1084 N MILWAUKEE, CHICAGO

What Remains: Chapter 4

Defibrillator Gallery proudly presents

What Remains: On the Sacred, the Lost, and the Forgotten Relics of Live Art > CHAPTER 4: CONSUME
TUE 25 FEB | 7-9PM | OFF-SITE SCREENING PROGRAM: NIGHTINGALE!

FEATURING VIDEO/FILM & PERFORMANCE BY:
A_Marcel [Boston b. Latvia] Emilia White [Ann Arbor] Frans van Lent [Netherlands] Owen Moran [Milwaukee] | performance
Patrícia Janeiro [Netherlands b. Portugal] Full screening program is 60 minutes.

Curated by ieke Trinks, this international performance art series and visual art exhibition
marks the beginning of Defibrillator’s 10th Anniversary year. Massive in scale and
retrospective by nature, What Remains features 40 artists from around the world who
responded to an open call to reanimate a collection of objects from performances that took
place over the past nine years.

CHAPTER 4: CONSUME | Consume is not meant to be a literal description of each work presented. It is rather an indicator of the end to come, that will perhaps lead to a final resolution, or a place where nothing original will remain. Throughout this What Remains month we have already experienced the disappearance of performance relics , or transmutive actions that lead to the vanishing of an object, whether through  burning, destroying, eating, or through simple re-use. In 1993 Peggy Phelan wrote in her infamous book ‘Unmarked’ that performance itself is an act of disappearance, because nothing is saved, only spent. Performance in this sense resists the art market’s economical demand to become a collectable object. In What Remains we ask what actually remains after a performance is done. Does the consumption of things, as well as time and experience lead to an end of what used to be? Or does it make place for something new to begin? The relic, a sharpener leaves us with pencil shavings. The burning of a relic leaves us with ashes, but also leaves us with memories.

BIOGRAPHIES + PROJECT DESCRIPTIONS

**Artists are not aware of the context of the original performance in which the relic was used.

A_Marcel [Boston b. Latvia] is a speculative conceptual artist. Their practice is transdisciplinary and draws from the vernacular of graphic design, critical and queer theory, playwriting, music videos, karaoke and performance art. A_Marcel’s work is a play of text and image, a pitting of the hyperreal and surreal, and a disorienting glitche of fact and fiction. Their work investigates migration, surveillance, borders and ritual, gender and labor. A_Marcel is a copy of a copy of a copy without an original.

PROJECT: On the Clock** | Carried out in Chapter 2, video footage from the 12 minute outdoor migratory dinner held on February 12th, 12:12 near Trump tower will be screened at Nightingale Cinema. In this guerilla performance, A_Marcel reanimated the relic [a clock]. With food to go, on the go, guests gathered for an improvisatory dinner of hotdogs. It was an orienting score for when one is a migrant, a displaced citizen of one’s own world, a refugee from one’s own home, from one’s own body. The dinner was meant to  be the feed we need. The dinner, the supper, should not be our last, but the first of many; a dinner, a movement that brings us all together. Forever more. In love. In connection. In an everlasting hope and strength.

Emilia White [Ann Arbor] is an interdisciplinary writer, performer and video artist. Her work integrates humor and audience participation to explore topics of motherhood, loss, childhood memory and body image. Emilia approaches her work from a handmade, theatrical aesthetic. Puppets, masks, red blobs and hand-sewn fish have all been featured in past projects. Emilia currently teaches time-based media as a Lecturer at the University of Michigan Stamps School of Art & Design. She holds a BFA in Theater & Original Works and an MFA in Studio Art. Her work has been presented at the Museum of Contemporary Art Detroit (MOCAD), Contemporary Art Institute Detroit (CAID). Carrie Morris Arts Productions (CMAP), Popps Packing Detroit, Dumbo Arts Festival Brooklyn, The Chicago Women’s Funny Festival, Galeri Nasional Jakarta Indonesia, Gallery Salihara Jakarta, Lembaga Indonesia Perancis Yogyakarta (LIP), Taman Budaya Yogyakarta, Jatiwangi Art Factory, Syang Gallery Magelang, Dream Community Taiwan, University of Michigan Museum of Modern Art (UMMA), and Tent Gallery Edinburgh.

PROJECT: Internal Escapade** | A video animation about human bodies and their eventual demise. This video is made In response to the kayak relic.

Frans van Lent [Netherlands]’s work is concept-driven and minimal in approach. Through performative and sculptural methods, his practice focuses on human behaviour in the public realm and observing, processing and redefining the ordinary ways in which this is visible. He uses various methods, specifically chosen for each occasion: performance; photography, film and sound, descriptive texts. The video for this piece is made in collaboration with Bernard Roddy.

PROJECT: A Chair as Any Other** |The video recording of van Lent’s attempt to find the best possible foster home for this relic, a red folding chair, to have it function again as the mundane object it was meant to be. In Chapter 3, Van Lent specifically looked for a place where, away from any artistic context, the makes and the colour of the chair are honestly appreciated, or are not of any importance to the user, and a place where it can unnoticeably blend into a group of comparable chairs and pieces of furniture. The video for this piece is made in collaboration with Bernard Roddy.

Owen Moran [Milwaukee] is an artist and student from Milwaukee WI. He is interested in the storytelling potential of sculpture, video and performance.

