Love Hurts details
The longest piece, Love Hurts (16:10), begins with Uretsky, center screen, and silent. A mask obscures her face and extends above her head in a rubbery beehive. Her eyes regard the viewer with longing and vulnerability. After minutes of unsettling silence, Uretsky sings Love Hurts —a naked, heartsick song. The singing is full-throated, out of tune. She is soon joined by another Uretsky, in split screen, then a third. Each wears masks progressively more strange and puppet-like, a living triptych. When their unsynced voices let loose, the pathos is amplified. The masks, like those from ancient Greek tragedy, suggest that every expression of emotion is performance. The artifice gives performer and viewers leave to participate in shared human catharsis.
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