Performance Perimeters Symposium is a festival organized in conjunction with a Performance Creation Canada conference to engage a conversation between artists, presenters and audiences on the convergence of forms and ideas that have come to characterize the forums of performance and multi-disciplinary art.
The conference includes panel presentations on the subjects of arts and markets, intangible heritage, representation & self representation, cultural agency, audiences, economies, criticism and curation as well as a debate on the Status of the Artist legislation. This unique Regina event is being organized by New Dance Horizons, Neutral Ground, Curtain Razors and Sakewewak Artists Collective.
PPS is a meeting ground for artists and public to engage with performance work and join in the conversation with other artists, presenters, theorists and writers. Artists including Istvan Kantor, Edward Poitras, Jillian Mcdonald, David Yonge, Debra Dunn, Lori Blondeau, PHONO, Sarah Abbott, Davida Monk, Helen Walkley, John Noestheden, Rob Bos, The Skeleton Crew, Robin Brass, Lynn Acoose, Elwood Jimmy, Joey Tremblay (MC), Carol Greyeyes and others will perform in more than nine Regina locations. There will be a reading of the work of the late Emily Givner, a Web launch for a commissioned project at Soil Digital Media Suite and a Book Event, presenting recent performance art papers and publications with Johanna Householder and MJ Thompson.
Panelists David Garneau, Kathleen Irwin, Rachelle Viader Knowles, Daniel Anderson, MJ Thompson, Dannys Montes de Oca Moreda, Adrienne Wong, Maiko Bae Yamamoto, Naomi Campbell, Glenn Alteen (Moderator) and Jack Udashkin (Moderator), will discuss curation and criticism in live art and open up a dialogue on the economies of performance art and interdisciplinary work.
"Enjoy the restorative powers of symposia." A time and place to take in a moment, a breath, a critical "pause" as Brian Patterson suggests, "We might be doing by engaging & being engaged in the performative."
Performance program and events start with an introductory event Wednesday November 2 through Sunday November 6, 2005. Performance Creation Canada meetings and events take place over the weekend with registration available on line and starting Friday, November 4 at 4:00 pm. The public are invited to attend all events.
Conference registration continues at 4:00 pm on Friday November 4 at Regina's Royal Canadian Legion, 1820 Cornwall Street, Regina, SK.
The organizers acknowledge funding support from the Canada Council for the Arts, the Saskatchewan Arts Board, the Department of Canadian Heritage Arts Presentation Canada and the City of Regina.
Advance registration encouraged.
PPS/PCC Schedule: (please check this site for updates and further details).
Wednesday, November 2, 2005
An evening of dance at New Dance Horizons, 7:30 pm
(2207 Harvey Street)
New work by THE SKELETON CREW
Thursday, November 3, 2005
Processional Performance, Lori Blondeau, Neutral Ground to Mysteria, 3:30 pm
(1856 Scarth Street)
Reception and Book Event with Johanna Householder, Mysteria Gallery 5:00 pm
(2706 13th Avenue)
Also at Mysteria:
Reading-performance, the work of the late Emily Givner
Readings by Mansel Robinson, Bela Szabados, Wendy Peart, Margaret Bessai, Terri Ekvall, more...
A full readers' schedule will be available on site and shortly!
Sarah Abbott, Photography
Robin Brass, Performance
Debra Dunn, Installation
8 minute max performances, New Dance Horizons, 8:00 pm
(2207 Harvey Street)
Friday, November 4, 2005
Arts Projects Gallery performance, Rob Bos, 12:00 - 2:00 pm
(1217 15th Avenue)
Performance, Edward Poitras, Sakewewak 1:00 - 4:00
(2536 11th Avenue)
Genevieve Pepin and Laurentio Q. Arnatsiaq
Uqquaq, The Shelter
The Canada Saskatchewan Production Studios
1831 College Avenue, Stage 4
Performance and official launch of PCC Regina, Legion Hall
(1820 Cornwall Street)
Work by David Yonge, PHONO, John Noestheden 4:00 - 7:00 pm
Late show at New Dance Horizons, 8:00 - 11:00 pm
(2207 Harvey Street)
Artists Debra Dunn, Davida Monk, Helen Walkley
Saturday, November 5, 2005
Welcome and introductions, 9:30 - 10:00 am
Panel Presentations, RPL Theatre, 10:00 am - 4:30 pm
(2311 12th Avenue) downstairs
1) Curating and Criticism, Glenn Alteen, Moderator, 10:00 am - 12:00 noon
Panelists: David Garneau, Kathleen Irwin, Rachelle Viader Knowles, Daniel Anderson, MJ Thompson,
Dannys Montes de Oca Moreda
2) Audiences and Economies, Jack Udashkin, Moderator, 2:00 pm - 4:00 pm
Panelists: Adrienne Wong, Jillian Mcdonald, Maiko Bae Yamamoto, Naomi Campbell, Marnie Badham
Status of the Artist DEBATE, RPL Theatre, 4:30 - 5:15 pm
Closing remarks, 5:15 - 5:30 pm
Genevieve Pepin and Laurentio Q. Arnatsiaq
Uqquaq, The Shelter
The Canada Saskatchewan Production Studios
1831 College Avenue, Stage 4
Opening, Launch of Jillian Mcdonald's "Screen Kiss",
Soil Digital Media Suite, 8:00 pm
(1856 Scarth Street)
Performance, Istvan Kantor, TRANSMISSION MACHINERY,
Neutral Ground 9:00 pm
(1856 Scarth Street)
$5.00 tickets at the door
Lynn Acoose and Elwood Jimmy, 10:00 pm
Sunday, November 6, 2005
PCC Steering Committee meeting, Hotel Saskatchewan Radisson Plaza, 9:30 am
Brunch, Hotel Saskatchewan Radisson Plaza, 11:00 am - 2:00 pm
Eveyone is invited to attend the Brunch. You must pre-register by Friday November 4.
Cost is $24.00 per person.
Roundtable, Hotel Saskatchewan Radisson Plaza, 2:00 - 4:00 pm
This is a meeting to discuss new visions and directions for live and performing work.........especially for people interested in talking about presenting live and performance work, networking, grant issues, big picture interests, policy development, arts & markets, more!......
(2125 Victoria Avenue)
As a single event, cost is $5.00
Conference Registration is $15.00 and includes;
November 4 Legion Performance Event and Welcome
November 5 Conference Panels at Regina Public Library
November 6 Closing Roundtable and Closing Remarks
Any single conference event is $10.00 except for the Rountable which is $5.00 as a single event.
All other festival performance events have tickets available at the door, where applicable.
Many events are free. No advance purchase available.
Conference registration is limited.
To register, please email Michele Sereda at (306) 757-5391
or email, email@example.com
or mail PCC Conference Registration
2060 Pasqua Street
CONFERENCE HOTEL UPDATE:
Hotel Saskatchewan, Radisson Plaza
2125 Victoria Avenue
Canada, S4P 0S3
Tel: (306) 522-7691
Fax: (306) 757-5521
Rates: $114.00 per person. Ask for Neutral Ground Group Rate
The Holiday Inn Express
1907 11th Avenue
Tel: (306) 569-4600
Rate: $65.00 per person.
Abbott received her BA (Hons.) in film studies and drama from Queen's University, and earned her MFA in Art video on a three-year fellowship from Syracuse University. Between degrees, she taught English in Kyoto, Japan, tended sheep in southern France, was artist-in-residence at the Banff Centre for the Arts, interned at The Human Rights Media Centre in Cape Town, South Africa, and freelanced in various capacities in Toronto's film and video community. For over a decade, Abbott's short films and videos have won awards, international festival selections and television broadcasts. She has received numerous grants to complete her work.Her most recent film, TIDEMARKS:LEGACIES OF APARTHEID, is her first documentary and feature-length work. Abbott is currently an Assistant Professor in the Department of Media Production and Studies at the University of Regina.
