You could walk around behind the typist and read the text, which was about hearing, and what you heard was the sound of the typewriter. Of course, this was a pre-electric typewriter, a typewriter that made noise. Vito Acconci More Quotes by Vito Acconci More Quotes From Vito Acconci Architecture is not about space but about time. Vito Acconci architect architecture space What I never wanted in art - and why I probably didn't belong in art - was that I never wanted viewers. I think the basic condition of art is the viewer: The viewer is here, the art is there. So the viewer is in a position of desire and frustration. There were those Do Not Touch signs in a museum that are saying that the art is more expensive than the people. But I wanted users and a habitat. I don't know if I would have used those words then, but I wanted inhabitants, participants. I wanted an interaction. Vito Acconci frustration art thinking It was an incredible way to grow up, because words that you're taught - these definite things - you realize they sort of beautifully fall apart; that words are tenuous. In the middle of a large word, there's a small word that possibly contradicts the larger word. So I grew up where, on the one hand, the only thing I would ever think of doing was something in writing, music, or art, and on the other hand, I could've reacted strongly against it because it would've been a way to rebel. Vito Acconci growing-up art fall I like Richard Serra sculptures too but I wish they had a goddamn hot dog stand inside. Vito Acconci dog wish hot Any time you do something, you make decisions about time and space. I wanted those decisions to be out of my hands. I could be dragged, carried along by another person, I could be a receiver. I could be the agent of the overall scheme, but I didn't want to be the agent of the particular action. I could make the ultimate decision that my space is going to change now, but I don't know where it's going to go. Vito Acconci space decision hands Public space can be a lot better with some private space to contradict it and vice versa. It keeps the system alive. If the system is just one thing, then it's closed and it eventually dies. Vito Acconci I'm using my own person in pieces, but I'm trying to turn my person into a nonperson in the sense of a person without will, without volition. I'm subjecting myself to a scheme. Vito Acconci volition pieces trying I like intersections. They're the nature of New York, and there's always the possibility that when you're at one you can meet someone new. Have I ever met anyone new at an intersection? No, but I like the idea of it. I like cities because if you're stopping on the corner to wait for a light to change, there's the possibility that you and somebody else can talk. And if you and that somebody else start to talk, then you can start to argue, and if you start to argue, you might start a revolution. Vito Acconci revolution waiting arguing There's a legal term for a problem in public space: something that might draw people to an area-say, across train tracks-where they might be caused harm. It's called a 'public nuisance.' I wouldn't mind being called that for my life's work. Vito Acconci track space people It's not the bullet that kills you, it's the hole. Vito Acconci bullets holes [My early performance work] started by being the activity of a person, any person, like any other - but once that person became photographed it became a specialized person, the object of a personality cult. Vito Acconci cult performances personality Everybody uses labels: they give you a handle on things - an over-simplified handle, sure, but without labels, without ads, without words, the world would be an indistinguishable mass, a blur. You can hope, maybe, that people ascribe so many labels to you that none wins out Vito Acconci winning giving people I wanted to be involved with the making of some kind of parallel world. I thought, there's no reason to go to different parts of our world, because you can write them. You can stay home, stay in a little room, and imagine all these worlds. And I wanted to do that. Why did I want to do that, I'm not sure if I can tell. Vito Acconci our-world home writing Architecture is inherently a totalitarian activity. One thing we hate about it is that when you design a space, you're probably designing people's behavior in that space. I don't know if we know how to change that, but our goal is to make spaces for people rather than people being subservient to spaces. Vito Acconci hate goal people [Photography was necessary to] make my place in the art-world: in order to do this, I had to make a picture, since a picture was what a gallery or museum was meant to hold (all the while, of course, I was claiming that I was denying the standard, rejecting it...) Vito Acconci photography museums art I was always fascinated by diagramming a sentence. Because that is going into a space, going into a world of language. Vito Acconci language space world Even though I always claimed that I didn't want to write about something - once I wasn't writing fiction, anyway; I think for me the change from fiction to poetry was that in fiction I was writing about something, in poetry I was writing something. Vito Acconci writing fiction thinking The great thing about the Guggenheim is that you can see art in the fastest way if you want to. Which isn't bad. It's almost like Frank Lloyd Wright didn't know something called the Internet was going to exist, so he made it so you can go down as fast as possible. Vito Acconci great-things internet art I wish we could make buildings that could constantly explode and come back in different ways. The idea of a changing environment suggests that if your environment changes all the time, then maybe your ideas will change all the time. Vito Acconci environment different wish I didn't want to admit that I was a performer. A performer meant spotlights - a performer had connotations of theater. I would have preferred agent to performer. Vito Acconci
