26 planet of the arts / spring 1998 PRACTICE Speakable / Unspeakable ..continued from page 25 involved with the show, an Unspeakable more to do with what your mother told you not to say in public. A hilarious plea for recognition from a botched scientific experi- ment (part Sea-Monkey™ part human) was performed by Lori Weidenhammer, culmi- nating in a climactic rendition of “La vie en rose” in her fully revealed monstrosity. Robert Kozinuk reenacted a presentation to the Conference of Conservators Associations of the dangerous effects of flatulence on fine art-works. However fun these works were to watch, in relation to the other performances they seemed to lack depth and complexity. The problem for me, with the constant shift- ing I had to do between levels of involvement with the works, was that my energy ended up leveling somewhere in a modest compro- mise. My head wasn’t fully chewed up in Tagny’s mouth, nor was I carried away by the possible absurdity of wieners, beans, and fine-art. The work that held the evening together for me was the series titled Documents for Performance (#1, #2, and #3) by Judy Radul. Performed at the end of the first set, the beginning of the second set, and at the end of the second set, each was a dramat- ic monologue about presence, applause, and the end, respectively. It was constantly inter- rupted by her orders to a camera-person doc- umenting her various poses (“this would be good” , “Td like to get my leg like this” , etc.). Its unsubtle simplicity, its com- plete unmediated relationship to the evening of performance, its incapacity to be per- formed in any other way (and my inability to write about it adequately), made it truly Unspeakable, as Tagny put it in the introduc- tion to the evening, “the tension between what we say and what is spoken”. This set of performances carried through the others, by changing my relationship to the “real” docu- menting camera clicking away next to me in the audience. As I came away from the evening, I thought about curation and how important it is that artists support each other’s work through their own work. I also thought about how necessary it is that in order to cre- ate this supportive structure, all the artists involved need to be clearly communicating to make sure they are working within a sim- ilar framework. The curator’s role seems to me to be the route of communication between artists: a watch-dog to make sure we don’t undermine each other with conflicting messages. The co-producers of the evening saw themselves as initiators, not curators, and saw the event as a process of learning to make space for performance art within the gallery setting. They set up a post-production e-mail dis- cussion among the artists involved to debrief and continue their work together. It’s a pro- ject that extends beyond the single evening, bringing further input to an exciting move- ment of performance art that seems to be growing in Vancouver. unspeakable was sold out — with a waiting list! There is obviously an audience in Vancouver for performance art: Coco Fusco was sold out at the Western Front; Making it Big (1 and 2, curated by Jay Mclaughlin) at the Grunt and Video-In respectively were both sold out gigs; last year the Kiss and Tell Collective had three full houses at the Roundhouse and Video-In, and the list goes on. I’m excited to see what hap- pens with upcoming cabaret-style perfor- mance art; the curatorial possibilities are end- less, and so tantalizing, (unspeakably so). Ol) Notes 1. Krauss, Rosalind. “Inform without Conclusion”, October 78, Fall 1996, pp. 89-105. Looking For The Buzz Thinking back on — “6” — New Vancouver Modern By Paul Williams ancouver’s “6” exhibition at the Helen and Morris Belkin Gallery assembled the work of six young artists under the umbrella of “new modernism”. The chosen moderns were: Geoffrey Farmer, Myfanwy MacLeod, Damian Moppett, Steven Shearer, Ron Terada, and Kelly Wood. Their work follows in the wake of a previous generation of photo-conceptual Vancouver artists such as Ian Wallace, Ken Lum, and Jeff Wall, and these New Moderns seem to have maintained the pristine, photo-conceptual aesthetic while establishing their own themes in a modern social realm. This was an interesting display of late 20th century art. There were references to the past (silkscreened 1970’s youth imagery), comments on the: present (car-sized photographs of garbage), and visions of the future (sci-fi diora- mas in small white boxes). The comments that these young artists made were well thought out and have probably been discussed among a num- ber of intellectual artists through years of school- ing and critiques. References to the media, the environment, and television were visible throughout this work. Curator Scott Watson took a bit of a risk in asking these young artists to produce work for this large (and corporately sponsored) show without actual- ly seeing it first. However, Watson carefully chose artists to help define what Vancouver’s art has become in the late 20th century: clean and con- ceptual. If the medium is still the message, then the message is clean, organized and probably laid out in a manual. But if thought is great for the mind, what about emotion for the soul? Most of the pieces in the “6” show have been produced with a sense of removal: intensely sharp lines and manufactured sterility. When