1997 1st 7a*11d Festival

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7a*11d is proud to announce its first annual festival of  performance art, taking place from August 7 – 11, 1997.

Join us for an exciting 5 days of activities taking place at  four different locations in Toronto’s Queen Street West area.

Find out what innovation, experimentation, risk-taking and  nourishment for the body and soul are really all about.

Five Venues over Five Days with 45+ Performance Works from 60+ Artists

Exciting, Professional and Uncompromising Live Art

Admission to most events by donation

Artists from all over North America
Performances range from 6 minutes to 24 hours
All venues are within walking or simple local transport distance
Staggered event times to see more each day
Each evening of the Festival will highlight a specific venue
Attend our special Sunday morning panel discussion

7a*11d is an unprecedented coalition of Toronto performance, dance, visual and multimedia artists and artist groups  committed to promoting and raising the public profile of Performance Art, through a unique Festival devoted to the form.  We welcome you to take part in this exciting, inaugural year.  Dive into the wide wide wild world of Performance Art!!!

 

Schedule

Wednesday, August 06, 1997
My Ass, Your Face
:JAWA:bot:Machines That Perform | 165 John St, 3rd floor
8 pm vernissage (exhibition August 1 - August 11)
untitled
:JAWA:bot:Machines That Perform | 165 John St, 3rd floor
8 pm vernissage (exhibition August 1 - August 11)
Yah, It’s About Whales
:JAWA:bot:Machines That Perform | 165 John St, 3rd floor
8 pm vernissage (exhibition August 1 - August 11)
Contemporary Bachelor Machine
:JAWA:bot:Machines That Perform | 165 John St, 3rd floor
8 pm vernissage (exhibition August 1 - August 11)
OW!: beating myself up/technologies in conflict
:JAWA:bot:Machines That Perform | 165 John St, 3rd floor
8 pm vernissage (exhibition August 1 - August 11)
Homo Fungophobic
:JAWA:bot:Machines That Perform | 165 John St, 3rd floor
8 pm vernissage (exhibition August 1 - August 11)
untitled
:JAWA:bot:Machines That Perform | 165 John St, 3rd floor
8 pm vernissage (exhibition August 1 - August 11)
Space Invader
:JAWA:bot:Machines That Perform | 165 John St, 3rd floor
8 pm vernissage (exhibition August 1 - August 11)
The Glory of the Sun!
:JAWA:bot:Machines That Perform | 165 John St, 3rd floor
8 pm vernissage (exhibition August 1 - August 11)
untitled
:JAWA:bot:Machines That Perform | 165 John St, 3rd floor
8 pm vernissage (exhibition August 1 - August 11)
Thursday, August 07, 1997
sur, blue, round
Sediment | Trinity Bellwoods Park
sunrise, noon & dusk
from the corner of my eye
Sediment | Trinity Bellwoods Park
12 pm - 2 pm
Spill
.in/attendant. | 962 Queen St W
4 pm - 7 pm
A Walk With John Bell
Sediment | Trinity Bellwoods Park
6:30 pm
?Conduit! pipe line to the soul
Sediment | Trinity Bellwoods Park
7 pm
Sense of Touch
Five Holes: Touched | Symptom Hall (160 Claremont St)
8 pm
Anonymous Test Site
Five Holes: Touched | Symptom Hall (160 Claremont St)
8 pm
Touched By.......
Five Holes: Touched | Symptom Hall (160 Claremont St)
8 pm
Threshold
Five Holes: Touched | Symptom Hall (160 Claremont St)
8 pm
To Touch Is to Feel
Five Holes: Touched | Symptom Hall (160 Claremont St)
8 pm
untitled
Five Holes: Touched | Symptom Hall (160 Claremont St)
8 pm
The Cave of the Metasensual Beast
Five Holes: Touched | Symptom Hall (160 Claremont St)
8 pm
gravity light wind thought scent
Five Holes: Touched | Symptom Hall (160 Claremont St)
8 pm
Progress of the Body
Sediment | Trinity Bellwoods Park
9 pm
Friday, August 08, 1997
sur, blue, round
Sediment | Trinity Bellwoods Park
sunrise, noon & dusk
