This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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The compact shelter constructed of discarded materials sits in an inner city garden, lush with flowers and foliage behind a plain wooden fence. Four chair backs, made from aluminum ladders, hold up a pitched roof consisting of two doors in a wooden frame. Between the chairs is a pup tent which doubles as a table base. Climbing one of the ladders up into the attic room, you find rubber tires fastened closely together to form a hammock.
When
1986
An American sculptor, performance artist, and video artist, Vito Acconci received his MFA from the University of Iowa in 1964. Initially writing poetry, he began to create visual work (specifically, photographic records of actions) in 1969. During the first half of the 1970s, Acconci staged a number of activities and performances, and during the second half of the 1970s, he created audio/visual installations. In the 1980s, Acconci transitioned to permanent sculptures and installations and became interested in combining natural and mass-produced objects to create sculpture and furniture.