walking into this space and observing the work, it doesn’t have the “buzz” like great art should. This was an almost unexpected anti-climax to an im- portant Vancouver art exhibition. Somehow, these works missed out on awe. The large, white, almost cubic space of the Belkin Gallery seemed to emphisize the “square” Interdisciplinary Art ..continued from page 23 The Canada Council will ensure that increasing accommodation is made for the needs of artists and arts organizations working in new artistic forms, groupings, or media whose practice crosses over the generally accepted boundaries of any single discipline and results in work which is distinct from the disciplines involved. Action: The Council will explore the ways and means by which to better accommodate multidisciplinary and interdisciplinary forms of expression. This vague vision of the program and the term itself makes applying for an interdisciplinary grant difficult. For example, now, the program for inter- disciplinary arts is under the heading Inter- disciplinary and Performance Art Program, which is situated in the Media category. Positioning the program under the umbrella of media insinuates that interdisciplinary practices incorporate some form of technology. It becomes very confusing when applying if you consider yourself a perfor- mance artist but don’t work with media or call yourself a painter who wants to do a cross discipli- nary performance installation for the first time. The whole concept of interdisciplinary practice is varied and often subverts categorization. Perform- ance art has the same historical subversive nature when it comes to defining an artistic category. Nevertheless, low and behold, even the subversive can be co-opted into a category and performance art and interdisciplinary practices are no exception. The Council has come to recognize the institu- tionalization of these practices and consequently is attempting to accommodate an anti-form, which has evolved into its own genre. I do not want to imply that defining interdisciplinary practice as a category onto itself will somehow betray the integrity the practice. However, I am naturally dis- posed towards suspi- cious tendencies when Modernism of the exhibition. But even though manufactured sterility dominated, it is a relief that Myfanwy MacLeod’s work had a sense of humour to it with lapping cartoon tongues and large cartoon eyes. Even Steven Shearer’s monot- one silkscreened images of 1970’s youth had that “Oh my God, we used to look like that,” humour to it. Geoffrey Farmer’s video and scaffolding installation was an exception to the clean, manu- factured aesthetic of the exhibition. It was big, bold and had many components to make a piece that should have domi- nated the show (and not just by size). It missed something though. That something that finishes a piece and gives it the “buzz”. This was a show of a well thought out display of new pluralism, each artist using a variety of technologies that didn’t exist in the last quarter centu- ry. This was not a show of giddy “hands-on” art like Basquiat or Picasso, but sublime- ly interesting work that is appreciated after contempla- tion and not neces- sarily upon imme- diate entrance. art practices, very few solid practical results were obtained.’ Therefore, like ECIAD, the Canada Council is trying to create a frame of reference for their Interdisciplinary and Performance Art Program. I have a personal interest and concern with the possi- ble restructuring of this particular area of the visual arts grants because last year I applied for and received a Canada Council grant from The Interdisciplinary and Performance Art Program. The most frustrating and complicated aspect of applying for the grant was the application process itself. The brochure information about the an institution supports What was most frustr. ating program was inade- a hierarchy of catego- rizations. Call me a lit- sissies grant application. seen the Intermedia program at Emily Carr Institute go through more name changes than actu- al steps towards progress. When I first started at Emily Carr the program was called Multi-Media, then Interdisciplinary, Cross-disciplinary and now Intermedia. Despite all the name changes and attempts to define the nature of the program that philosophically sought to challenge a hierarchy of was trying to decipher the quate and at times contradictory. After attempting to contact officers of the depart- ment by telephone and e-mail on many occasions, I never got a response except for an abrupt conversation with an over- worked and impatient staff member answering the telephone. I realize that administration and staff are busy and facing constant restructuring, but perhaps if there was one staff member to answer questions it would save time and effort for all parties involved. This is just a small practical suggestion that may improve access to informa- tion about the program. When it comes down to it I do not feel like I need to pledge allegiance to a practice. But, for practical reasons, the word interdisciplinary helps define a set of artists who do not have a specific interest in one particular visual art form. It has been my observation that, for these artists, often the conceptual and contextual aspects define which visual medium and form is used. Performance art often operates in the same