Dr. Woodyard's Magic Herbal Elixir
Sediment | Trinity Bellwoods Park
1 pm
from the corner of my eye
Sediment | Trinity Bellwoods Park
2 pm - 4 pm
Jin's Banana House
Prognosis | Symptom Hall (160 Claremont St)
2 pm
So Far
.in/attendant. | 962 Queen St W
4 pm - 7 pm
A Walk with John Bell
Sediment | Trinity Bellwoods Park
6:30 pm
?Conduit! pipe line to the soul
Sediment | Trinity Bellwoods Park
7 pm
Performance: A Performance
Prognosis | Symptom Hall (160 Claremont St)
8 pm
The Anti-Child of Recordist Performance and a Lighted Cavern
Prognosis | Symptom Hall (160 Claremont St)
8 pm
Pigs on Parade
Prognosis | Symptom Hall (160 Claremont St)
8 pm
This Door Down
Prognosis | Symptom Hall (160 Claremont St)
8 pm
For Dudley
Prognosis | Symptom Hall (160 Claremont St)
8 pm
Pound and Scrub
Prognosis | Symptom Hall (160 Claremont St)
8 pm
Progress of the Body
Sediment | Trinity Bellwoods Park
9 pm
Saturday, August 09, 1997
sur, blue, round
Sediment | Trinity Bellwoods Park
sunrise, noon & dusk
The World Is my Trampoline
Sediment | Trinity Bellwoods Park
intermittently
follow me
.in/attendant. | 962 Queen St W
2 pm
untitled
Prognosis | Symptom Hall (160 Claremont St)
2 pm
from the corner of my eye
Sediment | Trinity Bellwoods Park
4 pm - 6 pm
A Walk with John Bell
Sediment | Trinity Bellwoods Park
6:30 pm
?Conduit! pipe line to the soul
Sediment | Trinity Bellwoods Park
7 pm
Amygdala
.in/attendant. | 962 Queen St W
8 pm
Progress of the Body
Sediment | Trinity Bellwoods Park
9 pm
Sunday, August 10, 1997
sur, blue, round
Sediment | Trinity Bellwoods Park
sunrise, noon & dusk
untitled intervention
Symptom Hall (160 Claremont St)
12 pm
Pleasures of the Flesh: The Body in Time
Symptom Hall (160 Claremont St)
12 pm
dredge city
Prognosis | Symptom Hall (160 Claremont St)
4 pm - 8 pm
from the corner of my eye
Sediment | Trinity Bellwoods Park
6 pm - 8 pm
A Walk with John Bell
Sediment | Trinity Bellwoods Park
6:30 pm
Progress of the Body
Sediment | Trinity Bellwoods Park
9 pm
Monday, August 11, 1997
Encounters
.in/attendant. | 962 Queen St W
12 am (continues for 24 hours)
sur, blue, round
Sediment | Trinity Bellwoods Park
sunrsie, noon & dusk
Ritual Making Piece
Sediment | Trinity Bellwoods Park
4 pm - 10 pm
A Walk with John Bell
Sediment | Trinity Bellwoods Park
6:30 pm
from the conrner of my eye
Sediment | Trinity Bellwoods Park
8 pm - 10 pm
Progress of the Body
Sediment | Trinity Bellwoods Park
9 pm
"What Are You Looking At?"
Sediment | Trinity Bellwoods Park
9:30 pm
Encounters
.in/attendant. | 962 Queen St W
continuing to midnight

Five Holes: Touched

Five Holes: Touched
Thursday, August 7 8 pm – 1 am
installations, residue and some performances continue throughout the festival
Symptom Hall | 160 Claremont St (just south of Dundas St W, west of Bathurst St)

Presented by FADO
Curated by Paul Couillard

May Chan
Sense of Touch

Frank Green (with Michelle Allard, Churla Burla, Lucia Cino, Curtis MacDonald, Thea Miklowski, & Holly Wilson)
Anonymous Test Site

Fiona Griffiths
Touched By…….

Ed Johnson
Threshold

Bernice Kaye
To Touch Is To Feel

Stefanie Marshall
untitled

Frank Moore with Michael LaBash and Linda Mac
The Cave of the Metasensual Beast

Julie Andrée Tremblay and David Johnston (jAT & jHAVE)
gravity light wind thought scent

Five Holes: Touched is the second in a series of performances dealing with the five senses. The first part (Five Holes: I’ll Be Seeing You, A Space, 1995) used the device of a peep show to explore the sense of sight and the process of seeing. For Touched, artists are using the nooks and crannies of Symptom Hall to create performance installations that explore aspects of touch and our attitudes surrounding it.

