In todays class, we were once again introduced to a set of artists. In observing them all, I felt they evoked some interesting elements. However, one artist that spoke out to me more was none other but the renowned Shia LaBeouf.
Now prior to finding out about his work, similar to some people as seen in the class, I felt very strongly against his work due to his reputation that he has gained in the media. Such instances have showcased him for example as a madman and as if he is trying to hold onto his fame by trying to redefine himself as a performance artist. Indeed, this is highlighted why the business magazine, Forbes in which they attack the artist by saying that “his downfall has been tragic, even if it appears to be mostly self-inflicted” and also that “he should retreat from public life altogether, and focus on ridding himself of whatever ailment troubles him;” (Placido, 2017).
However, whilst people may say that Placido’s statement is true, I believe that LaBeouf does not deserve this statement. Whilst he may have caused controversy, he has been regarded as a millennial artist that aims to make a statement personally about who he is, what he does and try to make that distinction of what is art and entertainment. Thus, through his perseverance of being an artist, he has been seen as a popular culture icon that many people are fascinated by as seen in the video below:
(robcantor, 2014).
From this video above, we could say that there is so much to learn about LaBeouf as he gained a cult following for his decision to be a performance artist and also as a celebrity. Indeed, LaBeouf’s performance style could be deemed as him trying to redeem himself and define himself as an artist. Thus, we could say that this video jokingly poking at LaBeouf epitomises who he is and what he does concerning his performance art.
Now whilst LaBeouf has had a very short career so far as a performance artist, we will focus on one performance he did called #ALLMYMOVIES. Seen below, the six part video documents LaBeouf’s performance as he watches all of he films in reverse starting with his latest film at the time of the performance to his first movie. In the performance, as documented below, he allowed audience members to come in to see him perform and watch his own films and also livestreamed the event for people to observe from the internet. This performance went on for three days, as documented in Jimmy Kimmel video with Shia LaBeouf and personally has allowed me to understand the idea more of the distinction between a performer and artist.
(LaBeouf, Rönkkö & Turner, 2016).
(LaBeouf, Rönkkö & Turner, 2016).
(LaBeouf, Rönkkö & Turner, 2016).
(LaBeouf, Rönkkö & Turner, 2016).
(LaBeouf, Rönkkö & Turner, 2016).
(LaBeouf, Rönkkö & Turner, 2016).
https://www.youtube.com/watch?v=SeZ6iy_qUhs
(Jimmy Kimmel Live, 2016).
From the set of videos, there is a lot we can learn a lot from LaBeouf’s performance. For starters, one interesting thing we could say is that for the manner of the performance, we see him enter the room and sit down as if he is trying to signify he is an equal and not as if he should be respected higher. Therefore, it could be suggested that he is playing with the idea of the relationship between the audience and performer and as if he implying that everyone, including Shia LaBeouf, creates the performance. This is even including the people watching the livestream and therefore makes the piece feel extremely interactive. Thus, this is something I wish to explore as I am intending on livestreaming the performance in which the audience will be able to question this distinction between audience and performer and who has the dominance onstage.
As well, one of the other questions we could ask is the question concerning the issue of authenticity. A couple of weeks ago, we explored this idea of authenticity/ autobiographical performance in which, during the workshop, we came to a conclusion that it is hard to define whether a autobiographical performance can be deemed as authentic as there will always be some performativity to the piece of work which would make it less authentic. Indeed, as Craig Gingrich-Philbrook notes in his introduction to his script Refreshment, “autobiographical performers cannot speak for an absolutely unique experience.” (Philbrook, 1997, 353). Therefore, it is unclear to define whether Shia LaBeouf’s performance can be seen as authentic due to the performativity of his reactions in this meta-theatrical performance as he watches the films in reverse.
However, one thing that is interesting is, once again, this issue of status as a performer. From discussions and understanding the artist in class, we understood that his main aim was to try and sec make himself change his status from celebrity status and make himself an equal in the audience. However, in performing this piece in a manner where he is allowing the audience to view it as a participant, the focus is less on the films being shown but more the focus on his reaction. Indeed, one problem that occurs is that this creates a “boomerang” effect in which he is unable to denounce himself as a celebrity but as an artist. This idea of the denouncement and equality of the audience is something I wish to challenge as I feel this idea of the power relationship and challenging this idea of how I could be deemed as an equal onstage compared and how, through the status and persona of a Youtuber, how I could try and denounce myself and the reaction that would give or vice versa.
Overall, whilst people may criticise Shia LaBeouf for having no relevance or an idea on what his work could be, I find his performance art interesting. Each piece holds something clear and important and allows him to denounce himself into a performance artist and allows us to question his work or even make suggestions on what it could mean. Thus, this allows us to rethink the ideas of post-modernism and modernism and brings us back to the ideas of Matt Chewiwie in the question of how you distinguish art and performance and what the meaning of art is.
Works Cited:
Jimmy Kimmel Live (2016) Shia LaBeouf Explains His Performance Art Events. Available from https://www.youtube.com/watch?v=SeZ6iy_qUhs [accessed 05 March 2018].
LaBeouf, Rönkkö & Turner (2016) #ALLMYMOVIES (Part 1 of 6). Available from https://www.youtube.com/watch?v=FkIPVVpY164 [accessed 05 March 2018].
LaBeouf, Rönkkö & Turner (2016) #ALLMYMOVIES (Part 2 of 6). Available from https://www.youtube.com/watch?v=Qhq-KgkKVCg [accessed 05 March 2018].
LaBeouf, Rönkkö & Turner (2016) #ALLMYMOVIES (Part 3 of 6). Available from https://www.youtube.com/watch?v=xkJ1oGgMzJM [accessed 05 March 2018].
LaBeouf, Rönkkö & Turner (2016) #ALLMYMOVIES (Part 4 of 6). Available from https://www.youtube.com/watch?v=zgrwLhpcqwo [accessed 05 March 2018].
LaBeouf, Rönkkö & Turner (2016) #ALLMYMOVIES (Part 5 of 6). Available from https://www.youtube.com/watch?v=Ow2SjHwffQ4 [accessed 05 March 2018].
LaBeouf, Rönkkö & Turner (2016) #ALLMYMOVIES (Part 6 of 6). Available from https://www.youtube.com/watch?v=zO_xbsp6sKA [accessed 05 March 2018].
Philbrook, C.G. (1997) Autobiographical Performance Scripts – Refreshment. Text and Performance Quarterly, 17 352-360.
Placido, D. D. (2017) What Happened To You, Shia LaBeouf?. Forbes, 12 July. Available from https://www.forbes.com/sites/danidiplacido/2017/07/12/what-happened-to-you-shia-labeouf/#641f40fb1193 [accessed 05 March 2018].
robcantor (2014). “Shia LaBeouf” Live – Rob Cantor. Available from https://www.youtube.com/watch?v=o0u4M6vppCI [accessed 05 March].