FIRTH-EAGLAND, Alissa

2002 4th 7a*11d Festival

Images versus Iconoclasms or shooting sacred cows from a train of thought
Sunday November 10 2 pm
Art System

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)

Canada

Images versus Iconoclasms panel discussion, 2002 7a*11d 2000 3rd 7a*11d Festival Clive Robertson, Master Class 5 7a*11d 2000 PHOTO Andrew Pommier Master Class 5 Saturday November 4 5 pm Latvian Hall, 491 College St W Master Class 5 was a collaborative experiment in performance image-making process. Five artists ranging from emerging to well established were brought together to join in a four-hour collective exploration of the formal, aesthetic and political concerns in performance. Performers created individual solo works with the understanding that through proximity, intervention and action, the performances might begin to interweave and inform each other. Particular attention was paid to the points of interactivity among the performers and with the audience. Clive Robertson constructed his performance as a series of discreet actions, moving between constructing tableaux in one corner of the room and performance gestures that would bring him out into the room to interact with other performers and audience members. Inherent in these actions were formal references to performance art history and works by such artists as Joseph Beuys and Allison Knowles. Canada Terril CALDER, Will KWAN, Jessica LERTVILAI, Clive ROBERTSON & Vida SIMON, Master Class 5 7a*11d 2000 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. Canada Experience as Spectacle as panel discussion, 7a*11d 2000