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
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/
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.
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
Please join Amanda Browder for the unveiling of her new fabric installation sponsored by Fourth Arts Block (FABnyc) www.fabnyc.org
FAB FESTIVAL / OPENING
SATURDAY SEPT. 28th 1-5pm
LOCATION: East 4th Street (btwn Bowery and 2nd Ave) - NYC INSTALLED FRIDAY EVE til SUNDAY EVE
“Good Morning!” is a fabric installation that will be draped on the facade of the building located at 72 East 4th Street, NYC. All the fabric is donated by people from the neighborhood, as well the generous support from Materials for the Arts.
Big THANKS to all the volunteers, neighbors, and donors of time and material. After all the PUBLIC SEWING DAYS we have made this amazing project come together. YOU MADE IT HAPPEN…I couldn’t have done it without you.
The FAB! Festival is a celebration of arts and culture in the Lower East Side taking place on Saturday September 28, 2013 from 1-5pm with an annual attendance of over 3000 people. The event hosts multiple stages both indoors and outdoors, as well as food vendors, visual artists, activities and community partners on East 4th St. between Bowery and 2nd Ave.
This will be an exciting project to brighten up the street, bring attention to the neighborhood architecture, and bring together community members. It is important to take time to notice things and share them with others, especially in New York which is so full of creative individuals and energy.
“Good Morning” is being created for the FAB! Festival as part of FABnyc’s SUSTAIN project, with generous support from the Rockefeller Foundation Cultural Innovation Fund: www.fabnyc.org/sustainability.php
I’m on the porch rifling through Barbie posters and notes on what she would prefer when running away to a deserted island. I know Barbie would want to be with Ken. The way “Marianne,” played by Anna Karina in “Pierrot le fou” (“Pete the madman”), ran away with “Ferdinand,” played by Jean-Paul Belmondo, to live in the French Riviera. The couple ran away for two different reasons, and their fears kept them together. At the end of the film, I like to reinvent different outcomes. Perhaps they should have stayed in town.
Photo from kistenet.com
Photo from kistenet.com
Photo from kistenet.com
This argument applies to play with Barbie as well. I take her outside of the box, adjust her arms and legs, and am free to imagine Barbie in a variety of ways. She is Ken’s girlfriend getting ready for date night when I put black high heels on her. She is Midge’s friend getting ready for brunch when I put strappy sandals on her. She is Skipper’s sister getting ready for a yogurt run when I put sparkly flats on her. I assign Barbie various identities, and each time the fictional truths may be compared to real-world cultural representations.
My adjustments to Barbie’s identity are necessary. For many she seems such a frivolous thing. Questions about her importance reinforce the idea that Barbie encourages the creative interpretation of identity. I cannot escape her. I have spent so much time alone with her. Some have not understood, but many have been supportive—my man included. (I say “man” because after a certain age “boyfriend” just doesn’t seem to be able to sustain the weight of an adult relationship.) Things changed along the way. I changed when I got close to the essence of Barbie. I got close to myself. I learned to trust myself. I learned about the superficial sting.
I also know that Barbie is “plastic” and “anatomically incorrect”—like some “real” women that I know. But, she’s gotten a “bad rap.” I know that I “just can’t change” the opinion of some. That sometimes it just “is what it is.” That Barbie is made for “art’s sake” and that some “art” is inspired by Barbie. That Barbie “inspired” the long list of female characters of La Nouvelle Vague. Consider Artist Nickolay Lamm’s “comparison of bodies.” Lamm suggests that the “average” woman’s body is “no match.” In fact, Lamm found “unrealistic measurements of 36-18-33, compared to the typical 19-year old girl’s 32-31-33” (Revealed: What Barbie would look like as a Real Woman). This explains why Barbie can’t stand-up on her own.
I’ll admit, I “agree.” She sends the “wrong message” to “impressionable” girls. Barbie is not for the “weak.” I learned this my “first year” in Chicago. We went to some “pop-up” art gallery on a Friday night and there was Barbie—“decapitated,” lying in the “middle” of the room, on the “floor.” I asked the artist “why” he’d done this. He calmly, “sipped” red wine out of a mason jar, said “I used to do this to my older sister’s Barbie when I was a kid.” He then joked about Barbie’s “power” to revert him to “childhood.” This has always stayed with me. Barbie brings out the angry adolescent in every adult.
