Recent discourse around the surge of multi-hyphenates in the creative field – of the Virgil Abloh or Kanye West professional hybrid – position the trend as the fruit of a flattened modernity. But we all know multi-hyphenates have been around for a while. Theater and visual artist Robert Wilson has consistently done it all for more than 40 years: he’s made visual art, directed and written plays and operas, convened happenings, created sculpture and lighting design, and founded and helmed the Watermill Center artistic residency program in Southampton, NY. While experimental, Wilson’s work is coherent: good theater, he believes, like good visual art, is mathematical at its core.
Wilson’s most recent project, however, is curatorial, revisiting the photographic oeuvre of the late Robert Mapplethorpe (1946 – 1989). One of the most influential, exhibited, and controversial portrait photographers of the late 20th century – and a First Amendment cause célèbre – was also Wilson’s friend and collaborator. Recently opened at Galerie Thomas Schulte in Berlin-Mitte – then swiftly closed, along with other exhibitions in the city – “Robert Mapplethorpe: Selected by Robert Wilson,” proposes a similarly structural view of the New York icon’s photographic thinking. Now, the exhibition is viewable in 3D, digitally and the show, up through May 9th, can still be visited by individuals on appointment. Fortunately, we spoke to Wilson IRL, just before mass isolation, to discuss a collaboration that remains intimate, long after Mapplethorpe’s death.
