On Saturday morning, sear-suckered and folding-fan-wielding patrons lined up outside the local drinking hole The Silver Dollar on Upper King Street to admire a thick splatter of vomit left over from Friday night’s drunken festivities. Under the impression that the regurgitation was an intentional art installation as part of the annual international arts festival Spoleto, patrons took pictures and were quick to dissect the meaning behind it.
“It’s an obvious statement on an oppressive government and race relations in America,” said Margaux St. Claire, a visiting artist herself from New York City. “The texture of the various chunks exemplifies that there is no such thing as a melting pot in society, but rather a chunky stew, as the various classes and races intermingle yet retain their own ‘flavor,’ for lack of a better term. This is mass-fed to the people by a white-male-majority government, who tells us that this is a solution to the ongoing and systematic oppression of minorities in this country rather than acknowledge that there is no such thing as true equality, and of course, the people eat and regurgitate, eat and regurgitate, and so on. It’s quite an important and well-presented work of art.”
St. Claire was quick to note that her own festival art installation, entitled, “Land of the Free-Bleed,” in which she menstruates over a Confederate Battle Flag while whistling Dixie, will have two nightly shows at 8 and 10 p.m. until June 8th on the front steps of the Cistern at the College of Charleston, and that tickets start at just $75.
Local and visiting art enthusiasts are already abuzz regarding a rumor about a finale weekend exhibit: a homeless man’s fresh pile of runny excrement left by the lobby door of Embassy Suites. It has already been a described as “a sensory overload representing the conflict between the Shia and Sunnis.”