IsThereNoOneintheWorldWhoCanFly? An Exhibition of Animated Images and Video Installations by Dyan Marie A thesis exhibition presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Fine Arts in Studio Art Kitchener Waterloo Art Gallery March 28 to June 6, 2010 Waterloo, Ontario, Canada, 2010 Dyan Marie 2010
Author'sDeclaration IherebydeclarethatIamthesoleauthorofthisthesis.Thisisatruecopyofthethesis,includingany requiredfinalrevisions,asacceptedbymyexaminers. Iunderstandthatmythesismaybemadeelectronicallyavailabletothepublic. ii
Abstract TheexhibitionIsThereNoOneintheWorldWhoCanFly?consistsofthreeconnectedbodiesofworks. LifeOnEarthisaseriesofphoto performancesexhibitedondigitalscreens.someoftheimagesarestill othersareanimated;theyallproposethatthebodyisatransmitterthatbreathsincontentandbreathsit outasavisualshapeintheformofextensions,armaturesorexpulsions.mammalisalarge scalevideo projectionofamulti breastedfemalefigureprojectedonafree standingwall.thebreastsareanimated andstretchouttoexploreandsearchthesurroundingspace.worknestisaseriesofvideosabouttheact ofworkingwhichareprojectedontothefloorandappearasacommunityofguardedopeningsinto tunnelsbeneaththeground. iii
Acknowledgements Iwouldliketoacknowledgethesupportofmyadvisers,professorsandfellowstudentsintheUniversity ofwaterloomastersfineartsprogram.iwouldalsoliketostatemyappreciationtocuratorsallan MacKayandCrystalMowryfortheirinvitationtopresentmyworkatTheKitchenWaterlooArtGallery andtothesupportingstaffatboththeuniversityofwaterlooandthekitchenerwaterlooartgalleryfor theirhelpfulassistance. iv
Dedication DedicatedtomypartnerRichardRhodes andmysonsstephenmarie RhodesandMatthewMarie Rhodes v
TableofContents Declaration ii Abstract iii Acknowledgements iv Dedication v TableofContents vi ListofFigures vii MainText 8 Bibliography 22 Endnotes 26 vi
ListofImages Mammal,2010.9feetx16feet,projectedanimation LifeOnEarth:Reptile,2010.15inchdigitalframe Worknest,2010.videoprojections vii
IsThereNoOneintheWorldWhoCanFly? TheconcernsthatIbringtotheimagesinmyworkexplorelifeexperiencesandtheydosonotbyposing discretequestionsandanswersbutbyofferingatransmissionsystemthattradesinformsof acknowledgement.indevelopinganimageiperformthecontentinawaythatunifiesorfilters informationandcircumstancesviarepresentationsthatextendfrommybody.theseperformances, betweenthecameraandmyselfandthecomputer,arevehiclesthatenablemetoexplorediverseideas andconcernsandtode familiarizeanddepersonalizetheminordertoexplorebroadermeaningsand termsofexperience.theyareaneffortatacknowledgingtruthandseekingreconciliation 1 inthefaceof surroundingassumptionsfromhabituateddailyroutines,mediainformationandin theinnumerable imagesweabsorbascreatinganunreliableorsimplefalsesenseofreality 2 and asanassaultonthe totalizingandhomogenizingnotionsofidentity,systemsandorder. 3 Theworkacknowledgesthetemporarynatureofthings:myownattention,thesurroundingcultural amnesia,thetemporarynatureoflifeitselfandthepersonalandenvironmentalabyssweapproach.iam atransmitterbutnotpassive.everythingiengageisreadymaterialforabsorbingandpropelling: receptivitytothecloseathandinsocialandbuiltphysicalenvironments,socialnetworks,news,history, stories,personalmemoriesanddiscussions,warandpeace,institutions,illnessandeventscanallbe pushedorpulledintoanimation.fromup to the minutecommunicationsystemstoevolvingdnaover eons,thesethingsarefilteredthroughthebody.thecorrespondingresponsetothisconfluenceof contentistoletthingsflowinandout,likeairmovingthroughlungs,andintheprocessthisworkmakes theunseenvisiblebygivingitarepresentationalshapeandorganizationalstructure.iamstillcompelled tomakethings;theeffortremainsalivewithpotentialforsomething somethingalwaysaliveenoughto bejustbeyondcontrol beyondaresolution.iattempttomixasenseoffate,withanevolutionarywillto struggle,evolve,andregeneratetogetherwithaperspectivethatacceptshowbestintentionscanturn intowaywardaction. 1
Theworksareenactedbyphotographicperformances.Theworksbreatheinculturalcontentand breatheoutaphysicalshape.iusemybodyasthemodel;iamaperformer.transmittedcontentis expressedasaseriesofexpulsions,attachments,impositionsorextensions.intheimagecancer,the expulsionisaweaveofdrippingviscera,inmammal,breastsareattachedandextendedandnightlight imposesapregnantgrillworkofcagedlight.inotherimages,suchascloudofdoubt,balanceandpulled Push,thephysicalactofkicking,reaching,pushingsomethingawayorpullingitin,bindingthefiguretoa culturalorphysicalreferenceisincluded.eachworkisadiscreteimagethatrepresentsitsownterritory ofexplorationandcanbeviewedindependentlyasastatementthatunfoldsinseveralways: Waterfallheadisaboutwaterappreciationandwaterissues.Unbornexploresthepotentialforlifeanda reflectiononourprehistoryandposthistoryandtheexperienceofmakingornotmakinganother person.overalltheseriesofworkcollectivelycreatesanatmospherethatfeelsfamiliarandstrange, complicatedandsimple,easyandimpossible.thecontentoftheimagesarefromtheworldaroundand inus;theyarelifeonearthasexperiencedandtransmittedviathebody.theystrivetocreatean