Part of a feminist, queer science fiction trilogy. The performers enact a series of vignettes about cruise ship passengers stranded on Port-au-Pleasure passing the time in pursuit of bourgeois pleasure. Meanwhile, the revolution/flood is growing stronger. Tension builds as leisure and necessity clash. The revolution/storm prevents them from rejoining the ship, and they’re left to their own in Port-au-Pleasure. Live performance accompanied by live music soundtrack. Performers quote movement passages from modern dance history. The camera is a presence within the performance, and the performers at times address the camera rather than audience. Audience may have to move with the action as the performers use an entire space. Performance run time 25 minutes.
Green Gallery, Milwaukee
I move across the fields of video and performance art, employing forms borrowed from dance, theater and film. My interests are in how agency and power are portrayed in actions and images, and certain questions that arise in the relationship between them: How does gesture inform or complicate a subject? Is a radical democratic subject possible? My new work involves scripted rehearsals by non-performers, framed by a disrupted sitcom structure. This ‘series’ will work together as a ‘season’ of programs, intended for online streaming. The DIY nature of my aesthetic is deliberate, a clear separation from the spectacular arena of overproduced popular culture. That I borrow elements of that vocabulary reflects it back to itself, to form a productive feedback loop where both viewer and subject lose their bearings. The address of the ‘you’ of the spectator is also the address of the ‘me.’ What’s at stake is our subjecthood, working towards a democratic subject, hopefully and enthusiastically, without ever reaching this place. My use of this radical democratic model opens a conversation between viewer and performer, destabilizing the discrete subject and object, the ‘us-and-them.’ It flexes parameters of inclusion, dislodges a standard hierarchical order, engages and erodes the position of the viewer. When I say ‘you,’ I have called a you into being.
Photo by: Kim Miller
This post is part of a series of profiles on performance and performance makers from this year’s book, Contemporary Performance Almanac 2016, an overview of contemporary performance presented during the 2014/2015 season available for touring now. If you would like to be apart of next year’s book, Contemporary Performance Almanac 2017, you can join the project here.