Acoose has worked in the arts as a programmer, collaborator, curator and administrator. She has collaborated in creation projects ranging from an art website, interdisciplinary work and video installation. Acoose recently completed a year-long residency as the Aboriginal Arts and Culture Leader at the Godfrey Dean Arts Gallery in Yorkton, Saskatchewan.
Alteen is a Vancouver-based curator and writer, and director of the grunt. He has worked extensively in performance art, and is co-founder of LIVE: A Vancouver Performance Biennial. Alteen is the president of PAARC, the Pacific Association of Artist Centres, and has sat on juries for the Canada Council for the Arts, the Saskatchewan Arts Board and the Manitoba Arts Council. His writing on performance was recently published in Caught in the Act (2004, YYZ Books, Toronto), La Dragu (2002 FADO, Toronto), Ablakela (2001, grunt Vancouver), LIVE at the End of the Century (2000, grunt Vancouver) and Locus Solus (1999, Black Dog, London). He has curated exhibitions nationally and internationally, most recently Vancouver Video, shown in Italy and Britain (2002, 2003) and Carel Moiseiwitch at Nuova Icona Venuce (2005).He has also worked extensively in First Nations contemporary artists communities and is currently producing the publication Indian Acts-Aboriginal Performance Art, in collaboration with Tribe.
Anderson is a social and creative expatriate practicing in video, electroacoustic sound, and media performance. Born in California and living in Vancouver, he engages the ideologies of popular social discourse and the mechanics of time-based media to create works on the themes of gender, sexual orientation, marginalized identity, and cultural production. Anderson has exhibited performance since 1999 in the US, Australia, Canada, and China. He is involved as a producer and technician at Vancouver's Video In Studios and has been awarded a 2006 fellowship at the International Research Center for the Arts, Kyoto.
Arnatsiaq is an Inuit hunter from the region of Iglooik, Nunavut. At a very young age he was initiated into Inuit traditional skills including drum dance. He was attracted to media art after he saw his father participate, as an actor, in different movies. In 1999, his life as a hunter shifted towards the life of an artist.He first was asked to collaborate as an assistant editor for the world acclaimed film Atanarjuat, The Fast Runner, produced by Isuma Productions. Following that, he was translator for different production companies in films and videos. In 2001, he moved to Montreal to broaden his artistic knowledge and since then he has created The Eyes of Laurentio: Two Islands in 2003-04, a project in media arts supported by the Canada Council for the Arts.
Born in Regina, Saskatchewan, Badham is an artist, cultural worker and social activist. She is a practicing visual artist,focusing on painting,photography and installation of works.She is a founding member of the Flatland Artist Studio, a Regina-based Artist co-operative. Badham is also a board member for the Saskatchewan Arts Alliance and the Friends of the Dunlop Art Gallery. She has been the General Manager of the Commonweal Community Arts for more than five years, where she works to link artists with communities across the province to promote social change. Badham received a BA in Art History and a BFA in Fine Arts,Visual Arts, from the University of Regina.
A conscientious and daring artist, Bailie is an independent dancer from Winnipeg pursuing a unique and innovative career as a solo performer. In two and a half years she has produced over 150 solo concerts, three cross-Canada tours and performed abroad. Most recently she performed as a guest soloist with the Bill Evans Dance Company in Port Townsend,Washington in showings at Brockport University (NY) and in New York City at City Centre Studios with The Limon Institute. In 2005 Jolene also performed at the Dancing on the Edge Festival, the Guelph Contemporary Dance Festival and in Stuttgart, Germany at the 9th International Solo Dance-Theatre Festival where she was one of twenty artists selected world-wide to participate. (more info at www.cuppa-jo.com).
Blondeau is a Cree/Saulteaux artist living in Saskatoon. Her work includes performance, sculpture and new media production, and explores the influence of (contemporary and historical) mass media and culture on aboriginal identity,images and self-defintiion.Blondeau's work has been exhibited nationally and internationally. She is also a co-founder and the current director of the artist-run centre TRIBE.
Bos grauated from the University of Regina with distinction in 2003, receiving a BFA in painting. Bos was the Saskatchewan recipient of the BMO First Art invitational student art competition for a painting in his graduation show.The painting was bought by the Bank of Montreal and exhibited in Toronto, along with the other winners. After graduation Bos founded a non-commercial exhibition space, the Art Projects Gallery. Changing Room was the first APG show by Bos; it was reviewed in the Montreal art magazine Vie Des Arts. Bos has since been active in curating, promoting and assisting artists realize their work through the APG. In 2005, Bos was awarded an individual assistance grant by the Saskatchewan Arts Board in order to concentrate on his painting.
Brass is an interdisciplinary artist, teacher, and advocate originally from the Regina/Qu'Appelle region of southern Saskatchewan. She was raised in Regina and on her home reserve of Peepeekisis. A graduate of the Indian Art Dept., Saskatchewan Indian Federated College, Brass played a lead role in the Regina arts scene as an advocate for contemporary artists of Indigenous ancestry to practice and produce their work with full artistic and intellectual freedom, first through her involvement with Ironbow and Circle Vision, and later as co-founder of Sâkêwêwak Artists' Collective. In 1999 she took a position with the Saskatchewan Indian Federated College,teaching Native Art History on outlying reserves. She moved to northern Saskatchewan in 2002 and has most recently exhibited new work based upon the intimate relationships between healers/plants and patients/humans in the show Constitution, part of the Godfrey Dean Gallery's extensive “Garden Project.”
Bundon is a graduate of Les Ateliers de Danse Moderne de Montreal Inc.Her training in Montreal allowed her to explore a wide range of movement techniques and eventually resulted in a commitment to the values of improvisation.This interest propelled Bundon to teach Spontaneous Movement workshops to youth with the Canadian Improv Games and to study at EDAM in Vancouver. Most recently, Bundon participated in the Canada Games National Artists Program as part of Team Saskatchewan, a collaboration among young artists from across the country.
Cameron has two homes. Originally from Saskatchewan, she is strongly rooted in Regina's arts community. She found a new home in Montreal when she left the prairies to pursue her studies in the Department of Contemporary Dance at Concordia University from 2001 to 2005. Cameron concluded her final year in Montreal by producing, choreographing and dancing in her onewoman show Boney Bones.This theatrical dance piece was performed throughout Montreal and at the Arena Festival in Germany.Throughout the time that Cameron has resided in Regina she has danced in the Grasslands Festival choreographed by Bill Coleman; she co-created and performed a theatrical dance piece, with the Regina based company FADA dance, for “Zig Zag”, an arts and culture television program on CBC; was the lead singer of the glamorous punk-rock band “Devilution;” and is currently teaching, performing and choreographing with FADA dance.
Campbell is the award-winning producer of over 60 new Canadian works. This season she is developing Mammalian Diving Reflex's Diplomatic Immunities in Toronto and Calgary, five new pieces with Nightswimming, and co-ordinating the Apprenticeship program for Obsidian Theatre. In 2004-05 Campbell produced at Theatre Passe Muraille (pppeeeaaaccceee, St. Christopher), the Theatre Centre (Rough House), Buddies in Bad Times (A Suicide-Site Guide to the City), Alberta Theatre Porjects (Diplomatic Immunities), The Traverse Theatre, Edinburgh (BREATH[e]) and numerous works in development with Nightswimming. In 2004 she took Mammalian Diving Reflex's A Suicide-Site Guide to the City to Victoria,Vancouver, and Edinburgh,Theatre 2.0's Breath[e] to London, England, and Nightwood's The Danish Play to Copenhagen, Edmonton and Ottawa.