atmospherewhereconscious,subconsciousandeventhepre consciousnessareinplay,wherehabit intersectswithinstinct,wherecrossspeciesconcedethecommongroundofbeingaliveandhuman biologyreconnectstotheworld slivingsystem. Process Ihaveperformedasanactivistinapublicwayformorethanadecadeinitiatingcommunity based, super localprojects.inpart,thisexhibitionisanevolutionencompassingpasteffortsbutconstructsa vehicletoopenthemintoawidercontextandtolinkbroaderconcernsbackintothework.thisflow respondstosubjectmatterthatneedstobeconstantlyreassessed,expanded,researchedandlinkedto andtransmittedbackinawaythatisrelevanttothecontemporaryenvironment.thustherealization thatthebodyitselfisthetransmitter.thetransmissionsbeginineitheroftwoways.ihaveanideai 2
wanttoexplore.itcouldbeaboutsomethingwitnessedwalkinginmyneighbourhood,areferenceor linktootherprojectsi vebeenworkingonoveryears,orareactiontoarecentdiscussion,meetingor familysituation.itcouldbeaboutsomethingreadorseeninthemedia,avaguememoryoruneasy feelingfromadreamorcontentthatcomestomindwhiledrawing.therearealsodaysofapathyor nihilismwhereiamreactingtoasenseofnothingnessanduselessnessthatiwanttocrystallizeorshake off.iimagineawaythatiwanttousemybodyasanarmaturetoperformthis.ithensetupmystudioto makethephotographicimages.isetmytripod supportedcameraontimereleaseandperforman extensivenumberofrelatedposturesforthecamerathatithinkmaywork.ialsomakephotographic self portraitarchivesofthebodyasresourcematerialandusethemasreadilyavailableoptionstoattach content. Performingforthecameratocreatetheimagesisaprocess,likeacting.Ipreparefortheshot.IfIplan thefinalworkasanimagethatinvolveslifting,throwingorholdinganobjectiwillrehearsethepose usingapropthaticanlift,throw,orholdtoassistmeindiscoveringhowtostand.idresssimplyinblack jeansandteeshirttopresentaneutralfigure,whicheliminatesdistractionfromtheaction.imaintaina consistent,neutralfacialexpression.witheachphotographichecktheimageonthecamera,correctmy poseandreshoot.idonotwanttheimagetobereadpersonallyasaportraitbutrathertorepresenta genericbodythatlieswithintheparametersofbeingmatureandfemale.iamnotbehindthecamera whentheimageissnappedbutuseatime releasesetting.thereforemanyoftheimageshavean awkwardorsurprisingelementthatimightnothaverecordedhadiseenmypostureinthecamera s viewfinder.however,beinglessnaturalisticallyposedhelpsinremovingtheimagefromthefamiliar. SometimesIconstructtheshotasifitwereananimationsequencebyshootingstopactionphotographs throughanumberofmovementsalteredbydegrees. WhentakingmyownpictureIamthesubjectandalsothegaze.Itisstrangetoseemyownimage.Thisis 3
mybodynow.irememberbeingdifferent,youngerandfit.usingmyownbodymakesageneralized commentonageing.iamthemiddle agedfemalebodythatisbecomingacontainertotransmitmemory, notingthateverythingisworthincluding.butinwhatorder?noteverythingcanbeincluded.amapis notthesamesizeaswhatisbeingmappedandreferringtoaconversationdoesnottakethesametime ashavingaconversation,andwecannotlisteverythingweknow.wespendalifetimelearningandfor themostpart,diewiththeexperienceun archived.onlytracesmaylastininfinitelysmallways,perhaps inart,inaviralideacirculatedforward,inatreeplanted,inthednathatispassedontoouroffspring. Theintentionistoselectandtransmitinformationthroughfilteredlinkagesthatcanspreadoutin multipledirections. Otherartistshaveestablishedrelationshipsusingthebodyasasubjectinperformancesthatreliedon thecameraastheaudience.photodocumentationsandworksperformedforthecamerahavebecome successfulartworksintheirownright.marinaabramovic s,performancessituatethebodyasasiteto experienceemotionalandextremephysicalsensationtoovercomeasenseofgeneralizedfear.she discussesthatperformanceworksshouldbetransgressive, formewhatwasimportantwastomake somethingreallydisturbinganddangerous.somekindofimagethatwouldshockthepublicandcreatea spaceinthemsothattheycouldreceivesomethingnew,givingthemadifferentawareness. 4 Weare inundatedwithmediaimageryofdeathanddestruction,relentlessadvertisingthattriestobe provocativeandthegruesomeformulasfromcrimescenemovies.theyardstickthatmeasureswhatis shockingcontinuestomove.butthiscontentremainsdisassociatedfromone sownbody.thereisan empathicimpassethatisovercomeinthefaceoflivedexperience.thusperformancecreatesan opening.abramovicarguestheneedforanaudiencetocompletethework. Withperformanceyouneed todealwithsomekindofreality,andwhenthisrealityisremoved,itdoesn twork. 5 Butthereisone possibilityifyoudon thaveapublic.ifyoujusthavethecamera,andthecameraisthisimaginarypublic. Sotheproductisdifferent;thenactuallythefilmorphotobecomestheartwork. 6 4
