Date:
September 9–November 5, 2017
Price: Free
Type of event:
Visual AIDS Recommends
Location:

Putti’s Pudding by Cookie Mueller & Vittorio Scarpati

Studio Voltaire
1A Nelson's Row
London, , SW4 7JR
United Kingdom
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Photo: Studio Voltaire.

Details

Preview: Friday September 8, 6:30–8:30pm

Published in 1990, Putti’s Pudding was a collaborative artist’s book and ‘final project’ by American writer Cookie Mueller and her partner, Italian artist Vittorio Scarpati. Pairing drawings by Scarpati with short texts by Mueller, the project was conceived in New York’s Cabrini Medical Centre while both were dying from AIDS related illnesses in 1989.

At Studio Voltaire, Putti’s Pudding is reimagined as an exhibition featuring forty–five original felt tip pen on notepad drawings by Scarpati, texts by Mueller and other period materials. Additionally, a public program of talks, workshops and screenings will contemporize the original project, asking how this particular historical moment relates to our own political present.

By the summer of 1989, Vittorio Scarpati had lost the ability to speak. As Cookie Mueller explains in the introduction to the Putti’s Pudding book:

“As I write this, his life more or less hangs in the balance, both his lungs are collapsed, a complication of bouts with the pneumonia specific to AIDS. He’s attached by tubes to two machines called pneumothorax suction pumps. A tube the circumference of an American nickel coin is affixed into a chest incision that goes into the pleural lining of his lungs. Bubbling with water like tropical fish aquariums, these strange looking clear plastic machines drain the excessive fluid from his lungs while also inflating them, thus keeping him breathing. Out of sheer boredom with time passing, Vittorio asked for pens and pads to draw. With his indomitable spirit and vitality he set about rendering his reality though his talent.”

The resulting works tell a moving story, depicting the brutal, uncertain, ghostly nature of living with AIDS in the 1980s. However, in the face of immense pain, isolation and looming death, Scarpati’s drawings also radiate life. Something accounted for, and indeed celebrated, in Mueller’s accompanying writing.

This will be the first display of Scarpati’s drawings since their inclusion in Nan Goldin’s Witnesses: Against Our Vanishing at Artists Space, New York (1989) and the first time they have been shown outside of the US. Importantly, the exhibition introduces Scarpati, a still largely unrecognised figure, to international audiences and contributes to the ongoing project of bringing recognition to Mueller’s life and work.

During the 1980s Mueller became a highly charismatic and influential figure in New York’s downtown scene. Mueller is known for her ribald appearances in the early works of provocative filmmaker John Waters, who memorably described Mueller as “a writer, a mother, an outlaw, an actress, a fashion designer, a go–go dancer, a witch–doctor, an art–hag and above all, a goddess.”

Mueller’s short fiction, including Walking Through Clear Water In A Pool Painted Black, 1990 – the first book published by Chris Kraus’ Native Agent imprint for Semiotext(e) and journalism including her East Village Eye medical self–help column Ask Dr. Muller which covered everything from AIDS conspiracy theories to new age remedies with quick–witted humour and candidness, continue to be celebrated.

Both Mueller and Scarpati were documented prominently during this mythologised era by artists such as Gary Indiana, Peter Hujar, Philip Lorca diCorcia and most notably, in Nan Goldin’s key series Cookie Portfolio (1977–1989) and Ballad of Sexual Dependency (1986). Goldin has described her compulsion to photograph friends as a way to safeguard or honour them at a time when AIDS was not only untreatable, but patients, and the gay community at large, were actively discriminated against by the government, health commissioners and press.

Putti’s Pudding distinctively prioritises self–portraits of Scarpati and Mueller, rather than documents of them made by others. These works are deeply intimate portrayals not only of their relationship to each other, but the illness that claimed them both.

This exhibition is curated by Paul Pieroni in partnership with Studio Voltaire.