Touch is arguably the most intimate and revealing of the senses, the one that, above all others, can move us to ecstasy or shatter us. To touch is to ‘feel’. When we are deeply affected by something, we sometimes say we are ‘touched’. At the same time, to say that someone is ‘touched’ is to say that they are crazy. To give something one’s own ‘touch’ is to infuse it with a personal style, while to keep ‘in touch’ is to maintain contact. Human cultures are rife with taboos around the sense of touch — who, what, how, when and where we can or can’t touch — governing even the touches we give our own bodies.

The common threads among the diverse performance works chosen for Touched include a fascination with the personal, a strong regard for the everyday — whether real or as a staged simulation — and a need to venture into the visceral in search of expression. The artists’ approaches to the sense of touch vary widely — Frank Moore’s hands-on sensual eroticism, May Chan’s handling of everyday foodstuffs in the simple act of cooking — yet each shares a vulnerability that seems essential to the nature of touch.

Artists were chosen both through solicitation and an open call. With the possible exception of Frank Moore — whose cerebral palsy has no doubt had an influence on his interest in touch as a vehicle of communication, expression and transformation — there was a curious lack of response from ‘heterosexual’ men. I believe this reflects how much the concerns with ‘the body’ in art and critical writing over the last 10 years, at least in North America, have in fact been the terrain of those who feel disenfranchised from what we identify as ‘mainstream’ culture. More than anything, however, I think the quality that binds all of these artists is courage. A willingness to enter and explore risky places — whether that means doing work that is quiet, physically grueling, or uncompromisingly simple — is universally evident. Performance is generally understood as a visual form, and to move to an exploration of the tactile demands a whole different approach from both the artists and the audience members who follow them on their journeys.

.in/attendant.

.in/attendant.
962 Queen St W (just east of Ossington Ave)

Curated by Shannon Cochrane

Peter Conlin & Kirsten C. Forket
Spill
Thursday August 7 4 pm – 7 pm

Christine A. Mathieson
So Far
Friday August 8 4 pm – 7 pm

me and me
follow me
Saturday August 9 2 pm – 4 pm

Johanna Householder
Amygdala
Saturday August 9 8 pm

Paul Couillard
Encounters
Sunday August 10 midnight to Monday August 11 1midnight

For .in/attendant., curated and coordinated by Shannon Cochrane, a total of five artists are being chosen to present time based or duration performance works designed for a store front window. Emphasis is placed on these works utilizing not only the window stage, but conceptually and physically addressing and activating the spaces which surround it: the gallery room behind, the outdoor spaces the window looks to, the sidewalk, the road, the park across the street. .in/attendant. attempts to subvert what is traditionally seen as a consumer display space with a series of public interventions. The store front, no longer used for its original intention, has become a studio and home for artists, transformed in purpose, similar to so many other spaces in this area. Opportunity and economics have also forced these spaces to be considered a viable option to artist run centres which at one time were the alternative spaces for showing artwork, but are often inaccessible to younger artists. Art shown in these galleries, performance art events included, often become shows mounted solely for other artists, where the store front acts as a street level publicly accessible venue.

With .in/attendant., I am attempting to challenge the often static audience/ performer dynamic that can exist in performance work, where the audience watches from a polite distance and the performer entertains from a stage. This venue and curatorial theme challenges the performer to extend the parameters of the audience/performer interaction. The artist attempts to occupy all the spaces available;  the stage, the gallery, the street, the park.  The performances have a dual purpose just as the store front/studio does. Audience is allowed to come and go as they please, watch the performance from inside the space behind the performer, or from outside through the glass. The window stage looks across to the lawn of the Queen Street Mental Health Centre. By encouraging performances to extend from the back of the gallery to across the street, whether the performer physically enters these spaces or merely inserts a prop, the work begins to exist on many levels; paying homage to the stage, directly addressing the community, functioning as display and simultaneously subverting these notions.  Drawn in by the ‘display’, the viewer is asked to reevaluate the validity and resourcefulness of these spaces and to question the place of contemporary performative art in the urban environment.

