2006 6th 7a*11d Festival
We are very proud to bring you the 6th 7a*11d International Festival of Performance Art. This year we are pleased to present the work of over twenty artists from around the world who advance the practice and critical discourse of performance art. We are excited to feature the work of our Éminence Grise Rita McKeough (Nova Scotia). The Hard-Working Canadian invitational section of the festival will present the work of Tejpal S. Ajji (Ontario), Claudia Bernal (Colombia/Québec), and Oraf Orafsson (BC). The International invitational includes, Dariusz Fodczuk (Poland), Leena Kela (Finland), Kenny McBride (UK/Poland), Lee Wen (Singapore), Willem Wilhelmus (Finland) and Yoyoyogasmana (Indonesia). The call for submissions brings Racquel de Loyola (Philippines), Rose Hill (USA), Ed Johnson (Canada), Les Fermières Obsédées (Québec), Nahed Mansour (Canada), anti-cool (Japan), and Herma Wittstock (Berlin). Artists cross-listed with Fado’s IDea series include Glyn Davies-Marshall (UK), Aiyyana Maracle (Québec), and Vassya Vassileva (Bulgaria). As the diversity of this roster suggests, the 6th 7a*11d International Festival of Performance Art will bring together a provocative mix of approaches, aesthetics, and cultural frameworks.
Rounding out the festival program are: d2d.3 = direct to documentation, our screening program of performance documentation and performances for camera; and new this year, Do Me!, the curatorial project where performance “scores” donated by renowned artists will be interpreted and performed by local artists and performance art students from the Ontario College of Art and Design, the University of Toronto and York University. Finally, Tacit, the traditional panel discussion on the festival closing day; artist talks at OCAD and York University; and artist workshops hosted by the Gendai Gallery and the Toronto Free Gallery.
Curated by DisplayCult, with Dave Dyment and Roula Partheniou
Featuring performance instructions contributed by Martin Creed, Critical Art Ensemble, Ann Hamilton, Geoffrey Hendricks, Aernout Mik, Linda M. Montano, Carolee Schneemann, Joey Skaggs and Martha WIlson.
Performed by local artists and students of the Ontario College of Art & Design, the University of Toronto and York University
Do Me! is a curatorial project that solicited performance instructions from a range of international artists to have them interpreted and performed by Toronto-based artists and invited guests. This event takes the premise of Hans Ulrich Obrist’s 1996 Do It exhibition and returns it to its performative roots in the instructional works of 1960s Fluxus artists. The performances will take place at locations throughout the city of Toronto where audiences can observe the multilayered effects of personal translation, creative adaptation and cultural specificity as artists from varying backgrounds “realize” the work of the contributing artist. Projects will challenge the tolerance of public space to accommodate politically-charged interventions, enigmatic group behaviours, disobedient media events, and experiments in personal transformation.
Thursday October 19 10 pm
Martha Wilson (USA)
performed by Liz Knox
Martha Wilson undermines the notion that only two genders exist by inspiring a cadre of performers to infiltrate public space dressed in paradoxically-coded clothing.
Monday October 23 12 pm
Nathan Phillips Square
Aernout Mik (Netherlands)
organized by Trevor Homeniuk and Andrew Richmond
Aernout Mik’s instruction is a study in psycho-social group dynamics as 60 performers engage in a series of inscrutable, and at times surprising, mirror actions.
Wednesday October 25 11:45 am
Ontario College of Art and Design
Ann Hamilton (USA)
organized by Eric Jackson
Ann Hamilton congregates 50 people together in a public space and asks them to access their animal alter egos while reading dream-like poetic musings.
Thursday October 26 12 pm
York University (outside the sculpture studio, between the Goldfarb Centre for Fine Arts and The Accolade West building)
Aernout Mik (Netherlands)
performed by the students of York University’s Visual Art, MFA and Dance programs; organized by Jennifer Fisher
Thursday October 26 various times
Martha Wilson (USA)
performed by students in the course Performing Gender; organized by Laura Levin
Friday October 27 7:50 pm
Ann Hamilton (USA)
organized by Natasha Bailey and Leila Gajusingh
Friday October 27 8 pm
Flag – Assassinations
Carolee Schneemann (USA)
organized by Rita Kamacho
Carolee Schneemann’s street performance condenses the complex politics of recent Middle East crises into a brutal, if colourful, spectacle.
