Posted on October 4th, 2010
So last weekend I was sitting – hiding – in Sydney’s office at Latitude 53 while a wedding took place out on the balcony. It kind of felt like the performance festival was still going on, not because of some sort of cynical attitude on my part towards the spectacle of marriage, but because there was a nice big audience for the relatively intimate event, and half the people had cameras, and because they all clapped when it was over. I mean, and because it happened at Latitude 53 (duh). It got me thinking about performance art, as I had been for 2 straight weeks without a break. I mean, I’m a believer in the idea that it’s art because the artist says it’s so. But what makes it performance?
Visualeyez is great for presenting a breadth of performance practices and for testing the limits of what is considered performance. More even than the varieties of food-related performance this year were the varieties of ways in which the works were performed by someone – or something – other than the artists themselves.
Adina Bier performed – but passively – and asked the audience to be the active performers in her work On Boulevard de Clichy.
Culinary Cultures in the Kinder/Garden enlisted bacteria and other life forms that were as much the performers as Alison Reiko Loader and Kelly Andres.
Hourglass begged to be performed even in the absence of the artist Chun Hua Catherine Dong.
In Show Me Your Edmonton, Robin Lambert and Brette Gabel invited the intimate audience to be equal collaborators in creating the art.
caribou X crossing‘s Beau Coleman, Melissa Thingelstad and Matthew Skopyk had the audience of Miles of Aisles perform the work, though it was the grocery store itself that was on display. During the group tour, the audience had the great fortune of experiencing both the story playing on their iPods and the spectacle of the throng of other participants misbehaving in the grocery store.
Just about all the work was participatory, inviting viewers to share and contribute to the work.
Food Wars in particular invited viewers to share not just in the experience but in a meal prepared by the artists Naufús Ramirez Figueroa and Manolo Lugo.
In Ask Me About Salt, the very title encourages spectators to engage with the artist Randy Lee Cutler.
Comfort Room, the one performance where the audience was clearly the spectator and the artists Jennifer Mesch and Scott Smallwood the performers on stage, was a foil for the other projects, reminding us of the value and beauty of performance made to be watched and experienced.
Not only did I get to see all the performances and get to know all the artists, but I was also privileged to be at the gallery every day watching all the behind-the-scenes action, and I saw all the hard work that went into making Visualeyez a reality.
Before I leave the blog and go back to my life in Saskatoon, I just want to extend a wholehearted thanks to Todd Janes and the whole Visualeyez team, including all the staff and volunteers at Latitude 53. There’s no way I’ll be able to remember everyone’s names, but I’ll do my best. Thanks to Robert Harpin, Alaine Mackenzie, Vicky Wong, Sydney Lancaster, Russell whose last name I never caught but who did all the heavy lifting no one else dared to, Jamie Hamaguchi, Heather Challoner and Jacqueline Ohm all the other volunteers and all the board members who attended and volunteered at the events and everyone else behind the scenes that I never got to meet but who helped make the festival so amazing! (I’m talking to you, Sally Poulsen!)
And special thanks to all the artists! I’m really grateful to have had the chance to meet you and get to know you, and I feel like I made some really close friends. Those artists who I already knew I had the chance to get to know better, and I’m coming away from the festival enriched as an artist and a writer and a person.