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Coco Fusco
Interview with Coco Fusco, 199 sec (edited).jpg
Born
Juliana Emilia Fusco Miyares

(1960-06-18) June 18, 1960 (age 64)
New York City, New York
Nationality Cuban-American
Education Brown University (1982), Stanford University (1985), Middlesex University (2007)
Known for Interdisciplinary art, writing
Awards 2013 Guggenheim Fellowship, 2013 Absolut Art Writing Award, 2003 Herb Alpert Award

Coco Fusco (born Juliana Emilia Fusco Miyares; June 18, 1960) is a Cuban-American interdisciplinary artist, writer, and curator whose work has been exhibited and published internationally. Fusco's work explores gender, identity, race, and power through performance, video, interactive installations, and critical writing.

Early life and education

Fusco was born in 1960 in New York City. Her mother was a Cuban exile who had fled the Cuban revolution that year.

Fusco received a B.A in Semiotics from Brown University in 1982, an M.A. in Modern Thought and Literature from Stanford University in 1985 and a Ph.D. in Art and Visual Culture from Middlesex University in 2005.

Career

After finishing graduate school in 1985, Fusco met a group of Cuban artists, including José Bedia, who were visiting the US. She began traveling to Cuba and participating in the visual arts scene there, until in the mid-1990s she withdrew as a result of post-Cold War political and cultural changes in the country.

Fusco has presented performances and videos in arts festivals worldwide, including the 56th Venice Biennale, three Whitney Biennials (2021, 2008, 1993), the Next Wave Festival at BAM, and Performa05. She is the recipient of the 2016 Greenfield Prize in Visual Art, a 2014 Cintas Fellowship, a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, a 2012 US Artists Fellowship, and a 2003 Herb Alpert Award in the Arts, as well as grants from the Rockefeller Foundation, the NEA and NYFA.

Much of Fusco's interdisciplinary art practice over the last several decades has been concerned with the themes of colonialism, power, race, gender, and history. Her exploration of these themes has culminated in staged performances that concern the embodied experiences of these phenomena, in an effort to destabilize their meanings. She locates her own body not only as the site of their merging but also as their immediate product. She presents and communicates this through her actual performances themselves. In them, she creates and takes on multiple identities to destabilize those identities that have been historically imposed on bodies along colonial, racial, and gendered lines. Fusco also engages with legacies of Cuban exile in her work, as in some of her earlier performances where she stages Catholic rituals and experiences of dislocation.

Two Undiscovered Amerindians...

In 1992 Fusco created the influential performance piece Two Undiscovered Amerindians Visit the West in collaboration with Guillermo Gómez-Peña. It was first presented at the Plaza Colón in Madrid and Covent Garden in London, then toured to the Australian Museum in Sydney and the Museum of Natural History in New York City. The performance was filmed as part of the documentary The Couple in the Cage, directed by Paula Heredia. During performances of Two Undiscovered Amerindians..., Fusco and Gómez-Peña put themselves on public display in a cage, in a satirical reference to the historical practice of exhibiting human beings as entertainment. They claimed to be natives of an undiscovered island in the Gulf of Mexico, and performed tasks and rituals that were explained by pseudoscientific informational materials posted as part of the performance piece. Audience members were invited to interact with them and could pay to take a photo or see them dance. The work was a critique of colonialism, specifically of the role played by the scientific institutions in which it was performed, and a response to the global quincentenary celebrations of Christopher Columbus's arrival in the Americas.

