Posted by Adam on September 25th, 2016
Linda Rae Dornan closes the festival this afternoon with her final performance, using items and materials collected during her group walk yesterday and throughout the last week. Photo by Sandra Der.
Posted by Adam on September 23rd, 2016
Alexandria Inkster performing yesterday at Visualeyez. Catch her this afternoon from 3:00 onward, on Jasper Avenue in front of Commerce Place (101 St).
Then, join us tonight for our first of two evenings of performances at the gallery, featuring Chun Hua Catherine Dong as well as Edmonton’s Lance McLean, at 7:00. Find more details on the schedule.
Posted by Adam on September 6th, 2016
Latitude 53 is pleased to announce the festival line-up for Visualeyez 2016: Kindness, with: Christine Brault (QC), Chun Hua Catherine Dong (QC), Linda Rae Dornan (NB), Alexandria Inkster (AB), and Johannes Zits (ON).
This year’s Visualeyez festival, taking place in and around Latitude 53 in downtown Edmonton, September 19–24, brings together five artists to explore the theme “Kindness”. Curated by Todd Janes, this year’s festival emphasizes personal exchanges of care and self-care, and the material traces these leave behind. The festival’s week-long scope includes a space for collaborative development by the artists, followed by three celebratory days of public performance over the weekend of September 22–24.
This year’s performances include both staged, public actions, and one-on-one gestures, as well as longer process works that develop over the festival, becoming visible during the final weekend.
Within kindness is the belief in generosity and reciprocity, where artists will extend out offers, seeking little personal benefit except the willingness to exchange moments. Both Alexandria Inkster and Christine Brault will perform publicly, meeting passersby in fleeting intimate moments. Inkster folds paper into a gift as long as eye contact with another is maintained while Brault washes participants hands and uses the water to write their name manifesting the rituals of care. Linda Rae Dornan will also work throughout the week re-animating found objects during regular walks with participants, bringing value and narratives to disregarded objects—creating a kind of installation, echoed in that constructed by Johannes Zits in the gallery for his durational performance.
As always, Visualeyez provides multiple points of entry for audiences, welcoming members of Latitude 53’s community to discuss the artists work over the festival, participate in one-on-one performances, and watch staged performances together. Visualeyez also includes an important online component, as the Festival Animator records the events in writing and uses the blog platform at visualeyez.org to expose the festival to audiences who cannot view it firsthand—and deepen the experience for those who can.
Posted by Adam on April 15th, 2016
The 17th annual Visualeyez festival of performance art happens from 19–24 September 2016 in the downtown core of Edmonton, Alberta, exploring on the curatorial theme of kindness.
Visualeyez takes place over a period of six days and it is required that all invited artists are able to attend for the entire length of the festival. Artists experience the work of other artists; engage in discussion groups, meals and other activities that enhance the work of individual artists and the performance art community within Canada and beyond. Please visit www.visualeyez.org for the past festival information.
New this year: the public performances of the festival will be truncated over three days – Thursday to Sunday, 22–24 September. The time prior to thus will serve as a residency of festival artists and engagements to develop and enhance works in a rich, critical environment.
Latitude 53 will invite artists to Edmonton to explore issues around the curatorial theme of kindness. We are looking for works that explore the fragility of the human ego and expand upon the positive nature of simple gestures. Visualeyez is seeking submissions that will connect with Edmonton and Alberta residents and have resonance within an international dialogue. The festival pays a CARFAC artist fee, two-way travel and accommodations for all artists.
Proposals should include: a CV; artist statement; a detailed description of the work you wish to present, or explore; and support material all sent as individual pdfs. You can include images, video, print or digital documentation of your work or as links, pdf, or image files
The deadline for submission is Friday, 27 May 2016, 2300h MST.
Artists shall be contacted by June regarding the status of their proposals.
Proposals by email to: firstname.lastname@example.org
Please be courteous of image size and materials that you are sending. Please ensure that attachments total to less than 10MB; if more space is required for time-based or intermedia work please provide a link via DropBox.
Kindly, please place Visualeyez 2016 submission in the subject line.
For information, please contact email@example.com.
Visualeyez is joyfully supported in part by Canada Council for the Arts, The City of Edmonton, Alberta Foundation for the Arts, the Edmonton Downtown Business Association, and Latitude 53’s members, volunteer and donors.
Posted by Adam on April 1st, 2016
The students of University of Alberta professor Natalie Loveless’s Fall 2015 undergraduate course “Introduction to Performance Art” (ArtH 336) responded to performances at the festival last year. Over the next few weeks, we’re publishing these responses on the Latitude 53 blog—to accompany the 2016 Call for Proposals, coming soon!
Posted by Cian Cruise on September 25th, 2015
My laptop’s charging in the AC stand and my cell phone’s daisy chained to the USB port, both hungry for power after a week of labour. A BBQ pork steamed bao works its way down my gullet. People mill about the airport, wandering from gate to gate, towing children or luggage or time. I just said goodbye to Guadalupe and Luciana, who’re heading back to Van city for the Live Biennale. The other artists have already left, their homes spread across the wide expanse of this nation. My flight’s in an hour or so. All of a sudden the festival’s over, I can feel it in my bones.
Posted by Cian Cruise on September 24th, 2015
In a room in a building in Edmonton, Luciana D’Annunciação sits perfectly still: amidst a tight-knit crowd, on the floor, with her speaker; breathing, she begins, drawing us in through the darkness; no shoes, and no socks — for this is an intimate affair. That’s the first word I wrote down in my notes: “Intimate.” The speaker lounges on its side, the cord bunches in relaxed coils, and Luciana is there, embedded in the sound. And so are we. Three benches pulled away from the wall sit near the centre of the room, barely a metre from the action. There are no wallflowers in this dance. Everyone is close, huddled on benches, stooped over Luciana, listening to her breath tug through the space.
Posted by Cian Cruise on September 23rd, 2015
There’s something new in the air. After Nine and Five, Three is something of a shock. Today the latex structure acts as a greater intervention on the street. At the corner of Jasper Ave and 101st, Rachel Echenberg and two participants stand between the marble benches in front of the CIBC. At first you can’t even see the balloon unless you get close, it appears to be nothing more than some hot pink multi-user bagpipe, but then it grows, and Rachel steps back into the communal space. (more…)
Posted by Cian Cruise on September 23rd, 2015
Mathieu Léger is going for a walk. His work, The Distance Between Us, is a perambulatory tour at both the micro and macro scale. He spends approximately two or three months a year at home, the rest is invested in residencies around the world. Residencies where he walks to an interconnected series of nodes that provide waypoints for continuous travel. In a sense, each residency or festival is yet another node on an even larger map. In my head, I picture a manifold map of his many walks animated like a great sprawling mass of tentacles. He says that, thanks to GPS tracking his every step, he’s been working on just that.
He is careful in how he describes the map, the route, and his action, because these details reveal a world of subtle exchange. A bit of a spaz, I stumble over the way he describes his work. I ask about “The End” of one walk, and he looks at me over his beard, a smile twinkling in his eyes, and tells me that it isn’t an end, but a bouncing off point, an intermediary through which his journey moves. And I realize that I’m thinking in a box. I’m thinking in terms of the festival only, in terms of the performances and actions ahead, and he is trying to bring me somewhere else. (more…)
Posted by Cian Cruise on September 22nd, 2015
After pushing her shopping cart to the West Edmonton Mall and dancing her way through the urban steppes, there’s only one thing left on the beige wolflady’s “to do” list: destroy the material remnants of her journey, crush the cage that binds her, and create that portable manacle anew. (more…)Next Page »