The title .in/attendant. is a marriage of opposites.  It can refer to the idea of a tell-all guest list, a who’s who for a posh event — ‘in attendance’. An attendant also is a witness or watcher, a caretaker.  The ‘attendant’ in this series of performances refers the performer, prop or gesture inserted into the spaces which surround the window stage.

:JAWA:bot:Machines That Perform

:JAWA:bot:Machines That Perform
Friday August 1 to  Monday August 11
vernissage Wednesday August 6 8 pm
RANT Saturday August 9 11 pm
165 John St, 3rd floor (just north of Queen St W)

Curated by Jubal Brown & Peter Flemming

!AMEN/Puppet Government (Istvan Kantor)
My Ass, Your Face

Douglas Back
untitled

Taku Dazai
Yah, It’s About Whales

Curtis Donnahee
Contemporary Bachelor Machine

Peter Flemming
OW!: beating myself up/technologies in conflict

David Gifford
Homo Fungophobic

JAWA Collective
untitled

Diane McGrath
Space Invader

Tasman Richardson
The Glory of the Sun!

Victoria Scott
untitled

Mechanical, robotic, electronic sculpture/installation/performance organized by members of the Jawa Collective., including artists solicited through an open call for submissions.

* JAWA is the name of several cities in Asia.
* JAWA is a Finnish motorcycle company renowned and infamous for producing obnoxious, loud, gas-guzzling motorcycles that are virtually indestructible.
* The cute and dangerous creatures of late 20th century popular myth: nomadic pirates scavenging the alien wasteland, recombining and bastardizing junk and high technologies for their own purposes.

MACHINES were created to replace people, to perform our menial tasks for us so we don’t have to. Perhaps they are extensions of our bodies? our will? or our psychopathological inertia towards oblivion? Technology was initially a tool…now technology is culture. Jawa indefatigably supports this as the natural, necessary and good evolution of humankind. Long Live the Future.

ENTROPY:  Energy or information still existing but lost for the purpose of mechanical work because it is tied up in the atomic structure of a system. The degradation of the matter and energy in the universe to an ultimate state of inert disorder, absolute future. Disintegration, un-creation, the infertile diffusion of the seed, the perfect union which ends re-production. Overstimulation leads to desensitization so that more and more, faster, harder stimulus is required. “Thus his half grain of Morphia, which are first opened the Gates of Heaven, is nothing worth to the self-poisoner after a year of daily practice.” Entropy isn’t evil, entropy is natural and natural is good.

Given the notion that machines were made to carry out boring and repetitive tasks for us so we could do more important things with our valuable time, it seems very natural and appropriate that machines would replace performance artists whose tradition of being boring and repetitive has been well-documented.

The Jawa Collective is an order of art/science/magick visionaries seeking new strategies of adaptability and the critical re-modelling of the technologies with which we work.

Pleasures of the Flesh: The Body in Time (panel)

Pleasures of the Flesh:  The Body in Time
Sunday August 10 12 pm
Symptom Hall | 160 Claremont St (just south of Dundas St W, west of Bathurst St)

Coordinated by Johanna Householder

Panelists: Douglas Back, Elizabeth Chitty, & Clive Robertson; moderated by Johanna Householder

Intervention by Yuji Sone

This panel discussion provides a critical context for the work in the festival, focusing on why performance artists think the lessons of our bodies remain important even as many of us rush to embrace and perhaps even dwell in technological, electronic and virtual environments.

Prognosis

Prognosis
Symptom Hall | 160 Claremont St (just south of Dundas St W, west of Bathurst St)

Curated by Johanna Householder, Louise Liliefeldt, Derek Mohamed & Tracy Renée Stafford

Friday August 8 2 pm – 4 pm
Jinhan Ko
Jin’s Banana House

Friday August 8 8 pm
Teratoid Cabaret

Andrew James Paterson
Performance: A Performance

Songs of the New Erotics
The Anti-Child of Recordist Performance and a Lighted Cavern

Terril-Lee W. Calder-Fujii
Pigs on Parade

Hal Niedzviecki & Eric Aurandt
This Door Down

Rebecca Belmore
For Dudley

Joseph Connelly & Jason Lee
Pound and Scrub

Saturday August 9 2 pm – 4 pm
Louise Liliefeldt
untitled

Sunday August 10 4 pm – 8 pm
Tim Dallett, Kenneth Emig, John Lauder, Emmanuel Madan, Thomas Macintosh and Phil Rose
dredge city

