Guest Post by Autumn Hays
Let us start off by acknowledging that there is a distinct difference between Queer and Transgender subjects. It’s important not to lump these two together. Though related and often overlapping, these are not interchangeable terms. Queer being a reclaimed pejorative for gay, and transgender being a person whose self-identity does not conform unambiguously to conventional notions of male or female gender. (see more.) With that in mind what I would like to look into a reoccurring concern in the discussions that take place around both queer and transgender performance art.
In the last month I have seen multiple panels touching on the subject of new Queer and or Transgender works. There was a definitive connection between all panels: and attempt to shake up current the definitions, and what some define as new codified zones of safety. When I say zones of safety, I am referring a kind of identity politics that sits safely in a form of expression that is confortable enough for new standards of acceptance. Artworks that sit in this comfort zone fail to realize the full potentiality of the subjects and often begging to forum it’s own predictable cliché. The challenging of the formulation of a tamed queerness or transgender performance is an often-highlighted theme appearing in new works. The formulation of a safely circumscribed zone undermines the attempt to reconsider the subject due to an inadequate scope.
Queer and or transgender arts panels often attempt to define the new wave of artists making work in these areas. Today many artists are attempting to define a new direction that departs from the identity work that came out the 80s and 90s. Often these earlier works are ascribed the quality of crying out for recognition. Much of the work being produced today is looking for finer definitions, as opposed to this preliminary awareness.
We could go on to talk about the subject of the word Queer as discussed during the roundtable “New Queer Aesthetics” in late October. Queer New York International Arts Festival (QNYI) had come to Chicago to exhibit a Queer Fest as an extension of the one in New York at Defibrillator Performance Art Gallery . The Chicago show featured artists Suka Off, Bruno Isakovic, Gabreiela Mureb, and Keijaun Thomas. Queer fest distinctly pulls itself away from other Queer festivals which they feel are accepted ideas of the term Queer. As one of the festivals curators, Zvonimir Dobrović, explained, the festival seeks to redefine and challenge preconceived notions of the term Queer. Not all work is made by the LGBT community and instead is defined loosely by a sort of norm-challenging ascetic. After struggling through various definitions, redefinitions, embracing, rejections, fears of washing out the word of meaning completely, and other post-modern linguistic dilemmas an audience member mentions queerness in regards to race, specifically the colored queer. Why is this important? Because the conversations began to progress from the semanticlogical, what is Queer, to what are current Queer issues are concerned about, who are we dealing with the queer female of color in art today.
This November I attended a panel at the School of the Art Institute of Chicago. Transgender / Arts : A roundtable on the future of transgender cultural production, which included panelists Trish Salah, Jules Rosskam, Julian Carter, David Getsy, and Micha Cárdenas. During the panel many valid points were made about Transgender art. Micha Cárdenas presented important question to the panel, “Where are the trans women of color in art?” Many of the panelist themselves who specialize in Transgender arts could in fact not think of a single artist. The panel began to discus a kind of film festival, performance and art transgender normative narrative. A washed down version, where you began to see something constrained, not quite all the way there. Sitting in a place somewhere in academia where it is comfortable and safe.
How does performance readjust and challenge Queer and Trans identity without losing site of the community in general? There is something that happens to us when we are about to fully realize the other; we find a way to compromise, to only go so far. Many Queer or Trans artist today are attempting to push at the boundaries of a newly accepted normative narrative and point at the things we are forgetting, those who still don’t have a voice. The Art world, the world, is still white male dominated. In a way the lull of sleep we put ourselves in this supposedly post-feminism, post-racism, post- sexism, post-gender issues world that we keep referring to as better than it was before is more dangerous. Because hiding under that comfort is the fact we haven’t changed all that much, we should be forging new grounds and making sure it doesn’t fall asleep.
If I was asked where the new queer or trans aesthetic is headed today, I would say somewhere within the struggle of continuous disturbance, in the understanding that things aren’t there yet and we have to keep shaking it up, shaking ourselves up, so we don’t become our own worse enemies, the perpetuators of a normative Queer of Trans identity. As performance art specifically keeps pushing on with another panel at the Hemispheric Institute for Performing Arts, this week discussing “Race & the Colonial Impulse: Queer Performance Practices”, I look forward t a continued discussion that bridges gaps in the dialogue between racial queer and transgender issues in the arts.
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 Directing Coordinator of the Rapid Pulse International Performance Art Festival. www.autumnhays.com
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.
This week: Duncan, Richard, and Jason Dunda talk to a cast of thousands led by Jen Delos Reyes!
Jen Delos Reyes is an artist originally from Winnipeg, MB, Canada. Her research interests include the history of socially engaged art, group work, band dynamics, folk music, and artists’ social roles.
She has exhibited works across North America and Europe, and has contributed writing to various catalogues and institutional publications. She has received numerous grants and awards including a Social Sciences and Humanities Research Council of Canada Grant. Jen is the founder and director of Open Engagement, a conference on socially engaged art practice and herself speaks widely on Art and Social Practice at conferences and institutions around the world.
Jen is currently an Assistant Professor at Portland State University where she teaches in the Art and Social Practice MFA program.
photo credit: Motoya Nakamura
This week: Duncan live from LA! This week he talks with artist Sarah Conaway.
Sarah Conaway (b. 1972 York, Pennsylvania) makes seemingly straightforward photographs that invite us to think magically, imbuing mundane objects with mystery and potential. Her recent photographs—printed in a range of sizes and primarily in black and white, with an occasional work in vibrant color—capture a series of actions set up by the artist in her the studio. Beyond the objects or materials that they portray, they express a residue, aura, or presence that we sense but do not necessarily see depicted. Although the act of photographing her sculptural constructions and still lifes—at times as ordinary as a crumpled strip of canvas or a piece of string—reduces the subjects’ dimensionality, it focuses our attention on texture, light, and shadow—and the sheer pleasure of looking. Conaway’s techniques are deceptively simple: her touch is light, the scale of the forms uncertain, the color and contrast stark. These arrangements of simple materials and common objects reveal their potential as architecture, figure, landscape, fantasy, or apparition while maintaining a tenuous state of balance and compositional harmony.
This week: We talk to artist, podcaster and educator David Linneweh. We discuss David’s podcast Studio Break and his kickstarter campaign “Remembering Place”.