1. Moving the Gallery
    Avec / With Emma Waltraud Howes

    Galerie FOFA Gallery, Université Concordia University, 2008

    Moving The Gallery, is a proposition for an engagement between processes. Foregrounding two distinct practices, which engage with formal and conceptual movement, an evolution within the gallery space is proposed. This conversation begins as a two-person exhibition on the night of the opening and engages with a form of contact improvisation over the course of the process. What happens when two different practices move towards each other? What occurs on and around the points of contact?

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  2. Performance is like going off the map. I stand here and now at the edge of a storm. It is a 'mise en danger', a way of being in and with the world, of trying bold actions, risking falling or failing ... falling and failing, getting back up, trying again and again and again. Walking a thin line, a tight rope; climbing on thin walls; trying to make contact with perfect strangers, allowing for secrets and confidences. Fast and slowly, forever moving.

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  3. Performance excerpts
    January 2010, Montréal

    "A Very Performative Structure is a mobile piece of furniture, a transformable structure waiting to be unfolded and interacted with. In shape and color, it references a glass bookcase, a hospital cart or a large toy. It is a space where futile and important objects coexist and are displayed, sorted out and made sense of. It is first and foremost a performative structure, a teaching tool used to present the blurring of my social roles.
    This Very Performative Structure hovers somewhere between the cigarette girl, the femme orchestre and the bag lady’s cart. It is contaminated by its context and always on the verge of formal and conceptual re-configuration. Objects are added and removed. I can talk from behind it, show videos within it, serve tea from inside it. In and around it, I am both subject and object, surveyor and surveyed, analyst and analyzed subject, doctor and patient, waiting to interact."

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  4. Performance
    Galerie Pierre-François Ouellette Art Contemporain
    Montréal, dec09-fev10

    "Please handle with care. Standing up, strapped to and holding on to a clear plexi-glass incubator, I invite visitors to shuffle the texts and watercolors housed inside. In order to see and read this extended book based on personal history, they must do so in my presence by inserting both hands through the circular openings at the front of the box, slipping their fingers into domestic kitchen gloves. We are now intimately close –facing each other, our hands through the transparent walls of the box seem to almost touch - and also at a great distance –the plexi-glass walls and rubber gloves prevent any skin to skin contact. I am standing here as myself, both author and subject of these texts and images. I am here to greet visitors, to engage in conversation if they wish or to stay perfectly still and silent if they prefer.

    Each text housed inside the incubator is a short story, a thought based on my own life and memories. People, places and objects seem to return from story to story, building bridges over different periods of time and foregrounding relationships between things and beings. In parallel, after collecting other people’s memories for so long, some have stuck with me. I have grown attached to many of these stories and think about them often. I rework and rewrite each story until I am finally able to adopt it as my own. The body as a porous envelope is ubiquitous.

    The watercolors are fairly new and have been accumulating since the summer of 2007. Somehow, watercolor as a medium has given physical form to the imagery developed in the writing: porous houses, dragonfly larvae and octopuses coexist and contaminate female bodies. All are symbols of metamorphosis. All resist well-organized bodies and are caught in the process of hybridization, undergoing some kind of physical transformation.

    The incubator is heavy, almost fifteen pounds, and I must concentrate on standing still. I somehow resist the urge to sit down before an hour has passed. Everyday, I am able to stand and hold my thoughts and images a little longer. It is simply a question of practice. Training my body to stretch time, in public and in the presence of the things I made."

    # vimeo.com/15972793 Uploaded 149 Plays / / 0 Comments Watch in Couch Mode
  5. Single-channel video
    2007

    Look For - Too Many Organs is a performance-based video, a self-examination where I am both doctor and patient, where plastic organs are revealed to the camera and their history linked to women of different generations. The spoken words used throughout the video are non-scientific, identifying fears and feelings rather than describing objective symptoms. The first part of the video offers a glimpse into dreamed images of the interior of the body. Shadow-like masses overlap and blend, mimicking endoscopic images where a small camera is inserted into the digestive track. My voice, although muffled can be heard from afar, trying to communicate with an invisible medical professional.

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Women And Performance

Caroline Boileau Plus

Hello ladies,
If you are a performance artist from the visual or the performing arts and are using video to either document or create new work, please post your videos here!!!
Let's become more visible together!!!!

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Shout Box

  • Caroline Boileau

    Hello ladies,
    I am interested in performances from female artists who have strong-interesting-unusual relationships with objects (found, transformed or created).

    by Caroline Boileau

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