Duration: 90-120 minutes
♯4 – Berlin, 27 May 2013
Art Action in an abandoned apartment in Berlin-Mitte
Performance: Anna Lena Lehr, Andre Uerba, Asaf Aharonson
♯3 – San Francisco, California, October 2010
“POW POW POW Action Art Festival” Viracocha
Performance: Jorge De Hoyos and Honey McMoney
♯2 – San Francisco, California, May 2010
“May Day” CounterPULSE
Performance: Erin Mei-Ling Stuart, Macklin Kowal, Jesse Hewit, and Mary Ann Brooks
♯1 – San Francisco, California, 10 January 2010
“Too Much! Queer Performance Marathon” Mama Calizo’s Voice Factory
Performance: Jorge De Hoyos
To survive the Borderlands
you must live sin fronteras
be a crossroads
A performance installation lasting between 90 minutes to a few hours where performers stand still naked and let their body fluids leak freely (most likely drool, tears, urine).
The term “Leakage” refers to the body’s loss of fluid matter through holes or pores. The study is a literal exploration of how the body matters (double entendre if referencing Judith Butler) by opening the body’s channels/holes/pores whereby what’s inside can leak to the outside. “Leakage” also refers to the ideas of a container/containment and it’s malfunction/failure. It’s a durational endeavor where the body remains still in order to study a body’s biological process and the movement and performance of tears, sweat, drool, snot, urine and possibly blood and feces flowing out and subjected to gravity.
Originally conceived in 2010 for Keith Hennessy/Circo Zero’s TOO MUCH: A Queer Performance Marathon in San Francisco, Leakage Study is a response to the question “what is queer art/queer as tactic rather than queer as an identity politic?” The task of the performer (to leak or to allow the fluids to leak) is intended to be simple so that conceivably any body can do it. It relies more on continuous commitment and focused intention than on any sort of virtuosity. Given the strong influences of queer activism/struggle and radical performance art surrounding the marathon, the study tries to reference forms of body-based protest like hunger strikes, no-washing strikes, etc.
The study appropriates Gloria Anzaldua’s Borderlands theory across the U.S.-Mexico border by blurring the body’s physical border (the external visible vs. the internal organs, etc) and allowing the free passage of fluids through the zone of the invisible inside to the visible outside. It’s an attempt to create an open and undefined space between the performer, the spectators and the material fluids—a potential space for meditation with social, spiritual and architectural implications.