Vancouver based performance trio A Wake of Vultures (Nancy Tam, Daniel O’Shea and Conor Wylie) melds together highfalutin ideas and low-fi aesthetics in their new work, Walking at Night by Myself. They present a world of abstraction, distraction, and overlapping patterns through which we slowly examine the plasticity of human perception and open up to questions of how notions of familiarity, difference, and impressions are constructed. Featuring Nancy Tam and Anjela Magpantay, this work explores connections between movement, sonic, scenographic, and conceptual ideas with hypnotic repetitions, twin-like presentation, afterimage, and moiré to transcend the spectacular to the phenomenological; from seeing to experiencing.
Places and bodies – broken, betrayed, defiled. Secret, hidden stories gush to the surface in Phantom Stills & Vibrations, an immersive experience that pays tribute to the victims of the former Pelican Falls residential school in Sioux Lookout in northwestern Ontario. A cultural genocide that continues, that leaves traces and open wounds. Inspired by visits to the land of her ancestors, choreographer Lara Kramer has crafted a performance art exhibit in collaboration with Stefan Petersen, a reminder of the repercussions of the traumas passed on from generation to generation.
A photograph of the former residential school (now a high school) and a soundscape of the north underpin a minimalist performance. Kramer portrays the excruciating reality of abused children and questions the possibility of moving forward. How can there be a rebuilding when violence is perpetuated? The exhibit stirs, disturbs, leads to reflection and meditation. A work of essential, powerful remembrance.
Lara Kramer is an Oji-Cree choreographer and multidisciplinary artist. Her works have been hailed by critics including Native Girl Syndrome, which exposes the marginalization and victimization of Indigenous women and the effects of cultural genocide.
Eclectik 2018 brings to a head MAI’s four year focus on the older artist and which draws inspiration from Older & Reckless, an acclaimed dance series of mature dance produced by Toronto’s MOonhORsE Dance Theatre. Âgés et déjantés featuring artists 55 years old and older of cultural and racial diversity, advocates for an increased awareness of the challenges faced by older artists. It addresses the language currently used to discuss old age and generational relevancy and/or redundancy as it relates to art, to life.
At the very centre of this initiative is, to borrow a term, lastingness, a means of resistance, of maintaining or regaining visibility. Of celebration.
2016/2017 marked a number of anniversaries in Canada’s settler history. To engage in ongoing conversations dealing with identity and space, we launched Prendre Place / Taking Place. Conceived to take up transdisciplinary considerations of space and its accompanying baggage, it is also a place for artists to take that place/their place, to claim it, to own it, to inhabit it. This, the 2ndedition, furthers those questions with seven international artists driving the narrative through stop signs, veering off path.
“Serio” is Colombian gay slang for “straight acting” and is used disdainfully as the opposite of effeminate, queer, faggot, or sissy. “Muy” is an intensifying adverb with strong “camp” potential. In this series, dance artist Carlos Maria Romero uses traditional pieces of masculine clothing as the sculpting material for a variety of queer performance gestures, extracting their symbolic power through staged rituals.
Carlos Maria Romero is a London-based Colombian performer, choreographer, and multidisciplinary artist working in the fields of performing and visual arts, heritage and architectural activism, as well as pedagogy and curating.
MARVELOUS is a fashion and culture magazine created by a team of artists and published via performative readings by its editor-in-chief, Bryan Campbell. Born of a DIY process inspired by drag culture in which imitation, appropriation, and plagiarism recast the commercial languages of glossy mags, MARVELOUS deals in notions of expertise, economic access, and the psychology of persuasion and seduction.
Bryan Campbell is an American artist working and living in Paris. Since 2008, he has developed a body of subtly queer and conceptually adventurous multi-disciplinary work that builds on his training as a choreographer and dancer.
My Last American Dollar, asks about resistance in the framework of five spaces: locker rooms, strip clubs, waiting rooms, church pews, and field days (military exercises/school athletics). Consisting of two rounds, the project investigates forms in which black and brown people hold space for each other. How do you carry the multiplicities of being young, gifted, and black?
Keijaun Thomas is a New York based artist and current Franklin Furnace Fund Recipient. Their work investigates the histories, symbols, and images that construct notions of Black identity within Black personhood.
In this durational work, Noëmi Lakmaier presents a “living installation” that is part art object, part performance, and part real people. A woman in a bare room is being dressed—or perhaps undressed—by a male performer. Both appear more like aestheic objects than real individuals. Myriad associations pass through the piece—it could be a business transaction, an interplay of gender roles, or an act of love—keeping us adrift, suspended between empathy and symbolism.
Austrian-born, Noëmi Lakmaier uses her own body to create endurance-based performances and living installations to explore boundaries between the physiological body we have and the phenomenological body we are.
A ritual performance, Neuter ality dismantles the term “neutral” and the meaning it takes in the eddies of diplomacy that normalize the confinement and eradication of “the other.” DNA/seed patenting, mining/displacement, prisons, detention centers, ethnocide and museums are current examples. As a sacrificial gesture to decode “neuterality,” the ritual will transmute a controversial symbol to reveal a fourth space.
Yunuen Rhi, are martial and performance artists, anthropologists, and healers. With roots in Mexico, the United States, and Korea they have cultivated themselves in western, eastern, and native medicine pathways as a way to deepen the understanding of “selves.”
Exilium explores the body living in exile. The physical, emotional, political, and cultural labour that such a body needs to go through. The tension that exists between the memory of a/the homeland and a strange new physical and political territory. The status of a body struggling between two spaces and its own need to heal, forget, regenerate, re-learn, and let go.
Montréal-based, Bogotá-born Santiago Tamayo Soler is interested in the intersection of fictional narratives, cinema, and live action. His work attempts to translate and integrate various elements from cinematographic language to the live action, through ritualistic studies and practices.