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, 7a*11d 2002
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
1998 2nd 7a*11d Festival
The Missing Scenes from Last Year at Marienbad
Saturday, November 7 8 pm
DeLeon White Gallery, 455 King St W
Presented by Mercer Union
Continuing a series of performance investigations into the annexation of internecine communication by the emotional residue of cinematographic iconography — OR — The Missing Scenes from Last Year at Marienbad.
Johanna Householder has been a performance artist and curator of performance art for twenty years. She coordinated the Womens Cultural Building Festival of Women Building Culture in 1984, the performance series, 6 of 1001 Nights in 1986 and curated New Toronto Performance at SAW Gallery, Ottawa in 1993. She has taught performance art at the Ontario College of Art since 1986 and was Chair of the New Media/Integrated Media Program from 1990 to 1996.
1998 2nd 7a*11d Festival
Sunday August 23 2 pm
A Space Gallery, 401 Richmond St W
Coordinated by Johanna HOUSEHOLDER
Anna BANANA (Sechelt, BC), Adrian BLACKWELL and Kika THORNE (Toronto), William POPE.L (Maine USA), Deanne TAYLOR (Toronto); moderated by Johanna HOUSEHOLDER (Toronto)
Interventionism examines the ways in which performance has entered uninvited the realms of politics and the social. The panel brings together a number of artists who have produced work which has commandeered public space and discourse to a variety of ends.
1997 1st 7a*11d Festival
Saturday August 9 8 pm
962 Queen St W (just east of Ossington Ave)
Johanna Householder was born in Birmingham, Alabama, graduated from high school in Morgantown, West Virginia, and went to college in Oberlin, Ohio. She lived on communes in Ithaca, New York and Mendocino, California, studied at the London School of Contemporary Dance, London, England, and immigrated to Canada. She completed a BFA at York University, and has been making performances since the late ’70s. She was one of the Clichettes from ’79 to ’93. Recently, she completed a piece for Performance Bytes, a teleconferenced performance event linking Halifax, Calgary, Vancouver and Toronto at the Bell Canada Centre. For .in/attendant. the storefront window will be set up as a monitoring/control station of the space inside. The piece, entitled Amygdala, contrasts the amorality of childhood with the amorality of technology. It’s a comedy.