by Autumn Hays
It’s that time of the year again. Summer is here and this tends to be a prime time all over the world for performance art festivals. The best part is, if you are in Chicago you don’t have to go anywhere to experience some of the finest international performance art. Rapid Pulse International Performance Art Festival has entered its third year. This year the dates for the festival run June 5-8th and 12th-15th. This years line up proves once again to be very promising. If you are interested in performance art it is an event not to miss.
Rapid Pulse is curated by Steven L. Bridges, Julie Laffin, Joseph Ravens, and Giana Gambino. Together, they bring a wide range of artists to Chicago each year. Rapid Pulse seems to touch on a wide range of genres, embracing theater, visual art, public practice, video, tech, music, and dance all the while dedicated to presenting work that is essentially performance art. If you have not had much experience with performance art or wish to have more, Rapid Pulse delivers a selection of artists that will provide you with a comprehensive look at performance art all in one festival. The lack of typecasting within performance art and the curation of this festival is part of what makes Rapid Pulse dynamic.
This year they will present works from notable artists, real heavy hitters in the performance art world. One of these artists is Kira O’Reilly (UK/IRELAND) who works with tightly controlled body movements that will leave you mesmerized. Then there is Alastair Maclennan (UK/IRELAND) who creates durational performances and sculptures with eerie and nostalgic objects. The multi-member performance group known for their radical actions and border crossings of all kinds, La Pocha Nostra (USA/Mexico) will also be performing. I’m very excited to have the chance to see Lai Thi Dieu Ha (Vietnam) who created a work that used bird feathers to explore sexual identity in a provocative work that in her home country was extremely controversial. As well as Jason Lim (Singapore) will also present his delicate and introspective work; He is a notable figure in performance art and directs “Future of Imagination” in Singapore.
As expected, Rapid Pulse includes emerging artists who you may not have heard of, but you should get to know. I am very excited to see the work of Jessica Elaine Blinkhorn(US) whose work deals with disability and intimacy, Julie Vulcan (Australia) whose meditative work with salt explores ideas of transcendence, and Raquel Punto(Mexico) who deals with filth as a form of performatve evidence. Aiming to foster a supportive community of performance art and artists here in Chicago, Rapid Pulse also features talented local performers such as Mical Samama, Mikey McParlane, and the Antibody Cooperation, among others. In all they have 28 live artist presentations in vivid, exuberant, poetic, and boundary pushing performances and it is definitely worth attending!
Besides the performances which mostly are held at Defibrillator Performance Art Gallery, Rapid Pulse has a wide range of additional offerings. There is an amazing video series of performance art videos held at the Nightingale Cinema. This year they added a performance art workshop lead by Kira O’Reilly that is an amazing opportunity for local performance makers. Though perhaps not as attended as the performance work itself, the festival offers artists talks and panel discussions that are not to be missed deviling into the cusp of the most relevant perfomantive discourse. Still the jewel of the festival is the live performative events and I know this summer I will not be missing a single performance.
