By Michelle Lacombe Body Traps All week Johannes Zits has been crafting his performance object at the Theatre Center café. His presence is casual and welcoming and because I return to the site almost daily to see the 7a*11d panel discussions, he becomes a reliable social anchor. He greets me and other festival regulars with …
By Michelle Lacombe What Does it Mean to Forget? Despite the countless talks and panels addressing the relationship between performance art and the museum I have attended, as I sit in the Art Gallery of Ontario to watch Louise Liliefeldt perform, I realize that this is actually the first time I have seen contemporary performance …
NSA By Michelle Lacombe Mikiki’s work is difficult and demanding for its audience. It is the kind of performance that challenges visibility, being as much about how your body responds to what you see as what you see, or don’t… When we come into the space Mikiki is piling raw cabbages into a pyramid in …
By Michelle Lacombe Daylighting Walks Despite actually arriving early, the first time I attend Elizabeth Chitty’s Daylighting Walks I manage to miss the introduction, which frames the action for participants. Consequently, I do not participate at all in the way that is intended. I chat the whole time, excited to see friends I have not …
By Michelle Lacombe Brush, Paper, Scissors I totally love to see a performance and, as I watch it, to realize that I have seen this artist’s work before. This happened with Sue Murad, who I had met in Chicago a couple of years ago at an event that was buried far away in my memory. …
By Jessica Karuhanga VERB FRAU TV Season 5: 7a*11d I have just returned from the kitchen with Michelle. We were guests on the last episode of the fifth season of VERB FRAU TV. Well, it was more of a follow-up to close the season. The idea behind our debrief was in essence to unravel and …
By Jessica Karuhanga 150 Blows On a Saturday afternoon I arrive in a corridor shaped like a waiting room for a spa or treatment centre. An assistant greets me at a desk and asks if I am here to see Adrian Stimson. I am immediately implicated in the performance and wilfully assume my role of …
By Jessica Karuhanga Some Reconstructions The room is book-ended by two boards on wheels. Stacks of vertically placed card-stock lean against these dividers. These piles are organized by colour or shade. Their surfaces are black, cream, grey, brown and blue. Francesco Gagliardi emerges on the stage and begins an elaborate and thoughtful choreography of spatial …
By Jessica Karuhanga To dare is to do Serge Olivier Fokoua has stated the objects he uses in his performances are diverted from their original context to achieve the effect of collision. After witnessing his utilization and re-framing of materials it is clear this process of assembly and disassembly are gestures which hope to invoke …
By Jessica Karuhanga How I can—well-enough (or showing my work) Every. Every time. Time. Overtime. Overtime I plan. Overtime I plan to go home. Plan to do. Plan on. Plan on returning.Your precious daughter. Your darling daughter. Precious jewel. Only jewel. Valuable. Daughter. Annie Onyi Cheung has reconfigured the performance space. I have been noticing …