Mike Kelley on dance, sculpture, and performing the self

Mike Kelley discusses his use of dance as a repertoire of forms, from early works like 'Pole Dance' (1977-1997) to 'Test Room' (1999). He sees dance as a 'primary' form that forces one to think of oneself as an object, engaging with body movement, semiotics, and psychology. Kelley contrasts his postminimal generation's physical approach with younger artists' media-based use of movement. He explains his choices of performing or directing others, citing Brechtian alienation strategies in works like 'À Haute Voix' (2000). He also addresses re-interpretations such as 'Fresh Acconci', critiquing how performance art is repackaged for the art world. The interview covers his interest in dance as a citation for aesthetic and historical debates, referencing Martha Graham, Judson Church, and Harry Harlow's primate experiments. Kelley notes that dance allows him to explore gender differences and semiological analysis. He describes working with actors to highlight systems of signs and identity codes, often using masks to blur performer identity. The text includes a biography: born 1954 in Detroit, lives in Los Angeles, recent shows at PS1, Fundacio La Caixa, MoMA, Centre Pompidou.