Lai Thi Dieu Ha
Full List of participating Artists: Alastair Maclennan, Alison Crocetta, Anna Brown, Antibody Corp, Boryana Rossa, Carlos Martiel, Diaz Lewis, Disorientalism, Espand, Freya Björg Olafson, Jason Lim, Jessica Blinkhorn, Julie Vulcan, Kira O’reilly, Lai Thi Dieu Ha, La Pocha Nostra, Linda Hesh, Manuel Vason, Matthew Prest, Michal Samama, Mikey Mcparlane, Peter Reese, Raquel, Punto, Sandrine Schaefer, Teoma Naccarato. For the full schedule and more information visit: rapidpulse.org
La Pocha Nostra
“Blind Long-tailed Owl,” Desert Variant of Little Owl from the series, As Walked on Water, Institute of Critical Zoologists, 2011Â Installation of vinyl print, 280cm x 194cmÂ (Exhibition view)
Singapore based artist Robert Zhao Renhui is theÂ Institute of Critical Zoologists
, an organization that â€” for any Doctor Who fans out there â€” would be the environmental analogue to the Torchwood Institute. Â The fictional Torchwood was founded to protect the Earth from supernatural and extraterrestrial threats; with that mandate in hand its employees must remain open and unperturbed by a myriad of strange and uncanny possibilities within the universe. Shrouded in secrecy, however, it attempts to perpetuate the myth of everyday banality, to keep their fellow human citizens free from fear. Although similarly invested in strange zoological proclivities of our non-human fellows, the ICZ is not a secret society. It delves into the multifarious world around us to expose the strange assumptions Â humanity takes for granted about its surrounding landscape. Working primarily as a photographer, Renhui blends fact and fiction to emphasize the idiosyncratic relations between animals, their habitats, and the humans that categorize them. While the result is ecologically minded, Â the dominant effect is uncanny. The ICZ affectively unearths little understood behavioral habits of animals and re-presents them within gallery settings as representational photography, encyclopedic texts, and multimedia installations. Currently ICZ currently has an exhibit,Â The Last Thing You See
,Â up atÂ 2902 Gallery
Â in Singapore until January 5th that examines the act of sight. By demonstrating the shift in perception that would result from a sensitivity to ultraviolet light, ICZ reveals a world familiar to insects while being totally divorced from human experience. ICZ is going to appear in an upcoming series of shows I’m curating atÂ Gallery 400
Â andÂ La Box
“A spider web which is a flower,” Institute of Critical Zoologists, 2013,Â 150cm x 100cm, Diasec
From the series, How to eat bees?
Under ultraviolet light, certain parts of a spider web glow, forming a a pattern that looks like a flower – this is visible to bees, which attracts them.
Caroline Picard:Â How did the Institute of Critical Zoologists (ICZ) come about and what does “animal spectatorship” mean?
RobertÂ ZhaoÂ Renhui:Â The ICZ came about mainly because of my interest with photography and animals.Â A long time ago, I was involved with animal rights activism. At that point of time,Â I was curious with how photography was used in animal activism.Â I contributed a lot of photographs to talk about the plight of animals living in captivity in Asia. I got too emotional and personally involved at one point. On the other hand, I was also using photographs to create my own fictional narratives about humans and animals. In college, my tutor asked me to look at my photographic narratives with my concerns of animals rights together, instead of two separate projects. Slowly, the ICZ took shape. Animal spectatorship, in my work, is very much about the conditions of looking and understanding animals.
CP:Â I feel like you’re interested in the way things are visible and invisible â€” for instance how a human can all but disappear in a suit of leaves, or what a spider’s web looks like in ultraviolet light, can you talk more about how this series of works came together.
RZR:Â My interests are very much shaped by my medium, photography. Photography has always been about a way of seeing. In this exhibition, I was interested in how not seeing is as important as seeing.Â For the longest time, nobody knew why certain spiders weave distinctive markings on their webs. It isnâ€™t logical for spiders to make these markings because then they render an otherwise hard-to-see web visible. Scientists came up with a theory that the markings are made to warn larger animals to not walk into the spider web and destroy it. In other words, the insect trap had a defense mechanism. Â It was not only recently that we realised that most insects see in the UV spectrum, a visual spectrum invisible to humans. Under UV light, the web mimics the shape of a flower. These markings are also visible on flowers in UV light. A spider web that wants to be a flower. I like that idea. A mimic and an invisible trap. Like a photograph.
Institute of Critical Zoologists, “Eskimo wolf trap often quoted in sermons,” 2013, Dimensions variable,Â Installation of diasec, eskimo knife, polyurethane, 200 kg of sodium bicarbonate. Â Â Â Â Â Â Â Â
Eventually, a wolf will approach the knife and begin to cautiously sniff and lick the frozen blood. After believing it is safe, the wolf will lick more aggressively. Soon, the blade of the knife becomes exposed and it begins to nick the wolfâ€™s tongue. Because its tongue has been numbed by the cold of the frozen blood, the wolf is unaware that he is being cut, and the blood it now tastes is its own. Excited at the prospect of fresh, warm blood, the wolf will hungrily lick the blade all the more. In a short time, the wolf will grow dizzy and disoriented. In a matter of hours, it will die from blood loss, literally drinking itself to death. As horrible as this picture is, it illustrates an important truth.
