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.
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:
Lone Star Performance Explosion
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/
Rapid Pulse International Performance Art Festival
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/
Supernova Performance Art Festival
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/
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.
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
Photos will not prepare you for Department of the Interior by Tom Dale, nor will the description: a bouncy castle made from black leatherette. But stepping round a corner at Aid & Abet, Cambridge, UK, there it was, roaring with the sound of an air pump, trembling slightly, inviting allcomers.
“You can’t access this piece,” says Dale, “You have to imagine that you’re bouncing on it, which is twitching the nerves between the brain and the fingertips.” So black leather, as he acknowledges, has never promised so much fun.
This is troublesome. Dale describes the viewing experience as “algebra”, in which you gauge your own reaction against those of other people. “What I’m interested in is an examination of yourself as well as what we see before us.”
The London-based sculptor identifies two opposing pleasures at work here. Along with the idea of a kids’ party, There are he points out “S&M overtones”. One is a public activity, the other very private. “What I think is interesting about the work is it traps two opposing forces,” he says.
In many ways it is this potential for the tasteless which led to the work’s creation. Dale uses the word ‘wrong’ as if the castle is a moral error: “When something is wrong, we are drawn to engage with it. When things are wrong, we want to put them right,” he says. “We want to put the house in order.”
And yet bouncy castles are a fine metaphor for our current circumstances. They represent the soft power which governs most lives in the West. Bright colours and shrieking kids tend to obscure this, but in forbidden leather there’s no mistaking the work of a hidden hand.
There was nearby another monumental piece in which power was hinted at rather than demonstrated. This was High Noon, a red carpet bearing the footprints of a missile launcher: a cruciform image from the crushed and oily outlines of a very heavy stand.
Research is critical for Dale, and he demonstrates as much with a knowledge of obsolete military hardware. He tells me the imprint of this launcher was for a Thunderbird, developed in the 1950s, the last surface-to-air missile that Britain produced.
The artist compares such technology to the convoluted mechanical fantasies of Victorian artist Heath Robinson. “You would fire it into space and press a button and the nose cap comes off and it throws a chain net over the airplane that it’s nearby, which is kind of amazing.”
“What working on this scale has taught me is that you need to do your research. You need to go to places. You need to visit people who supply the materials or the vehicles or the objects you need,” he says. This lets Dale take resulting decisions on a level he calls, “Very microscopic.”
As with Department of the Interior, High Noon invites and frustrates a desire to step on board. “It’s kind of like a homeopathic pill,” says Dale of his cold war trace. So perhaps what both pieces lead to, in their playful way, is an immunity to fear of power structures.
Armed with a recent PhD, Dale is ready with plenty of theories about the effects and the workings of his chosen art form. But according to this audacious sculptor, what he does relates less to philosophy than it does to knowledge.
“It’s about how we organise, how we arrange things, how we fit into these things that we know,” he says. “These works here are, if you like, knots or joints of culminations of a certain kind of knowledge, but then it becomes dissolved.” So, again perhaps, an apparatus of knowledge cannot always stand up to critical engagement, certainly not to comical engagement.
In conversation with Dale, you find he moves nimbly from metaphor to metaphor, and never without a sense of humour. So he will also describe his works as, “being like a ventriloquist’s dummy, but when I take my hand out they’re still telling me things”.
As for the contest between the monumental works he brings to the gallery, and the virtual realm in which we sometimes occupy, Dale states his intention to, “produce an object that releases ideas or discusses things in a different way at a different speed, with a different currency.”
These are left field works from a left field talent. By way of an aside the artist puts forward his latest theory of mind: “I’m beginning to think that our brain exists outside of us as well, that it’s almost like we have an invisible unicorn’s horn type brain.”
“I think there’s a brain which only exists when we start to speak or when we start to act,” he continues, “Maybe I need to work on the formal construction of that a bit”. It does sound like the starting point for another push-me, pull-me sculpture, the visceral brain by Tom Dale.
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