62 Miles Documentation

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62 Miles of Girl Talk performs the act of processing the distance of 62 miles, which is
our distance from the ground to the edge of the atmosphere. The 62-mile line is tightly
strung from one wall of the room to the other, a gigantic harp that comes in and out of
vision. This sculpture is hard to see from certain vantage points: it’s an entity that
disappears from view from one space in the room, and then shimmers into vision from
another. The piece’s sculptural impact as a large-scale, looming, architectural structure
begs visitors for immediacy: to walk through it, to touch it, and interact with it, allowing
the viewer to be present. The instrument invites musicians and viewers to pluck, bow, and
strum its strings; a band of musicians composed a piece for the instrument as a
performance. Accompanying these sounds are recordings of whispered conversations
that chronicle and re-perform the transcribed conversations that resulted from the
repetitive, laborious process of making the instrument with a team of young women.
Through repetitive processes from spool winding to welding, the piece investigates a
history of “women’s” work, and the instability and fluidity of gender as understood
through fundamental acts of making. Gender and labor are as fluid and relational as a
string: they only are given shape by their shifting attaching points.

Wound and Whispered by Esther Choi, Bekah Martinez, Chitra Patel, Phonnyta Seng
and Silvie Deutsch. Music Composed and Preformed by Andrew Anderson, Joe Barrios,
John Beneke, Peter the Phenomenon and Brett Tafoya Lighting Designed by Martha
Carter

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