HAPPY NEW YEAR!
2017 was exhausting. On the horizon however, I see communities energized by both a violent necessity and an optimistic determination to make material changes in the quality of life for all. I am hopeful that creative communities will find healing in the interstice between reclamation and navigation and I look forward to working with many of you, in the coming year, on demanding equity from our industries and empathy from our communities and compassion of and for ourselves.
Now on to the part I struggle with- requesting your time and attention for my own practice. As of late, my interests in abolishing the status quo have become rather... relevant, it seems. Thus I have a number of events to share with you. I've added gifs to make it more fun!
"Witch Hunt", 2018
In a symbolic gesture that explores a cathartic action, "Witch Hunt" plays tauntingly with my own identity as a witch, while confronting the backlash against the #metoo and #timesup movements. Wear your dancing shoes.
"Witch Hunt" will be presented as part of "Twin Engines", a curatorial project of Nathan Bockelman. Performing on the same night will be a project by Brian Getnick.
Bockelman's statement on the series:
Twin Engines brings together artists working in Los Angeles who uniquely mix approaches from the fields of Performance Art and Theater. From reading/performing text, scripts, the use of fake props, real props, simulated sounds, real sounds, real pain, real emotions, fake laughs, hypnosis, dancing, large scale drawing, or audience interaction- these approaches are productively conflated into hybrid practices that disturb our conception what performance art and theater is.
Theater has existed in many variations for thousands of years. It's impetus is to tell stories primarily through the bodies of performers and with props, backdrops, costumes, and other devices to varying degrees of intricacy, delving farther and farther into it's simulated reality. Artists of the 20th century sought to play with those traditions. The strange and absurd poetry readings, blank affectations, and odd story structures exemplified by the pseudo theater of Hugo Ball, Emmy Hennings and the DADAist involved with Cabaret Voltaire, the ceremonial sculptural set ups of the Gutai artists who sought to create a theatrical event out of one simple action or the audience involved tasks in Allan Kaprow's Happenings helped to transform elements of traditional theater into a new sensibility and aesthetic: what we now consider 'Performance Art.' While both performance art and theater had to work with the material of time, performance art could 'tell a story' that was completely silent, corporeal, symbolic, incoherent and often more abstract than traditional theater while not all together abandoning selected sensibilities of the theater. Dance and music were also important in the evolution of performance art, however, it is the traditional approaches in theater that invite both dance and music to engage with visual art strategies. This is a hallmark of the artists assembled here to participate in Twin Engines.
Also of interest to me while assembling this roster was the use of these performer's own biography as a means for content and manipulation. While performance art maintains itself as an arena of authenticity and the real because it is stripped of theatrical 'fake-ness,' the artists in this series use theater's means to point to the self's construction, the reshaping and reaffirming of the self's identity, societally imposed representations of identities and the significance of cultural affiliations.