In her spoken word performance “White Lilly,” Laurie Anderson remembers a feeling that can’t be easily distilled: “Days go by, endlessly, endlessly pulling you into the future.” Not good or bad, simply a recognition of time going forward, clumsily.
Laurie Anderson’s only game, Puppet Motel, is like that quote – an observation, not necessarily a judgment, of the world moving and dragging us with it.
She recites that quote in Puppet Motel as part of a longer scene. The next time we see the artist, she’s facing us, sitting down in a starkly lit room to tell the story of Plato’s cave, the allegory of people who, “just like us,” can only see shadows of real things. Those two moments don’t share an immediately clear relationship. They are fragments of a larger, blurry picture, pieced together from excerpts of Anderson’s work and original multimedia art, a convoluted reflection on our changing relationship with art, technology, time, memory, and each other. Puppet Motel » Read more