Ihavemadestillimagesthatareperformancesandaresimultaneouslypresentedbothasdocumentation andasartworks.further,inseveralimages,ihavedigitallyanimatedthemsothattheextensionstothe bodymoveinrealtimeandfeelinteractive.thecontentexploredisaboutbeingalive,lifeonearth,not asacomprehensivearchivebutasaresponsetothingsastheysurfacewithsubjectmatterthatembraces love,pleasure,conflict,anxietyandfear.thetransgressiveorabjectinformationinmywork,reference thebody sfearofbeingafraidandofillness,loss,decayanddeath,thebodyasagraspinganddesperate vehiclesearchingoutnewterritorytoclaimevenasittransitionsintouselessness.itisthefearof degradation,ofageandillness,ofcorruptionorbecomingfoodanddust;fearasareactiontoconditions thatareimposedonusorthatwegrowinto. Anumberofotherartistsusethecameraasanaudiencefortheirperformancesandusetheirbodiesas thecontentholder.cindyshermanphotographsherbodyinwaystoimagineotheridentitiesand situationsrangingfromthebanaltotheabject.suzylakeusesherbodyinimages,portraitsand performancestoexploreideasofidentity,role playing,feminismandageing.regardingherwork PortraitasIssuesofIdentity,shestates, Theprovocationthatbegantheidentityseriesrestsinthe strugglebetweentrueidentity,decorum,androle playingatatimeofsocialandpoliticalchange 7 Vito Acconci sperformanceworksusedhisbodyasamalleableobjectforattemptingtransformationin performanceswherehemilkshisbreast,printsthebodywithteethmarksandmanipulateshisfaceto becomeanunrecognizablemask.iidentifywiththesebodyworksthatwereperformedforthecamera. Myimagesbecomeastaginggroundtobealtereddigitallyinthecomputerbuttheyallrequirethelens astheaudience. WorkingwiththeperformancephotographimportedintothecomputerIdevelopnumerouslayersof drawingsontopoftheoriginalsourcephoto.thedrawingsstartasaprocessofrepresentingsomething 5
Iwanttoexploreintermsofanidea,feeling,image,colour,andform.Idevelop,shade,colourize,fadeout, filterselectedpartsandeditoutotherpartsusinganycomputersoftwaretoolavailablethatmightprove helpful.insome,theimageisfurtheranimatedintomovingpartsandcompletedasvideo.inthemost rewardingstudiosessionstheworkitselftakesoverandopensupinunexpectedwaysbothconceptually andformally.butevenonthemostinauspiciousdaytheprocessofworkingchallengesmyinitial assumptionsandexpectations.therearealsounusualtimesofextremeelationwhentheworktakesme toaplaceofclarity,ifonlyforamoment.thistemporaryeuphoricstatefeelstranscendentalandcanbe describedasanexpandedfieldofperception. AssoonasIperceiveit,assoonasInameit.Thesublime triggers hasalwaystriggered aspreeofperceptionsandwordsexpandmemoryboundlessly. 8 Kristeva,Julia.PowersofHorror,AnEssayOnAbjection. Oncethedrawinglayersarecompletedtheimagesappearasextensions,armaturesorexpulsions transmittedfromthebody.theintentionistoexploreideas,feelings,andconcernsthatihavebeen engagedwithinawaythatgivesbothclose updailysituationsandglobalchangesthesameweightand thatcanincorporatestrandsofhistory,instinct,biology,habit,consciousness,unconsciousness, primordiallinkages,geneticsandcircumstancesandgivethemavisualform. Eachimageisspecific,oftenverycompactwithreferencesthatlinkintowiderangingcontent,andyet theworkprovidesopeningssothatviewerscanmeettheimageintherealmofanon verbalengagement thatlinkswiththeirownhistoryandfeelings.thereferencesmaybeponderous,tragic,sometimes disturbing withcontentthataddressesfrustration,fearanddecay buttheimagesthemselvesoften possessahumorouscartoon likequality. Laughingisawayofplacinganddisplacingabjection 9 states JuliaKristevainPowersofHorrorAnEssayOnAbjection.Usinganevolving,butlimited,primarycolour palettereinforcestheircomicnature.usingmainlyprimarycoloursinsertsaconsistentatmospherethat issimpleanddirectandlinkstheworkswhilefocusingattentionontheactivitybeingperformed.the 6
humoristnaturealsoremovesthemfrombeingoverburdenedwithanauthoritativeposturing,thereis seldomoneorananswerbutrathercurrentsofideasthatshiftandevolve. Malevich sblacksquare Individualworkscontaincontentthatopensupindifferentdirections,orbecomesastory,orachainof events.theworktitledmalevich sblacksquareshowsacrawlingbodywithablacksquarebalancedon herraisedfootandherbackorperhapsitisattachedtoherback.theimagereferstokasimirmalevich s revolutionarysuprematistworkandtherelatedsovietrealitiesthatfolloweditaswellasanearlier historicalillustrationbysandrobotticelli.thebotticellidrawingwasmadetoexplaindante sdivine ComedyinacommissionfromLorenzodiMedicithatwasdevelopedbetween1480and1495.Botticelli s purgatorydrawing,penanceofproudknightsandartistsshowsanassemblyofcelebratedartistswho competedtosurpassoneanotherduringtheirlifetimeonlytobesurpassedinturnbyotherartists.all arestoopedlowandburdenedwithmassiveblocksofstonebalancedontheirbentbacksastheycrawl forwardinanendlesscircleinpurgatory punishmentfortheirhubris. MalevichandotherRussianConstructivistsbelievedinarevolutionaryartthatwouldfosteran egalitariansociety.insteadofutopia,therevolutionusheredinapowerstructurethatbannedthese artists worksaselitistandadoptedsocialistrealistpropagandaastheonlyofficialartform.thework Malevich sblacksquaresuggestsanoppressiveagendathatrelatestothischainofevents.hereisa burdenthatisalsoaphysicalpartofthebody.thisposeistakenonwithconcentratedwillfulenergybut itcanbeunderstoodasaquestionableeffort.sustainedbalanceisunachievablebutperhapsitcanbe appreciatedasanawkwardtestofshiftingpointsoftensionputintomotionforaslongaspossible knowingtheeffortwilleventuallyfail,butthequestioniswhen.thebalanceachievedintheinterimmay ormaynotbeworthwhile.attemptstochangetheworldmaybelikeanepisodeofcartooncharacter WylieCoyotewhoseelaborateplansandresultingchainsofeventsneverendinwhatheintended.He 7
