A flickering black-and-white projection at The Broad museum in Los Angeles captures a landmark moment in performance art history.
In the 1964 footage, a 31-year-old Yoko Ono sits motionless on the Carnegie Hall stage while strangers approach her with scissors, cutting away pieces of her clothing.
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The work, an emblem of the Fluxus tradition, relies entirely on the audience's actions, leaving the artist's body vulnerable to unpredictable whims.
"It is a frightening piece to perform," Ono said.
Museum curators felt that viewing the historical footage second-hand removes the audience from its true impact.
To bring raw vulnerability to a contemporary audience, The Broad organized two live presentations at Redcat theater featuring Los Angeles-based artist MPA.
A New Interpretation
MPA accepted the invitation from Ono's studio with pride and apprehension.
Known for her own durational and political works, she wondered how such a legendary piece could retain its sharpness today.
"Can it still have that sting?" she asked.
Since its 1964 debut, Cut Piece has been performed by various artists, including musician Peaches, while Ono performed it six times between 1964 and 2003.
However, those close to the work caution against viewing these upcoming dates as mere re-enactments.
"Every presentation of Cut Piece is a new performance," said Connor Monahan, Director of Yoko Ono's Studio.
The performance is shaped by its specific context of audience, time, and place, meaning the work never produces a fixed outcome.
