Reviewed: The Maybe by Tilda Swinton

A fabulous send-up of our obsession with celebrity

Tilda Swinton first performed The Maybe in 1995 in collaboration with artist Cornelia Parker. For seven consecutive days, the actress slept on a white mattress inside a raised glass box at London’s Serpentine Gallery. Visitors were forced into a situation of involuntary voyeurism, as the artists issued no press release and the gallery withheld information about the installation. Unsuspecting members of the public happened upon the slumbering actress purely by chance. It was a startling installation that garnered a mixed reaction, but its impact remained firmly within the parameters of the art world.

Almost thirteen years later, Swinton has decided to revive it. The actress set-up in the lobby of New York’s Museum of Modern Art on Saturday 23rd March, forcing unsuspecting visitors to enact a kind of voyeurism as she lay there seemingly unaware of their presence. But unlike 1995, this wave of surprised visitors had Twitter. After a barrage of photos and messages were posted onto the site, blogger website The Gothamist quickly published a post on the sleeping actress, in turn sparking a wave of both national and international press coverage.

In a statement given to the Guardian, the MoMA explains that Swinton will be “popping up” in the museum at random times throughout the year. “An integral part of The Maybe's incarnation at MoMA in 2013 is that there is no published schedule for its appearance, no artist's statement released, no museum statement beyond this brief context, no public profile or image issued. Those who find it chance upon it for themselves, live and in real – shared – time: now we see it, now we don't.”

The skeptic in me applauds Swinton’s sense of timing. On 20th March, the actress gave a speech at the ferociously popular opening of the V&A’s David Bowie exhibition, and now she’s starring in an installation at a world-renowned gallery. It can only serve to benefit her reputation as an eccentric actress-come-artist. Meanwhile, The Maybe became a trending topic on Twitter, initiated a surge in visitors to the gallery and a huge amount of press coverage on both sides of the Atlantic – the MoMA must be pleased.

However, move beyond initial skepticism and Swinton’s installation reveals a deeper resonance. The Maybe dissects our obsession with celebrity. It constructs a scenario that encourages the public to gawk, to gossip, to scrutinise a famous actress as she sleeps.

One of the major components of the piece is that no one knows when or where it will be shown. When the installation was originally performed in 1995, all reactions were published posthumously. But thirteen years on, Twitter has facilitated a kind of real-time man-hunt. Buzzfeed, the famous social-network amalgamator, is live-tweeting from the museum. And every art blog and website has posted a Swinton-related story, eager to show how up-to-date they are.

The Maybe’s genius lies in its timing. Staging a revival of the installation after the advent of Twitter reveals the extent of our obsession with celebrity, as the social-network has undoubtedly contributed to global conversations, allowing and encouraging debate on art and celebrity. In this case, it has offered a steady stream of opportunities for people across the world to catch a glimpse of a real-life sleeping beauty.

When asleep, the body is at its most relaxed. We are at our most vulnerable. Under any other circumstances, it would be socially unacceptable to stare and discuss a sleeping woman. But in constructing the scenario inside a gallery, The Maybe not only allows, but encourages the public to enact that desire; only this time you must do it openly, collectively.

Photos of the installation show Swinton surrounded by people willing her to open her eyes. Standing in front of the glass, smartphone in hand, they document her slumber as if she were a rare species of bird. Like a specimen displayed in an anatomical exhibition, Swinton offers herself up for scrutiny. And we took the bait and ran with it.

Initiating voyeurism is at the heart of The Maybe. Its entire construct relies on Swinton as a recognisable face, but its resonance moves beyond this initial reaction, to one of obsession, of fascination and curiosity. She does nothing but sleep. She gives away nothing of herself, other than her physical appearance. But we're lapping it up. Search Twitter and you’ll find comments on anything from her hair to the position of her body. If it had been another, non-famous, woman lying in the MoMa it wouldn’t have caused such a furor. But The Maybe is all about creating a reaction – the installation is merely the initiator, the instigator, of a wider chain of events that ultimately reveal the vacuity of our obsession with celebrity.

Tilda Swinton sleeps in a glass box as part of an exhibition called 'The Maybe' at the Serpentine Gallery 04 September 1995 in London. Photo: Andrew Winning/AFP/Getty Images
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The Autumn Statement proved it – we need a real alternative to austerity, now

Theresa May’s Tories have missed their chance to rescue the British economy.

