2019 • KinesTHESES
Our “off-year” project for 2019 is KinesTHESES, curated by TPAC member Paul Couillard. KinesTHESES features a total of 10 artist residencies taking place between August and December, during which the featured artists will develop new, site-specific actions and events.
KinesTHESES focuses on works that take the notion of “moving” their audiences in the most literal sense, creating performative experiences that take place in the participating bodies of the audience. Witnesses and participants are more than just eyes and ears. These projects remind us that we are, above all, animate forms: tactile-kinesthetic creatures who first learn what we are and discover our world by moving through our environment as bodies experiencing dynamic flows and encountering surfaces and textures. These are the building blocks of what we come to recognize as time, space and matter.
German philosopher Edmund Husserl used the term “the kinestheses” to describe the perceptual experiences of bodily movement. He argued that these senses, above all, are the core of subjectivity. The fact that we can feel ourselves move, and that we have an innate sense of our position in space, is foundational to our ability to conceive of ourselves as “I”s.
Artists
Schedule
KinesTHESES Digital Toolkit
KinesTHESES began as a series of artist residencies featuring 10 artists that took place between August and November of 2019. The digital toolkit is a second, online phase that aims to support an ongoing presence for the projects. The toolkit combines curatorial reflection with recordings and other documents collected during the residencies, inviting online visitors to consider various possibilities for accessing the liveliness and liveness of these performative gestures.
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: …
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 …
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 …
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 …
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. …