Cappo has been writing and performing hiphop music since the age of 16.What started as ahobby soon developed into his love and profession. He has opened for acts such as Classified, DL Incognito, Politic Love and Moka Only. In 2005 he recorded his first LP “It's about time”. He is currently working on a follow-up album, to be completed in early 2006.
As Neutral Ground's Director Brenda Cleniuk co-founded the Soil Digital Media Suite in 1996 as a lab for a new media creation which she currently programs and directs. She is a Regina-based curator, writer and producer whose work has been published in Caught in the Act (2004, YYZ Books, Toronto) and ISEA Cartographies, 1999. She has curated projects with artists from Canada, Mexico, the US,Germany, France, and the UK and served on juries for the Canada Council for the Arts, the Saskatchewan Arts Board and the Cultural Human Resources Council. She initiated a series of performance mini festivals in Regina with the goal to building a festival and symposium program in the city. Cleniuk received Bachelor degrees in English literature, psychology, art history and studied performing arts extensively. Her most recent art projects were created for http://soilmedia.org and include blog sites, performing text and cinematic works with ambient tv.
BBB Johannes Deimling
Deimling lives and works in Berlin. He was born in Andernach in 1969; his artistic practice began in 1988 after completing studies in performance and performance art teaching. His work as a performer, teacher, curator and lecturer has taken him to several destinations around the globe, namely, Germany, Europe and the UK, the US, and Cuba.
Diaz is a Regina-based artist whose practice includes painting, installation, video and performance. Through his work, Diaz explores issues of identity as they are formed along political, cultural and social lines.In addition to his own artistic practice, Diaz has worked for a variety of organizations such as the Dunlop Art Gallery, New Dance Horizons, and, currently, the Saskatchewan Filmpool.
Jason Dubois (PPS Technical Director)
Dubois is excited to be involved with the Performance Perimeters Symposium, following many years of collaboration with the involved artists and organizations. This is his tenth year working with Curtain Razors and he has been involved with New Dance Horizons for the past six seasons.His credits range from Business Manager to Designer and he has worked for numerous organizations throughout western Canada. Currently, Jason is Technical Director/Production Manager for the ScotiaBank Dance Centre in Vancouver.
Dunn studied at Emily Carr College of Art, Concordia University and Simon Fraser University, where she earned a degree majoring in visual art. At SFU she was introduced to dance which immediately began to influence her painting and drawing, until the body finally began leaping off the canvas and heading for dance class.While working as a photographer in Vancouver's dance and theatre scene, Dunn found herself getting steadily seduced by the theatre, first as a set and costume designer, then as a performer and choreographer. She founded her company Trial & Eros in Vancouver in the early nineties; she is now based in Montreal. The company has been touring nationally for the past six years.Dunn has created five evening length works: Trial & Eros, Pandora's Books,The Little Queen,The Birds and Blackmail, and is presently working on her sixth, Elegant Heathens, which will premiere in Calgary at Dancer's Studio West in December 2005. She has also been very active as a soloist with works such as Moth, Fuse, Burnt Norton and MacBeth's Wife, the latter marking her first in-depth exploration of live text and movement.
Evans is a master choreographer,movement analyst, teacher, solo performer,writer, lecturer and the Artistic Director of the Bill Evans Dance Company (founded in 1975). Creator of a widely-practiced modern dance technique, he has taught and performed in all fifty states as well as Australia, Canada, England, Finland, Germany, Hungary, India, Ireland, Italy, Japan, Mexico, New Zealand, Norway, and Russia. With over two hundred works for more than sixty-five professional companies throughout the world, Bill has also been awarded the Guggenheim Fellowship and numerous NEA fellowships.A full professor at the University of New Mexico from 1988 until 2004 and a Certified Laban/Bartenieff Movement Analyst, he is the artist in residence at the SUNY Brockport.www.billevansdance.org
FadaDance (Fantastical Allusions Developing Alternative Dance)
FadaDance is a prairie contemporary dance troupe that is fresh, fiery, and fantastical. FadaDance's repertoire includes fire dancing, Kathak, and comedic dance, with an eye to fusing these various dance styles using inspiration from the natural environment and folklore. They collaborate extensively with musicians in order to explore the natural connections between dance and music. Much of this work is rooted in the folk festival circuit where they have joined forces with musicians from the UK,Scotland,and Canada.FadaDance has been seen at events throughout Saskatchewan and as far as Salvador, Brazil.www.fadadance.ca
Wensel,a contemporary dancer and choreographer based in Regina,holds her B.Ed/distinction in Dance Education from the U of R. In the fall of 2004 Winsel established FadaDance, a contemporary dance company and school. Winsel works as artistic director of FadaDance, fusing styles, primarily kathak into contemporary work. Inspiration stems from the natural environment, folklore, and technology; she uses these elements to create timeless characters featured in many of her works. Much of FadaDance's repertoire is comedic in nature, as she believes contemporary dance to be amusing.
A dance artist in the community for many years now, Gilboy takes great joy in dance.Currently, she is working towards receiving her Certificate in Dance Teacher Education (C.D.T.E) through the University of Regina, and is a certified Yoga instructor. These most recent years in dance have seen her make a shift from the world of classical ballet to contemporary dance. She reentered this art form,taking Misty Wensel's unique style of contemporary fusion.This past year has seen Gilboy work alongside Wensel to establish FadaDance.
Dahms studied dance at Waterloo and Purdue Universities, and continued her training with Le Groupe de la Place Royale, Dance Network (Ottawa), FadaDance, NDH and YCBS (Regina). Last summer she performed in Bill Coleman's Grasslands Project. She has been developing her own work since 1997 and more recently in collaboration with FadaDance (various), Garnet Hertz (Ethiology of Science-based Art), Petri's Quadrille (Zero), Gerald Saul (Le Jardin de L'Esprit), and Brazillian collaborator Tania Fraga (Integration I-X).
Jason Cawood is a graduate of the U of R's Film and Video program.A photographer and video artist, he is perhaps best known as one of the founders of the Antechamber gallery and cinematheque. Jason has produced video works for FadaDance,and New Dance Horizon's Stream of Dance festival, and has worked with the Dunlop and Rosemont art galleries. His photography work explores rephotography techniques and re contextualization of found footage.His work has been seen in the City of Regina's centennial photography show “Picturing Regina”and the survey of Saskatchewan contemporary art “Canadian Idyll” at Saskatoon's AKA gallery. Scheduled for this year are two video/performance collaborations with Michelle Sereda, and a contribution to the book “Secret Regina,” to be published by the Canadian Plains Research Council. Jason is also the host of CJTR's “Active Radio,” a weekly on-air collage of experimental music, spoken word, and pop culture.
Orion Paradis comes from a musical family and has taken delight in many different styles of music throughout his artistic development. Awakening to the potential inherent in new musical technologies, he began exploring the possibilities of electronic music production in the mid 1990's, playing a blend of self-produced funky house and soulful techno music at a variety of multidisciplinary events. More recently Orion has been expanding the scope of his endeavors, acting as a producer for various bands and collaborating with dance choreographers for live performance and video work. Orion's latest personal music productions involve combining live players with sampled and electronic elements, create a fresh hybrid sound.