After six wasted years of failed Conservative austerity measures, Philip Hammond had the opportunity last month in the Autumn Statement to change course and put in place the economic policies that would deliver greater prosperity, and make sure it was fairly shared.

Instead, he chose to continue with cuts to public services and in-work benefits while failing to deliver the scale of investment needed to secure future prosperity. The sense of betrayal is palpable.

The headline figures are grim. An analysis by the Institute for Fiscal Studies shows that real wages will not recover their 2008 levels even after 2020. The Tories are overseeing a lost decade in earnings that is, in the words Paul Johnson, the director of the IFS, “dreadful” and unprecedented in modern British history.

Meanwhile, the Treasury’s own analysis shows the cuts falling hardest on the poorest 30 per cent of the population. The Office for Budget Responsibility has reported that it expects a £122bn worsening in the public finances over the next five years. Of this, less than half – £59bn – is due to the Tories’ shambolic handling of Brexit. Most of the rest is thanks to their mishandling of the domestic economy.

 

Time to invest

The Tories may think that those people who are “just about managing” are an electoral demographic, but for Labour they are our friends, neighbours and the people we represent. People in all walks of life needed something better from this government, but the Autumn Statement was a betrayal of the hopes that they tried to raise beforehand.

Because the Tories cut when they should have invested, we now have a fundamentally weak economy that is unprepared for the challenges of Brexit. Low investment has meant that instead of installing new machinery, or building the new infrastructure that would support productive high-wage jobs, we have an economy that is more and more dependent on low-productivity, low-paid work. Every hour worked in the US, Germany or France produces on average a third more than an hour of work here.

Labour has different priorities. We will deliver the necessary investment in infrastructure and research funding, and back it up with an industrial strategy that can sustain well-paid, secure jobs in the industries of the future such as renewables. We will fight for Britain’s continued tariff-free access to the single market. We will reverse the tax giveaways to the mega-rich and the giant companies, instead using the money to make sure the NHS and our education system are properly funded. In 2020 we will introduce a real living wage, expected to be £10 an hour, to make sure every job pays a wage you can actually live on. And we will rebuild and transform our economy so no one and no community is left behind.

 

May’s missing alternative

This week, the Bank of England governor, Mark Carney, gave an important speech in which he hit the proverbial nail on the head. He was completely right to point out that societies need to redistribute the gains from trade and technology, and to educate and empower their citizens. We are going through a lost decade of earnings growth, as Carney highlights, and the crisis of productivity will not be solved without major government investment, backed up by an industrial strategy that can deliver growth.

Labour in government is committed to tackling the challenges of rising inequality, low wage growth, and driving up Britain’s productivity growth. But it is becoming clearer each day since Theresa May became Prime Minister that she, like her predecessor, has no credible solutions to the challenges our economy faces.

 

Crisis in Italy

The Italian people have decisively rejected the changes to their constitution proposed by Prime Minister Matteo Renzi, with nearly 60 per cent voting No. The Italian economy has not grown for close to two decades. A succession of governments has attempted to introduce free-market policies, including slashing pensions and undermining rights at work, but these have had little impact.

Renzi wanted extra powers to push through more free-market reforms, but he has now resigned after encountering opposition from across the Italian political spectrum. The absence of growth has left Italian banks with €360bn of loans that are not being repaid. Usually, these debts would be written off, but Italian banks lack the reserves to be able to absorb the losses. They need outside assistance to survive.

 

Bail in or bail out

The oldest bank in the world, Monte dei Paschi di Siena, needs €5bn before the end of the year if it is to avoid collapse. Renzi had arranged a financing deal but this is now under threat. Under new EU rules, governments are not allowed to bail out banks, like in the 2008 crisis. This is intended to protect taxpayers. Instead, bank investors are supposed to take a loss through a “bail-in”.

Unusually, however, Italian bank investors are not only big financial institutions such as insurance companies, but ordinary households. One-third of all Italian bank bonds are held by households, so a bail-in would hit them hard. And should Italy’s banks fail, the danger is that investors will pull money out of banks across Europe, causing further failures. British banks have been reducing their investments in Italy, but concerned UK regulators have asked recently for details of their exposure.

John McDonnell is the shadow chancellor


John McDonnell is Labour MP for Hayes and Harlington and has been shadow chancellor since September 2015. 

This article first appeared in the 08 December 2016 issue of the New Statesman, Brexit to Trump