Some of my favourite artists are Hans Haacke, Pope L., Adrian Piper, John Baldessari, David Hammons, and Guadalupe Martinez: I tend to be drawn to artists who create performative works, conceptual art and pieces which address identity politics.
My best memorable experience whilst studying at UBC would probably be the late nights / early mornings where me and my friends were at the Audian studios discussing our processes and ideas for upcoming projects. It was during those moments I realized that having a community, being in relation to others, is a pivotal part of my artistic practice.
My favourite foods are my mother’s lasagna, MeeT’s calamari, and fruit snacks.
4) What is your guilty pleasure music artist to listen to?
My guilty pleasure musical artist I listen to is honestly the Jonas Brothers. I used to obsessed with Joe Jonas in middle school and I have been hearing some of their new material here and there and I actually enjoy it!
Recently I have been watching Neon Genesis Evangelion on Netflix. It is an anime and I do not know if I can describe it anymore beyond that. It has a compelling storyline and I am still working my way through it – I will say this though, it can go to some dark places! Another series I have been watching is Abstract: The Art of Design. I want to hear people’s stories, and their interests and this documentary series takes a thoughtful approach in how it introduces you to various fields and ways of thinking / doing.
6) You recently went to New York, which area was most inspirational to you?
In New York, I would say there was not any one place in particular which was the most inspirational to me – what was the most inspirational to me was the people I engaged with – whether it be old high school friends or new friends I made during a night out, the process of connecting with others with the sole intent to be together is honestly what inspires me.
Antonio Somera Jr. is a quirky character, robust space-eater, and a nimble cat-lover from Vancouver, Canada. He enjoys participating in street dance and contemporary dance events and enjoys having a drink or two with friends. As an dance artist, Antonio interprets works for local choreographers and companies such as, Julie Chapple/Future Leisure, Dancers Dancing, The Response Dance Company. and OURO Collective. Antonio is super excited to present this next Shooting Gallery Performance Series, and to share these artists’ talents.
Here’s what Antonio has to say for this show:
“It’s going be an eclectic show, with many interdisciplinary pieces coming from dance, improv, visual artist, spoken word, and theatre! I wanted to bring different communities together in one space, and I believe these artists represent their own quite boldly. Each artist I have selected has some sort of play and interactivity within their works. Whether it be interacting with the audience, f*cking up the space and objects, or playing with inner dialogue, these artists are pretty damn smart! and they are also awesome humans to chill with. Expect to be weirded out and confused, and to experience a few chuckles here and there, but overall, it’ll be one hella fun night!”
Lauren Marsden is a “recovering performance artist” with roots in Trinidad who now acts as a collaborative director of her projects. She has a Visual Arts BFA from the University of Victoria and an MFA from CCA in Social Practice, and currently teaches at Emily Carr University. While she was a graduate student, performance began to take a more integral role in her work, whether she was making photographs, videos or collaborative works. There was a marked shift in her practice where she transitioned from being a performer to a director. She felt that she couldn’t get her performances to a level that she was satisfied with, and suffered from exhaustion and boredom with her own ideas. The isolation she felt with being the sole practitioner of her work began to wear on her, and as she matured as an artist she “wanted to expand my perspectives and my world…I didn’t want to only be dealing with my obsessions immediately with my body or my voice, so that led me to collaborate with other artists”. Lauren feels this shift allowed her to gain more control over the work, and has led her to bigger ideas and bigger projects.
This way of working brings up questions around authorship, something that Lauren is very conscious of. In the film world, authorship around certain aspects of a work is very clearly defined, whereas contemporary artists don’t always give credit where credit it due. This is something that Lauren doesn’t agree with, and she “gives as much credit and authorship to my collaborators as I can, which is important to me, but then you still have to maintain control, so it’s a difficult balance”. As a former collaborator of Lauren’s on her project “Birds of Paradise”, I can attest to her ability to allow the performers the freedom to develop the work in a way that holds meaning and significance for us, while also maintaining a vision for the overall work. This is a skill she has honed over years of working this way, and for her new work for Shooting Gallery called Logo-man-see, she is collaborating with dancers Alyssa Amarshi and Sophia Gamboa to explore ways you can shape dance to text.
