In 1978, a 28-year-old illegal immigrant from Taiwan addressed a letter to New York’s artistic community: “I, Sam Hsieh, plan to do a one year performance piece, to begin on September 30, 1978. I shall seal myself in my studio, in solitary confinement inside a cell-room measuring 11’6” X 9’ X 8’. I shall NOT converse, read, write, listen to the radio, or watch television until I unseal myself on September 29, 1979.
“I shall have food every day. My friend, Chen Wei Kuong, will facilitate this piece by taking charge of my food, clothing, and refuse.”
For the next 365 days, Tehching Hsieh (using the pseudonym “Sam” to evade immigration officials) spent all his waking hours reclining on the bed, squatting over a bucket, or scratching the passage of time on the wall. The process was painstakingly documented through photographs and sworn statements. Hsieh experienced human contact only through Kuong and a series of public showings held at 21-day intervals. On September 30, 1979, the artist emerged shaggy, unkempt, and profoundly transformed. The performance launched a unique artistic career that would span over two decades.
Hsieh would go on to complete four more One Year Performances in consecutive years. Two of these are presented as part of DHC/Art’s newest exhibition, Living Time, curated by Sarah Watson. The showcase kicks off DHC SESSION, the gallery’s new autumn programming initiative. The project allows visitors to deepen their understanding of contemporary art through an in-gallery reading lounge, education projects, and an evening event series.
DHC SESSION’s inaugural exhibition also samples the time-based video works of Dutch artist Guido van der Werve. In nummer acht (everything is going to be alright, 2007), van der Werve slogs ahead of an icebreaker in Finland’s Bothnian Gulf. The contrast between the lone figure of the artist, the hulking presence of the icebreaker, and the vast bleakness of nature is both comical and unsettling. In nummer negen (the day I didn’t turn with the world, 2007), van der Werve stands for 24 hours on the geographic North Pole. By turning clockwise as the Earth turns counterclockwise, the artist literally spends a day out of sync with the world. The time-lapse photography is underscored by van der Werve’s haunting piano composition.
Living Time spotlights Hsieh’s second and third One Year Performances, Time Clock Piece (1980-1981) and Outside Piece (1981-1982). Taking place only five months after Cage Piece, Time Clock Piece involved Hsieh punching a time clock every hour on the hour for a year.
Outdoor Piece was his most taxing project yet; the artist spent a year moving around New York City without entering buildings or shelters of any kind, armed only with a backpack and a sleeping bag.
In both projects, Hsieh confronts the notion of time as a shaping force in human existence. The extreme physical rigor and conceptual purity of his works have established him as a cult figure in performance art. As the almost ascetic quality of Hsieh’s courage and dedication is laid bare through photographs, videos, and documents, viewers are left to reflect on the separation between life and art. By internalizing his performances, Hsieh affirms that life is art.
Living Time runs until November 22nd at DHC/Art (451, rue St-Jean). The gallery is open Wednesday to Friday from 12 p.m. to 7 p.m. and Saturday to Sunday from 11 a.m. to 6 p.m. Admission is free.
Tehching Hsieh drops by DHC/Art for an artist talk tonight (7 pm). For a complete schedule of events, consult the gallery’s website.