Saturday October 28 8pm
Geoffrey Hendricks (USA)
organized by Efehan Elbi
Geoffrey Hendricks speculates on the inverted view and humorous potential of dealing with words and objects while standing on one’s head.
Sunday October 29 12 pm – 2 pm
Video and photo documentation of all the above Do Me! events will be shown, along with the following instruction pieces
Work No. 118: 1234
Martin Creed (UK)
performed by Dave Dyment
Martin Creed contributes a score for an ensemble of vocalists, guitars and percussion that has no notes or key, only horizontal dashes and counting that allow for a maximum of interpretation.
Critical Art Ensemble (USA)
performed by Richard Purdy, Diane Borsato, Joan Borsa, Annie Tse, Janet Bellotto, Madelaine Palko, Millie Chen, Sandra Rechico, Jon Sasaki, Annie Onyi Cheung, Scott Rogers, Alissa Firth-Eagland, several anonymous contributors, and others
Critical Art Ensemble invites participants to explore civil disobedience and the situations in which criminal activities can possess progressive, humanitarian values.
Joey Skaggs (USA)
performed by Tracia Almeida, Melissa Hamonic, Alexandra Hazisavvas and Daniel Pietropaolo
Joey Skaggs (USA)
performed by Sean Lerner, Dave Dyment and Roula Partheniou
Joey Skaggs addresses the fabrication of news events and their proliferation in the media by inciting performers to intervene into the cityscape with enigmatic signs of social commentary and critique.
Martha Wilson (USA)
performed by Cameron Lee, Laura Kennedy and Chaya Ruckin, Risa Kusamoto, Annie Tse
Sunday October 29 12:30 pm & 1:30 pm
Gentle at Last
Linda M. Montano (USA)
organized by Jocelyn Tremblay
Linda M. Montano’s meditation on healing creates an enveloping, “massaging” atmosphere that considers the endurance required of patients and caregivers alike.
Martin Creed was born in Wakefield, England and from 1986-90 attended the Slade School of Art in London. His work has been exhibited internationally and in 2001 he won the prestigious Turner Prize.
Critical Art Ensemble is a collective of artists of various specializations dedicated to exploring the intersections between art, technology, radical politics, and critical theory. CAE’s recent projects have focused on biotechnology, genetic engineering, germ warfare, mobile broadcasting, and other detournements of technology. Their publications, including The Electronic Disturbance, Electronic Civil Disobedience, Flesh Machine, Digital Resistance and Molecular Invasion, can be downloaded at critical-art.net.
Ann Hamilton’s compelling multi-media installations have explored the evocativeness of vernacular and unlikely materials, the performance of exacting gestures, the affective specificity of site, and the interconnections between language, the senses, time and memory. She is a recipient of the prestigious MacArthur Fellowship and was the American representative at the Venice Biennale (1993). Her work has been shown and collected worldwide, and appears in publications such as Tropos (1995), Present-Past (1999), Whitecloth (1999), and the upcoming An Inventory of Objects.
Geoffrey Hendricks has been active in Fluxus since the mid-1960s, when he was ordained Flux Minister. As Professor of Art at Rutgers University, where he has taught since l956, he is renowned for encouraging the exploration of intermedia and performance art. Hendricks has performed and participated in numerous exhibitions worldwide. Retrospectives of his works have been held at KunsthallenBrandts Klædefabrik (Denmark), Castelfranco (Italy), and Articule(Montreal). He is the editor of Critical Mass (2003), and his work is featured in Fluxus Codex (1988), among other publications.
Aernout Mik is an Amsterdam-based artist utilizing performance, video, installation and new media. His works engage and depict persons associated in disquieting, perplexing and ludic types of groups that examine both the psychology of collectives and the sociopolitics of individuality. Mik has held solo exhibitions at the New Museum of Contemporary Art (New York), Fundació la Caixa (Barcelona), Haus der Kunst (Munich), the ICA (London), and the Venice Biennale, among other locations. Publications on his work include Dispersions (2004), Reversal Room (2002), Primal Gestures/Minor Roles (2000), and Tender Habitat (2000).