continuestotry,andanaudiencecontinuestowatchandfindcomedyinhisever changinghopeful effortsandresultingtragedy. Elaborate,persistenteffortstowillchangeareequallycomicandtragic.Good willedintentionscanbe repeatedindifferentwayswithunfathomableresults.artistfosteredtheatmospherethathelpedcreate therussianrevolution.theoutcomewasthesubsequentrepressionoftheirwork.theeventualfallof thesovietunioninterruptedthebalancingactthatplayedoutinthecoldwarthatprovideda communistmodelinoppositiontocapitalism.asaresult,corporationswerefreetoclaimideological supremacyandcouldforceaglobalizedcapitalistagendaunopposed.theneo liberalsbottomdollar, whereveritcouldbesecuredforproduction,becameacorporateglobaldemand.governmentsadopted corporategloballeadershipandacceptedtheirconceptthatprofitshouldmediatedecisionmakingover qualityoflifestandardsandlocaldemocraticconcerns. Theramificationsofacorporateglobalizationunopposedbyalternativeideaschangedtheworld. Talentedpeoplesoughtcorporateworkratherthanpublicservice,greedbecamefashionable, anonymousnewcondominiumsblockedsightlinestolakeontario,globalwarmingwasdisputed,plastic islandsformedintheoceans,thecoddisappeared,peoplediedfromcontaminatedwaterinwalkerton, Ontario.Torontothe citythatworked,stoppedworking.thecitybecamedirty,treesdiedandwerenot replaced,teacherswentonstrike,andrecreationalfacilitiesbecameunaffordableforyouth,whilegangs, crackcocaineandgunplayincreased.artistsandindividualslookedattheirfailingneighbourhoodsand steppedintothevacuum.collaborativeprojectsdevelopedthatworkedtobuildcivilityandsolveurban problemsasdemonstratedincollaborative,participatory,relationalestheticandactivistprojects.in TorontowesawthepublishingofSpacingMagazinethatdocumentedmanyoftheselocalefforts includingwalkhereandthevinepeople,bothparticipatorywalkingprojectiinitiated. 8
PerformingasActivist Icametoactivisminresponsetomycity sproblems.iorganizedanddesignedanewstudiobuildingfor artistsandsmallbusinessesthathousedmyprojectspace,andwalkedtheredailyfromwhereiliveda fewblocksaway.thewalkingexperiencewaslifealteringandpressedhometheproblemsofmy neighbourhood.ithadoneofthelowestincomeandeducationlevelsinontario,highlevelsofpollution andwastoronto'sinner citygo tositeforsellingcrackcocaine.ibecameinvolvedinurban interventions,long termparticipationandcollaborationprojects.thefirsteffortin1993wasapublic artwalkingprojectfortheunderpassatlansdowneavenueanddundasstreet.elementswerehidden throughoutthewalkwayandcouldonlybefoundbywalkingthroughthelongunderpassseveraltimes. Itwasawaytoencouragewalkingasanactofdiscovery. OtherprojectssuchasSubjecttoChange:ArmaturesforStandingUpin1999,proposedbuildingsfor peopleconstructedoutofobjectsthattheytouched.theworkwasmostlyfictionalandtheoretical,while thesubjectswerebasedinmylocalneighbourhood.inearly2000ibegandevelopingparticipatory projectsinvolvingotherartists,localresidents,politicians,schools,developers,andsocialagencies.i initiatedcommunitygroups,artembeddedwalkingsystems,festivalsandurbanintervention participationevents,oftencenteredontheideathatwalkingwasakeytoexploringurbanissues.my statedintentionwastohelpbuildstrongercommunitiesthatempoweredlocalresidentstoownand addresslocalissuesthroughcommunitybuildingprojectsthatharnessedpublic,communityand environmentalarttoitsservice.theseprojectswerelessconnectedtomuseumartsystemsandwere presentedinalternativewaysandplacessuchaswebsites,parks,sidewalksandfestivalevents.this includedtheprojectwalkhere,anartembeddedwalkingsystemthateventuallycomprisedartworksset intoanewcementwalkwayatwallaceemersonparkintoronto,2004.theinstallationincorporated elementsby120professionalartistsand30schoolchildrenwithontariocollegeofartanddesignand thecommunitygroupdiginfacilitatingsupportingevents. 9
However,therearedifficultiesinattemptingtocreateacivicUtopia.Severaloftheworksinthis exhibitionsuchasmalevich sblacksquare,cloudofdoubtandcancerreferencemyreflectionscreating publicprojectsthatsuggestaprescriptiveagendaofchangeandimprovement.myrecentresearchhas enabledmetoseemyworkinacontextofotherparticipatoryprojectsinlocalandinternationalarenas andtoshareevolvingideasregardingthefield.irecognizewellintentionedprojectscanchangeviewers andparticipants mindsetsbutitisimpossibletopredictthechangesputinmotion.workingwithgroups entailsextensiveattemptstocommunicateintentions,navigatediscussionandbuildconsensusin meetings,emails,blogsandwebsitesaswellasintheproductionofcommunicationandinformation materialstokeepprojectstransparentandparticipantsengagedandinformed.aestheticdecisionsand contentcanbeexpectedtobeself censoredtoensuregeneralaccessibility.effortstoengage communitiescanoverlapsocialservicesinwaysthatcandemandlong termengagementand expectationsthatarenotpossibletomeet.administrationcanbeoverwhelming.whenartistsbecome