[Lecture 2] Beer = Art?

Rather than proceeding to deliver a verbal lecture, Tom Marioni relies on short films and interactive demonstrations to explain his art practice and works. He begins with two films highlighting divergent works. The first captures a multinational parade of beer bottles advertising familiar brands as Guiness and Heineken, as well as entirely foreign brands as Tsingtao and Moosehead. Tom Marioni calls this 1976 exhibition, “From China to Czechoslovakia.” The second film showcases his 2007 compilation of “Action Drawings.” Each drawing is produced by utilizing a pencil to document precise, out of body (freehand) movements. In some cases, the artist is sitting down and drawing as far as the arm can reach, and at other times, he is standing and drawing a circle limited by the length of his arm. Other drawings are the result of more rigorous activity, as running, jumping, and attempting to stay in mid-air.

In presenting these works, Marioni draws attention to the free-spirited, humorous, and fun-filled aspects of art. Regardless, for persons unlearned in the history of artistic styles and periods, the meaning underlying Marioni’s work is nothing short of obscurity. At worst, “From China to Czechoslovakia” seems analogous to an eclectic assortment of discarded beer bottles and his “Action Drawings” to silly, childish depictions. However, a third video clip disclosing Marioni’s 1999 interview clarifies any viewer confusion. At this point, the term “Conceptual Art” is introduced. As Marioni defines, it is an idea-oriented situation not directed at a static object. He deems it “Idea Art.” The artist is neither defined nor constrained to a single medium, and his work takes flight through the materiality of idea. With this establishment, the audience is more capable of making sense of Marioni’s two exhibitions. “From China to Czechoslovakia” is developed from the idea of beer tasting/consumption, and “Action Drawings” stems from an interest in the constraints and flexibilities of bodily movements.

The interview also reveals a brief history behind the San Francisco-based artist. After a decade of “soul-searching” and trial-and-error experimentation, Marioni discovered his love for conceptual art. With regards to this style, Marioni finds fascination with the unpredictability of his final outcomes. Furthermore, referring to Duchamp’s quote, Marioni proposes that his projects are fifty percent artist created and fifty percent viewer created. These factors in mind, Marioni claims that “drinking beer is the finest form of art,” primarily because it propels social interaction and communication. His 1976 “Beer Drinking Sonata,” performed at the end of the presentation, is a case-in-point of this assertion. Fourteen participants are each handed a bottle of beer which they are instructed to drink. After each swallow, the participant must blow into the bottle. Some participants succeed and others fail in producing audible sounds. Additionally, the speed at which participants drink varies. As a result, every time the piece is performed in a new setting, the outcome will be different. The common denominator in each performance is the intent of the work, intent being essential in conceptual art. In this case, the intent is to build differing tonal sounds through socialization activity.