7. On conserving performance art: A response to “Performance: The Ethics and the Politics of Care — # 1. Mapping the Field” (May 29 – 30, 2021 online colloquium)

I recently attended a free conference (hosted on Zoom and livestreamed on YouTube) examining the conservation of performance works. “Performance: The Ethics and the Politics of Care — # 1. Mapping the Field” was addressed primarily toward the art conservation community, and expressly aimed at locating the discourse of conservation within a broader field of the …

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6. KinesTHESES: About the Title

The name of this curatorial project is a play on the term “kinestheses,” which comes from the phenomenologist philosopher Edmund Husserl. Husserl was deeply attuned to the close connection between life and movement. He described living beings first and foremost as animate organisms, and accorded a foundational importance for human consciousness in what he called …

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5. Para-sites of Performance Art: Some Brief Thoughts on the Role of Artist-Curator

In terms of professions, I define myself first as a performance artist, but that label is closely followed by at least two others: performance curator and, more recently performance theorist. This confluence of roles is no accident; it reflects how I discovered that there was such a thing as performance art in the first place. …

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4. You Are Here (“you had to be there…”): Experience and Representation

While the live situation may enable the phenomenological relations of flesh-to-flesh engagement, the documentary exchange (viewer/reader <—> document) is equally intersubjective.(Jones 1997: 12) Art historian and theorist Amelia Jones has written extensively about the uneasy relationship between live, body-based art practices and the documents such practices produce. Despite the heavy investment of both performance scholars …

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3. Performing Access: A Video Conversation on (Artist) Archives with Paul Couillard and Margaret Dragu (August 30, 2019)

For me [performance has] always been about breathing the same air, and being in the same room, and feeling your pheromones and your cells and your energy vibrations and all of that very corporeal, very tactile-kinesthetic kind of stuff. Archives are […] remains that […] the actual bodies aren’t there any more. To me that’s …

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2. Assembling a Toolkit vs. the Logic of the Archive

If we consider performance as ‘of’ disappearance, if we think of the ephemeral as that which ‘vanishes,’ and if we think of performance as the antithesis of preservation, do we limit ourselves to an understanding of performance predetermined by a cultural habituation to the patrilineal, West-identified (arguably white-cultural) logic of the archive?(Schneider, 65) Much has …

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1. KinesTHESES Project Background: Introducing the Digital Toolkit Idea

By Paul Couillard KinesTHESES was developed and organized by me (Paul Couillard) under the auspices of the Toronto Performance Art Collective (TPAC) as an “off-year” project.[1] KinesTHESES features 10 artists, who were invited to develop works that would engage an audience of participants and witnesses not simply as eyes and ears but as tactile-kinesthetic creatures: …

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water action

Thursday September 5 1 pm – 4 pmTuesday September 10 11 am – 5 pmdowntown Toronto KinesTHESES artists in residence Robin Poitras and Louise Liliefeldt develop an artistic dialogue while walking the streets of Toronto together, from St Clair Avenue West to Union Station. In lieu of a public artist talk, the two roam Toronto’s …

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