Between September 3 - 6 2015 over 10 artist came together and coalesced to be part of art in Canada's capital
Artist: Aymara Alvarado Lang
Title: Open Barriers, 2015
Artist: Maxime Boisvert-Huneault
Title: Carpet Rolled Corpse/Dancing Cocoon
Duration: 10 to 15 minutes
ABOUT THE PROJECT:
During this piece, Maxime Boisvert-Huneault explored aspects of a glamorous death/rebirth. For Boisvert-Huneault it was a way to evoke stress, so that he could achieve the relief of release. He was a rolled up corpse placed in the middle of the room along with black fabric and rope. For this artist, the struggle was to get out and survive the ordeal. What looks like a grisly situation turned out hopeful even with the arms and feet sticking out. Boisvert-Huneault began dancing to a beat, and refused to stop until the music ended. Only then was he able to completely come out of the chrysalis - a dancing worm becomes a glitter go-go boy.
Walking the Commons
The proposed project consists in the realization of a series of 3 site-specific performances, to be accomplished over a period of 4 days. I propose to walk from PDA Projects to significant federal public and governmental institutions including: the Bank of Canada, National Library and Archives of Canada, the Supreme Court of Canada, Canadian Museum of Civilizations, National Library of Canada, Federal administrative buildings, Parliament Hill, and 24 Sussex Dr. Once I arrive at these institutional buildings, I will circle their perimeter and then proceed back to PDA projects. I will accomplish these walk-performance holding a double-sided sign reading “ENTERING THE COMMONS” on the front and “LEAVING THE COMMONS” on the back.
The schedule and circuit of each walk-performance will be announced in advance, and the public will be invited to join me as I undertake these performances (signs similar to the one I will hold would be provided to participants). The goal will be for these walk-performances to take the shape of processions - participatory public formations that, like the sculptural or architectural monument, often serve to commemorate or pay homage.
Anne Marie Dumouchel
Duration: approx. 15 minutes (loop video)
My video and digital imaging work often support a performative aspect. The Casino project goes in that same direction. Indeed, the aim of this project is to reformulate the relationship between artistic gesture, environment and public according to a logic proper to games and luck. My project aims to create an algorithm structured over the results of digits based gambling games in order to create relational micro- performances in the middle of the Casino context. With this work guided by chance, I will attempt to make poetic interventions in an environment governed by the sustained illusion of gain and pleasure and to create unexpected links between spectators and actors of this environment. Since my approach takes into account the importance of place and context, all micro- performances will be captured on video and broadcast on PDA-Projects at the Coalescence event in September 2015.
Anna J. Eyler and Nicolas Lapointe
3 défis en un ordre
3 défis en un ordre focuses on ideas of preservation, transformation, and ritual, while also reflecting on larger themes of life and death. The performance begins as Nicolas ties five large red fish to the ceiling with twine. As he ties up the fish, Anna brings out a wooden box and sets it to the left of the fish. Once Nicolas has finished tying the fish, Anna draws out 5 metres of red paper from inside the box and runs it along the floor under the fish. When the paper is fully extended, both artists take potatoes out of their backpacks and use them to weight the paper on one end. Moving from left to right, Nicolas supports each fish individually with a long, wooden stick, while Anna applies a thick, black, oil-like substance to each fish, letting drips of black paint accumulate on the red paper. Once the fish are completely covered, the artists kneel on the ground and crease the paper into an accordion form. The folded paper is mounted on a metal frame, creating a stepped, temple-like structure. During the performance, each artist is equipped with an electronic anklet that produces changing digital sounds.
Two things often seem little regarded — making modern art and spousal abuse. Is it really as easy as it seems to make a modern painting? And do we notice when damage is done to others by their others? Do we try to make the picture pretty? Is art a pretty picture? This work offers you the chance to cook up some art literally, to help decide. You’re invited to microwave a canvas and watch the colours appear — pick the $2 option and you can hang your cooked art on the wall. Pick the $20 option and you can take your cooked art home with you! But unease may linger when the instructional video finds the art is as out-of-joint as spousal abuse, yet also finds a way to rationalize itself into a form of beauty.
