“This story starts with me being on Tinder,” says Emma Sulkowicz. Read the full profile by Sylvie McNamara
Emma Sulkowicz. Photo: Jamie-James Medina “This story starts with me being on Tinder,” Emma Sulkowicz explains. “I don’t have TV, so all I can do is swipe left and right on men.” It’s mid-afternoon, and we’re in a deserted Vietnamese restaurant in downtown Manhattan, near the on-ramp to the Williamsburg Bridge.
Eventually, Sulkowicz stalked him on Twitter and realized that he was conservative — “like, very conservative.” At first, she was repulsed and considered breaking it off. But then she thought, “Wait, actually, that’s kind of fucked up because he’s the most interesting person I’ve come across, shouldn’t I be open to talking to him?” After dispelling her initial fear, she texted him that it would be “interesting for two people who might be the antithesis of each other to go on a Tinder date.
Soon, she began attending house parties and happy hours with conservative and libertarian intellectuals, reading Jordan Peterson and articles from the National Review. In the past, Sulkowicz dismissed opposing views without understanding them, but now she sees intellectual curiosity as intertwined with respect: she wants to disagree with people on their own terms. This is an ethical position, but one with personal resonance.
As Sulkowicz swirls around the party, her presence stirs an obvious question: whether this is performance art. Soave brings it up twice when we speak on the phone afterward, acknowledging the possibility that he’s being set up. While he’s inclined to believe that Sulkowicz is moved by earnest curiosity, he’s aware of her background in “elaborately planned performance art” and her reputation as a provocateur.
Despite her activist image, Sulkowicz claims she has never been particularly political. She didn’t come to Mattress Performance as an activist, or with the expectation that her work would receive attention. When she started the project as a 21-year-old undergraduate art major, she claims that she “literally didn’t know what feminism was.” This was a personal project, she says, inspired not by the fiery tradition of feminist performance art, but by the quiet endurance pieces of Tehching Hsieh.
Reason reported doggedly on Sulkowicz’s case . While they mostly criticized Columbia’s treatment of the accused, rather than attacking Sulkowicz herself, they did run headlines like “Discredited, the Legend of Mattress Girl Just Won’t Go Away.” Sulkowicz mostly takes issue with the Reason reporter who published transcripts of friendly Facebook messages between Sulkowicz and the man she accused, meant to undermine her credibility.
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