PROJECT: shorthand** | Inspired by the relics, a pile of transparent sheets with text, Moran’s performance project is a reflection on the ways his family cherishes written communication and the ways he has departed from this ritual.

Patrícia Janeiro [Netherlands b. Portugal] is an artist and filmmaker based in Rotterdam and currently is a Fine Arts’ student at Gerrit Rietveld Academie (Amsterdam). Since 2013 Janeiro works on film-related projects. she  assisted the Short Films team at International Film Festival Rotterdam (IFFR) in 2014, and has been an active member of Filmwerkplaats WORM, an artist-run film lab based in Rotterdam, since 2015.

PROJECT: A Triad of Paper Horns** |This is a short film where images of the relics will be animated together with sound and text. The film is inspired by the three paper horns relics.

MORE INFO ABOUT WHAT REMAINS

Curator ieke Trinks conceived of a project that would speak to the challenges of keeping records of live performances beyond the dominant and didactic lens of video and photographic documentation. What Remains is structured around proposals from artists to re-interpret the relics in the Defibrillator object archive and provide a framework for reconceptualizing their value and meaning through new works. The presentation of objects will change from week to week, with new pieces added when relics are reactivated as performances or installations. The relics that aren’t yet activated will be on view downstairs in the basement on shelves waiting to be used and displayed throughout the month. The overall idea for the exhibition is to keep it vivid and in a constant flux, just like the nature of performance art itself. Transformation of the space and installation of objects will be done during open gallery hours, underlining the performativity of the accumulation and exhibition of relics. There will also be space given to display the 89 submitted proposals from around the world.

ieke Trinks | Curator (b. 1977) is an artist living and working in the Netherlands where she received a Master of Fine Arts. In 2017 she finalized her second Masters degree in Critical & Pedagogical Studies at the Malmö Art Academy in Sweden. Trinks has performed extensively at international venues, including: Galerie für Zeitgenössische Kunst [Leipzig, 2019]; 13 Festivalen [Gothenburg 2018]; Performance Site [The Hague 2017], New Performance Turku Festival [Finland 2015]; Amorph!14, performance art festival [Helsinki 2014]; Bienal Internacional de Curitiba [Brazil 2013]; Out of Site Chicago [2013]; FADO Performance Art Centre [Toronto 2013]. And since 2013 Trinks has been a returning performer at DFBRL8R. In the past three years Trinks has done research on performance art documentation, and wrote on performance art initiatives in the Netherlands as a contribution for the publication ‘Art Action 1998 – 2018’ by Le Lieu, centre en art actuel [Quebec City]. Trinks is since 2010 co-organiser of PAE (Performance Art Event) and works since 2008 in collaboration with the all-women performance troupe, TRICKSTER. www.ieketrinks.nl.

Defibrillator Gallery [www.DFBRL8R.org] is an international platform for Performance Art known for bold and courageous programming that aims to provoke thought and stimulate discourse surrounding experimental time-based practices.

MORE INFO ON DFBRL8R’s WEBSITE: https://dfbrl8r.org/event/remains-chapter-four



Filed under: artist in attendance, experimental, performance

The Early Works of Cheryl Dunye

Six Short Films by Cheryl Dunye

Sunday, February 23rd, 7 PM, $7-$10

Vilified by conservatives in Congress, defended by major newspapers, and celebrated by audiences and festivals around the world as one of the most provocative, humorous and important filmmakers of our time, Cheryl Dunye practically invented a new form of cinema – call it the ‘Dunyementary.’ Using a mixture of narrative and documentary techniques, the ‘Dunyementary’ challenges social and cultural norms through a sharply funny and reflexive lens. Never scholarly or didactic, Dunye appreciates the value in entertaining viewers.

Her acclaimed first feature THE WATERMELON WOMAN (1996) introduced Cheryl to wider audiences, who fell in love with her self-deprecating and insightful wit – not to mention the great casts she assembled (including herself). But what came before this modern-day classic?

Presented here are the films that started it all – the early works which gave birth to an extraordinary and original filmmaking talent. Made with great creativity on often miniscule budgets, they represent the first chapter of the Cheryl Dunye oeuvre.

JANINE (Experimental Documentary, 1990)
The story of a black lesbian’s relationship with a white, upper middle class high school girl.

SHE DON’T FADE (Experimental Narrative, 1991)
A self-reflexive look at the sexuality of a young black lesbian.

“Sharp, funny and intelligent.” -Yvonne Welbon, Film Scholar

VANILLA SEX (Experimental Documentary, 1992)
Is it who you do, or what you do?

AN UNTITLED PORTRAIT (Video Montage, 1993)
Dunye’s relationship with her brother is examined in this mixture of appropriated film footage, super 8mm home movies & Dunye’s special brand of humor.

THE POTLUCK AND THE PASSION (Experimental Narrative, 1993)
Sparks fly as racial, sexual and social politics intermingle at a lesbian potluck.

GREETINGS FROM AFRICA (Narrative, 1994)
Cheryl, playing herself, humorously experiences the mysteries of lesbian dating in the 90’s.

“A winsome comic confessional… Dunye is so endearing that I felt privileged to spend 8 minutes in her company.” -Matt Zoller Seitz, New York Press

(1990 – 1994, United States, Digital, 80 mins)

Text from First Run Features.

Programmed by Kathleen Sachs.



Filed under: black and brown, documentary, essay, experimental, feminism, queer

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