Logo-man-see is a phonetic spelling that means “The Power of Words”, and she is working with the dancers to develop new moves using a series of cultural appropriation terms that are trending online. The texts are the starting point of the work, and from those texts the dancers respond choreographically, drawing largely from Street Dance, although there are multiple styles of movement embodied in the work, all of them holding a local or cultural meaning. Lauren was initially inspired by the way that Dancehall moves are named, stating that they are “very literal, and there’s something so funny about that, and I wanted to take that approach that Dancehall takes, and bring it to a different context” says Lauren. She relies heavily on the dancers to develop the choreography, while she acts as a facilitator, giving prompts and encouraging the movements that work, all while maintaining control over the final piece and developing the visuals that will be projected behind the dancers as they perform. The piece uses online dance video tutorials as inspiration and structure, with the performers “teaching” the moves to the audience in much the same way that a dancer on Youtube would. The dancers “break down the move physically, but then also talk about why the movement is named the way it’s named, and what the relationship is between the title and the movement is”. The relationship between the heavy terms used as a starting point and the more playful moves that are being developed is at the core of the work; “I wanted to find a way to take those texts and not give them more power, but in a way transform their power or even take their power away by putting them through the body. That can make it funny, it can make it a commentary, it can also make it purely physical, almost to release it from it’s status…which I hope is not an unhealthy thing to do. But that’s one of the risks of this project” says Lauren.
This tradition of using text to structure movement has been used by artists such as Tino Sehgal as well as Gerard and Kelly. Lauren is very conscious of the fact that many contemporary artists now use dancers in their work, which she often laments because she believes that a gallery is not the correct context for dance in most cases. Lauren feels that “dance needs to be treated respectfully in all cases, and there is so much that just isn’t ideal about museum and gallery venues” when presenting these types of works. In fact, she sometimes feels conflicted about working with dancers, but she has a dance background herself, which lends authenticity to her work. “I want to articulate that I am not just using dancers because it’s so compelling. I work with dancers because it’s the best medium for a particular idea. And then I might have another project that has no dancers at all…it’s not a thing that I will keep doing because I like it so much. It’s not always the ideal platform for an idea” she says.
Lauren allowed the dancers to choose the terms that resonated with them so that their movements would hold more meaning for them in their bodies. The dancers chose cultural appropriation terms, which she admits is a touchy subject because of “the internet…which has provided a platform for every type of voice…I think that it has really proliferated extreme progressive, radical and also conformist views…I think it’s become more complicated. And that’s not necessarily a bad thing. It’s just that now when you think of terms of cultural appropriation, everyone has an opinion about it and all those opinions are different”, which leads to a lot of conflict and shaming. With the proliferation of online dance videos, there is now a lot of visibility around this style of dance, but it also raises the question of who gets to make it. Lauren herself is from a mixed family, but her experiences as a white presenting woman are very different from those of the dancers, who are women of colour, and she is very conscious of this fact while exploring the sticky terrain of this piece. Lauren expressed that she was a bit nervous about exploring this topic because “it’s not really a topic that I would have chosen, but I did open the door to this topic. But I was glad that the dancers chose it, because I do think that it is a very current issue, and it isn’t being resolved through online chatter, it’s not going to be resolved through dance, but I feel like there is something meaningful about bringing it back down to earth and taking it offline. It might be funny, it might be shocking, we will see”. The reception of the piece will depend largely on the audience and the context of their own personal experiences, and this question of interpretation is an exciting facet of the work.
Alyssa and Sophia are members of Immigrant Lessons and Her Tribal roots, which are dance groups that are interested in their relationship to politics and place, which is why Lauren thought they would be perfect collaborators for her piece.
Come see Lauren Marsden’s new work Logo-man-see as part of Shooting Gallery Performance Series #7 at Left of Main on March 28, 29 and 30.
Tracey Vath started making art later in life. She was an avid music fan, attending many shows and supporting her friends who made music, but she never really thought she could be an artist herself because she wasn’t an “expert”. When she turned 30, she decided to pick up an instrument for the first time and formed a band with some of her friends, and the idea that she could make art without needing it to be perfect or even “good” was a liberating discovery for her. She realized that she loved performing, and she began to develop characters that she embodied while performing music, sometimes dressing as a robot or having stuffed animals in her band. Throughout this time, however, she remained oblivious to the contemporary art world, and most of her energy went towards her job as a support worker for schools. She began to feel stifled by her work life identity, and made the decision to go back to school. Today, Tracey is in her third year as an Emily Carr Visual Art student.