CP: Traps come up in several of your worksÂ â€” Â I’m thinking of your bee trap for instance, or the wolf trap â€” in both instances I feel like you’re somehow able to tap into an animal semiotics, almost, using the bee’s attraction to blue to bring them into the gallery, or using the wolf’s appetite for blood to disguise its sense of pain. What draws you to traps?Â
RZR:Â Michel Foucault said that â€œvisibility is a trap.â€ He meant it in the case of the Panopticon, a prison where the all the inmates were visible to one another, hence creating a system of totalitarian, mutual surveillance. Iâ€™ve been thinking a lot about this statement, but with the trap not relating to the observed, but the observer. Visibility is a trap because we imagine we know a lot through empirical evidence. But what is beyond the visible? Even my interest with animal traps is linked to my interest with photography. A photograph can trap us rather than liberate us. Seeing can be dangerous and misleading because we always have an eye out for the truth. It narrows our vision and the price to pay is not really knowing the bigger picture. That’s how animals get trapped â€“ Â they fail to see beyond what is already presented to them.
Institute of Critical Zoologists, “World Goldfish Queen,” 2013, from the series A Guide to the Flora and Fauna of the World,
CP:Â You have a book that just came out! How long did it take for you to make it? What does it contain?
RZR:Â A Guide to the Flora and Fauna of the World is an encyclopedia of man-made nature. It started of with the goldfish. Why doesn’t the goldfish have a scientific name? Why is it not included in any natural history encyclopedia? Today, the goldfish is a very common fish and in China, they recently held a competition for the World Goldfish Queen. I wanted to find out if there was a book that the goldfish can exist in other than a decorative aquarium trade fish. I started looking at other aquarium fishes that were artificial and slowly branched out into other animals and plants affected by aesthetic modification, ecological conservation, pollution, evolution and genetic-modification. It took me about a year to create the volume. Included in the book are my past projects like Acusis and A heartwarming feeling. So you can say the book has almost 3 years of my research. At the end of the book (there are about 3 books in this book, all housed in a box) there is a book that talks about Tropical Bonsai, specifically the Banana Bonsai Plant. My father keeps a dwarfed banana bonsai plant of 6 years at 15cm tall. Bonsai is the art of miniaturising trees. It is man controlling nature in a very obvious and aesthetic way. There are rules to create bonsai and there are also rules to view bonsai. There are front views, side views and back views. This is a very important part of the book. Â It offers a way to think about the way we have controlled nature. As a species, we have always defined and controlled the way nature existed with us and this is nothing new. Brocolli and Cauliflower are not natural although we have become so familiar with them. Man has always determined what nature should look and feel like. The way we think and look at Bonsai may offer us a way to contemplate our complicated existence with nature.
2006 Pandas Chair by Humberto and Fernando Campana
Alexandra Seno takes a good look at theÂ comingÂ third year of Magnus Renfrew’sÂ Art Hong Kong (art HK 10) which opens this week (May 27 to 30) and tries to push the idea that Hong Kong not Singapore & it’s Art Singapore sets the beat for Art Culture in Asia by showcasing 150 from 29 countries (out ofÂ allegedlyÂ 300 applications).
With artists that includeÂ FilmmakerÂ Baz Luhrmann,Â British sculptor and Turner Prize winner Antony Gormley, Guggenheim Museum curator Alexandra Munroe, Japanese contemporary artist Takashi Murakami and Tokyo Museum of Contemporary Art curator Yuko Hasegawa.
Atendance is expected to be high considering there was a 30% jump last year to 28,000 visitors. Still small by international standards London’s Frieze Art Fair for instance, draws over 50,000 visitors but a interesting fair to keep an eye out for. More can be read here
In Mini News: The Museum of London reopens it’s modern galleries after a Â£20.5m refurbishment