is an artist, writer, and performance maker from London, now based in New York. He holds a BA in Art History (Cambridge, UK) and an MA in Performance Studies (Tisch, New York).
In January of 1973, Great Britain joined the European Union after its third petition for membership. The event inspired an array of celebrations entitled Fanfare for Europe.
Miguel Gutierrez pulls down his underwear with critical intent. Focused and assured, he turns to the left with one yank, and then to the right, before re-joining the orgy of bodies, clothes, and fabric that dominate the stage.
The black curtains form a dark wall across the proscenium assembled at Performance Space. Green and yellow lighting washes through the haze above the audience. We hear the ribbit of frogs, the buzz of crickets, and the swampy whir of the nocturnal.
It isn’t often that new works emerge from the depths of artists’ archives, but when they do, viewers are offered new perspectives on an artist’s work. This is the case with never-before exhibited video documentations of Minoru Yoshida’s New York performances, at Ulterior Gallery.
The dancers slowly grow and unfurl upward before proceeding to spring around the stage to evoke the movement of the flowers.
Center-stage on all fours, atop a kind of inflatable mattress, she thrusts her hips in slow twerking movements. Her pink lipstick matches the sides of the inflatable. The stage is a pale grey. To a gently spoken soundtrack, she simultaneously lip-syncs: 18 year old ass, 18 school girls, 18 amateur, 18 and confused, 100 percent neoliberal.