General Idea: Imagevirus

One Work

by Gregg Bordowitz

In the mid-1980s, the Canadian art group General Idea (AA Bronson, Felix Partz, and Jorge Zontal) created a symbol using the acronym AIDS, arranging the letters in a manner that resembled Robert Indiana's famous LOVE logo. This launched Imagevirus, a project of paintings, sculptures, videos, posters, and exhibitions that investigated the term AIDS as both word and image, using the mechanism of viral transmission. The Imagevirus spread like a virus, producing an image epidemic in urban spaces from Manhattan to Sydney. It was displayed as, among other things, a Spectacolor sign in Times Square, a sculpture on a street in Hamburg, and a poster in the New York subway system. In this detailed study of the Imagevirus project, artist and writer Gregg Bordowitz analyzes the work from the perspective of his own involvement with activist art initiatives in New York during the 1980s and 1990s. Bordowitz explores the virus as idea, as tactic, and as identity. General Idea felt compelled to make Imagevirus at a time when AIDS was emerging as a global epidemic affecting gay men disproportionately; when homophobia seemed to drive U.S. AIDS policy; and when the exigencies of AIDS activism created a demand for agit-prop and direct action. General Idea adapted their methods to the new situation, using the threat of viral infection and a poetic understanding of language as their model for artistic production and ideological struggle.

Genres: Art, Queer

121 pages, Hardcover

First published September 30, 2010

About the author

Bordowitz began his academic career at the School of Visual Arts, then studied at the Whitney Museum Independent Study Program from 1985 to 1986, and at New York University from 1986 to 1987. In 1987, Bordowitz dropped out of school to become a full-time video artist, guerilla TV director and activist with the direct action advocacy group ACT UP.[1] During this time, Bordowitz was central to the formation of the notable video activist collective, Testing the Limits, who produced work documenting AIDS activism that were distributed through television, museums, schools and community centers. He also wrote prolifically on the topic of AIDS activism, contributing heavily to the 1987 "AIDS: Cultural Analysis/Cultural Activism" of the well-respected academic journal October. In 1988, Gregg Bordowitz tested positive for HIV and, as a result, came out as a homosexual man to his mother and stepfather. He left Testing the Limits (now a self-sufficient non-profit entity) to focus on a more 'guerilla' approach to documenting AIDS activism.

In 1988, he met video artist Jean Carlomusto at a demonstration partnered with her to produce the Gay Men's Health Crisis (GMHC) cable TV show Living With AIDS, which ran regularly until 1994.[2] In 1989, he, along with numerous other video activists, formed DIVA (Damned Interfering Video Activists), a parter organization to ACT UP, dedicated to accurately documenting the protests organized by ACT UP and providing an alternative representation of the AIDS activist movement than the one presented by the mainstream media.

In 1993, filled with despair at the decline of AIDS activism as well as his own diminishing chances of survival, Bordowitz produces one of his most famous pieces, the documentary/montage Fast Trip, Long Drop. In this video, Bordowitz addresses the public's reaction to and representation of the AIDS epidemic as well as his own fears, insecurities and struggles related to the disease. Fast Trip, Long Drop provides a pessimistic counterpoint to the flood of representations of people "Surviving and Thriving" with AIDS through a collage of documentary footage, staged parody and vintage film clips. For the first time in an AIDS related documentary, people with AIDS were shown addressing and coming to terms with the ever-present fact of their own mortality. As Bordowitz explains in his 1999 interview with the AIDS art forum Artery, "When I made "Fast Trip, Long Drop" I was tired of pretending for the sake of others that I would survive. I became preoccupied with the burdens that sick people bear on behalf of those around them who are well. I wanted to get a handle on despair and put it out there as a political problem. To be recognized and discussed. If we couldn't do this, then it all seemed like bullshit. I wanted an honest media produced in the interests of people living with AIDS." [3] The film, along with many of his other works, has been shown in film festivals, museums and on television ever since with extremely positive response.

From there, Bordowitz continued to address AIDS in his artwork, video work and writing. He taught video art at the Academy of Fine Arts Vienna, Brown University, and School of the Art Institute of Chicago from 1995 to 2010, before being hired as a permanent professor at the School of the Art Institute of Chicago. His works have been shown at the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, and the Museum of Modern Art, as well as numerous film festivals.

In 2009, Gregg Bordowitz began collaboration with artist Paul Chan an opera adaptation of Michel Foucault’s History of Sexuality. Though they envisioned the project as an impossible to complete, they were approached by Viennese museum curator Achim Hochdörfer, and asked to stage a performance at the MUMOK. In 2010, they staged a 6-man performance written and directed by Bordowitz

Reviews

[Jake Lahah · Rating 4 out of 5]

I enjoyed this, pretty quick read.

Most notably, Bordowitz’ brings connections about how studying poetry and art history gives Imagevirus so much more context and nuance in its reading. I do think that this synthesis of information brings me closer to the somatic experience of how this work was received during its creation.