Prognosis uses Symptom Hall’s upstairs and downstairs main spaces as flexible, changeable environments to accommodate a wide variety of work. A total of nine pieces will presented over a three-day period, using video, film, live sound, movement-based work, food and more in conjunction with performance elements. Six of these works will be presented as part of the Teratoid Cabaret, a multimedia extravaganza that will take move throughout the spaces. Rather than establishing a single stage, the cabaret will provoke a non-aggressive interaction between performers and audience as locations shift for each work, with pieces working their way through, among and around the audience. Toronto-based artists Eric Aurandt and Hal Niedzviecki, Rebecca Belmore, Terril-Lee W. Calder-Fujii, Andrew J. Paterson and Songs of the New Erotics will present shorter works upstairs, while the endurance work Pound and Scrub by Madison WI-based artists Joseph Connelly and Jason Lee takes place before, during and after the cabaret in the downstairs space.

In addition to the Teratoid Cabaret, longer works by Jinhan Ko, Louise Liliefeldt and an Ottawa media collective featuring Tim Dallett, Kenneth Emig, John Lauder, Emmanuel Madan, Thomas McIntosh and Phil Rose will round out the Prognosis program.

Sediment

Sediment
Trinity Bellwoods Park (Queen St W to Dundas St W, Gore Vale Ave to Crawford St)

Curated by Terril-Lee W. Calder-Fujii, Jenny Keith & Derek Mohamed

Koren Bellman
from the corner of my eye
Thursday August 7 12 pm – 2 pm
Friday August 8 2 pm – 4 pm
Saturday August 9 4 pm – 6 pm
Sunday August 10 6 pm – 8 pm
Monday August 11 8 pm – 10 pm

Elizabeth Chitty
Progress of the Body
Thursday August 7 to Monday August 11 9 pm

Peter Hill
?Conduit! pipe line to the soul
Thursday August 7 to Saturday August 9 7 pm

Jenny Keith
sur, blue, round
Thursday August 7 to Monday August 11 at sunrise, noon and dusk

Jennifer Maus
“What Are You Looking At?”
Monday August 11 9:30 pm

Matias Rozenberg
The World Is My Trampoline
Saturday August 9 intermittently

SAFMOD (Subatomic Frequency Modulation Over Dose)
Neil Chastain, Andrew Kaletta, Young Park & Alexandra Underhill
Ritual Making Piece
Monday August 11 4 pm – 10 pm

Dennis Summers/Quantum Dance Works
A Walk With John Bell
Thursday August 7 to Monday August 11 6:30 pm

Bay Woodyard
Dr. Woodyard’s Magic Herbal Elixir
Friday August 8 1 pm

Toronto is located on the shores of Lake Ontario, inhabiting landscape that was once lake, marshlands and swamp. The southern downtown, built on landfill, exists where once were wetlands, an aquatic filter for the watershed. We have filled and covered and erased the paths of water as it runs from the highlands to the lowlands, carving valleys through the earth and rock. Two major rivers run open, to the east the Don and to the west the Humber, traversed and bordered by transportation arteries. As the boundaries of the city have spread, the creeks and wetlands have been covered in layers of dirt and debris, the sediment of civilization. Garrison Creek once ran through the western downtown area. Now, contained in a sewer and buried at the beginning of the 20th century, it remains a landscape element. A meandering waterway/ravine, masquerading as a sunken park system.

Sediment is an outdoor component of  7a*11d. Located in Trinity Bellwoods Park, this large urban greenscape affords many opportunities and possibilities for site-specific environmental performance art. Due to its location in the Garrison Creek bed, it offers a wide variety of terrain. Several distinct areas can be found; some private, some open, some spectacular. At the centre of the park, the creek bed and ravine, is a large sunken area with a small wooden stage. Also containing an arboretum, the southern entrance to the park is   marked by a gothic revival arch, built in 1903.

Artists featured in this venue have designed pieces that suggest an awareness of and emphasis on concepts of time, light, place and environmental sound. Artists have designed performances that occur at various times and locations throughout the park, many of them taking place over several hours or days to take advantage of changes in light, temperature, weather and pedestrian traffic.

7a*11d gratefully acknowledges the support of