Vito Acconci Discusses His Career, from Early Performances to Architectural Ambitions

Vito Acconci, in conversation with Jocko Weyland at his DUMBO studio in Brooklyn, reflects on his extensive career spanning performance, furniture, and architecture. He clarifies that his 1985 Maze Table at the Wadsworth Athenaeum's Lions Gallery of the Senses was designed for the visually impaired, using glass to eliminate visual privilege. Acconci recounts early works like Following Piece (1969), Seedbed (1972) at Sonnabend Gallery, and Claim (1971) at 93 Grand Street, emphasizing logical rather than intuitive origins. The transition to Acconci Studio in 1988 marked a shift toward participatory installations, exemplified by Instant House (1980) at The Kitchen and the Venice Biennale. He discusses projects like Personal Island (1992) in Zoetemeer, Garbage City (1999) near Tel Aviv, and a 2002 World Trade Center proposal, highlighting themes of agency and environmental reuse. Acconci critiques contemporary relational aesthetics and Marina Abramović's recreations, while expressing admiration for films like Last Year in Marienbad and Bladerunner. He currently explores topological space and pixel-based designs, as seen in a Milan project, aspiring to create buildings that dissolve into air.