This video is a collaboration between Paul McCarthy and Mike Kelley that dates from 1995. Both artists reenact a series of performances from the early 1970s by American artist Vito Acconci that then explored the relational capacities of video all the while questioning intimacy, trust and power. Sole protagonist of his performances at his debut, Vito Acconci then worked with other performers on the psychology of relationships.

Nowadays, reenactment is an artistic method in its own right that simultaneously underlines the importance of the physical presence of the artist and the necessity of modernizing 'iconic' works. It should be noted that in 1995, the artistic scene came closer to the world of fashion, with artists like Vanessa Beecroft or Sylvie Fleury for instance. The aesthetic of magazines came into the universe of artistic production and galleries. For McCarthy and his accomplice, this aesthetic of seduction degenerates into triviality: indeed, Vito Acconci's performances are reenacted by porn actors. We are of course miles away from the asexual use of nudity in the 70s, when Acconci staged himself without affectation. The aesthetic of bodies, the room decors with a fireplace, the delicate lighting of flesh from Fresh Acconci explicitly refer to softcore porn, erasing the meaning of the original work. For McCarthy " In Fresh Acconci, the New York art scene is sandwiched with Hollywood. Two kinds of aesthetics overlap.” [1]

The different sequences refer to four specific performances: Claim excerpt 1971, Contacts 1971, Focal Point 1971, Pryings, 1971, and the freedom in staging allude to others like Three Relationship Studies, 1970. Throughout the film, scenes are repeated, but they are played by different actors that display a wide range of bodies and genders. Therefore, the relationships sometimes become homosexual or interracial. This diversity underlines the white heterosexual character of the 70s art scene.

[1] eai.org

Patricia Maincent

Translated by Mia Stern, 2021