2002 4th 7a*11d Festival
Images versus Iconoclasms or shooting sacred cows from a train of thought
Sunday November 10 2 pm
Panel discussion featuring Bruce Barber, Tagny Duff, Alissa Firth-Eagland and Clive Robertson; moderated by Johanna Householder
We are like Benjamin’s angel being blown backward —looking at the debris piling up from five decades of performance (art). As much as we struggle against the idea of lineage, we waver between the peddling of an iueconoclastic one-upmanship, feminist autonomy and the autodidact enfant sauvage. Artists, curators, critics, pedagogues — how do we differently manipulate the history of what we do, and what is at stake? Who does performance art history belong to? Did Paul McCarthy beget The Osbournes? Are images of political action, political action? Is history fatal? (with apologies to Clive)
Images versus Iconoclasms panel discussion, 2002 7a*11d
Tagny Duff, untitled ReciproCity/RéciproCité Toronto 2001 PHOTO Andrew Pommier
Tagny Duff is a Vancouver-based interdisciplinary media artist and producer working in performance, video, audio and text. She has created numerous site-specific performance works and video works since receiving a Fine Arts Degree from Emily Carr Institute of Art and Design (1997). Performance works from The Elephantiasis Ears Series, Audio Tour Performances, Latent Spaces and Scene and Unseen have taken place in various public spaces with the support of artist-run centres and festivals across Canada.
Tagny Duff, untitled ReciproCity/RéciproCité Toronto 2001
ReciproCity/RéciproCité Toronto round table discussion (part 1), Gladstone Hotel 2001
ReciproCity/RéciproCité Toronto round table discussion (part 2), Gladstone Hotel 2001
2000 3rd 7a*11d Festival
participants on tour during Tagny Duff's <
Wednesday November 1 to Friday November 3
tours at 2 pm, 3 pm, 4 pm and 5 pm (approx. 35 minutes each)
beginning at Art System, 327 Spadina Ave, 2nd floor
Presented by Fado Performance Inc. as part of Public Spaces/Private Places
<<Public Web>> is a performance provocation and interactive audio tour that places the audience in the role of performer and explorer. Wearing portable headphones and guided by the transmitted voice of the artist, participants toured various destinations in the downtown core. As the tour progressed, Duff observed the participants surreptitiously, periodically providing a hypertext-style list of options that required group decisions in order to determine the destination of the tour and the actions to be undertaken by participants. A sculptural apparatus of straps physically connected the groups of up to ten participants s they explored various physical and virtual entry points into the space between the public and private.
Tagny Duff is a Vancouver-based artist. Her performances, video and audio work have been presented by venues across Canada such as The Western Front, Gallery 101, Centre for Art Tapes and recently, YYZ Artist’s Outlet. Duff has received widespread attention for her site-specific interventions undertaken as part of the Elephantiasis Ears Series in public spaces such as the shopping mall, city hall and the street.
2000 3rd 7a*11d Festival
Experience as Spectacle as
Sunday November 5 3 pm
YYZ Artists’ Outlet, 401 Richmond St W
With panelists Tagny DUFF (Vancouver BC) with John DUMMET (UK), Kym PRUESSE (Toronto), and Clive ROBERTSON (Kingston ON); moderated by Johanna HOUSEHOLDER.
It may be understood that spectacle itself is a charged word, and probably connects too directly to Debord alone, so if you want to nominate another term, please do. For our purposes spectacle is the visual and visceral apprehension of the performance event by audience. How much it implies passivity is an open question and in performance art (as in Debord), the term audience itself is somewhat fluid.
There are a number of works in the festival and in the performance catalogue generally which employ the audience as participants or agents in the realization of the work…. As well there is the notion of Experience as Spectacle raised by the description of =Videodrome=. This could describe the experience of the “audience/participants” (Valie Export’s term) in the high pitched environment of performance; or it could refer to the experience of the artist.
Here a discussion of ‘ordeal’ performances; or the gradual unfolding of improvisatory performances — as well as the open ended processes of audience interaction — could ensue.
Experience as Spectacle as panel discussion, 7a*11d 2000