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Ivanka Vacuuming is an art installation by New York artist Jennifer Rubell.
Conceptual artist Jennifer Rubell drew blood. "Ivanka Vacuuming", a two-hour night performance featuring a flawless Ivanka Trump (played by a look-alike model), vacuuming crumbs on a carpet, prompted a tweet at 10:12 Tuesday morning from his first daughter
"Women can choose to hit or build themselves, I choose this one," Trump said on Twitter, his first message since everyone's wish a happy new year (in English and Chinese ) to mark the month of February. 5 Chinese Lunar New Year, celebrated by more than a billion people around the world.
This was an unusually quirky remark by Trump, whose Twitter account maintains the essence of her business, promoting the causes that she advocates, including the empowerment of women. role of senior advisor to President Donald Trump. Trump's revival of a CulturalDC-sponsored exhibition, which promotes the arts and creates spaces for artists on Washington's booming real estate market, was also strangely disproportionate to the artist's provocation. . Rubell's work certainly calls for criticism, but only in the context of a broader and more ambivalent reflection on Trump's role as a thick female figure in American society.
But more than anything else, Trump's tweet suggests something that has been whispered and speculated since. his father won the presidency: what is his agenda? What does she want from this strange, chaotic and destructive episode in American politics?
There is a curious moment in director Michael Moore's documentary "Fahrenheit 11/9", an anti-Trump jeremiad based on the idea that the Trumps really had no interest in the presidency. Moore claims that personalities such as Ivanka and her husband, Jared Kushner, were just following along, while one of Donald Trump's improvised public relations stunts was turning into a real candidacy. A brief piece of evidence is a brief interview with Kushner, in which he praises the talents of the genuinely upset progressive filmmaker, an opinion that would have been commonplace in social circles inhabited by Kushner and Trump while former Trump was still a figure absurd entertainment.
If Moore's point of view on younger badets is correct, it is reasonable to badume that they may be particularly sensitive to the way they are perceived in the social world in which they hope to return, a social world in which the arts play a much larger role. that they do it among the political elites of Washington. The usual trajectory for presidents' offspring is lifetime membership to an almost official American aristocracy, with better access to wealth if they need it and greater brilliance to their wealth. they already have it. But there is nothing usual about the Trump presidency, and it is quite possible that the youngest, poisoned by the nationalist rhetoric and the racial division of the administration they serve, are outcasts in the world. that they left just two years ago.
Something in Rubell's work has certainly attracted the attention of Ivanka, who is also unshakeable. Her tweet suggests that she is taking the high road, choosing to train women. But the fact that she sent him shows that she is worried about not succeeding in her long-term efforts to be perceived as a "take the high road" voice in her father's orbit. With her tweet, she followed the particular but persistent past of her father: pointing out the very thing that she would otherwise have dropped into oblivion.
Rubell's work calls for many interpretations, including those suggesting the idea of a "stain" or a stain. or an irreparable plague, and others that speak directly to the ideas of wealth and the cultural bleaching of wealth. The performance piece, which can be viewed online when it is live at the Flashpoint Gallery, features a well-prepared young blonde with a vacuum cleaner. At the moment visitors throw crumbs on a carpet, substitute Ivanka Hoovers lifts them, with a smile on their lips. In a literal but comical sense, she does the "cleaning" work for which she struggles within the administration, which always seems to undermine things – even her own efforts to dismantle political and social contracts. Is Donald Trump racist? Regardless, Ivanka will clean up the mess, even if her father tweets over racism dog whistling. But the din of emptiness will never hide the more important noise emanating from the administration.
There is something Sisyphean in the two-hour performance. The crumbs continue to arrive and the cleaning is never finished. The crumbs are reminiscent of the economic aspects of wealth and poverty, the idea of economic spin-offs, and the old adage wrongly attributed to Marie Antoinette: that they eat a cake (or a brioche). It's perhaps us the 99%, the "losers" of the great economic upheaval of the last capitalism that left the 1% with half of the world's wealth and gave us the spectacle of the Commerce Secretary, Wilbur Ross, suggesting that workers could survive the closure of the government simply by borrowing from their local bank. The emptiness of Ivanka is fattening and swelling the little people, and not a crumb will be left behind.
It is also possible that the anger of Ivanka Trump was brought about by the elegance of her double. Ivanka is dedicated to branding, the identity of her identity and the architecture of her life. The replicas are strange and make people strangely uncomfortable, and even though this work is interpreted by a live performance, it has something in common with the figure-likeness art. such as Maurizio Cattelan, an Italian artist who created a realistic sculpture of Pope John Paul II crushed by a meteorite. The double is an old art that becomes particularly unstable when the figure arouses strong cultural, political or religious feelings, and can be even more unstable when the figure, like Ivanka Trump, is the one who built her life on a neat culture. , marketing and monetization of his identity.
Memory is also at stake here, and this is the most plausible explanation for Twitter's strange failure in Ivanka's efforts to stay above the fray. There are multiple forms of memory at work at any given moment in a complex society, and the arts as memory are one of the most complex. Journalists and legitimate historians are bound by facts and public records. Artists do not have such restrictions, although biased artists who do work without higher truth can find their work unmasked and marginalized. Artists such as Rubell participate in the creation of a memory of Ivanka Trump who can not be confused by repeated and garish statements of "false news", as they claim by no means to report them.
"Ivanka Vacuuming" means if it sounds, if it allows to look and speak, even if one wonders about their own participation in the creation of the public image of Ivanka. It may be that even at the moment, people are buzzing about it at dinners in the Upper East Side of Manhattan, and this gossip is a form of invisible work: cutting and etching at the same time. 39 etching and erase all possible Ivankas in a manner both invisible and indelible. [19659003] We will not know what emerges from "Ivanka Vacuuming", but we can be certain of one thing: its power to shape the reputation of the Trump family exploded Tuesday after 10 am. Flashpoint Gallery, 916 G St. NW, Washington, DC
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