I know you believe you understand what you think I said
- Members of the audience are invited to make sculptures with the artist, while only communicating through the sounds of their voices.
- Two tables set up at opposite ends of the gallery each face a wall.
- The same amount of the same materials are similarly arranged on each table.
- The performance begins when someone sits down to participate.
- Giving and receiving oral instructions to one another, participants and the artist will attempt to each create the same object using the materials found in front of them, while working within a set amount of time, and out of each other’s sight.
- The sculptures created will be displayed on the floor of the adjacent gallery, accumulating as the performance goes on.
- The performance will also exist as a live video depicting the two sets of hands sculpting an object.
The Oriental Dance Workshop
Rah is creating a performance piece, which invites the community to participate in an interactive traditional Iranian dance workshop. Rah’s character Fatimeh will be teaching the audience poses, movements, and gestures of the dance, wearing a traditional Iranian garment. The performance promises to be fun, high energy, and Fatima’s creative spirit will engage the public to dance with her.
The Last Days of my Huckleberry Summer
A straw hat and a raft, like Huckleberry Finn…
I propose to drag a raft, wearing a straw hat, from PDA Projects to the Rideau Canal (~10 min.) where I will launch the raft and drift down the canal. Spectators are invited to follow me on the Rideau Canal Pathway, all the way to Rideau Street (~30 min.)
In my experience, Huck represents childhood fantasies, freedom, imagination, tree forts, summer days… My intention this summer has been to spend each day living in the spirit of Huckleberry Finn.
- walks with limp that alternates either by leg or by position on leg
- amorphous facial hair
- oozing widow's peak
- rhythmic sniffles
- shoulder-led walk
- verbal tics that refer to kitchen appliances unnecessarily or unrelatedly
- code-switching without pattern/unreliably
- wears dress-shoes secretly fastened by velcro
- refuses to enter rooms that include certain shades and hues
- carries a watergun for 'security purposes'
- purports a healthy diet comprised only of moss
- has turned bedroom into a rodent's cage
- hiccups at trigger words
- stretchy digits (bendy fingers)
Stéphanie St-Jean Aubre
Poser is a participatory performance-turned life drawing session.
Please note that paper and drawing materials will be provided by the artist.
The artists will collect the drawings at the end of the day to later paste along Elgin Street.
**Nudity may or may not be incorporated in the performance.
Cara Tierney, featuring CPI
Melt I; Melt II
The sculpture is made of three parts: two ice forms casted from molds of my breasts, and a metal chain from which they will hang. In the spirit of a tableau vivant, I will stand in position on a platform to be admired, walked around, and considered – at the viewer’s leisure. In essence, I will wear an ice sculpture until it melts and the water evaporates.
Les yeux dans’graisse de Binnes
entr’deux joints tu pourrais faire qu’qu’chose – entr’deux joints tu pourrais t’grouiller l’cul (Pierre Bourgault / Robert Charlebois - 1973)
roules-en donc un qu’on redevienne qu’on redevienne l’instant d’un spliff des souverains improductifs (André “Dédé” Fortin / Mike Sawatzky - 1998)
My performance will revolve around two objects: rolling papers stamped with two different texts (likened to two editions). Each paper will have an excerpt of a Québécois song: the first is form Robert Charlebois's song "Entre deux joints," and the second is from Les Colocs's song "Pis si ô moins."
Each song refers to the idea that a joint is a "metaphor" for action/non-action. For example, the first set of lyrics stress the idea of "doing something," while the second set emphasizes the idea of "introspection" and "resistance." From a national perspective, both sets of lyrics relate to the on-going debate surrounding provincial independence in Québec and are in sync with their respective "pre-1980 referendum" and "post-1995 referendum" moments. In keeping with today’s political landscape, this piece also speaks to Liberal leader Justin Trudeau's position/seduction campaign concerning the legalizaton/decriminalization of marijuana in Canada.