involvedininitiativestoanimatecommunitiesquestionsarise.whyareyoudoingthis?whoitisfor? Wheredoesresponsibilityforartbeginandend?Misunderstanding,misinformation,disagreementsand bureaucracywithingroupsandbetweenindividualscanviefordominanceinaself defeatingequation butconflictandcomplaincanalsobeviewedaspartoftheprocess.complaintcanbecommunity building. Theideathatfrustrationandcomplaintareagivenpartofprocessisbeginningtobediscussedinworks thatinvolvecommunities. Theconceptofcommunityincontemporaryartisladenwithcomplaints complaintsabouthowartistsexploitormarginalizecommunitiesastheycreatecommunity based projects,complaintsabouthowcommunityismerelyabuzzwordwithinartsfundingrhetoric, complaintsabouthowtheconceptofcommunityistooreductiveortooutopian,complaintsabouthow communityhasbecomeuselessasatheoreticalconstruct.complainingis,infact,afeatureofcommunity 10
itisawayofidentifyingwithagroup,aconcept,awayoflife. 10 CloudOfDoubt TheimageCloudOfDoubt 11 isastatementonissuesofmiscommunication,complainand misunderstanding.thefigureisbalancingononefoot,strugglingtoholdtheposture.allattentionis focusedontheotherraisedbootedfoot.thebootisthewritingtool,busyrecordingamatrixofblack scribbles.despiteconcentratedeffortandsinceritythemarksareunreadableandthusmisunderstoodor variouslyunderstood,leadingtoadriftingcloudofdoubt.thisisnottosaythatdiscussion,complaints, argumentsanddoubtarenotuseful.whilepotentiallyenervatingandnottobeavoided,theyarepartof aprocessandopenholestobeentered.thisterritoryoffrustratedcommunicationhasbeenexploredin theworksofbrucenauman.hisworksconfuseandgestureineffectively.nauman sneonlightfigures anddrawings,punchandjudyiibirth&life&sex&death1985,introducesrepresentationsbodiesthat signaltocommunicateandyettheyfail.theyexpressmiss connectionsoverandoveragain,with resultingfrustrationandincreasingpotentialfordissatisfaction,angerandviolence. Artistsareoftenactiveincommunitieswheretheylivebecausetheyaresoresponsivetotheir surroundings.theyareinterestedinmakingthingsandtheycan.theyhaveawiderangeofideas,skills, networksandworkinghistoryavailablethatareallenablingbutarenottransparentandthusconfusing. Artistsmakeworkaccordingtotheirowncriteria,initiallyforthemselves,bornoutoftheirenthusiasms andfrustrations.christowasaskedwhendiscussingthepublicinstallationofthegatesincentralpark withtheparticipationofhundredsofvolunteersandthousandsofviewers,whyareyoudoingthisand whomitisfor,famouslyansweredthathewasdoingthegatesforhimself.thatartistsresiststructuring canbeatoddswiththecommunityorganizationsthatcanbehelpfultoroottheirefforts.organized groupscancalcifyintobureaucraticandhierarchicalauthoritystructuresmannedatboardlevelbya professionalclasswithexpectationsofdo gooddeliverablesratherthanfluidegalitarianstructuresof 11
collaborationthatcanebbandflowoutasunmanageablecurrents. Inthe1990 sparticipationandcollaborativeworkswerebroughtintothemainstreamofartisticpractice bynicholasbourriaud,whocoinedthetermrelationalaesthetics.inhisbookrelationaesthetics, publishedin1998,hewritesthatwiththeseshiftingapproachesandopportunities, changecanbe summedupinafewwords:learningtoinhabittheworldinabetterwayinsteadoftryingtoconstructit basedonpreconceivedideasofhistoricalevolution artworkisnolongertoformimaginaryandutopian realities,buttoactuallybewaysoflivingandmodelsofactionwiththeexistingreal 12. Variousmodels ofworkinghaveadvancedthisdiscussionandtheorizedthatlong termambitiouseffortscanbe unsustainableandshort termeffortscanbeexploitive.sculptorantonygormleyhascomeunder criticismforhisprojectsthatdependonpeoplecomingforwardtoparticipateandcompletehiswork withoutanylastingconversation.theoristslikeclairbishophavefoundfaultinthebourriaud dependenceoninstitutionalframeworksandlackofattachmenttothelargerworld.theviennese based RadicalCultureResearchCollectivestates, It snotthatexperimentsinformsandmodelsofsociability arenotneededtoday theycertainlyare.buttobepoliticallyrelevantandeffective,suchexperiments needtobegroundedin(oratleastactivelylinkedto)socialmovementsandstruggles.(andthereisno socialprogresswithoutcontestationandstruggle:thisforusisabasicmaterialisttruththatmakesany blanketrefusalof conflict problematic.) 13 DuringJeremyDeller sexhibitionitiswhatitisatthenewmuseumin2008,newyork,ihada conversationwithgilanidjar,acontroversialauthorandassistantprofessorofcomparativeliterature incolumbiauniversity sdepartmentofmiddleeastandasianlanguagesandcultures.hewasoneof severalprofessionalshiredtoparticipateintheexhibition sdiscussionprogram.wediscussedthe natureofdestructiveforcesandiaskedhimwhat,tohismind,wasthebiggestoverallproblemregarding theabilitytomakepositivechange.heanswered, Goodintentions FirstWorldcountriesgood 12