Selected performances

  • Better Yet When Dead (1997), El Ultimo Deseo (The Last Wish, 1997), and El Evento Suspendido (The Suspended Event, 2000) used the imagery of death and burial to highlight the social restrictions and oppression experienced by women in Latin American countries.
    • Better Yet When Dead (1997): This is the first of several of Fusco's performances that relate death and burial to femininity in order to examine “why Latino cultures…are so fascinated with female creativity once it has been forever silenced. […] it is almost as if a violent death makes [women artists] more acceptably feminine” (Fusco in Schultz 2008: 16) . Better Yet... was performed twice by Fusco, first in Canada, and again in Colombia, for several hours each day during the three to four day run of the piece. In the performance, Fusco laid silently in a coffin, surrounded by roses and satin. In this performance, she carefully controlled her breathing and movements so as to appear like an actual corpse.
    • El Ultimo Deseo (The Last Wish) (1997): This piece, performed in Cuba at the 1997 Havana Biennial, also involved Fusco playing dead for an audience. In it, she staged a traditional Catholic wake, laying on the floor of a parlor, wrapped in a white sheet and ringed with flowers and tea lights. As in Better Yet, she remained still for the duration of the performance in order to blur the line between life and death. At the threshold of the room where she laid, a sign was posted that bore the name of the performance's title, which refers to the unfulfilled “last wish” of Fusco's own grandmother, as well as many other Cuban exiles, to return to Cuba to be buried.
    • El Evento Suspendido (The Postponed Event) (2000): This performance continues Fusco's exploration of womanhood and death. Like El Ultimo Deseo, it was also performed as part of a Biennial, but this time took place outside of El Espacio Aglutinador, a gallery in Havana. For this performance, as opposed to the two above, Fusco was not performing death itself, but rather burial. She was very much alive and animated in this performance, buried vertically up to her chest in the gallery's lawn, embodying the “belatedness of exile”, half-buried in Cuban soil. She remained like this for three hours, beginning at sunset, and rewriting the same letter over and over, offering the copies to observers (below, originally written in Spanish).
  • Stuff (1996), a collaboration with Nao Bustamante, took a satirical look at globalism and cultural stereotypes, especially those related to women and food. The piece makes a link between historical references to cannibalism and contemporary geopolitical relationships. Stuff was commissioned by Highway Performance Space and London's Institute of Contemporary Arts, and premiered at the National Review of Live Art in Glasgow before touring internationally.
  • Rights of Passage (1997) was created for the Johannesburg Biennale. Fusco performed dressed as a South African policewoman to explore themes of race, identity, and the legacy of apartheid in South Africa.
  • Bare Life Study #1 (2005), and A Room of One's Own: Women and Power in the New America (2005) were created in response to the "War on Terror" used performance to examine the expanding role of women in the US military and the use of torture in its operations.
  • In Observations of Predation In Humans: A Lecture by Dr. Zira, Animal Psychologist (2013), Fusco performed as the primate Dr. Zira from Planet of the Apes, using the perspective of the non-human character to comment on human behavior. The performance was commissioned by The Studio Museum in Harlem and premiered in December 2013.

Writing and Teaching

As a writer, Coco Fusco has focused on gender, race, colonialism, and power structures in Latin America and around the world. Her body of work includes interviews, critical essays, and six published books. Dangerous Moves: Performance and Politics in Cuba (2015) is a history of public space, performance, and identity in Cuba. ..... A Field Guide for Female Interrogators was shortlisted for the Index on Censorship T. R. Fyvel Book Award. Only Skin Deep: Changing Visions of the American Self (2003, edited with Brian Wallis), is the catalogue for a photography exhibition of the same name, curated by Fusco and Wallis at the International Center of Photography, which looked at racial imagery in photography and the representation of racial attitudes in the United States. The Bodies that Were Not Ours and Other Writings (2001) is a collection of essays and interviews investigating the legacy of colonialism. Corpus Delecti: Performance Art of the Americas (2000) is a scholarly work surveying Latinx and Latin American performance art. In it, Fusco centers the aesthetic and cultural value of artistic expression and works against notions of reducing Latin American performance to "the political". English Is Broken Here: Notes on Cultural Fusion in the Americas (1995) was her first collection of interviews and essays, for which she won the 1995 Critics' Choice award.

Fusco has taught on the arts faculties of Temple University, Columbia University, Parsons School of Design, and MIT. In 2014 she received a Fulbright appointment and served as the Distinguished Chair in the Visual Arts at Fundação Armando Alvares Penteado in São Paulo, Brazil for one year. Fusco currently serves as the Andrew Banks Endowed Chair at the College of the Arts at University of Florida.

Fusco a recipient of a 2018 Rabkin Prize for Art Criticism.

Selected exhibitions

Awards

Public collections (selection)

Selected videos

Coco Fusco works distributed by the Video Data Bank include:

  • La Botella al Mar de María Elena (The Message in a Bottle from María Elena) (2015) 44:00, color, sound.
  • La Confesion (2015) 30:00, color, sound.
  • Operation Atropos (2006) 59:00 min, color, sound
  • a/k/a Mrs. George Gilbert (2004) 31:00 min, B&W, sound
  • Pochonovela: A Chicano Soap Opera (1996) 26:38 min, color, sound
  • The Couple in the Cage: Guatianaui Odyssey (1993) 31:00 min, B&W and color, sound

See also

Kids robot.svg In Spanish: Coco Fusco para niños Kids robot.svg In Spanish: Coco Fusco para niños

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