Individual performance proposal

The Discrepancy of Reality

In this performance I plan to use styrofoam balls as my sole medium. These styrofoam balls will be stuffed within my clothing to create a textural landscape through my lower body. While the styrofoam balls strongly declare its materiality that the performance is occuring, I intend to improvise short random activities that will accompany my piece as it progresses to the end. My goal is to examine the truth and boundary between the fictionality of the performance, either the reality or theatricality that is being used to conjure such thing. It is like the idea when a person puts its red nose to declare that he or she is a clown.

My budget will be around $50 which includes the props and documentation

Lighting is not necessary in my piece as it will try to critique theatricality and reality.

Any given space can be accomodated with my performance as it only needs minimum requirements in order for the performance to exist.

C.V

fractured
October 16, 2007 Concourse Gallery

Red Show
December 14, 2007 Concourse Gallery

enGendered
Feb 5, 2008 Concourse Gallery

pressure to perform
March 21, 2008 ViVo


Mixed messages
April 7, 2008 Concourse Gallery

Nomadic Convergence
Nov 25, 2008

My mother worked in a factory
jan 26 2009, Brow Gallery

Net(work): a performance art fair
March 20, 2009 ViVo

I am interested in deconstructing the notion of performance art as being real, in a sense that it declares its reality or truth based from real life. I agree with it's physicality or the performer as real and the performance as something fictitious or constructed. Therefore my performance will try to examine a very crucial element in performance art which is "reality" and in what sense is this reality projected; real or not. I think that performance art declares this act of performing which proposes a space or a time line in which performance art could exist. In what ways could this be engaged or problematized? perhaps performing an exorcism of reality through theatricality or vice versa. In this performance festival, problems with signification, temporal autonomy and technological mediation are the chosen topics. I see my performance operating under the problem of signification and my props as a symbol of diaspora which is the general theme of the show.

DID YOU KNOW

CRUZ BROTHERS / RED RIBBON

(TRANSITIONAL ACT : #1)

In this ACT #1 the Cruz Brothers swallowed three meters of red ribbon. Sharing half the amount of length within their mouth as a storage space, they gently pulled the ribbon out of their mouth exposing the soaked ribbon. It was clear that anticipating the audience to perform the closure of the performance was by cutting the ribbon. It took three people to completely cut and finish the performance. The Cruz Brothers claim this symbolic act as a signifier for a starting transition, a celebration of an event and a shared spectacle.

INSTALLATION / TRACES /

It is almost absurd to claim that all the installation / performance pieces did not relate at all. I feel that finding a similarity within the pieces might be too forced. Although most pieces incorporated human interaction (which contradicts my claim that everything did not relate). This activation of spectatorship either required a physical connection or a cerebral engagement.


If I were to describe the totality of the pieces in one word, I'd say it's all about being HUMAN.

Archival Relational performance #3

Untitled (Free) : Rirkrit Tiravanija

"for Rirkrit Tiravanija, art is what you eat. The New York–and–Chiang Mai–based Thai artist became famous in 1992 when he made Untitled 1992 (Free), a sculpture–performance–guerrilla action wherein he emptied out the office of the 303 Gallery in Soho and installed a makeshift kitchen, complete with fridge, hot plates, rice steamers, tables, and stools. He then cooked Thai curry; anyone could drop in, serve him- or herself, and eat. For free." http://nymag.com/arts/art/reviews/31511/

Rirkrit erodes the relationship between art and spectator as most of his works are based from human participation and heavily deals with social interaction. Rirkrit redefines what a gallery could be other than being a social space to interact. I think his works are genuinely genius, very simple and effective. I like it's banality and its concept of meshing art and life as one communal activity.

Archival Community Based performance #2

Nanay : a testimonial play

Nanay in Tagalog (Filipino language) means mother, which also sounds like "Nanny". The play is part of the Push festival here in Vancouver which played this February. Nanay is a testimonial based play about caregivers from the Philippines who work as nannies here in Canada and all over the world. Testimonial based means that the script used in the play was based from an archived 15 year reasearch of real testimonies from abused domestic caregivers. The play was structured like a tour where we were guided by a moderator through different rooms, represented as perspectives. The working caregiver's perspective, migrating displaced cargiver, separated children and the employers perspective. The order of experiencing the play varies from what time you bought your ticket. I liked how the performer was three steps away from the spectator as it felt very intimate and heart wrenching. Watching the performer clean dishes and mummble about her life was so banal yet engaging because of our distance. Although the play was ontop of their issue some sides were not presented equally like the benefits and positive outcomes of working and leaving their country.

Archival Durational Performance #1

White Light/ White heat by Chris Burden

In his exhibition Chris Burden requested a triangular platform to be constructed in the southeast corner of the gallery. For the duration of the show Chris Burden stayed up there without eating, talking or coming down for 22 days. Spectators are faced with belief with the artist being present and performing. The endurance and presence of Burden is also questioned. I think this piece stimulates our trust towards the artists commitment or perhaps our trust with art itself. I personally am not sure if he did stay up there as nobody saw him up there and nobody saw him go down.

http://www.feldmangallery.com/pages/exhsolo/exhbur75.html