manner. Usually I appropriate the terms performance art and interdisciplinary art interchangeably because my particular work usually has a performative element within an interdisciplinary form. Nevertheless, there are artists who do not see any connection between their inter- disciplinary practice and performance art. However, from my experience, artists who consciously incorporate performance art in their practice also continued on page 28, see “Canada Council” 26 plonet of the orts / spring 1998 PRACTICE Speakable / Unspeakable involved with the show, an. Unspeakable ‘more 1 do with what your mother fold you not to sayin public recognition from a botched scientific expe ‘ment (part Sea-Monkey™ part human) was A hilarious plea for performed by Lori Weidenhammer, culm nating in a climactic rendition of "La ve en rose” in her fully revealed monstrosity Robert Korinuk reenacted a presentation 49 he Conference of Conservators Asocati ofthe dangerous eet of fatulenceon ine artworks However fun these works were 10 rath, in relation tothe other performances they seemed to lack depth and complexity. The problem for me, with the constant shift ing Lhad to do between levels of involvement With the works, was that my energy ended up leveling somewhere in a modest compro- rise. My head wasn't fully chewed up in “Tagnys mouth, nor was carted away bythe possible absurdity of wieners, beans, and fine-art. The work that held the evening together for me was the series titled Documents fr Performance (6,2, and #3) by Judy Rad Performed at the end ofthe frst set the Begining ofthe second set, and at the end ofthe second st each was a dramat- jc monologue about presence, applause, and the end, respectively It was constant inter rupted by her ordrstoacamera-person doc- ‘umentng her various poses ("tis would be ood” , "Telit get my legikethis™ et) ts uns simplicity its com plete unmediated relationship tothe evening of performance, its incapacity to be per formed in anyother way (and my inability t0 write about it adequately, made it truly Unspeakabl, as Tagay put it inthe introdu: tion to the evening, “the tension between what we say and what is spoken” This et of performances carried through th others, by changing my relationship tothe “ea” doc: ‘menting camera clicking away next to me in the audience. ‘As I came away from the evening, 1 thought about curation and how important itis that artists support each others work through their own work. I also thought about how necesary itis that in order to cre ate this supportive structure, all the arts involved need tobe clearly communicating to make sure they are working within asim ilar framework. The curators role sems 10 ‘me to be the route of communication between artists: wateh-dogto make sure we ‘don't undermine each other seth conflicting messages. The co: produces ofthe evening ‘saw themicies as initiators, not curators, and saw the event asa proces of learning to rake space for performance at within the alley setting. ‘They setup a post-production e-mail dis ‘cussion among the artists involved to debrief and continue thee work together. I’ a pro ject that extends beyond the single evening, bringing further input to an exciting move ment of performance art that seems to be growing in Vancouver unspeakable was sold ‘out= witha waiting list! Theres obviously an audience in Vancouver for performance art Coco Fusco was old outa the Western Front Making it Big (1 and 2, curated by Jay Mclaughlin) at the Grunt and Video-In respectively were both sold out gis last year the Kiss and Tell Collective had thee full houses at the Roundhouse and Video-In, and he lit goes on. I'm exited o sce what hap- pens with upcoming eabaretstyle perfor ‘mance at the curatorial posites are end les and so tantalizing (wnpeakably 0). ©) |) kro Rout | October 7, Fall 1996, pp. $9.1 Looking For The Buzz Thinking back on — “6” — New Vancouver Modern By Paul Williams ncouvers “6° exhibition at the Helen and Morris Belkin Gallery assembled the work of six young artists under the umbrella of “new ‘modernism’ The chosen moderns were: Geoffrey Farmer, Myfanwy Macleod, Damian Moppett, Steven Shearer, Ron Terada, and Kelly Wood. Their work fllowsin the wake of 4 previous generation of photo-conceptual Vancouver artists such as lan Wallac, Ken Lum, and Jeff Wall, and these New Moderns seem to have maintained the pristine, photo-conceptual aesthetic while establishing thee own themes in a ‘modern social eel ‘This was an interesting display of late 20th ‘entury att. Thete were references to the past (siscreened 1970's youth imagery), comments fon the. present (carsized photographs of ‘gatbage), and visions of the fature (sii dior ‘mas in small white bors). The comments that these young artists made were well thought out and have probably ben discussed among a num ber of intelectual artists through years of choo! ing and critiques, References tothe media, the environment, and television were visible throughout this work (Garatr Scott Watson took bit ofa rik in asking these young artists to produce work for this lange (and corporately sponsored) show without actual: Iy seeing it frst, However, Watson carefily chose artists to help define what Vancouver art has become inthe late 20th century: clean and con: cept Ifthe mediam is il the message, then the message is clean, organized and probably lid ‘out ina