Hustle
Photographs
Project Summary
Credits
Julia Mandle
In conjunction with the Queens Museum, White Columns Gallery and Cabinet Magazine, Hustle was commissioned for two of Gordon Matta-Clark’s fifteen unfinished “Fake Estates” in Queens. Using cast yellow chalk shoes, Julia Mandle and her performers outlined and linked the two similar micro-plots, each lying in a driveway between apartment buildings.
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Enthusiastic bystanders and an invited audience moved from one urban site to another in a slow procession across noisy Roosevelt Avenue. The performance was punctuated when one of the neighbors “shooed” the performers off one of the lots, threatening to call the police and claiming the land was her “private property.” Highlighting Matta-Clark’s own irreverence for property, Hustle also underscored the need to slow down the fast urban pace to truly experience one’s surroundings and to question the artificial lines of property that divide cities and countries. As soon as Matta-Clark’s “Fake Estates” became temporarily manifest through the chalk outlines created by the performers, they began fading from view, reminding viewers that the city is a constantly changing organism—an endless hustle to mark the ephemeral.
In conjunction with the Queens Museum, White Columns Gallery and Cabinet Magazine, Hustle was commissioned for two of Gordon Matta-Clark’s fifteen unfinished “Fake Estates” in Queens. Using cast yellow chalk shoes, Julia Mandle and her performers outlined and linked the two similar micro-plots, each lying in a driveway between apartment buildings.
PAGEBREAK
Enthusiastic bystanders and an invited audience moved from one urban site to another in a slow procession across noisy Roosevelt Avenue. The performance was punctuated when one of the neighbors “shooed” the performers off one of the lots, threatening to call the police and claiming the land was her “private property.” Highlighting Matta-Clark’s own irreverence for property, Hustle also underscored the need to slow down the fast urban pace to truly experience one’s surroundings and to question the artificial lines of property that divide cities and countries. As soon as Matta-Clark’s “Fake Estates” became temporarily manifest through the chalk outlines created by the performers, they began fading from view, reminding viewers that the city is a constantly changing organism—an endless hustle to mark the ephemeral.
White Columns Gallery, New York, NY, September-October 2005
Performers LoMa Familar, Tori Sparks
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Commissioned by Cabinet Magazine in conjunction with Queens Museum. Special thanks to Frances Richard, curator.
White Columns Gallery, New York, NY, September-October 2005
Performers LoMa Familar, Tori Sparks
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Commissioned by Cabinet Magazine in conjunction with Queens Museum. Special thanks to Frances Richard, curator.