For her new piece for Shooting Gallery, Tracey is exploring her upbringing in the Pentecostal church, specifically the lack of sex education she was exposed to and the lingering effects this has had on her life. The Pentecostal Church had its heyday in the 80s and 90s, and distinguishes itself as the only faction of Christianity that speaks in tongues, something that Tracey only experienced once. Making work about her Christian past is not new to her, and in fact it was seeping into her art practice unbeknownst to her. “I found I was making work about it without even knowing that I was, and some friends of mine would say, you know you kind of refer to this church side of yourself quite often…so ya…I guess I do” she says. She grew up immersed in southern gospel music within the Pentecostal church, which she says is a very capitalist institution that sells countless DVDs of Evangelical preachers spreading the word of God while gospel choirs sing. She began using these bizarre clips in her performance work, exploring feminine tropes by shaving her legs on stage or stuffing her bra with communion bread, and prescribing new meaning to the hymns she grew up singing by changing their lyrics and injecting humour into them. For her new piece she is examining the repressed sexuality of the church and the methods that were used to shelter children from learning about this basic human function. “If their parents didn’t want them to learn about sex ed in school, then that was totally fine. So I didn’t get to have that same talk that other kids would, I would get pulled out. I didn’t get to learn about evolution either” says Tracey. As she grew older, her confusion and curiosity around sex only grew, and this anxiety is at the heart of her exploration for her new piece.
Her process involves a dialogue with herself, and she will often text herself ideas or phrases that she will then process, edit and brainstorm on later. She also spends hours digitizing bizarre old Christian “Jesus type” instructional videos on how to be a Christian, which in the context her adult life as a non-Christian, holds very different meaning for her. Looking at her old family movies and photos also serves as a jumping off point for her working process, as does Youtube. “There is a Christian artist from back in the day that is still making Youtube videos, and he’s a big Trump supporter…so I’m kind of revisiting things from the past by using Youtube…Wow, I wonder if this person is still around? Oh wow, ya, still totally active…” says Tracey about her internet deep diving.
Tracey uses video in her work, but considers herself to be primarily a performance artist, although she has begun to incorporate conceptual drawing into her practice. “The drawings that I’ve been trying to do lately, and have done in the past, have a performative element to them” says Tracey, referring to a work she made where rode the number 20 bus for ten hours a day 12 days in a row, making repetitive line drawings referencing the physicality of the movement she experienced in this durational work. Physicality and vulnerability factor largely in her work, which she often struggles with because she also likes to use humour. “I like to use humour, and sometimes I think I’m not blurring the line between humour and vulnerability enough…I think it really feels good when there’s a good mix of the two…the sweet spot” she says.
Tracey’s Instagram takeover this past week has also served as a great platform for her to explore characters, or aspects of her own character. A few years ago she had a Youtube channel where she made similar videos exploring quirky and awkward characters. Her channel “was kind of like the Instagram videos, and I was trying to get that feeling again, because I really enjoyed making those videos and I haven’t done anything like that for a while”. She is also influenced by performance artists like Bridget Moser, who also uses humour and props to explore issues of vulnerability, as well as stand up comedy. A few years ago she hosted stand up comedy nights at Toast Collective, experimenting with performing comedic work within that context.
As an adult, Tracey met more non-Christians that questioned or challenged the beliefs she grew up with, which eventually led her to expand her mind and reject the teachings of her youth. However, the context in which she was raised clearly provides her with an abundance of issues to explore in her art practice.
Come to Left of Main March 28, 29 and 30 to see Tracey Vath’s brand new performance work for Shooting Gallery Performance Series.
Luciana Fortes and Ghinwa Yassine are Too Much Collective and the piece they are creating for Shooting Gallery Performance Series is their debut work as a collective. Both artists are in their first year of the Masters of Interdisciplinary Arts at SFU, where they immediately connected over their shared experiences with displacement and the desire for connection in their newly adopted home of Vancouver. Their piece “Warm” is an investigation into the act of giving to a place and an audience, using improvisation, playfulness and their respective research into clowning and autobiographical art.
Luciana Fortes is a Brazilian artist from Rio de Janeiro where she trained as a dancer. Her childhood was split between Brazil and Calgary, and she completed her undergraduate degree at Bryn Mawr College outside Philadelphia. Despite her training as a dancer, she is not interested in being married to any one form, stating that idea is what dictates the medium of the piece. Since beginning her Masters at SFU, her interests have turned to theatre, clowning, comedy, fragmentation and displacement. Her work questions how our body can be a map for identity and ones own sense of space.
Ghinwa Yassine is an anti-disciplinary artist from Beirut who also works as a graphic designer, which she says helps her see space and layout as a grid. She has a Masters in Digital Video Design where she focused on Video and Installation Art , but she does not see herself as existing within any one discipline. The thread that carries through her work is narrative and story, and it is mostly autobiographical. Her current work centres on relational autobiography, and how we weave personal stories together; for Ghinwa, relational autobiographical work is a way to create universal healing.