manual. But if thought is great forthe mind, about emotion fo the soul? Most ofthe pieces in the “6” show have been produced with a sense of ‘removal: intensely sharp lines and manufictured ster. When walking into this space and observing the work it doesnt have the “burr” like great art should, This was an unexpected ant-climax to an im- portant Vancouver art cahibition. Somehow, ‘these works missed out ‘The large, white almost cube space of the Belkin Gallery seemed to cemphisize the “square” Modernism of the exhibition. But even though manufactured sterility dominated, itis a rei that Myfanwy MacLeod’s work had a sense of -humour to it with lapping cartoon tongues and large cartoon ees. Even Steven Shearer's monot ‘one sikscreened images of 970s youth had that ‘Oh my God, we used to look lke tha” humo installation was an exception tothe clean, manu factured aesthetic ofthe exhibition It was big, bold and had many components to rake apiece that should have dom rated the show (and not just by size) It mist something though. That something that finishes @ piece and gives it thebuzz ‘This was a show ofa well thought out Aisplay of new pluralism, each artist using a variety of technologies that didn't ‘exist in the lst quarter cent: 1. This was nota show of| iddy “hands-on” art like Basquiat or Picasso, but sublime: Iy interesting, work that is appreciated after _contempla tion and not neces: ‘upon imme diate entrance. Geoftey Farmer's video and scaffold Interdisciplinary Art ‘erly spel href ey gh ii icp ine Ation The Cone wile hes and eas by which to beter commode ruliicpiary and interdicpiary forms of ‘This vague vision ofthe program and the term itself makes applying for aninterdscipinary grant Aificalt. For example, now, the program for iter. Alisciplinary arts is under the heading Inter Ascplinary and Performance Art Program, which jis situated inthe Media category. Positioning the program under the umbrella of media insinuates disciplinary practices incorporate some form of technology. It becomes very confusing when applying if you consider yourself a perfor mance artist but don't work with media or ell yourself painter who wants todo across dscip nary performance installation for the first time. The whole concept ofinterdisiplinary practice is varied and often subverts categorization, Perform: ance art as the same historical subversive nature wen it comes to defining an artistic category Nevertheless low and behold, even the subversive ‘an be co-opted into a category and performance artand interdsciplinary practices are no exception. ‘The Council has come to reeogize the institu tionliation of these practices and consequent attempting to accommodate an anti-form, which has evolved ino its own genre. Ido not want to imply tat defining interdscplinary practice a a ‘category onto itself will somehow betray the integrity the practice. However, Lam naturally dis posed towards sup cous tendencies when art practices, very few slid practical results were ‘obtained! ‘Therefore, ike ECIAD, the Canada Council is trying to create a frame of reference for their Inverdisciplinary and Performance Art Program. 1 havea personal intrest and concern with the poss be restructuring ofthis particular area of the visual arts grants because last year I applied for and received a Canada Council grant from The Interdisiplinary and Performance Art Program. “The most frustrating and complicated apect of applying forthe grant was the application proces itsele. The brochure information about the an insition suppors What was most frustrating program was inade Tustin Calmesi WAS trying to decipher the Oi on tle cynical but 1 have seen the Intermedia program at Emily Care Institate go through more name changes than actu al steps towards progress When I fist started at Emily Carr the program was called Multi-Media, then Interdscplinary, Cross disciplinary and now Inermedia. Despite all the ame changes and attempts to define the nature ofthe program that philosophically sought to challenge hierarchy of grant application. attempting to contact officers of the depart- ment by telephone and e-mail on many oceasons, I never gota response xcept for an abrupt conversation with an oer worked and impatient staff member answering the telephone I ealize that administration and staff are busy and facing constant restructuring but perhaps if here was one staf member to answer questions it ‘would save time and effort forall parties involved ‘Thisis jus smal practical suggestion that may improve access to informa: ion about the progam. ‘When it comes down tit do not feel like need to pledge allegiance toa practice But fo practical reasons, the word interdiscplinary helps define a set of artists who donot have a specific imerest in one particular visual art form, It hasbeen my observation tha for these artists, often the conceptual and contextual aspects deine which visual medium and form is used. Performance art often operates in the same manner. Usually appropriate the terms performance art and imerdsciplinary art interchangeably because my particular work usually has a performative clement within an imerdiscipinary form, Nevertheless, there are artists who do not sce any connection between thei inter icplnary practice and perform art. However, from my’ experienc, artists eho consciously incorporate performance atin their practice alo