intentionsinimposingnationalborders,interferingwithemergingcountries,creatingtheworldbank andsponsoringeffortsatregimechangehavebeendisastrous.historyshowsthatyoucannothavegood intentionsforotherpeople,thatbest laidplansgowrong.insteadofhavinginterferinggoodintentions forotherpeople,governments,countriesoneshouldhavegoodintentionsforthemselves. UrbanculturalprojectsintroubledandemergingneighbourhoodsthatIhavebeeninvolvedwithcan fostergentrification,whichmayeventuallydisplacethepoor,includingtheartists.community based effortscanbeenervatingandwell meaningindividuals,groupsandorganizationscanfailat communicatingandbeingconstructive.itisalsoapparentthatartprojectshavethepotentialtobuilda positiveidentityeveninanatmosphereofmisunderstandingandcomplaint.thateffortcanmakefor morelivablecitieswherewalkingbecomesdesirable,neighboursbecomefriendsandpublicplaces becomegreenandvital. GrandRiverWaterfallhead Ihavebeeninterestedinwaterasauniversalsubstance;itswayofcarvingmarksintothelandscape,of wetlandsandmysteriousundergroundstreamsthatfeedcreeks,brooks,streams,rivers,lakes,oceans anditsrecirculationasdew,rain,mist,fog,sleetandsnow.ifeelwaterisanintegralpartofthecanadian identity,withourvastnetworkoffreshwaterlakesandrivers.ifollowreportsinthenewspapersand booksthatdemonstratethatwaterisorwillbecomethemajorissueofourtime.ihaveresearched informationaboutgroundwaterdepletion,pollution,urbancontaminatedrun offofsalt,oilchemicals andruralcontaminatedrun offfromlivestockfertilizersandpesticide.iknowaboutdroughtlinkedto globalwarming,changingwatertemperaturesandrelatedaquaticfishandplantdepletion,risingsea levelsthatdestabilizecoastalcommunitiesandnations. GrandRiverWaterfallheadisanimageofapersoncrouchedforward,handsonhipstostabilizethe 13
posture.theheadisextendedoutandlookingdownasifexaminingsomethingcarefullybutasif transformedintoavessel.thevesselisthesourceofacascadingwaterfallpouringoutwaterthatisthe colourspectrum.theimagelinkswatertothebodyasasourcethatisconnectedeverywhereasexplored inweareagrandriver.thisisanon goingprojectofminebasedonwaterissuesrelatedtothegrand RiverthatflowsthroughonethirdofSouthernOntarioandthenonintotheglobalizedwatersystem.The waterfalliscolouredtoreflecttheprismsrefractedinmist,rainbowsandoilslicks.thewaterfallsand poolsintoadarkeningmassthatspillsofftheimageplane.thecolourbandsareanimatedandmoveata ratetheeyecanfollowsothatthewaterfallappearsbothasindividualbandsofcolourbutalsoasa cohesiveformthatflows. Technology,FireandOtherAdvancesSlouchingTowardsBethlehem Theyellow headedimageintechnology,fireandotheradvancesslouchingtowardsbethlehemmakes referencetothew.b.yeatspoem,thesecondcoming 14.Thepoemisaprescientwarningof20 th century apocalypse.millionshavediedbrutallyinthefall outofutopiangoalstobuildperfectsocietiesorthe perfectraceincountriessuchasgermany,russia,japan,china,cambodia,rwanda,formeryugoslavia, andthesudan.atthesametimewehavewitnessedtheannihilationofthousandsofotherlivingspecies. Theimageinthisworkhasthefire headedfigureasastruttingforceofchange.fireisthegreatdivider thatseparatespeoplefromotheranimalsandisattherootofhumandominance.itcreatesawarmand comfortablesocialspacethatreinforcesgroupidentityandrelationships,fosteringempathyandcooperationwithinthegroup.westerncultureisrootedinideasthatman(andwoman)havedominion overallcreatures.humanistvaluesholdthatindividualhumanrightsandfreedomstakeprecedentover allothers.together,theseideasfosteralackofcross speciesempathythatresultsinthemass destructionofotherspeciesthroughcallousness,environmentaldegradationorlossandnowglobal warming.themoltenredweaponsinthehandoftechnology,fireandotheradvancesslouchingtowards Bethlehemembodiesthedisregardforlifeoftheotherthatresultsindestruction. 14
LifeOnEarth:Reptile,2010.15inchdigitalframe Reptile Reptileisananimatedimagefeaturingtwoblankcirclesaseyesthatsitemotionlessinacrudeelongated reptileheadattachedtoasilhouettedhumanbody.likeotherworksintheserieslifeonearththe imagesappearaspartcomicandyetthesecartooneyesstareoutfromthecontrastingdarkenedspaceto radiatesomethingprimordial.theeyeschangecolourintimewiththeinhaltionandexhaltionof breathing.theworkreferencestheegyptiangodsobek,withaheadofacrocodileandthebodyofa person,thatwasworshipedinatimewhenanimalswerenotthelesserofpeoplenorsubjectedtothe disregardthathasresultedinextensivespeciesannihilationandanincreasingglobalmonoculture. FormuchofHistoryandallofprehistory,humansdidnotseethemselvesasbeinganydifferentfrom 15
theotheranimalsamongwhichtheylived.hunter gathererssawtheirpreyasequals,ifnotsuperior, andanimalswereworshippedasdivinitiesinmanytraditionalcultures.thehumanistsenseofgulf betweenusandotheranimalsisanaberration.itistheanimistfeelingofbelongingwiththerestof naturethatisnormal. 