Linda M. Montano is a performance artist, the founder of The Art/Life Institute, Kingston, NY, and teacher of the form in numerous universities. She has performed “living art” at museums, galleries and public sites worldwide. Her “endurances” have been numerous and she completed 14 Years of Living Art in 1998, an experience of the energy centres in the body (see www.bobsart.org). Her publications include Art in Everyday Life (1981), Performance Artists Talking in the Eighties (2000), and Letters from Linda M. Montano (2005). She has been featured at The New Museum (NY) and the Institute for Contemporary Art (London), and included in the exhibitions “Out of Actions” (LA MOCA) and “Endurance” (Exit Art). Her videos are distributed by Video Data Bank.
Carolee Schneemann’s work in video, film, painting, photography, performance and installation has pioneered the artistic discourse on the body, sexuality and gender. She has exhibited and performed internationally, with film and visual art retrospectives being held at the New Museum of Contemporary Art (New York), the Centre Georges Pompidou (Paris), the Museum of Modern Art (New York), and the National Film Theatre (London), among other places. Her works and writings have been collected in More than Meat Joy (1979/1997) and Imaging Her Erotics (2002). She has a solo exhibition planned for MOCCA in Spring 2007.
Joey Skaggs is a conceptual performance artist, sociopolitical satirist, and dedicated proponent of independent thinking who has, since 1966, used the media as his medium. His performances have fooled numerous journalists working in television, radio and print, drawing attention to the media’s gullibility and exposing its ideological agendas while focusing attention on issues such as disinformation, hype, hypocrisy and the misuse of power. He is the perpetrator of infamous hoaxes such as The Cathouse for Dogs, The Celebrity Sperm Bank, The Fat Squad, Portofess, and the New York Annual April Fool’s Day Parade (now entering its 22nd year), descriptions of which can be found at joeyskaggs.com.
Martha Wilson is a performance artist and Founding Director of Franklin Furnace Archive, Inc., a museum in lower Manhattan that has presented and preserved performance art, artists’ books, multiples and Internet projects since its inception in 1976. Trained in English Literature, Wilson taught at the Nova Scotia College of Art and Design, where she made pioneering experiments in video and performance. She was a member of DISBAND, an all-girl group, none of whom could play instruments, and has performed solo acts of political satire in the guises of Alexander Haig, Nancy Reagan, Barbara Bush and Tipper Gore.
Efehan Elbi, Melissa Hamonic, Alexandra Hazisavvas, Trevor Homeniuk, Eric Jackson, Laura Kennedy, Cameron Lee, Daniel Pietropaolo, Andrew Richmond and Chaya Ruckin are students in the performance art class directed by Professor Johanna Householder at the Ontario College of Art and Design.
Jocelyn Tremblay was invited by Professor Johanna Householder at the Ontario College of Art and Design.
Tracia Almeida, Risa Kusamoto, and Ruth Lin were invited by Tanya Mars, Senior Lecturer at the University of Toronto at Scarborough.
Natasha Bailey and Leila were invited by Louise Liliefeldt, Lecturer at the University of Toronto, downtown campus.
Jennifer Fisher is Assistant Professor of Contemporary Art and Curatorial Studies in the Department of Visual Art at York University.
Laura Levin is Assistant Professor in the Department of Theatre at York University.
The curators would like to thank the members of the 7a*11d collective, Don Simmons, Lisa Steele, the artists who so generously contributed instructions, and all of the participants in the Do Me! events.
d2d.3 = direct to documentation 2006
d2d.3 = direct to documentation 2006
Saturday October 21 and Saturday October 28 8 pm
Sponsored by Vtape
Get out the Visine, fasten the toothpicks to your eyelids … but whatever you do don’t blink! For our biennial celebration of performance work to documentary evidence, this collection of artists has been succinct, quick, fleet, brief, concise, even pithy — not terse, but certainly not verbose. Gestural really, and some very beautiful and bizarre gestures they are. Sometimes located in an uncertain landscape — rural, urban, suburban. Those who are not out there somewhere are pretty much looking at you, while you look at them.
Morse Code Communication | USA 2005 | 1:25
Klara Hobza is drawn to the psychologies of emergency situations and the DIY improvisations they trigger. Referencing obsolete or incomplete communication devices, she places failure at the emotional and conceptual heart of her performance-based projects. Born in Pizen, Czech Republic, she currently lives in New York and works in New York and Germany.