Who is not disappointed, enchanted, or tempted by Barbie? Most days, in the world of Barbie, the view from the porch provides a narrow balconyscape which hosts the angular silhouettes of red-tipped bricks. Sometimes we have company and they join us on the porch. In these moments the table is cluttered with wine glasses, water crackers, cheese platters, Barbie, Midge, and Skipper. On an eventful evening, Barbie is a kaleidoscope twirling from hand to hand. Soon we are scampering. There aren’t enough hours. There is never enough time, just the way time ran out for “Ferdinand.”
Soon, I feel the twin twinkle of goodbye kisses. It’s just me at the door. At the heart of La Nouvelle Vague is a breathless, powerful glance because it is difficult to turn away from the beautiful tragedy. It is difficult to answer and dispute the fullness that Barbie deserves. I only rarely come close to completing the lanky jigsaw puzzle. I cannot really see the end. The journey is mine, this Barbie pink path that leads to the unknown, the pink purgatory.
Jamie Kazay teaches in the English Department at Columbia College. A California native, she holds a BA in English from California State University, Northridge and an MFA in Creative Writing, Poetry from Columbia College. She co-curates the Revolving Door Reading Series and is currently reading of a lot of Camus, Derrida, and Dorothy Allison. Her collection, Small Hollering, was published by Dancing Girl Press in 2011.
However, there were still plenty of artistic experiences to be had in the last two weeks of June.
When I arrived back to work at the Indianapolis Art Center I was greeted by a new exhibition called Under Construction that gets more fascinating every time I see it (which is every day). Giant wall “tapestries” made entirely out of duct tape by Garry Noland, paper cuttings of microscopic views of tree bark by Katie Vota, and objects handcrafted entirely out of pennies by Indianapolis-native Stacey Lee Webber.
The very next week at work I had an awesome experience of facilitating an Andy Goldsworthy inspired land art workshop with a group of about 80 urban teens. They made some seriously incredible stuff in just an hour and a half:
The following Saturday I joined a different group of teens on a public art bike tour in the city’s center.
This got me thinking that I should share a few of my favorite pieces of public art here in Indy!
My absolute favorite mural in all of Indianapolis is a bit older though:
Color Fuses by Milton Glaser (1975) on the brutalist-inspired Minton-Capehart Federal Building. (corner of Penn and Michigan)
The mural is a giant rainbow that completely wraps the first story. The mural was recently restored to its former glory, and Glaser’s vision completed with the addition of a fully functional system of lights for enhanced viewing after dark.
I stopped by my friend Megan Hart’s show with Beth Eisinger, Archaeornithology – an Excavation of Urban Artifacts.
All of the objects and imagery included in the show were found in the neighborhood I live in on the near southeast side of Indianapolis – Fountain Square.
The show included Beth’s incredible (and affordable) handmade bird’s nests:
Including an enormous human-sized one:
Megan is fascinated with the act of collecting and categorizing urban artifacts (trash) to learn about the secret lives of her neighbors:
This show, coupled with homesickness from being out of town, has got me thinking a lot about art in Indianapolis, and how a lot of it celebrates our city, our neighborhoods, our streets, our friends.
And then, perfectly, this video about my favorite, wacky, DIY theater group, Know No Stranger was released! Video via our central Indiana contemporary art blog Sky Blue Window
Until next month!
Wendy Lee Spacek is a poet who lives and works in Indianapolis, Indiana. She likes her city very much. She is a core volunteer of the Indianapolis Publishing Cooperative (Indy Pub Co-Op), publishes small editions of handmade books under the name Soft River and is an arts administrator at the Indianapolis Art Center. She will be posting monthly all summer long about her encounters with art, culture, creative experiences and resources in her city.
Everyone knows that going to a museum or a gallery is usually more trouble than it’s worth. What, with all the disapproving glances, heady talk and questionable wine selections. Wouldn’t it be easier just to look at art while you shop? Or during your morning commute to the Loop?
Citizens of Chicago, have no fear. Murals and public commissions are popping up all over (and around) the city. Just this past week the CTA announced the seven artists commissioned to beautify North Side Red Line stations. Lynn Basa (renowned public artist and my former boss) posted this mock-up for her Byzantine glass mosaic that will adorn the Argyle stop on facebook. Basa, who [literally] wrote the book on public art commissions mentioned to me this weekend that she is elated to be creating a public work in her hometown.
