Creed and his band are also playing other songs Creed has written. He tends toward unconventional, punky songs with blunt titles. I wonder if he’s going to play the deliberately irritating “Fuck Off.” There is often an unassuming, humorous aspect to Creed’s work that uncannily parallels his ability to annoy people. I’m sure the performance will annoy some people, as well as generate the typical bemused query, “Is this really art?” In fact, I’d be surprised if anyone coming to this won’t laugh, be annoyed, supremely irritated, or totally grossed out. Which is also funny in an “either you get it or you don’t” way.
I don’t know exactly what Creed is going to do Thursday and Friday evening. I am intrigued, a bit worried, and quite excited about the performance. The one thing I know for sure is that I won’t be bored.
“What do I think? Clever, nostalgic, simple. A lot of people don’t like to see simple things in a museum, but I appreciate art that gets back to the basics.”
“I like the whimsy factor here. Proportions impossibly small and impossibly thin at the same time. Playfulness is my general vibe.”
“I noticed the eyeball immediately, and I first thought I saw painted bands, not Legos, probably because I’m in a museum.”
“Wow, Creed wasn’t shy about doing the phallic thing here. I mean, it’s not so subtle.”
“It’s a tower, a monument. Small, but I like it anyway.”
“Well, I work at a preschool, so this makes me think of my job . . . sincerely.”
“My wife was all about building blocks. They used to call her Princess Lego. So I enjoy this on her behalf.”
While eating my lunch last week, I sat admiring Martin Creed’s recently installed Work No. 1351 (2012). Thick, intersecting stripes of color cover the wall in Puck’s café, adding a playful dimension to what was previously a very white and clean-feeling space. This piece feels spontaneous and light. As is often the case with Creed’s simple- looking installations, a tremendous amount of planning and carefully choreographed installation took place behind the scenes to make this piece possible. The following is the surprisingly long list of colors that were used by MCA preparators to paint this mural:
Golden Bounty, Luminous Days, Golden Nugget, Sunshine, American Cheese, Banana Yellow, Wasabi, Bright Gold, Goldsmith, Sweet Pear, Sundance, Burnt Cinnamon, Orange, Paradise Beach, Pumpkin Cream, Vivid Peach, Festive Orange, 14 Carrots, Orange Burst, Marmalade, Butterscotch, Beeswax, Dark Salmon, Tawny Day Lilly, Jack O’Lantern, Raspberry Truffle, Rose Parade, Pink Ladies, Hot Lips, Crushed Velvet, Bordeaux Red, Fuchsine, Pink Ruffle, Neon Red, Red, Rose Quartz, Hot Apple Spice, Exotic Red, Royal Flush, Dog’s Ear, Light Chiffon Pink, Razzle Dazzle, Peaches ’n’ Cream, Magenta, Deep Carnation, Melrose Pink, Margarita, Neon Green, Citrus Green, Grenada Green, Lilly Pad, Avocado, Fresh Scent Green, Nile Green, Webster Green, Amelia Island Blue, Marine Aqua, Snow Cone Green, Emerald Isle, Mississippi Mud, Wenge, Seed Brown, Falcon Brown, Woodcliffe Lake, Tulsa Twilight, Onyx White, Almost Black, Picket Fence, Silver Lining, Gray Sky, Blue Springs, Albany White, Turret, Sweet Innocence, Desert Beach, Seacliff Heights, Bluebelle, Gulfstream, Deep Royal, Midnight, Spring Sky, Watercolour Blue, Black Satin, At Sea, Brazilian Blue, Baby Seal Black, Poolside Blue, Mosaic, Tropical Teal, Beau Green, Naples Blue, Rhythm and Blues, Dream I Can Fly, Blue Wave, Graceful Sea, Dark Royal Blue, Americana, Mauve Bauhaus, Violet Stone, Scandinavian Blue, Elderberry Wine, Pinot Grigio Grape, Crocus Petal Purple, After the Rain, Dark Lilac, Mystical Grape, Victorian Purple, Trout Gray, Ebony Slate, Espresso Bean, and Cobblestone Path.
It is the last week to see the final Martin Creed balloon installation, Work No. 204, Half the air in a given space currently on view in the City Gallery at Historic Water Tower. Visit this popular and fun exhibition before it closes on October 25.
Please note that the installation will be closed during inclement weather, such as rain. Follow the MCA’s Twitter account (@mcachicago) for live updates of the status of the exhibition, or call 312.280.2660.