By David LaGaccia
Like all things created, INCIDENT Magazine started as a concept that grew into a conversation and was shared as an idea between friends. Patience, however, is necessary when handling a project this ambitious, so the idea lay dormant for about a year after its conception. Time passed, events passed—the Brooklyn International Performance Art Festival closed out the summer in 2013, and eventually schedules began to clear up in the winter…
As an aside, there are two principles worth considering when making any decision: 1. There is never going to be a perfect time to do anything, but finding the “right” time is crucial. 2. Thought without action is just as dangerous as action without thought.
…and so work on the project officially began in January 2014, and in four months’ time, the concept became a reality.
It’s been two years since then. After two years of hard work, and several months of receiving feedback on test printings, INCIDENT Magazine is producing its first print edition for publication later this May.
A lot goes into planning a print edition. Everything from paper stock, color, design, font, length, photo caption placement and the simple demand for a print magazine has gone into consideration. We aim to give the kind of quality the art form deserves and the kind of quality readers desire. And there is a desire for a print edition; when the second printing was distributed at a local Brooklyn show, all copies were taken in a matter of hours.
We’re now accepting essay and documentation submissions to be considered for publication with a hard deadline of Sunday May 8th. Refer to our Facebook event for further details, and our submissions page for exact details on how to submit.
Along with the print edition, in the following weeks you’ll read excerpts from Estonian artist Al Paldrok’s new book of the performance art collective, Non Grata; an interview with Martha Wilson, a legendary artist and supporter in the performance art community; social ethics and boundaries in performance; an artist who literately sold all of his belongings and traveled to find his cultural identity; monthly podcasts featuring conversations with a spectrum of performance art thinkers in the community; a personal essay of an a artist who left their home country to escape censorship and find expression in the United States; the female body, and how it relates to nature, myth, and performance; music, and expanding the idea of what is live performance, and more.
I hope you enjoy the stories as they are told, and I hope you share your stories with us in the near future…
As a preview of what’s to come, the following is an excerpt of an interview conducted by performance artist Angeli with Martha Wilson, a performance art pioneer and founder of the Franklin Furnace arts foundation. The interview will be published in its entirety in the coming weeks.
“Angeli Sion: Having encountered your work around various points in time in different contexts, I was most interested in talking to you about the transformation of the body, and what that could mean in your practice. I’m thinking of your most early embodied performative acts and photo/text works before moving to New York in 1974, if you could start there. How did it start?
Martha Wilson: How did this start? … Art school environment. I was technically not in the art school. My boyfriend was in the art school. I was technically in the university across the street. But the art school environment was full of visiting artists who were conceptual artists of the day, Richard Serra, Lawrence Weiner, Joseph Beuys, and Vito Acconci. They were coming through and doing projects with students, so we not only got to see what the end results looked like, but how you got to the end results.
It was pretty cold stuff. Not related to what was going on in the real world. Except for Vito. Vito was using his own sexuality as his own art medium, and was, you know, masturbating under a platform, following people in the street, or waiting at the bottom of the stairs with a pipe to bash whoever came in.
These were works that took sexuality as a subject, so that opened the door to me to take my sexuality as a subject, and my body is female. So I was coming from the embodied female perspective, and he was coming from the embodied male perspective.
Now in those early days, I didn’t know the term ‘feminism.’ I didn’t know what that was. It was never used. The art school environment was male-dominated and hostile basically towards women. (Laughs)
I think I tell this story about my mentor, who taught painting in college and then went to the Nova Scotia College of Art and Design and became a professor— he told my boyfriend, Richards, “You have to come up here. It’s the coolest art school in North America.’
So I said, ‘I wanted to be an artist too.’
And he said, ‘Women don’t make it in the art world.’ “