So Funny It Hurts

Hi friends,

Something in the title that Brian Getnick chose for his upcoming curated performance exhibition has me thinking of Bas Jan Ader. “I’m too sad to tell you” in my mind rhymes with “So funny it hurts.” While my brain is pondering this connection I also am led to wonder if Bas Jan Ader is thought of as a performance artist? I mean his work in the present exists mostly as rumor – their remain artifacts and some recreations but really this artist’s reputation rests mostly on stories traded over the years by ardent fans. I think. No scholarly claims here. Nor any “absolute reading (of the work)” drama. Just ruminating and finding my way into performance.

Thursday, March 10 at LACE will be the first of four evenings of performance in So Funny… This is Getnick’s first major curated exhibition and that it is being held at LACE is an both honor to the strength of Getnick’s ideas and also evidence that LACE remains, after nearly thirty years, the generating center for risky performance art in our fair city.

Dates for So Funny It Hurts performance at LACE:

March 10, performances by Alice Cunt and Kale Likover

March 24, performances by Lauren Weedman and Nathan Bockelman

April 7, performance by Asher Hartman with Curt Lemieux

April 14, performance by Paul Outlaw

Referring once again to my opening mention of Ader (Jan Ader? How does one shorten his name?), it is a commonplace of the performance world that much of it exists as rumor because it is so very experiential. Ephemera, et cetera do what they can to carry the story but most of the time we hear about events and must only wish we had attended. You can probably see where I am going with this: Do you want to be one of the “wish-I-had” people who chase the afterglow of a performative experience or do you want to be one of the participants in creating this future rumor?

Ooooh, historical reference-ship is tantalizingly close to your fingertips. You’ve got four chances. Will you let these slip past you?

About Native Strategies. My own knowledge of Brian Getnick’s So Funny It Hurts exhibition came from his invitation that I interview Asher Hartman for the publication Native Strategies. Hartman is one of those artists who exist for me in the place I give most of my attention – the sparkly, shimmering perifery of my consciousness. A variety of people whom I consider “way finders” in culture have mentioned him in my presence over the years. Hartman’s October, 2010 performance Annie Okay got ground level buzz of the kind that one might dream of. To say that I was excited to be able to meet with and write with Asher Hartman would be an understatement. Eek, as I often say.

To make a long story, which I shall approach again and again over the next five years, um to make it short – Getnick is planning to loosely organize ten performance exhibitions over the next five years and to document them in the journal pictured above. But you say, “No! Performance should remain pure of the exploitation that is outside the original experience!” Yeah, sure. And believe me – this will not be a hammered-down, butterfly-pinning dry academic text. I have nothing against academia or against getting things right.

Native Strategies shall fucking live and breathe and sweat.

Come to the party and event on Thursday and find out more!



Hey – sorry about the misspellings, grammar stuff, etc. LUNCH IS OVER FOR ME AND I HAV ETO STOPPPPPPPP

Complete Native Strategies and So Funny It Hurts posting:

So Funny It Hurts, March 9, 2011

So Funny It Hurts, Part 2, March, 17, 2011

Native Strategies – Brian Getnick helps us look at Performance Art in LA, posted on March 20, 2011

NoL: April 7 thru tbd, (scroll down to “Someone’s finally tellin’ mah story…” for Asher Hartman review), April 7, 2011

So Funny It Hurts, last night, April 15, 2011

Paul Outlaw, So Funny It Hurts performance April 16, 2011

Nathan Bockelman: UCR Thesis show and So Funny It Hurts performance posted on April 19 and 23, 2011

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