Garneau is Associate Professor and Head of Visual Arts at the University of Regina. He has a BFA in Painting and Drawing and an MA in American Literature, both from the University of Calgary. Garneau was born and raised in Alberta and has been living in Regina for the past five years. Garneau's practice includes painting, drawing and critical writing about the visual arts. Solo exhibitions include: Sex, Violence and the Death of Heroes, Peripheral Picturesand Cowboys and Indians (and Metis?). His work often engages issues of nature, perception, masculinities, and the negotiation of White, Aboriginal and Metis identities. Garneau recently curated two large group exhibitions in Calgary, The End ofthe World (as we know it) and Picture Windows: New Abstraction, and two in Regina, Transcendent Squares (Rosemont Art Gallery) and Making it Like a Man, a national exhibition and conference for the Mackenzie Art Gallery. He is currently exploring road kill as a still life subject and is curating two exhibitions for 2005 at the Rosemont Art Gallery: Sophisticated Folkand Contested Histories, which is produced by the Sâkêwêwak Artists' Collective.
Givner was born in Regina in 1966,and she lived and worked in Korea,Poland and Halifax. During her life, she wrote approximately two dozens stories and novellas, as well as poems and dramatic pieces. Her work centered around the themes of female entrapment, gender stereotypes, and cross-cultural relationships. Givner passed away in July 2004, at the age of thirty-eight.
Greyeyes is from Muskeg Lake Cree Nation in Saskatchewan. She has worked across Canada as an actor, teacher, director and writer. Greyeyes began her performing career as a dancer in 25th Street Theatre's production of Covent Garden at the age of thirteen and she never looked back. She has directed and performed in theatres all over Canada and the USA and has acted in film, television, radio and on stage.Her great, great grandmother was a member of Poundmaker's band.
Corinne is a graduate of the B.A.Dance program from the University of Calgary and the B.E.A.D.program from the University of Regina.Lately,she juggles her time between substitute teaching in Regina high schools,teaching contemporary dance to youth and running a boutique Pilates studio.Her choreographic work has been presented in three of the New Dance Horizon's Stream of Dance series.
Johanna Householder has been making performances and other artwork in Canada since the late 70s. Working with Louise Garfield and Janice Hladki, she became notorious as a member of the satirical feminist performance ensemble,The Clichettes, who performed across Canada and in the US under variable circumstances, throughout the 1980s. While The Clichettes practiced their own brand of popular cultural detournment, Johanna also maintained her own performance practice, often collaborating with other artists. She began teaching at the Ontario College of Art and Design in 1988, and was chair of the New Media program, later the Integrated Media Program, from 1990 to 1996.As one of the founders of the 7a*11d International Festival of Performance Art,a biennale of performance held in Toronto, she is extremely active in performance art networks, and has brought many international artists to the festival. She is keenly interested in the histories of performance, current live and social art practices,and the effect that performance has had in contemporary art and new media.Her most recent works include a series of performative collaborations with her daughter Carmen which explore the transmission of affect. Her collected video work, Approximations, produced in collaboration with b.h. Yael has been screened internationally and is in several collections, and her photographic 'interventions' have also been exhibited and collected.With Tanya Mars, she co-edited Caught in the Act: an anthology of performance by Canadian women, published by YYZ Books, Toronto in 2004. She writes and speaks on performance and new media whenever she gets the chance, and her work is also represented in Prêt á Porter / Take Out: Performance Recipes for Public Space, edited by Christine Redfern for LaCentrale, Montréal, 2004.
Irwin has taught scenography at the University of Regina since1995. Having received undergraduate training from Queen's University, the National Theatre School and an MA from Central Saint Martins College of Art and Design in London UK and the DAMU Institute in Prague, she is currently completing a doctoral degree at the University of Art and Design Helsinki. The designer of over 200 professional theatre, opera and dance performances across Canada, she continues an active career with a focus on large-scale site-specific work.Her scenographic practice investigates places of memory and, through community-based collaboration, she creates events designed to refocus attention on defunct urban sites towards their cultural reuse and redevelopment.Her research is transdisciplinary and transnational and she is currently working with design,inter-media and architecture students in Helsinki,Tallinn and Belgrade in a media-based,“street to street”performance event.She has delivered papers in London, Prague, Belgrade, Helsinki, Estonia and Canada and has published both nationally and internationally. As Canadian Education Commissioner for OISTAT (International Organization for Sceonographers, Architects and Technicians), she has participated in the Prague International Quadrennial of Scenography in 1995, 1999 and 2003.
Janes is a curator, cultural sponge and critic with an emphasis on pop culture and queer theory. A performance artist with an emphasis in movement and spoken word,his latest projects have focused upon domesticity and blurring of gender and public/private acts. For almost ten years he has been Executive Director of Latitude 53 Contemporary Visual Culture in Edmonton, Alberta, Canada where he has been instrumental in growing the organization with such programs as fifty3: a magazine about visual culture and Visualeyez, Canada's only annual performance art festival. He is the youngest recipient of the Maclab Award for Arts Management, which he received in 1999 and a 2002 nominee for the Syncrude Award of Innovative Artistic Direction. Janes recently received the Alberta Centennial medal for his tireless work in the Arts and Voluntary sectors for making Alberta a better place to live. Janes is an active advocate for artists and support of research and development of arts and cultural explorations. He is past President of the Professional Arts Coalition of Edmonton, Vice President of the Alberta Association of Artist-Run Centres (AAARC), and the Regional Chair for Northern Alberta & NWT and a Director of the National Board of Canadian Diabetes Association.
Over the last six years, Jimmy has staked out a territory and practice for himself on the peripheries of the Canadian contemporary visual and media arts communities as an artist and cultural employee. His artistic practice stems from a lifelong suspicion of discourses constructed by the art, political, social, economic, and Aboriginal status quo. He has been involved with several arts organizations, including as director of the board of the Independent Media Arts Alliance, Aboriginal representative of the Plains Artist-Run Centre Alliance, and member of several committees organized by the Saskatchewan Arts Board and the Canada Council for the Arts. He has also worked for arts organizations within the city of Regina, Saskatchewan, most notably with Sâkêwêwak Artists' Collective, a centre for the production and dissemination of contemporary Aboriginal media and visual art. He is currently the curator in residence at the Godfrey Dean Art Gallery in Yorkton, Saskatchewan, as well as the new host of The Reel Story, a program that showcases Canadian independent cinema and filmmakers.Elwood is originally from the Thunderchild First Nation in west central Saskatchewan, Canada.
Kantor, best known as Monty Cantsin, founder of Neoism(1979, Montreal), is a media artist and producer, active in many fields: performance, robotics, installation, sound, music, video and new media. His work has been shown at most major media and performance art festivals throughout North America and Europe. His main subjects are the power and decay of technology and the sociophysical aspects of sexual interaction in technological society. His long-term projects such as BLOOD CAMPAIGN (since 1979), Self Appointed Leader of the People of the Lower East Side (1986-1991) or The File Cabinet Project (since 1993) derived from his continuous experimentation with the trans-kinetic identity of the revolutionary individual in relation to the scientific engine of artistic and social movements. Kantor has been arrested and jailed several times for his unwanted blood-x interventions in museums. He has lived in Budapest, Paris, Montreal, New York and presently is a resident of Toronto. His work has been described by the media as rebellious, anti-authoritarian, intellectually assaultive, as well as technically innovative and highly experimental.
Laughlin is an award-winning choreographer, dancer and Artistic Director of Joe Ink. Highly versatile and prolific, he is praised for his originality, humour and lyricism. Laughlin has created numerous works for dance,theatre,film and TV,which have been performed in Canada, US, Europe and Africa.His passion for work with communities led him to create Move It!,an intergenerational community dance creation workshop. Laughlin received the prestigious Jacqueline Lemieux Prize in 2003 in recognition of his outstanding achievements in Canadian dance.www.joeink.ca
Mcdonald's artwork in various media is performative and relational. She teaches art at Pace University in New York City, where she also curates and directs the Pace Digital Gallery. Her critical writing focuses on performative art in temporary or unexpected places, and curated projects include Ebay: Buy or Sell or Buy, an online exhibition whose works intervene in the online auction house and invite visitors into momentary relationships with the artists.
