The exhibition was in two parts: one is made up of an archival assemblage culled from Chris’ own collection (photographs, clippings, records, artworks, and various oddities), crafting a kind of mini-exhibition of their traces and works. The second is response-based, in which Chris asked artists to make a kind of portrait of sorts of a given artist from this noisy ensemble.
Historical figures, chosen for the ways in which they retuned what a voice could be, were paired with artists as a speculative attempt at making an ensemble that is temporarily unbound. The tuned-out-of-tune of this ensemble shares symmetry with orange noise, defined loosely as the sound of noise making together (think: an orchestra warming up). Archives and material ephemera collide with unique response works, takeaway objects, performances, covers, and all manners of creative research that hinge on the history of 'making it new.
Chris proposed I respond to Andrea True, a pornographic actor who became a one hit wonder pop star in the 1970s with her song (The Andrea True Connection) “More, More, More.” Thus, this particular subject was one that a.) deserves some care b.) resonates in something that D.A. Miller wrote: “the realm of the superficial operates as a refusal of ‘substance’ which is culturally inscribed in heteronormative terms.”
I choreographed and performed with my collaborator Lua Borges.