The Rise of the Performance Art Festival in the USA

December 17, 2013 · Print This Article

Guest Post by Autumn Hays 

Over the last few years within the United States a growing interest has arisen in festivals that specialize in Performance Art, that offshoot of the visual Arts, who’s practices center around temporal body-based works. This festival-circuit format for showing performance based art works has already produced a strong development in terms of organizations and events outside of the United States. Often however it’s difficult for American performance artists to break into these circuits. Although there have some who have successfully done so, many festivals go years without showing a single American performance artist. This could be for many reasons, but one is certainly the relative lack of funding. Often the diplomatic and cultural establishments of foreign countries, such as embassies and consulates assist artists with expenses so that they can make and show artworks outside their country of origin. In the USA however, we do not invest money in the arts to the extent of other countries and thus American artists often have less accessibility to funds outside of their own pockets.

Arahmaiani. Rapid Pulse 2013. Photo by Arjuna Capulong

Arahmaiani. Rapid Pulse 2013. Photo by Arjuna Capulong

Performance art festivals are often intensive endeavors, involving a diverse group of international artists. Always on very tight budgets, these festivals often seek to supply food and housing for the artists for the duration of the festival, often lasting from several days to weeks. Unlike showing at a, gallery the festival becomes a sort of community or summer camp. Here artists and curators network and meet performers from all over the world. Viewership is open to the public but there is a community of support at many festivals where artist see each-other’s works, often living together and sometimes collaborating on the fly. Festivals are often popular for performance art as spaces willing to show the work, or spaces aware of the needs of exhibiting performance art are often few and far between.

The good news for performance artists is, the USA is starting to develop their own performance art festivals. These festivals seek to bring international artist to the USA while showcasing local talents. It will be exciting to see what other festivals are brewing here in the United States and some in and near Chicago itself. Here are three festivals to look for this year:

 

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     Lone Star Performance Explosion

     Huston, TX

     February 19-23, 2014

 

This is the second time around for this international performance art      biennale after a successful run in 2012. “LONE STAR EXPLOSION 2014 seeks to showcase performance art that pushes the artists and audience in new ways, especially performance art that questions fundamental assumptions about the way we experience time, space, relationships, the self, society, and sexuality. “ As many of our festivals on this list the line up features local, national and international talents in Performance Art. Lone Star Explosion 2014 is curated and directed by Jonatan Lopez and Julia Wallace. Confirmed artists include: Elia Arce (Costa Rica), Marce Sparmann (Germany), Natalie Lovleless (Canada), J. Morrison (NYC), Ryan Hawk (Huston), Roberto Sifuentes (Chicago), and over 25 more artists. http://lonestarlive.org/

 

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Rapid Pulse International Performance Art Festival

Chicago, IL

June 5-15, 2014

 

This is year three for Rapid Pulse International Performance Art Festival, taking place here in Chicago. “The RAPID PULSE INTERNATIONAL PERFORMANCE ART FESTIVAL aims to represent a range of styles and forms in order to provoke thought and stimulate discourse surrounding performance art.” This intensive festival features performance,  video screenings, artist’s talks and panel discussions. It includes a wide range of performance art from durational, public, and digital based works. Unlike the rest of the festivals on this list Rapid Pulse is centered in and around Defibrillator Performance art Space as opposed to being a wide range, multi-venue event. Artists have yet to be announced but the application period is closed and the curatorial process is beginning. Rapid Pulse is curated by: Steven Bridges, Julie Laffin, Giana Gambino, and Joseph Ravens.  http://rapidpulse.org/

 

 

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Supernova Performance Art Festival

Rosslyn, Virginia

June ?

 

Super Nova first took place in June of last year and word is the event will be back again this year. “SUPERNOVA will bring together emerging and established local, regional, national and international performance artists to present an expansive range of positions and approaches to performance art.” Though not confirmed Supernova came together well last year showing and they have to potential to continue on this year. Tough mostly national based artists, Supernova has the bones of a strong festival and hopefully they continue. Supernova’s 2013 Chief Curator was Eames Armstrong. http://rosslynartsproject.com/

 

Lone Star Explosion 2014

Lone Star Explosion 2014

The question that arises with these projects and others like it is one of sustainability. Performance Art festivals are often struggle all year to find funding for the next event. Often performance artists who wish to see this kind of festival thrive in the USA produce these festivals. These factors, and the fact many performance art specific festivals around the world struggle to stay open make the running of an international festival a labor of love, to say the least. Even if these festivals eventually come to an end, the recent creation of these festivals might be pointing to a new trend in performance art exhibitions in the USA. Hopefully the adoption of the festival format international performance festivals will continue to propagate more opportunities in the exhibition of performance art. It will be interesting to see if the new trend in festival production will flourish in the United States and if festivals like these will run strong and multiply in the years to come. Perhaps, the appearance of American Performance Art festivals, and the participation of American artists in them, may lead to an increased interests in American practitioners of performance works both at home and abroad.