McIntosh began performing twenty-some years ago as a singer in art/punk/funk bands.He is coartistic director of battery opera.
Director, Choreographer (Calgary) Mion creates for stage and screen. Known for her highly theatrical and physical style,she is a sought after director and contemporary choreographer for film,dance and theatre. Her most recent work “I looked up at the ceiling AND THEN I SAW THE SKY”premiered at the High Performance Rodeo Calgary in Jauary 2005 and most recently performed in Ottawa at the NAC.
Monk began dancing with Le Groupe de la Place Royale of Ottawa. In addition to dancing and making work for the company,Monk served as Assistant Artistic Director,and,with Artistic DirectorPeter Boneham,helped to develop Le Groupe Dance Lab.Since 1985 Monk's works have been seen in Montreal, Ottawa,Winnipeg, Regina, Edmonton, Calgary, Banff, Vancouver and at the Canada Dance Festival. She has been presented in Gdansk,Warsaw and Helsinki and danced the works of more than 20 choreographers including those of Rachel Browne, Louise Bédard, Tedd Robinson, Benoit LaChambre, Harold Rhéaume, Tassy Teekman, Ruth Cansfield, Peter Boneham and Melissa Monteros.Monk has lived in Alberta since 1992, teaching,performing and choreographing. She is an Associate Professor in the Program of Dance at the University of Calgary. Monk is also the Artistic Director of M-body, a contemporary dance company based in Calgary. She is currently working towards the 2006 production of Weather, her latest work for 10 dancers based in outdoor work.
Dannys Montes de Oca Moreda
Dannys received a B.A. in Art History from the University of Havana in 1993. Since the completion of her degree she has worked as a critic and curator,while her research has focused primarily upon contemporary Cuban art. Dannys was the curator at the Ludwig Foundation of Cuba from 1997 until 2000. In 1997 she obtained a scholarship and residency from Hunter Collage, at the City University of New York (CUNY), and also in 1998 from the Ludwig Forum in Aachen, Germany. In 2004 she was invited to participate at the Summer Institute “Digital Poetics and Politics.The Edge of the local in the age of globalization,” at the Department of Film and Video Studies, Queens University, Kingston and also served as curator in residence in a project coordinated by Queens University, Public Access, Toronto and The Groundwater Institute, Hornby Island. Currently she is cocurator of the web-based project entitled “contemporarycubanart.” Her texts on Cuban art have appeared in numerous catalogues, magazines and books and she is also a member of the Cuban Asociation of Writers and Artists (UNEAC). She is currently Curator in Residence at the Dunlop Art Gallery co-curating "Contact and Mediation" an exhibition of recent Cuban new media work.
Murphy is a Vancouver-based freelance multi-horned musician. He has toured with battery opera's Spektator and will be performing in the company's next production [storm] at the Vancouver International Dance Festival in March.
Noestheden was born in Amsterdam in 1945 and moved to Canada in 1951. Since receiving his MFA from Tulane University in 1973, he has exhibited internationally, with his work represented in many Canadian and American museums and corporate and private collections including the Art Gallery of Ontario, the Norman MacKenzie Gallery in Regina, and, most recently, the Corning Museum in New York and the Banana Republic Corporation. John has collaborated and performed with Robin Poitras of New Dance Horizons, with Michele Sereda of Curtain Razors, and also performed “Speaking Infinity” (23,000 digits pf the square root of two over four days) in Neutral Ground's Archaelogical Performance Festival.
Obey has been breakdancing since 1996. He decided to dance professionally in 1999 and has been going strong ever since. He has won breakdancing events and has appeared in a number of television programs and newspaper articles.Recently he was sponsored by Red Bull, the energy drink, to serve as a representative for the breakdancing culture.
O'Connor is a dancer, teacher, choreographer, and director. She danced with Calgary's Decidedly Jazz Danceworks from 1986 - 1992.She studied tap and jazz in New York City,toured work with Katherine Kramer and performed at Jacob's Pillow. She subsequently founded, directed, and produced the work of a unique and highly successful dance initiative, Youth Dance, that focused on the performance and technique training of emerging teenaged artists. O'Connor has pursued creative exchanges in creation, direction, and performance with Peggy Baker, Ruth Cansfield, Allan Kaeja, Liz Lerman, Holly Small, Joe Laughlin, W & M Physical Theatre, and M-Body, to name a few. Most recently, O'Connor founded eko dance projects which embraces a multi-generational model of inclusion while creating meaningful collaboration and exchange between dance artists and their communities.
Pepin is currently an interpreter,coach,artistic counselor,performer,and dance teacher.She has been part of the dance milieu since 1979 and has participated in many different artistic events with artists such as William Douglas and Benoit Lachambre. She completed her BA in 1990 and her MA in 1998 at l'Universite du Quebec a Montreal. She taught since 1980 to a diversified clientale in different milieus such as l'Ecole Superieure de Danse du Quecbec and l'Ecole Nationale de Cirque. In 1999, her artistic dance life shifted unexpectedly to a life in the far Canadian North.Here she was invited to create different multidisciplinary projects in the community of Igloolik, Nunavut. Since then she has created works such as Kaugjagjuk 2004, a project supported by the Canada Council for the Arts.
Born in Regina,Poitras is a member of the Gordon First Nation and resident of Treaty Four Territory. Since the early 1970s, Poitras has been actively engaged in art production, and has been represented in many important national and international exhibitions. Poitras' work gained the attention of Canadian curators in the 1980s when he became involved in the highly conceptual installation process, a natural tactic that united elements from his Aboriginal heritage with diverse contemporary sources. He is known for works that transcend disciplinary boundaries, engage a deep sense of play and simultaneously elaborate upon disparate world views. His selection in 1995 as the first Aboriginal artist ever to represent Canada at the prestigious Venice Biennial marked a profound recognition of his distinctive contribution to the question of “Otherness.” More recently, Poitras has been involved in art production that demonstrates an uncanny ability to syncretize object making with the electronic environment.
A Regina-based and nationally recognized dance presenter,Poitras is one of Saskatchewan's most prolific dance and performance creators. Creating dance, performance and installation works, Poitras has been actively engaged in contemporary dance practice since the early 80s.In 1986 she co-founded New Dance Horizons in Regina, where she continues to act as Artistic Director.
Riley is a 2002 graduate of the Professional Program of the School of Contemporary Dancers, with a B.A.Honours in Dance from the University of Winnipeg.She began her professional dance career as an apprentice with Ruth Cansfield Dance. In July 2003, Riley received a Manitoba Arts Council Travel Grant to study with David Parsons of the Parsons Dance Company in New York. She then went on to work as an independent dancer for choreographer Davida Monk in Calgary.In August 2004, she was the recipient of a second Manitoba Arts Council Travel Grant to work with Sylvain Emard in Montreal. Riley is also a founding member of Winnipeg's Young Lungs Dance Exchange, and most recently appeared in an evening of new choreography entitled Private I Dance Collaboration.
Santamaria was born in Mexico in 1967. She has performed at different international festivals, including the Nippon International Art Performance Festival in Japan; Rencontre International d'Art Performance Quebec;Trans-Europe 2000 in Hanover, Germany; International Review of Live Art in Scotland; and the Blurrr Biennial of Performance Art in Israel.She has also shown her work in public spaces, museums, galleries and theatres of Mexico, Canada ,the Caribbean USA, and Europe. Since 2000, she has been a member of the performance art group Black Market International. In 2001,she initiated and organized the event “Acciones en Ruta (Actions in Route), she curated and co-ordinated the “Mexico-Japan Performance Art Encounter” in 2002, and she is the presenter of the International Performance Art Festival of Yucatan. Her work presently focuses on intervention and process art.
