Cecilia Vicuna on art, arm, arc, warp, deep ritual & right-brain thinking

Cecilia Vicuna was discussing her documentary poem "Kon Kon" at the Kelly Writers House on February 3, 2011, when a member of the audience asked her about ritual. Here, in this video excerpt, is her response.  In a blog entry dated October 3, 2009, Michael Leong had written:

Con Cón ... represents a significant place within the artist’s oeuvre as it was the first site of her ephemeral outdoor artworks which she calls precarios or basuritas (little rubbish). According to art critic Lucy Lippard, “The precarios,” like the improvisational assemblage portrayed in the film still above, “are visual poems, ‘metaphors in space’ …Their ‘fastening’ is so loose, so flexible, that the parts seem to have blown together into a whole that might metamorphose at any moment into another.” On the one hand, the fragile and fleeting nature of these constructions evoke the tenuous existence of the indigenous cultures that Vicuña seeks to honor and remember. Indeed, there is a mournful nostalgia that permeates much of Kon Kon, from Vicuña’s poetic, almost pained voiceovers to the evocative tableaux interspersed throughout the film — a ball of red yarn on the beach perched atop a typewriter, a piece of fabric snagged to a branch, a laptop on the top of an isolated hill playing a video of the dance of los chinos. On the other hand, [Leong continues] I found a certain playfulness in the makeshift character of the precarios, and while they certainly lack the monumental scale and durability of Robert Smithson’s or Michael Heizer’s massive earthworks, their ephemeral and mutable existence attest to Vicuña’s agile and responsive repertoire: we get the sense that at any given moment, she can spontaneously intervene in her surrounding environment and stage what Juliet Lynd calls a “precarious resistance.”