Just Married | Germany 2001 |0:30
Patience | Germany 2001 | 3:00
Dorte Strelow was born in Hanover, Germany, where she lives and works. After education as a physiotherapist and dancer she studied Fine Arts at the Braunschweig University of Art (HBK), in the classes of Mara Mattuschka and Marina Abramovic. Her main subject is Performance Art, but she also makes video works.
Fasteners | USA 2004 | 8:00
Marianne Kim‘s work is grounded in the body. It begins with skin, bone, blood, and breath. The portrait of the human body immediately present, shattered and dense. She works within a process of unlearning convention that lives the questions of humanity and art.
Devil in Me | Netherlands 2005 | 0:07
CJEP [Claire Janssen & Edwin Peeters], two southern Dutch artists in whose world Fairytale meets Realworld. If you wanna see more work look at mediamatic.net/72587/en/cjep the Art & Fun site!
Drill | Canada 2004 | 0:48
Debbie Elliot is involved in performance where the body is not necessarily present but inferred through activity. She is interested in spectatorship as an overtly passive activity. In Drill she investigates the dichotomies of dark and light, absence and presence, containment and revelation.
Chair. Folding | USA 2003 | 0:45
Nick Tobier describes his work as situational—keen on real or imagined scenarios playing out in everyday places in the hope that his actions as an artist will provoke the possibility that everyday places can be extra ordinary.
o sole mio | Germany 1999 | 2:00
Frank Werner is a member of the Independent Performance Group (IPG) and lives in Berlin. He has received numerous grants and awards for his work in dance, performance, video and video gaming.
Barszcz | Germany /Poland 2004 | 2:34
Patrycja German was born in 1979 in Wroclaw, Poland. She has been a performance artist since 2002, and lives and works in Berlin, Germany. She studied at the Academy of Fine Arts in Karlsruhe. Her solo show Liebe Sex Karriere Glück (Love Sex Career Fortune) was at Galerie Anita Beckers in Frankfurt am Main in 2005.
Dutch Work | USA 2002 | 1:06
TACIT panel discussion
Sunday October 29 2 pm
Speakers: Gale Allen, Jessica Bleuer, John Paul Ricco and Joey Skaggs
Moderator: Johanna Householder
The line drawn between artist and audience member in contemporary performance is frequently an ambiguous one. What often regulates the relationship is an unspoken, assumed agreement, or what Michael Polanyi calls tacit knowledge – that which is understood but not quite articulable. In a number of recent performances, such tacit knowledge has been called into question by practices that convert unsuspecting and sometimes unwilling spectators into complicit collaborators. This panel will examine the implicit and explicit contractual agreements that exist between artist and audience. Do artists have an ethical responsibility towards their audience or the public at large? Conversely, what are the obligations of a “good” audience member? Panelists will discuss a variety of artistic practices including tactical public interventions, relational aesthetics, satirical media pranks, and masochistic body works.
Gale Allen is a performance and video artist based in Toronto. Her performative works remix contemporary advertising culture, machismo stunt culture, and pop music into feminine performances of Jackass. Allen is currently researching abject behaviour and dangerous stunts as a form of revolt in contemporary youth cultures. Her work has been presented in the First International Prize for Performance (Italy, 2005), the Paris Gay and Lesbian Film Festival (2006), Festival Némo (Paris, 2006), Signal and Noise (Vancouver, 2005), That 70’s Ho (Vancouver, 2005), and the Reel Asian International Film Festival (Toronto, 2005).
Jessica Bleuer studied with Augusto Boal, the founder of theTheatre of the Oppressed, and she practices various Boal techniques, including Invisible Theatre. Part of her current practice explores how invisible coercive social structures can be made more visible, through the practice of Invisible Theatre. Bleuer graduated with an M.Ed. from the Ontario Institute for Studies in Education (OISE) in 2005. Her graduate work focused on the ethical implications of using theatre for social change. She has taught two summer institute courses at OISE and has led several theatre of the oppressed workshops with a number of groups across Canada, the U.S. and Northern Ireland.
John Paul Ricco is a critical theorist, art historian and curator who teaches at the University of Toronto. He is the author of The Logic of the Lure (2002), and guest editor of the journal Parallax (April-June 2005). His current work concerns the question of community, specifically those modes of sociality that operate as the resistance and refusal of identitarian logics, categorical imperatives, and structural unification and totalization. Recently, this work has begun to include live performance art practice, in which Ricco sets out to explore masochistic touch and masochistic trust, and the non-contractual, non-negotiable limits of these acts.