Scott is a Regina-based performance, installation and new media artist whose work examines the ideas of shame, power, truth and the self, with a common thread of humour. She is a founding member of the Regina-based performance art collective One Night Only and has presented work across Canada. Her current project can be seen at www.livejournal.com/users/my_cats_paint/.
Sereda is the artistic director of Curtain Razors based in Regina, Saskatchewan. She has an extensive performing history that involves traversing between the worlds of theatre,dance,and visual arts. She is a graduate of the University of Regina Theatre Department and has studied with various organizations across Western Canada such as the Western Front Society, One Yellow Rabbit, New Dance Horizons, and Experimental Dance and Music.
The Skeleton Crew is a group of subterranean subliminalists dedicated to making art that is gritty, giddy, and inside-out.
A dance artist for the past 20 years, Stewart has worked with a number of Canadian contemporary Dance companies and choreographers including: Rouge - gorge, Toronto Dance Theatre, Battery Opera, Sarah Chase, Lola Dance, Dance Theatre David Earle and Bill Coleman, to name a few. In 2003/04 he enjoyed the posting of Guest Artistic Director with Mascall Dance and had the good fortune of collaborating with Robin Poitras, Sarah Chase and Jennifer Mascall to create Reve a Deux. This past winter he taught contemporary dance technique at Simon Fraser's School for the Contemporary Arts and he has most recently completed his Yoga teacher training with Kate Potter.
Streifler was born and educated in Winnipeg,where she received a B.F.A.Honours from the University of Manitoba in 1980. She lived in New York from 1980-86, earning an M.F.A. from Hunter College of the City University of New York in 1983. She currently lives and works in Regina, where she has been a professor in the Visual Arts Department at the University of Regina since 1986. Streifler's work has received recognition in the form of grants and inclusion in public collections, notably The Museum of Canadian Contemporary Photography, the Canada Council Art Bank, the MacKenzie Art Gallery, the Kenderdine Gallery, University of Saskatchewan and the Winnipeg Art Gallery. She was an artist-in residence at Toronto's Open Studio in 2001, where she produced a suite of screen prints titled “Freakshow Revisited,”which focused on the subject of circus freaks.After a well received exhibition, “NORMAL,” originating at the Dunlop Art Gallery, Regina in 1997 and touring throughout Canada, Streifler became known for her work on body image and feminine identity and she has since given numerous workshops on these issues. Her next workshop will be in January, 2006 in Hawaii at the Hawaii International Conference on the Arts and Humanities.Streifler works in the mediums of drawing, painting, photography and text, and her current work is focused on issues of the maternal body and practices of Mothering. Recent exhibitions include: Open Studio, Toronto, winter, 2001, The Beaverbrook Art Gallery, Fredericton,spring,2002; Womens'Art Resource Center, Toronto, spring, 2003, and Neutral Ground Artist Run Center, Regina, fall 2004. New work will be in a group exhibition featuring U of R Visual Arts Department faculty at the MacKenzie Art Gallery from December to March, 2006.
Thompson is a writer currently based in Montreal,where she is completing her dissertation on the choreography of everyday movement. She is assistant professor of dance at Marymount Manhattan College in New York, and a Ph.D. candidate in the department of Performance Studies at New York University. Her articles have appeared in The Drama Review, Women and Performance, Theatre Journal, Ballettanz International, Dance Ink, Dance International, Canadian Art, Bordercrossings, the Village Voice and the Globe and Mail.
Tremblay received a BFA in Drama for the University of Regina in 1987, and a Diploma for the Vancouver Playhouse Acting School in 1989. He was co-founder of Noises in the Attic, a theatre company mandated to produce and create new Canadian plays on the fringe festival circuit across Canada, and from 1996 to 2002 was Artistic Director of Catalyst Theatre in Edmonton where he wrote, directed, produced and performed. His time at Catalyst resulted in over thirty awards and nominations for outstanding work, including two Scotsman Fringe First awards for outstanding writing. He has taught at the University of Regina Theatre Department, was a resident artist at the Globe Theatre in Regina, and was Artistic Director for the National Artist Program for the 2005 Canada Summer Games. Presently he is completing his script “George Dandin” for the Globe Theatre's 2005-06 season.
Producer of dance at the National Arts Centre in Ottawa for 12 years (1988-2000), Udashkin, recipient of the Chevalier dans l'Ordre des arts et des lettres in France, has had a vast experience in the field of dance in Canada and around the world. Recognized for his sense of innovation and his support for artistic creation,in particular for emerging artists,Udashkin developed a system of co-production at the NAC which invested more than $ 2 million in new creations in dance in twelve years. His many experiences in the field include artistic director of the Winnipeg International Dance Festival (1991), producer and artistic director of the Festival of Canadian arts of Mexico in 1993, initiator and artistic director of the Week of Canadian dance at the Festival of Châteauvallon in France (1994),co-producer (and disk jockey) of the Canada Dance Festival (1990-2000), initiator of the Department of Electronic distribution at the NAC (winning an Emmy award for the Le Dortoir), editor of a book on the dance photography of Cylla von Tiedemann, photographer, lighting designer, marketing director, administrator, technical director, and general manager of the Margie Gillis Dance Foundation, La La La Human Steps, and Compagnie Marie Chouinard. Udashkin was the founding director of programming of TOHU - la Cité des arts du cirque in Montreal, which opened in 2004. He is currently developing a project to mount Festival Chaosmos, a biannual international dance festival in Montreal, beginning in 2007.
Rachelle Viader Knowles
Originally from the UK, from a Mauritian family, Viader Knowles studied at Cardiff College of Art and the University of Wales College Newport before moving to Canada in 1994 to pursue a MFA degree at the University of Windsor, southern Ontario. Since graduating in 1996, her works have been exhibited in solo exhibitions across Canada, including the Art Gallery of Windsor, the Red Head Gallery, Peak Gallery and YYZ Artists Outlet in Toronto and the Mackenzie Art Gallery and Neutral Ground Gallery in Regina. Internationally, the video installation We Are Not Who We Were was exhibited in the North American section of the 3rd Kwangju Biennale, South Korea in 2000, in 2002 Nomads Land was included in Ffresh 3, a survey exhibition in Cardiff of contemporary art from Welsh artists and in 2003 her work was profiled in a solo exhibition Home and Other Fictions at Chapter Gallery in Cardiff Wales.Viader Knowles is a past member of the Red Head Gallery in Toronto and she has participated in artist residencies at the Braziers International Artist Workshop, Trinity Square Video in Toronto, Emma Lake in Saskatchewan and the Banff Center for the Arts.She currently lives between Regina, Canada where she is an Assistant Professor in the department of Visual Arts and Cardiff, Wales, her home town.
Walkley is a performer, choreographer, improviser, teacher and certified Laban Movement Analyst. Born in Canada and raised in the Northwest of the United States and the Southwest of Canada, she is literally a North American.From 1980 to 1986 she was based in Seattle,Washington where she cofounded a touring duet company with Christian Swenson as well as performed freelance with numerous Seattle choreographers and companies. Since 1987 Walkley has lived and worked in Richmond, Virginia, New York, NY, Berlin, Germany, Amsterdam, the Netherlands and Vancouver, B.C. Walkley has received subsidies from the Canada Council, British Columbia Cultural Affairs, the Seattle Arts Commission,the King County Arts Commission, the Canadian Embassy/Bonn, EDAM, DanceCorps and the Dance Center in Vancouver, as well as a Graduate Fellowship from Simon Fraser University and an Arts Award for the largest contribution to dance in the Seattle area. In 1996, Helen completed
a MFA in Interdisciplinary Studies at Simon Fraser University and has since been based in Vancouver. In 2002/3 she was an Artist in Residence at the Dance Centre, and in 2003/04 she was an Artist in Residence at the Shadbolt Centre for the Arts.