Basa mock-up for the Argyle station.
As if the CTA commissions weren’t enough, some of my very favorite Miami artists from Jim Drain to Bhakti Baxter have been descending on the town of Rosemont to complete murals in a new mall scheduled to open sometime this summer. For reasons beyond my comprehension, the ever-relevant New York Times devoted print space to this “ambitious” project. What’s the T? has heard that the mall will also feature an Alvaro Ilizarbe piece that is “his sistine chapel” and worth the trip to the mall-seum. See you there?
Chicago artist, Josh Reames, working on the Drain mural.
Threewall’s ‘Power of Ten’ was a party for way more.
Those artists sure do clean up nice!
Screw Basel and Venice, the Threewalls 10th anniversary benefit this weekend was on point! The Power of Ten at Salvage One had everything – food, drinks, crazy antiques and baubles, steampunk-style old-timey tin-types, circus performers, drink, dancing, a silhouette cutting artist, music, drinks, and even some art.
Even though we still don’t know where they’re moving (do they even know where they’re moving to?!), here are ten fabulously done-up attendee’s in honor of the power of ’10′:
Threewalls Programming Director, Abby Satinsky with artist and curator, Anthony Romero. Abby’s dress is just killer and La Croix continues to trend.
Auction guest curators and Chicago fashion icons, Ben Foch and Chealsea Culp of New Capital with Threewalls Director Shannon Stratton.
Formerly featured on Who Wore it Better, the daper Daniel Tucker and Anthony Stepter.
Artist Jason Lazurus flanked by up-and-comers Raven Munsell and Jesse Malmed. LOVING the seersucker suit!
Face paint was definitely a big winner at the ACRE Block Party last Saturday, June 8th.
Consistently referred to as the worse post office in the world, the Roberto Clemente Branch of the USPS in Logan Square is a wonderfully ‘brick’ building, not in material but in shape. Thats not to say it’s shaped like a brick, but the bricks become different shapes. I say this because brick is on display, not for what it wants to be – sorry Lou Kahn – but for what it tries to simulate. It’s like when Neo sees Agent Smith shrouded in binary code – parts to whole, whole to parts, but without the make-up.
Post office exterior.
Usually used as a traditional building material, mostly flat and controlled through joining patterns, bricks do not become cylindrical columns, filleted edges, curves, almost tapestry like frames for tall beautiful window displays of people waiting two hours for a package, like at the RCPO. Opened in 1937, this building threw me for a loop because I dated it later, but the deco interior and amazing mural insice should have been more of an indication.
The mural in all it’s glory.
The changes in the bricks attitude is mad postmodern, but it was done at the mid-stage of American modernism, lending itself to the deco ideas of streamline. That would explain the curvaceous bod on this beauty, but not her brick dress. Beauty might be only skin deep, but when you use rounded bricks to complete a homogenous cladding of a building that could have been expressed in steel or another more plastic material, you’re trying to say something about normal buildings out there, namely ‘who cares what the brick wants to be.’
Located at 2339 N California Ave, Chicago, IL 60647
SLAC studios take hold on Milwaukee Ave
Artists revitalize storefronts in advance of MAAF
If you live in Logan Square you’ve probably been wondering what happened to that garrish pink bakery on Milwaukee Avenue near the Spaulding Blue Line stop. Unwilling to let it lay dormant, Gwendolyn Zabicki, founder and director of the South Logan Arts Coalition is putting this and other vacant storefronts on Milwaukee Avenue to use. SLAC’s studios will be open to the public with exhibitions featuring a total of 40 artists during the 2013 Milwaukee Avenue Arts Festival, June 28-30th.
What’s the T? caught up with Zabicki and some of the SLAC artists for sneak peek of what SLAC has in store for MAAF:
Location to Station: Help my ACRE homies fulfill their vision quest to super rad places like Cahokia. The artists are all super talented, and the “perks” for donating are real sweet.
ACRE Kitchen: ACRE does a lot of intangible things for the over 90 artists who visit the residency in Wisconsin each summer, but one of the most substantial and delicious parts of the program is feeding everyone twice a day. Anyone who’s been to ACRE knows the food is awesome, fresh, sustainable, all that jazz and the staff is tireless. Help ACRE help you! Plus it’s tax deductible. Hurry! There’s only a few days left!