15 Crocodilespredatetheexistenceofmammalsandsurvivedtheextinctionofdinosaurs.Theirlife expectancyissimilartothatofhumans,withsomereachingover100yearsold.theyremainfearedand unknowableascold,patientpredatorsthatattackwithspeedandforceandtheirimageisstillableto arouseterror.theprehistoriceyesinreptilereachintoahistorybeforehumansexisted.reptilesarea reminderthatweoncedidnotexistandmaynotexistinthefuture.theyrepresentthefearofthe violent,unknownotherwalkinginourmidst,thefearoftheterrorist,terrorofdeath.however,terroris alsoexciting,astimulatingrushofadrenalinethatweseektoexperiencethroughhorrormovies,roller coasters,fastcarsandmostofall,war.thesearerushesoffearvolunteeredfor,thatbringclaritytothe experienceofbeingalive. Mammal TheworkMammalmakesreferencestoanimalandplantbiology,motherhoodandfertilitygoddesses. Therhizomaticstructuresofitsmulti breasttentacles stretchoutasfeelersendowedwithindependent cognition.thefigureisthefemaleasfecundmonsterwithendlessoffspringthathaveoverpopulatedthe world.simultaneouslysheisthegenerous,selfless,nurtureraggressivelyofferingsustenanceandthe femaleburdenedbythefemalebodyofbloodandmilkandthesourceoflife.thebreastsstretchforward inananimatedprocess,throbbing,breathing,andsearchingoutthesurroundingterritoryindifferent ways.oneofthebreastsfeelsitswayalongtheedgeoftheprojectionwalllikeasnakeslitheringforward inexpandingandcontractingmotions,anothershape shiftsinaevolutionarypulltobecomenew, anotherisaninsect santennasfeelingthesurroundingsoraheadfuriouslyturninginalldirections.all 16
seemtobesearching,thencontractingandsearchingagain.thelifesizeprojectionisinstalledona freestandingwallthatencouragescirculationaroundit.whentheviewerstandsflushtotheedgeofthe wallthebreasttentaclesappeartostretchouttocontactthem,thenstopandwaitinchesawayateye level.theviewer seyebecomestheopeningandaplaceforthefeminizedphallustoenter.thework recognizesnancysperoandlouisebourgeoisasprecedents.nancysperosearchedhistoryforiconic femaleimagerywhichshelayered,overlappedandcombinedintoscrolls,andlongdrawingsthatcircled exhibitionspacesinthemannerofgreekandromanreliefs.sheusedasimplifiedcolourselectionofred andblack.louisebourgeois ssculpturesreferencetheshapeanddrivesofmammals.heruncannymultibreastsculpturesfocusedrecognitionofthebodyasasitethatsignalsprimalemotionalconnections. Myworkhasalwaysbeenarecordingofmyemotions.It snotaconceptthati mafter,butanemotion thatiwanttokeepordestroy. 16 Theideaofemotionbeingdominantoverconceptismirroredasthe reverseinmywork.iamusingrelatedmulti breastimagerybuttheimageisdevelopedtointroducea concept.theconceptsareemotionallyacknowledgedinthebodyandthatispartofwhati mofferingto transmit. 17
Mammal, 2010. 9 feet x 16 feet, projected animation 18
Worknest Wearepartoftheworldofanimals,insectsandbacteria,movedbypowerfulinstinctualdrives.Our citieshavemuchincommonwithanantcolony'sstructure,withitsdivisionoflabour,architectureand constantactivity.theamericanartistallansonfistcomparedananimalburrowtothenewyorksubway andhascommented, Wefeelweareabovetheenvironmentbutinrealityweareinrelationshipwithit. Likeeveryotherthing,livingordead,weareapartoftheecosystem.Citiesarebutonetypeof landscape.thesimilaritiesbetweenthenewyorksubway,theburrowingofafoxhole,andananthillare, Ithink,moreprofoundthantheirdifferences.OnceIexhibitedthecastofalabyrinthanimalburrow withinagridofcitystreets.itisthroughmyartthaticancreateanawarenessofthearchaeologyof thesenaturalsystems. 17 WorknestisaseriesofvideosprojectedontothefloorthatrelatetoSonfist sexplorationofunderground foxholes,subwaysandthesenseofconnectednessbetweenthem.worknestprojectionsappearasa communityoftunnel likeopeningsresemblinganimalburrowsorinsectneststhatmaybeconnectedvia undergroundpassageways.theimagelinkstheactivitiesofthebodytothatofotherlivingcreatures suchaswaspsbuildingapapernestorthebusy nessofanantcolonyorbeehive.inthevideoiperform asaworkerinsectandfanaticallyendeavortobuildastructureoutofmud.itisademonstrationofthe actofworkingandthedrivingpassionforworkingeneral. Upuntilthemid1960s,inthedevelopedworld,mostwomenworkedinthehome.Inthe1960swomen cametogetherinamovetowardaworldwheremenandwomanhadthesamerightsandopportunities, whichthenbroughtwomenintothepaidworkforce.weimaginedthataninfluxofwomenintothework forcewouldbebalancedwithmencontributingequallyinthehome.theextrawomenintheworkforce wouldbringdownthehoursoftheworkweekandlongholidayswouldfurtherhelpkeepthisextended workforceemployedwhileimprovingthequalityoflife.imaginea24 hourwork weekwithparents 19
sharingchild raisingresponsibilitiesandhavingtimeforarichprofessional,familyandprivatelife.the realityofamuch extendedworkforce,combinedwiththereplacementofmanyjobsbytechnology, automationandprostheticsaswellastheshiftofmajorsectorsofindustrialworktodeveloping countries,mighthavebeenexpectedtoresultinextensiveleisuretime.thishasnothappened.worknest incorporatesquestionsabouttheactofworking.istheneedtoworkaninstinctualdrive?arecultures noworganizedtocreatemake workmodelsofquestionableimportance?iswarjustanotherformof employmenttokeeppeopleatwork?isthere structuringofworkafeministissuethatneedsfurther attentionandre examination?isworkanessentialneedtomakeliferelevant?whatprogressisbeing madebyallthiswork? Fornearlyallofhistoryandprehistory,workwasanindignity.Progresscondemnsidleness.Thework neededtodeliverhumanityisvast.indeeditislimitless,sinceasoneplateauofachievementisreached anotherloomsup.ofcoursethisisonlyamirage;buttheworstofprogressisnotthatitisanillusion.it isthatitisendless. 18 Worknest,2010.videoprojections 20