Wong creates, performs and produces new work for theatre and radio.Recently she has collaborated with Shifting Point Theatre on A Celebration of the Life of Rose Lodz and with Theatre Replacement on The Empty Orchestra.Performance credits included Box Theatre (Theatre Replacement), Killing Caesar (Rubicon Equity Co-op), Maharaja's Daughter (Urban Crawl) and Golden Child (Firehall Arts Centre). Writing credits include co-writing Foreign Bodies (Tangled Tongues Performance), collaborating on the Downtown Eastside Community Play In the Heart of the City (Vancouver Moving Theatre/Carnegie Community Centre) and Other Women (Rumble Productions).She has written numerous short pieces for radio and can be heard playing board games on CBC Radio One's North by Northwest. Wong was artist-in-residence at the Firehall Arts Centre where she directed The Plum Tree and developed and produced The Secret Project (Tangled Tongues Performance). She is Artistic Producer of Tangled Tongues Performance,Associate Artistic Producer of neworld theatre,an Associated Artist of Rumble Productions and a graduate of Simon Fraser University's School for the Contemporary Arts.
Maiko Bae Yamamoto
Yamamoto is an actor, writer, and singer/songwriter. A founding member of Vancouver's boca del lupo theatre, Maiko is a graduate of the SFU School for the Contemporary Arts. Favourite works with boca del lupo include: Drained, Terminal, Charge of the Moon, and most recently, Last Office. Other favourites are: Other Women for Rumble Productions and Burn Gloom for Theatre Anima.Yamamoto is a member of the band guchokipa! and recently performed at the Vancouver East Cultural Centre as part of Asian Heritage Month. She will be seen next in Inside, a new work of solo pieces for boca del lupo theatre coming to the Fringe in September 2001.
Yonge is an extreme performance and video artist based in Vancouver. He is best know for his intense performance work involving various forms of self-mutilation and violence, and distinguished by his eccentric and committed approaches to art and self-presentation. His work has been shown widely across Canada and in the U.S.
Youth Ballet Company of Saskatchewan
The Youth Ballet Company of Saskatchewan, under the artistic direction of Connie Moker Wernikwoski, is a pre-professional youth company including approximately twenty dancers from ages 12 to 23, who are trained in both ballet and modern dance. The company presents work by renowned local and Canadian choreographers. The repertoire ranges from classical ballet to contemporary ballet to modern dance to more experimental work. The company is committed in forging new ground in work for youth, especially in helping them find their own voice and to contribute to the choreographic process. Another priority of the company is to engage in collaborative projects with artists from other disciplines.
Envision endless miles of rolling hills and hidden coulees, where buffalo once roamed and SittinBull took refugeNow - picture dancers moving across the landscape, kites flying, a dance festival onmain street, an Aeolian Harp being played by the wind. Inspired by native prairie grasslands and thesocial and cultural history connected to it,Grasslands - Where Heaven Meets Earth - was an outdoor performance telling the stories and celebrating the community surrounding the Grasslands National Park in southwest Saskatchewan. It told the stories and celebrated the communities surrounding the National Park and their relationship to the land:ranching families, historical aboriginal settlements, the town of Val Marie, local artists, and the inspiration of many other professional artists from across Canada. ‘Amazing’, ‘transformative’, ‘empowering’, ‘community building’,‘thought-provoking’ describe some of the reactions of the more than 800 spectators,performers,and community participants who witnessed and took part in Grasslands.Common Weal Community Arts facilitated community-based projects and the creative vision of Montreal choreographer Bill Coleman that culminated in an outdoor site-specific performance. Visual artist Edward Poitras was the major visual collaborator in set, installation, and costume;Ontario based composer Gordon Monahan created original soundscape short band radio broadcast for the procession of 400 cars into the park; other dancer/ collaborators included: Margie Gillis (Canada’s National Treasure) ,Johanna Bundon, Katherine Oledski, Robin Poitras, Krista Solheim, Jennifer Dahl, David Pressault, Peter Trotzmer, Carol Prieur, David Earle, and Laurence Lemieux. Marnie Badham, GM of Common Weal, will show clips of the video documentary being produced from the event. She will discuss Common Weal’s artistic vision of Artist and Community Collaboration and its relation to audience development, or rather- engagement. Her presentation will speak to the development of community ownership and the promotion of cultural identity through artistic expression.Common Weal is a provincial arts organization that links artists with community to promote social change and provide a forum for voice. It has been Common Weal’s experience that participatory, community-presented arts projects involving collaborations between aspiring artists and mentoring professional artists make significant contributions to the broader arts community. We look to the communities with whom we work to provide us with their own definition of culture and their own understanding of the issues their community faces.These unique expressions of social values, beliefs, and attitudes are often communicated to the broader public through presentation of the work in order to create the forum for dialogue and hopefully, understanding.
“Principles for a New Producing Paradigm”
Drawing on the practice of Mammalian Diving Reflex, I will address the challenges of producing theatre in a difficult financial climate when fairness, creativity and workplace integrity are essential to the philosophical principles of the company Mammalian Diving Reflex’s catch phrase “Ideal entertainment for the end of the world”expresses our desire to facilitate the end of thisworld – the world of outrageous disparity and despair,of greed and anger, and plain old bad moods.By extension, our work is intended to support and contribute to the beginning of the new – and finally equitable – world, through its form,content and methodology.While the work of Mammalian Diving Reflex can happily be described as political theatre,we have tried to come up with other ways of articulating that idea, so as not to scare our audience with the notion of something prescriptive, something good for you but not very tasty. Something more devious, more subversive is required, and a sense of humour about our own didacticism is more effective than infoladen polemic. By keeping the theatrical standards high we hope to sweep the audience into a new state of mind so that observers become participants and consequently implicated in our process. Theatre can inspire change in people, and it can drive them to act; at best it is catalytic, not only for our audience but for us too. If it changes us, not only by the content we choose to investigate but by the way we go about doing the work, then we are succeeding.Radical work practices make space for radical work, which makes space for more people, more ideas, more interconnectedness, more support, more art and, in the end, more hope.
“Do You really Want to Hurt Me?:the problem of feeling in the criticism of works of art”
Before and certainly after Kant, art has been seen as the domain of feeling. There is a tendency among the world’s greatest thinkers to exile all the messy bits left over from logic analysis and all the human made data that will not compute, to the island of Art. Even the most tough-minded get all mushy and Romantic when their attention turns to the arts. Art is the site of the remainder, the superfluous, the extra-rational and the marvellous, a place where reason is thought to be useless. And yet, there is a species of reasoning, an undisciplined discipline that attempts to make sense with art-criticism.It is a paradoxical and playful form of intellectual inquiry that perpetually seeks to order its subject and become disordered by it.My short paper will consider why intellectuals need art as an extra-rational site,why artists buy into the resulting role and why they have a love/hate relationship with criticism.I will examine both formal,critical writing and informal critique and why artists have such mixed feelings about these intrusions.The underlying subject of the paper is what degree art is play or work and, depending on the degree, whether it should be subject to critique at all.
