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Indigo Alex Da Corte: Chicken | Erin Mills Town Centre
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Documentation and testimony from Da Corte's 2020 reinvention of a classic 1960s happening In early March 2020, on the cusp of the COVID-19 shutdown, an audience gathered to witness a reinvention of Allan Kaprow’s happening, Chicken , by Philadelphia-based artist Alex Da Corte (born 1980). Performed at the site of Kaprow’s original—the Gershman Y at the University of the Arts in Philadelphia—Da Corte’s first live performance reimagined Kaprow’s chaotic event, which had been orchestrated in 1962 under the auspices of the first Pop art exhibition on the East Coast. While the focus of activity for the performers of Kaprow’s Chicken involved the hawking of live and boiled chickens and their eggs, Da Corte’s performers frantically peddled exquisite yellow orbs made from a variety of materials that represented the moon.
Including sketches and reproductions of the objects and costumes constructed for Da Corte’s revision, as well as performance images, scripts, essays and personal accounts reflecting on the event’s impact and significance over the ensuing year, this publication becomes a living document of a moment in time.
Documentation and testimony from Da Corte's 2020 reinvention of a classic 1960s happening In early March 2020, on the cusp of the COVID-19 shutdown, an audience gathered to witness a reinvention of Allan Kaprow’s happening, Chicken , by Philadelphia-based artist Alex Da Corte (born 1980). Performed at the site of Kaprow’s original—the Gershman Y at the University of the Arts in Philadelphia—Da Corte’s first live performance reimagined Kaprow’s chaotic event, which had been orchestrated in 1962 under the auspices of the first Pop art exhibition on the East Coast. While the focus of activity for the performers of Kaprow’s Chicken involved the hawking of live and boiled chickens and their eggs, Da Corte’s performers frantically peddled exquisite yellow orbs made from a variety of materials that represented the moon.
Including sketches and reproductions of the objects and costumes constructed for Da Corte’s revision, as well as performance images, scripts, essays and personal accounts reflecting on the event’s impact and significance over the ensuing year, this publication becomes a living document of a moment in time.
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