Joey Skaggs is a conceptual performance artist, sociopolitical satirist, and dedicated proponent of independent thinking who has, since 1966, used the media as his medium. His performances have fooled numerous journalists working in television, radio and print, drawing attention to the media’s gullibility and exposing its ideological agendas while focusing attention on issues such as disinformation, hype, hypocrisy and the misuse of power. He is the perpetrator of infamous hoaxes such as the Cathouse for Dogs, the Celebrity Sperm Bank, the Fat Squad, Portofess, and the New York Annual April Fool’s Day Parade (now entering its 22nd year), descriptions of which can be found at joeyskaggs.com.
"Feel invisible things" workshop
* Feel invisible things *
Gendai Gallery at the Japanese-Canadian Cultural Centre
Sunday October 15 1 pm – 6 pm
To register, email Kerri Sakamoto: unbidden [at] sympatico.ca; maximum 10 participants
I would like to go through a process in which participants can experience unexpected feelings and ways of thinking by joining my workshop. Through this form of interaction and communication the participants will be able to reflect upon themselves, and the relationships between the participants and their surroundings.
Performance and installation artist, anti-cool (Tomoko Takahashi) was born in Kanagawa, Japan. Her works explore ways of conquering the boundaries and rules with which people surround themselves. Through communication with those present, she tries to find solutions in order to break through people’s self-imposed limits. She has exhibited in more than ten countries in the last six years. Recent group shows include Visions in the Nunnery, London, UK; Cultural Studies Wien at Museum Quarter 21, and Platform Kunst for Japan-EU year, Vienna, Austria.
Breaking the Barriers of Discipline workshop
Breaking the Barriers of Discipline
Racquel de Loyola (Philippines)
Monday October 23 to Wednesday October 25 6 pm – 8 pm
Toronto Free Gallery, 660 Queen St E
To register, email 7a*11d: performancefestival [at] hotmail.com; maximum 6 participants
An investigative journey into cross-disciplinary practices. Live art is classified as a paradoxical conjunction of established disciplines, and this workshop will seek out ways to negotiate the links – and missing links – between different media. After presenting a selection of performance documentation, the workshop will draw from each participant’s personal history, artistic background and media experience. By utilizing material-based explorations, the workshop will intensify as well as amalgamate everyone’s strongest capabilities.
Racquel de Loyola’s work addresses the issues of women, colonization, identity, migration, displacement, capitalism and globalization. Loyola is currently a convener of New World Disorder. She has recently presented performances at the Currency Festival of Performance (New York, 2005), the 7th ASIATOPIA (Bangkok, 2005), Asia Meet Asia (Tokyo, 2006), and the Laokoon Art Festival (Germany, 2004).
éminence grise n. someone who exercises great power or influence secretly or unofficially.
This program highlights our commitment to bringing forward a lived history of performance work in Canada by presenting an artist who has made a fundamental contribution to the field. The program was inaugurated at the 2002 Festival with the presentation of Bruce Barber, and continued in 2004 with Cheryl l’Hirondelle. This year we are extremely pleased to have Rita McKeough from Nova Scotia.
In the opening performance of her Take it to the Teeth installation in 1993, Rita McKeough chewed up an entire gallery wall, tearing off pieces, tasting them, and spitting them out.
“It was about how memories reside in the body and mind, and how they come out a bit distorted. I used the idea of the digestive system as an interesting way of getting rid of those memories.”
“Humour is something that’s always been there in my work, even if it’s just very subtle.”
McKeough attended the University of Calgary for her BFA, and received her MFA at NSCAD in 1979. Through experiences working at a radio station and as a drummer in a band, she began fusing elements of sound into her sculptures.
“Being a drummer influenced a lot of my interests… I became interested in installation and performance because it was a way of bringing audio into my work.”
McKeough has taught at ten art schools, including the University of Manitoba and the University of California, and she has been teaching media arts courses at NSCAD since 1999. She has been actively exhibiting and performing across Canada since the late 1970s.
“I always seek to create an environment, it’s the process of gathering information on a search through space.”
Rita will make a new work, Long Haul, for 7a*11d, collecting evidence of nature in the city to reconfigure an office space upstairs at 285 Dundas St., the week of October 23 to 28, with public performances on October 27 and 28.