Kathleen Irwin/Rachelle Viader Knowles
“Space and Subjectivity/Place and Presence”
Citing recent examples of site-specific performance/installation taken from their own collaborative and individual practice, the panelists will explore the notion of representation in space and how subjectivities are made complex when considered through spatial practice. In recent years,a rich body of expression has emerged to question conventional approaches to space. These works reorient the environmental fields that shape the work and the spatial relationships between the spectator, performer, and setting. Attempts to rethink space in performance have led to the creation of exciting new genres, including works that explore technological strategies of telematics and teleprescence and environmental, landscape, community-specific and site-specific work. Though different in form these experiments push against the boundaries of embodied subjectivity. Not only do they reorient the disembodied position that is normally accorded to the spectator-subject, but they also unsettle the subject’s self-conscious and fixed position in space. The panel asks how specific places and related practices can test the limits of performing self in our contemporary, largely urban world. Works cited focus strongly on the notion of subjectivity and the spatial relationships of both the work and the spectator to the site of the performance – specifically the way individuals trace their own paths through the urban landscape of functionalist reality. Much of the work discussed responds to the current ubiquitous focus on the legibility of the urban environment, its simultaneous interiority and exteriority, its intersecting private and public spheres and how the pursuit of spatial intelligibility stands as a dominant cultural activity.
“Interventions in Everyday Life”
A version of this presentation was previously given at College Art Association’s annual conference held this February in Atlanta, Georgia for a panel titled ‘Contact: Works that Create a Community through Physical, Virtual, or Momentary Relationships’ and moderated by artist/curator China Blue.
I will present and discuss documentation of several related public performance interventions such as Houseplant, MileShare, and Advice Lounge. I will further discuss two works in progress planned for New York City in 2006. This work relates to a gift economy, where personal services such as homedelivered houseplants, mile-long walks, advice, messages of love, and video smiles are offered free of charge to strangers in urban everyday locations. Outside of the home contact is fleeting. Perfunctory conversations with the bank teller, the glances of curiosity in the subway, are two simple exchanges in which urbanites make contact with strangers. Our idea of contact is primarily a utilitarian one. If one would map these momentary gestures or actions the result would be a web of actions that formulate our social fabric and create the essence of a community. It is by constantly re-engaging these actions in our community that the social network is configured. It is a process that triggers a person to pay attention. Collectively my projects are part of an ongoing series of interventions in public spaces that attempt to arrest everyday activities from their usual associations. Meaning-making is an activity that is shared between participant and artist. As co-authors, the two parties are equally necessary for the project to occur and while the artist is not separated from the work, the audience is not in awe of it. It is entirely possible that the work may not be recognized as Art. I am interested in moving from neighbourhood to neighbourhood in order that I am always the stranger and that the audience is always new and primarily ‘found’.
During Houseplant, I invited strangers to choose a houseplant from a storefront installation and call me to arrange a delivery. I would then visit them in their homes and help them find a location for their new plant.Houseplant was performed for five months in New York City,sponsored by The Lower Manhattan Cultural Council and The Town Hall Gallery in Flushing, Queens. In MileShare, I invited passersby to walk or run a mile with me in their city.I asked them to choose a mile of personal significance, inviting me into dialogue about their socio-economic-politicalpersonal arenas. This project was performed at The Cleveland International Performance Art Festival and CAFKA in Kitchener. While some participants acted as tour guide, others took the walk as a free ambling adventure or an exercise. For Advice Lounge, a website and performance, I invite strangers to visit a URL online or via facing laptops on site, in order to seek free advice.
Advice Lounge has been performed in Saskatoon (Spasm Public Art Festival); Tallinn, Estonia (ISEA2004);Vancouver (New Forms Festival); and The University of Utah’s Symposium on Art and Technology. New York is notoriously unfriendly and anonymously cold. I will also discuss plans for my upcoming Free Smiles and I Love You projects. The first uses public video kiosks, handheld devices, and the web to gather smiles of passersby in an urban setting and offer free smiles on a busy street. These projects have received support from The Canada Council and Pace University. Thsecond uses purchased and returned items to distribute a message of love to random consumers. The work I have undertaken has created community through Physical, Virtual, and Momentary relationships. My intent is to show how the process of establishing relationships creates content in art production, the methods that are being used to create these relationships and how these methods create and reflect a sense of temporary community.
“From Stage to Exhibition Space: Remarks on the Afterlife of Performance”
There has been increasing interest in recapturing key moments of performance history within the context of museum exhibitions. Examples include the recent Trisha Brown retrospective at the New Museum-a show that included Brown’s drawings, choreographic scores, dance films and photographs of performance-and Norman Frisch’s “Show People”at Exit Art-which assembled five discrete environments made by American theatre practitioners, drawn from their performance archive of films, objects, notes and so forth.Focusing on my own experience as curator of Marking Dance:Documents from Judson Memorial Church,presented at New York University in fall 2002, this talk reflects on how the archive revises performance and performance history, and considers how museum display may memorialize original performance work.
Canadians are hungry for the interactive experience. Not only that, we are ready for fun. No longer satisfied with passively watching characters and situations develop onstage, in movies or on TV, we demand participation.We dial in by the millions to vote for idols, idiots and fifty tracks.We yell out suggestions from the crowd.We watch for tongue-in-cheek references to current events. Anything that can connect our quotidian lives with the performance presented by the media.Yet the art form that has the potential to be most interactive, the medium that draws audience and performers together into a shared experience, is suffering from falling attendance and stagnant imaginations. It isn’t fun anymore. Vancouver-based, freelance theatre-maker and broadcaster Adrienne Wong has extended her practice into radio and in an attempt to cultivate interactivity and fun over the airwaves.
Seeking an immediate interface with the audience and a shared, real-time experience, Wong founded North by Northwest Games Day with host and producer Sheryl Mackay. North by Northwest is aired across British Columbia from 6:00 – 9:00 a.m. Saturday and Sunday mornings on CBC Radio One. Using the familiar medium of board games,Wong and Mackay created an interactive site for play that extended across the province. On Games Day, callers play games like Scrabble and Celebrities, jamming the switchboards and connecting across kilometers. In her paper “Your Turn,” Wong exposes the impetus for founding Games Day, successes and challenges of playing board games over the airwaves and imagines future directions for the initiative. Wong will also present archived audio clips from the Games Day events and may even try to play a game with whoever shows up to listen.…
Maiko Bae Yamamoto
“Tiny Thinking: Building for a very Small Stage. Box Theatre”
The Vancouver theatre scene is fast gaining national and international attention for its site-specific works. With this summer alone seeing two huge site-specific spectaculars happening in Stanley Park and Granville Island respectively, it made me ponder why these works do so well here. The answers were obvious to me, they combine two things we in the west love most: being outside in the summertime and a kind of contagious city pride; reinventing favorite spots we all know and love. I couldn’t help but get lured in by the other possibilities. If we can challenge our audiences and tell them to look up, across and around,we can certainly ask them to enter a small box and watch a play unfold one on one: that is, one actor, one audience member. Nose to nose.That’s not asking too much, right?
I first encountered box theatres at Cervantino, a huge international performance festival in Guanajuato Mexico. Part of the uniqueness of this festival are, funnily enough, its huge, outdoor, large-site works, which are equipped with such things as inflating castles, hot air balloons and pyrotechnics, and its street theatre.What interested me most about the box theatre is the uberintimacy it seemed to create between two people in the midst of these huge roving crowds. For the moment, you are confined to a very small space and you are undeniably engaged with this stranger performing in front of you.What’s more,from the outside,watching someone go through the performance is a show within itself. The performer is madly moving arms and legs to make things happen on the inside, and this is resulting in audible gasps and squeals. As much as I appreciate all the site-specific works being done here, I like theatres. I like the bells and whistles that come with performing in theatres, and I like the control. My company, Theatre Replacement, was commissioned to produce a show for the annual Powell Street Festival (a celebration of Japanese Canadian culture) and I proposed the idea of BOX THEATRE. This summer, I will be performing and directing 6 shows for the tiny stage. The boxes will be on stage at the Firehall Theatre and also on site at the festival grounds in Oppenheimer Park. Already, as I begin to build my box and my show, I am facing some interesting challenges. My paper will focus on the process of creating BOX THEATRE and the specific challenges inherent to working in such a tiny scale.