Artist etc


Added on by Arturo Vidich.

I created a page on the menu bar for Tests & Studies. Check back periodically, things will be added to it. And of course, I'll tweet about it now that I've decided to do that more often.

Dispatch Summer 2015

Added on by Arturo Vidich.


Summer 2015

Dearest Mausolea and Cryptos,

June is off to a chilly start here in NYC. I haven't noticed much because I've been spending a lot of time whistling in a graveyard. If you come to Green-Wood Cemetery next weekend you can catch me spooking up the electro-torch-lit mausoleum of a long deceased art collector, brandishing my soundsword enhanced with two more guitar pedals. The raw bass will conduct your bones.

Produced by MAPP International Productions
Also performing are SLV and Queen GodIs.
Gates open at 7, performance at 7:30

Here's some press on it!
New Yorker
Brooklyn Daily

Next month is the Creative Capital retreat at EMPAC in Troy, NY. I have 5 minutes to present aproject I've been working on for a while. Right now it's a novel in its 2nd draft, written over early morning coffee and in nap-time-length chunks over the last year and a half, since I became a dad. On top of that, I've been creating some concept art to go along with it, like the one below.

 Pushkin On The Steppe

Pushkin On The Steppe

As Ever,

Moscow performance reviews

Added on by Arturo Vidich.

A couple reviews for my performance of Break In Reverse ZIL Cultural Center in Moscow, along with Jen Rosenblit's performance. I also screened Body Island on one of the evenings. Our evening was part of a short festival curated by Nastya Proshutinskaya. We were awarded one of the last Suitcase Fund travel bursaries from New York Live Arts.

 Talkback with Nastya Proshutinskaya after Body Island screening

Talkback with Nastya Proshutinskaya after Body Island screening

Interview with Quintan Ana Wikswo

Added on by Arturo Vidich.

This interview was originally posted on the Degenerate Artstream, then reposted on the Creative Capital Blog, and now here on my website. We discussed, “underworlds, undergrounds, and innerworlds to communicate with what’s been erased, banished, exiled, excluded, hidden, contained.”

142241 in the NY Times

Added on by Arturo Vidich.

Siobahn Burke of the NY Times wrote a pleasant review of 142241. Read on below. 

But perhaps a more in-depth analysis of the work was written by my mother and father, who are probably a lot more familiar with my work since they've been seeing it for nearly 32 years. I've published their emails from the day after below, and some other observations, so People have a sense of the varied impressions others had.

142241 really got to me on a visceral level. Pretty much there is one person, then four people, then two people in the action ... but maybe it's all aspects of the same person. I did feel trapped in your nightmare at the end. ... The soundscape, the visual impressions, the bodies ... Amazing how seamlessly the two complete strangers you picked ... immediately entered into the tone and movement of the piece. I felt frustrated not to see more "beautiful dancing" by you as solo, and you with Max. This is perhaps another function of the piece, more of making the audience feel what your character feels ... the frustration of getting your emotions out there. The end segment was really arresting. You were an unresponsive rag doll that Max was trying to enliven, by gentle means, then by kicks in the ass and gripping of genitals, finally by the classic clown pie-in-the- face, but as with much of your work, this trope got dark and complex pretty fast ... multiple pies, blackface pies, pelting with vegetables and finally the ritual dunking, drowning, cleansing in the aquarium (evoking all sorts of animal associations, including life emerging from the primordial slime). [Your friend] told me after that she saw echoes of your S&M piece with the dominatrix. Your screaming at the end was both profoundly disturbing -- a cry for help and of rage -- and liberating. In this segment, the most disturbing moment, almost, was when Max ripped off your ears. In looking at this piece as a companion to the Daedalus piece ... in that one, you were the Wild Thing, the Little Prince, and it was all fairly lyrical, though you did struggle with physical objects ... with Max ripping off the ears of this darling animal, mutilating him, much violence and loss of innocence was evoked.  ... a really fantastic, beautiful and thought-provoking piece. 


And my father gave his account:

The doubling theme (which Linda pointed out) is used to express the interior conflict of the single character, the man and his doppelganger, and it's very well done. The piece moved wonderfully through an arc that ends in the character's humiliation and release of pent up rage and frustration. The end is powerful and startling. And the singing and sounds provide a perfect orchestration to the soul wrestling with its demon. I could feels bits of Poe and bits of Kafka in the show.


Others also weighed in. 

Haunting, dark, powerful, juicy psyche food. Saw this jawdropping wonderscape with the divine [name omitted] and wish it was on a feedback loop for the rest of my life. [links to NY Times Article]


btw, Arturo's "142241" was SciFi Beuys meets Francis Bacon w/ a David Lynch vibe as told through performance by a hybrid Chaplin/Monk/Wolf. Really great to see live, looking forward to the film which will be in reverse.


an artist you are

keep breaking
the sound/sight/techno/movement
pie barriers


Kind of dark.