Worknestisexhibitedinthegalleryasaseriesofvideoprojectionsinstalledtoappearasopeningsinthe galleryfloor.layersofmudareworriedintoplacetocovertheentrancetotheundergroundspace.in othertunnelstheoppositehappens:aholeinthesurfaceisbeingscratchedopen.inanotherprojection aneyelooksouttosurveytheexhibitionspaceandtakenoticeofviewerswhowanderthroughthe exhibitionandsometimesstepontheprojectedsurface,blockingoutthelightasifdestroyinganant colony.themudconstructionfunctionsasananimatedwallbetweentheviewerandtheobscured workerimpliedbytheglimpsesofhandsandeye.thisisaseparationofabovefrombelowandalso createsanotherspaceofinsideandoutside.yetthedividingsurfaceremainsinmotion,asplanesofmud shiftandopenandreseal.thewallissolid,butnotsolid.itmightopenupandonecouldfallinorbe swallowed.whatisgoingondownthere?isithellasexperiencedinamudandbodyfilledbombcrater, analiceinwonderland likeentrance,asewer,oralabyrinthascomplicatedasthatofanantcolony?isit thevaginalslitofmotherasearthordeathwiththesurfacemovementmadebyathousandinsects transformingmatterintodust? Thecurrentthatlinksandblanketseverythingasarhizoidaltransmissionunderthe principlesof connectionandheterogeneity:anypointofarhizomecanbeconnectedtoanythingother,andmustbe 19 andpropelsthewilltostruggle,evolve,expand,contractandregenerate,ispresentedinthisexhibition asagiven.theinformationexploredinthebodyofworkreachesintoourprimordialroots,connectingto thepresentandforwardintothefuture,untilexistenceends.thisbodyofworkisanawarenessofwhere westand,notanunderstandingofit.itisacommentthatacceptsthatlivingthingsaredriventowork, regenerate,engagewiththepresentandtrytoeffectchangewithoutknowingtheoutcome.weare blindedbytimeonbothsidesofbeingalive.wedonotgettoseehowthingsendorunderstandhowthey began.wearealiveforthemoment.theworktriestovisualizewhatsometimescrystallizesina temporarysenseofknowing.itengagesavitaldriftthatweallexperience,vibratewiththeflowof,and transmitonward. 21
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Footnotes 1 PresidentNelsonMandelaestablishedatruthandreconciliationcommission,asawaytolisten, understandandownthethousandsofconflictingstoriesofbrutalwrongdoingafterthefallofapartheid. Theprocesshasbecomeamodelrepeatedinvariouscountries. 2 Schwartze,Stanfort.GrayMagic,LucTuymans.TheNewYorkReviewofBooks.LucTuymanswhohas spelledouthisaimsovertheyearsinstatementsandinterviews,seestheinnumerableimagesweabsorb ascreatinganunreliableorsimplefalsesenseofreality.february11,2010,pg20 3 ThePhobicObject:AbjectionInContemporaryArt.CatalogueofanexhibitionAbjectArt.Whitney MuseumofAmericanArt,NewYork,Jun.23 Aug.29,1993,pg59 4 Stiles,Kristine.Biesenbach,Klaus.Iles,Chrissie.MarinaAbramovic.Phaidon,2008,pg19 5 Madoff,StephenHenry.ArtSchool.Chapter13,Conversation,MarinaAbramovicandTaniaBruguera. MITPress,2009,pg180 6 Madoff,StephenHenry.ArtSchool.Chapter13,Conversation,MarinaAbramovicandTaniaBruguera. MITPress,2009,pg185 7 Lake,Suzy.PortraitasIssuesofIdentity.[wwwsuzylake.ca] 8 Kristeva,Julia.PowersofHorror,AnEssayOnAbjection.pg12 26
9 Kristeva,Julia.PowersofHorror,AnEssayOnAbjection.pg8 10 Liinamaa,Saara.ComplainingCommunities:ComplaintsChoirsWorldwide.Public39,2009,pg129 11 TheCloudOfDoubttitleisappropriatedfromanartworkbyStephenMarie RhodesandJPKingand referstoalarge scaleinstallationoffounditemsstrappedtoastreetlightpolewiththesurfacecrawling withlights.nuitblanch,toronto,2007 12 Bourriaud,Nicolas.RelationalAesthetics.City:PressesduRÃ el,1998 13 RadicalCultureResearchCollective.AVeryShortCritiqueofRelationalAesthetics,RadicalCulture ResearchCollective[http://transform.eipcp.net/correspondence/1196340894#redir]2007 14 Yeats,WilliamButler.TheSecondComing.1919 Turningandturninginthewideninggyre Thefalconcannothearthefalconer; Thingsfallapart;thecentrecannothold; Mereanarchyisloosedupontheworld, Theblood dimmedtideisloosed,andeverywhere Theceremonyofinnocenceisdrowned; Thebestlackallconviction,whiletheworst Arefullofpassionateintensity. Surelysomerevelationisathand; 27
SurelytheSecondComingisathand. TheSecondComing!Hardlyarethosewordsout WhenavastimageoutofSpiritusMundi Troublesmysight:somewhereinthesandsofthedesert Ashapewithlionbodyandtheheadofaman, Agazeblankandpitilessasthesun, Ismovingitsslowthighs,whileallaboutit Reelshadowsoftheindignantdesertbirds. Thedarknessdropsagain;butnowIknow Thattwentycenturiesofstonysleep werevexedtonightmarebyarockingcradle, Andwhatroughbeast,itshourcomeroundatlast, SlouchestowardsBethlehemtobeborn? 15 Gray,John.StrawDogs,ThoughtsOnHumansAndOtherAnimals.Granta,2002,pg17 16 Ayers,Robert.LouiseBourgeois.ArtInfo,[www.artinfo.com],July28,2006 17 Rosenblum,Robert.InterviewwiththeArtist(AlanSonfist)AlanSonfistswebsite [www.alansonfist.com/rosenbrginterview.html],2008 18 Gray,John.StrawDogs,ThoughtsOnHumansAndOtherAnimals.Granta,2002,pg195 19 Deleuze,Gilles.Guattari,Felix.TranslationMassumi,Brian.AThousandPlateaus:Capitalismand Schizophrenia.UniversityofMinnesotaPress.1987,pg.7 13 28
Imagespleasesee:www.dyanmarie.com 29