 

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Autumn Hays is an Artist, Curator, Teacher and Writer. She graduated the School of the Art Institute of Chicago with an MFA in Performance where she received the John Quincy Adams Fellowship. She received her BA in Visual Arts at UCSD. Hays was the recipient of numerous scholarships, grants and awards including two major Jack Kent Cooke association scholarships. Currently she is assistant curator at Defibrillator and Co-Producer of the 2014 IMPACT Performance Art Festival. www.autumnhays.com




The Centre For Innovative and Radical Fishmongery

November 8, 2013 · Print This Article

(c) Joe Lovelock

(c) Joe Lovelock

To respond to the art world with a fish may be a surrealist gesture. But to respond with an entire fish counter, complete with fishmongers in white boots, ice and creative displays of the seafood itself, is surely pushing the 20th century genre to breaking point.

Such is the effect of the so-called Centre for Innovative and Radical Fishmongery, spotted in public at Sluice Art Fair, London, late October. Amidst the plentiful art for sale, the wares at CIRF included a scrambling pile of langoustine and a sinister-looking hake chewing on a lemon.

The artist behind the project is Sam Curtis who came to fishmongery by chance in 2006. A part time MFA at prestigious art school Goldsmiths necessitated finding work. By strange twist of fate, he found an opening on the fish counter at luxury department store Harrods.

“I decided to kill two birds with one stone,” he tells me when we catch up via phone. “I was under a lot of pressure to make work and earn at the same time, so I turned the day job into a studio, into a springboard, a platform for creating new projects.”

Curtis took his fishmongery skills back to successful crits at Goldsmiths. “I called it working in stealth mode, an undercover residency where my employer and my colleagues weren’t aware of the things that I was doing, what I was taking from the job, until the end,” he says.

After leaving this post, the artist blew his cover. “It was hard for them to grasp, in a way,” he says of his erstwhile colleagues, and equally hard to get their heads round was the film Curtis went on to make about them, “about their creativity and how they potentially see themselves as artists”.

“There’s a performative aspect to it,” says the artist of his former trade, and, “There is a lot of theatre there,” he says of his former workplace. But he now sees his installation at Sluice as a conceptual piece, and one he hopes to be able to tour.

“Fish are different all round the country,” he explains, adding that he hopes to collaborate with more fishmongers and artists alike. Pre CIRF, in 2011 he completed a residency in a fish shop in Penzance, Cornwall. There are clearly openings for artists working with fish.

But his new project is nothing if not inclusive. For the London art fair, Curtis invited half a dozen visiting artists to make their own displays. He can now add their ideas to the ever growing repertoire: “They created displays that I would never have done,” he admits.

And with an art fair audience already primed for excitement, Curtis can claim reactions of genuine surprise towards his intervention at Sluice. With plenty of conversation about fish, there was also an interest in day jobs in general and ways in which they can be creative.

Curtis says that artists and creative types are highly prone to disappointment in the realities of working life: “Your expectations aren’t really fulfilled quite often, because you might have more glamorous ideals about what being an artist is.”

By contrast, the fish-loving artist also says: “I’m interested in treating life as an artwork. Hence the turning of day job into a residency. I think if you can inject creativity into the more banal parts of your life, you’re more likely to become fulfilled.”

“I’ve always played on the fact you can insert your practice into your day job, no matter how far detached away from art that job is.” But even Curtis has his moments of doubt, having recently taken on a new full time job, he admits to being “slightly scared” about losing time for his art.

“As to what the best day jobs are, I don’t know,” he says, having tried working in a gallery and not liking the experience. “I prefer being quite far away from the art world.”

The trick is surely to become Innovative and Radical in everything you do, be that showing fish alongside video or giving away seafood at an art fair. “In terms of fishmongery and the radicalization of fishmongery I don’t think we’ve reached that point yet,” says Curtis. CIRF is clearly going after the big, ocean-going game.

Sam Curtis and the Centre for Innovative and Radical Fishmongery are represented by Division of Labour and were seen at Sluice Art Fair.




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