13 July 2002 12am - 12am
start location: King St. W. at Sudbury St. End location: Kensington Market. Dusk to dawn
Begun in 1996 as a component within a larger painting practice that asserts the socio-cultural contribution of the line marker; ‘the hand loves that which is hard’ is an ongoing photo-performance project that involves the re-painting of line markers in situ. <br?
Eleven Statements About Line Markers:
1. Line markers are cultural compass cards, worldly in scope.
2. Line markers are graffiti’s distant cousin, a tag in time, if not actually in creative step.
3. Line markers are compliance and familiarity tenuously balanced by vigilance and the unexpected.
4. Line markers are idea trips full of subtle gestures, windows wound down.
5. Line markers seek to communicate in a non-picturesque way, happy to hum rather than sing.
6. Line markers are a street’s pop culture signifier, cradling the written word but not the slogan.
7. Line markers are hard emotive currency.
8. Line markers are terra tattoos, bestowed without prejudice and never on a whim.
9. Line markers constitute a pseudo-primary palette with accompanying tones.
10. Line markers are wires for pedestrians and margins for vehicles – all moving, balletic in their unity, choreographed ála Tati.
11. Line markers are common men.
Will Kwan (Toronto)
In the theatre, authors give speeches. In galleries, artists give book reports.
5 Important Books is the working model for a long play or a short performance about reading.
Conceived with Jacob Wren.
Andrew Pommier and Tullis Rose
As skateboarders the living room/basement is considered by most as the training room of our youth. Winter was a curse and a fact of life for most young Canadian skaters. We were forced by seasonal change to readapt our habits. For a few months every year, we would retreat to our stronghold, the basement. There we would spend countless hours working on the fundamental tricks. In the beginning all tricks were stationary, but as we gained experience we looked for new challenges. We began to see other possibilities in the furniture layout. It started as an unconscious exercise, the couch worked just as well as our favourite park bench. After this first reinterpretation, the living room/basement became a microcosm of adaptability–the once static and utilitarian view of the living room was forgotten. The couch no longer had one agreed upon purpose. The lessons learned in the basement would later be turned towards the urban environment. Nothing would or could be seen with only one use.
For over a decade I have been collecting sound toys, noisemakers and children’s musical instruments. These have found their way into my work in a variety of guises: as sound sources for audio and video works; as raw materials for sculptural works (including multiples and unique objects); and as props for performances and videos. In 1995 I presented Sounding Off, in which I wander the streets with a couple of suitcases filled with noisemakers, stopping occasionally to play for short periods of time. These unannounced, impromptu performances on street corners, in doorways, on staircases, etc. are presented without explanation or apology. The Artists’ Marching Band is an extension of the Sounding Offproject; in this case there are several performers playing continuously as they wander around.
City Beautification Ensemble
Let’s face it, our city can be a little bit hard to swallow, what with an increased flood of media images, advertising venues and sorry architectural and urban planning choices. It gets to the point where one isn’t even sure where to look anymore.
And that’s where the City Beautification Ensemble comes in!
The primary goal of the CBE is to off set the problems existing within the current state of our aesthetic surroundings by reducing what we refer to as the ‘Grey-Level’ of the built environment by replacing, or masking it with appropriate site-specific mood enhancing colours, otherwise known as ‘Rainbow-Energy’.
“Spreading beauty throughout the city one neighbourhood at a time.”
site-specific performance tableaus
My work is predominately concerned with the cultural conventions of spectatorship and the links between expanded emotional/psychological states and physical experience. The politics of identity, especially as it intersects with issues of gender and race, run as a base line through all my work. I mean that I am a woman and (for lack of a better term) ‘of color’ and so these two points always play a role in the meaning of each image I create.
Aesthetics, context and duration are important considerations in my work and, as in the case of Weeping Body</>, are physically enduring. In the curiosity and confusion of the public realm I like to create stasis. I attempt to slow time by taking one image and prolong it. Weeping body uses low-motion action, repetition, stasis and tension. Weeping Bodyis about the blood sweat and tears that we all endure. It is a sad and quiet piece, but through the actions of the body and the determination of the mind that allow the body to continue, strength will prevail.
Susan Kelly (Kilquiggan, Ireland)
Pier no. 4 (South East Corner), Ste. Marie 1 boat booth, 1-2 pm
As a performer (and as a fan), I am aware of the power and responsibility of the person onstage to not only entertain, but also to create a believable and likeable character that the audience can invest in and root for. In my performance work, the character I develop and present-the role I play-is myself. I wear silly costumes. I play a dinky ukelele. I mess up a lot. I sing sad, sad songs. I may seem vulnerable and exposed, but in fact, I am the one in control. Within this silly framework, I choose what to reveal and what to hide in order to sculpt an image of me for the audience. The good news is I’m not into irony, so even though the audience might be susceptible to my manipulations, I end up giving the truth anyway. (Mostly.) Really what I want is to have some fun, have a voice, and make people feel good.