Art Becomes Architecture Becomes Art: A Conversation Between Vito Acconci And Kenny Schachter, Moderated By Lilian Pfaff

W Kunst und Architektur im Gespräch | Art and Architecture in Discussion edited by Cristina Bechtler Art becomes Architecture becomes Art A Conversation between Vito Acconci and Kenny Schachter, moderated by Lilian Pfaff CONTENTS 6 15 Preface Art becomes Architecture becomes Art Vito Acconci, Kenny Schachter, Lilian Pfaff, Cristina Bechtler 159 Biographies 162 List of Illustrations 164 Colophon PREFACE “Art becomes Architecture — Architecture becomes Art” — the title underscores Vito Acconci’s transition from artist to architect. He originally made a name for himself with his performances of the 60s and 70s but, for the past 25 years, architecture has been his main concern. Since 1988 Acconci Studio have been designing architectural projects under his supervision, some of which they have executed with great success. This radical change from artist to architect follows a trail that begins with Acconci’s own body, moves into the exhibition space, then out into the public arena, and — so it seems in his collaborative enterprise with art dealer Kenny Schachter — back again into the space of the gallery, but now in the role of an interior decorator. ”… all I did was become an interior decorator for the gallery; I „Art becomes Architecture – Architecture becomes Art“ – der Titel verdeutlicht Vito Acconcis Werdegang vom Künstler zum Architekten. Vito Acconci, der vor allem durch sein performatives Frühwerk der 60er und 70er Jahre bekannt geworden ist, beschäftigt sich seit 25 Jahren mit Architektur. Seit 1988 entwirft das von ihm geleitete Acconci Studio architektonische Projekte und hat einige davon mit Erfolg realisiert. Dieser radikale Wandel vom Künstler zum Architekten vollzieht sich ausgehend von der Auseinandersetzung mit dem eigenen Körper hin zum Ausstellungsraum und zum öffentlichen Raum – und, so scheint es in der Zusammenarbeit mit dem Galeristen Kenny Schachter, – wieder zurück: vom Aussenraum in den Galerieraum, nun jedoch in der Rolle eines „Innendekorateurs.“ ”… all I did was become an interior decorator for the gallery; I was 6 was camouflaging the gallery’s function as a store. That was the real frame for art: the gallery as a store.”1 Language games have always played an important role for Vito Acconci (born 1940), who is also a literary scholar. Reversals or inversions read like dadaist wordplay or works of concrete poetry, in which words are transformed into matter and escape the confines of the page. At the end of the 60s, the artist’s performances addressed and challenged his readers/ viewers directly. In time, however, his actions and performances were no longer played out live with an audience but took place in front of the video camera. In addition, Acconci became involved in Body Art, incorporating himself into his work by biting his own arm, for example, and stamping himself as if he were a work of art. In his notorious performance at Sonnabend Gallery in New York, he was invisible altogether, his presence in the gallery marked only by sound, since he lay under a ramp while visitors walking overhead heard him masturbating. camouflaging the gallery’s function as a store. That was the real frame for art: the gallery as a store.”1 Sprachspiele spielten für Vito Acconci (geb. 1940) als Literaturwissenschaftler von Anfang an eine wichtige Rolle. Umkehrungen oder Verkehrungen lesen sich wie dadaistische Wortspielereien oder Werke Konkreter Poesie, in denen die einzelnen Worte Material werden und bald über die Textseite hinausgehen. Ende der 60er Jahre wird der Leser/Betrachter in Performances direkt angesprochen und aufgefordert. Diese Aktionen und Performances finden zuerst vor Publikum später dann für die Videokamera statt. Gleichzeitig setzt sich Vito Acconci im Kontex