Luciana and Ghinwa’s working relationship flows very naturally and they have a deep trust in one another; this trust enables them to share both positive and negative feedback. “For me, collaboration, it means trust, and that resolves everything. If I trust where the comment is coming from, I don’t mind any comment and I just know how to be with the other person” says Ghinwa. They both acknowledge that they each have different strengths and expertise, and can defer to each other’s specific technical knowledge. Being from Arab and Latin cultures, of which there is a lot of crossover, they were often told they were “too much”, too dark, too loud or too chaotic, which created a sense of displacement for them within their respective cultures. This idea of displacement and the trauma this can create is at the heart of their work, and “Warm” brings together their shared traits of generosity, fun and playfulness to explore how one can make a home as a foreigner in a new place.
Luciana says “we both expressed a lot of struggle with Vancouver, but it’s kind of like a love/hate relationship, or your relationship with your Mother. Motherly warmth embraces and gives you so much opportunity, which is what Vancouver has done for us…sometimes there is harsh criticism, but in the end it is still in your benefit”, and for her this is at the core of the piece. Ghinwa often feels like a foreigner, having lived in many different cities, so she is used to not feeling at home. “I feel like when you leave home, where you spent your teenage years, I feel that you will never find home again. For me that’s ok, this uncertain place that I am getting comfortable living in” she says. The pace of Vancouver is something that the artists have been influenced by; “the rhythm here is very slow and we are so fast, so how do you negotiate that? That’s kind of what warm is too…hot is too much, warm is like…you are warming up to people, you are warming up to the place, it’s a transitional state too” says Luciana. This idea of warmth relates to connection, and their piece strives to create space to make connections by integrating movement, text, video and installation, while allowing for improvisation and audience participation. Their hope is that the audience will walk away feeling like they experienced something pleasant, something warm, a real connection.
Luciana and Ghinwa are currently developing workshops in Autobiographical Art through Text and Movement. They will be presenting their brand new work “Warm” for Shooting Gallery at Left of Main on March 28, 29 and 30.
Jennifer Summer Ashley is a dancer, lawyer and stripper with a varied history of performance. She started dancing at the age of 3, training in ballet and Chinese dance and eventually branching out into modern and contemporary dance, entering many dance competitions and exams in her youth. At the age of 18 she discovered pole dance and eventually started stripping a shortly after that, and in the last few years she has trained in various disciplines of aerial arts.
Her dance training has both helped and hindered her in her life as a stripper. While it has provided her with great proprioception and the ability to pick up skills quickly, it has made her overly aware of technique, to the point that she often finds it difficult to immerse herself in the flow. “For me, my awareness of technique takes away from my flow…do I want to be perfect or do I want really good flow? And for me, I seem to not be able to do both at the same time” she says. For Jennifer, performing as a stripper becomes a balancing act between good technique and immersive flow and musicality, which makes her a compelling performer to watch.
Her piece for Shooting Gallery examines the judgements that all dancers face, not just strippers, although the societal stigma faced by exotic dancers is an added level of denigration that they must reckon with. Although she has received some judgement from outsiders around her status as a stripper, there is an extreme level of objectification that one must face as a dancer of any kind. “Both industries are very hard on women, and the talent in general. You’re disposable. You work so hard, you just want to perform, you just want to be on stage, you just want to do your art, but you get all this pushback from the people in charge…you’re not skinny enough, you’re not flexible enough, you’re not strong enough…as a dancer, that’s your reality, but as a stripper, that’s your reality PLUS the stigma” says Jennifer. Combining contemporary dance and exotic dance styles of movement, Jennifer’s piece attempts to draw parallels between the experiences and the movement styles of these two types of dance, using voiceovers to highlight the unhealthy judgements faced by female performers using their bodies to make their art.
With her piece for SGPS, Jennifer is making a concerted effort to transition into making “art” performance, although she believes that working as a stripper is one of the greatest ways for a performer to get paid a good wage to work as an artist. She calls herself a “bad stripper”, as she is much more concerned with creating a compelling performance on stage than she is with making money. “For me, stripping is just an opportunity for me to develop my art every night at work” she says. Stripping has enabled Jennifer to grow as an artist and to come into her power as woman, but it has also made her a much more empathetic person due to her exposure to such a wide variety of people with different lived experiences. She describes stripping as her own “ethnographic survey, which is really cool for me”.
After years of experiencing misogyny from both the dance world and the strip world, Jennifer really believes in the power of art to express these ideas to people who may not be aware of the parallels between these two worlds. “This is part of the story of so many dancers, and I have a way of expressing it, so if it works out it works out, and if it looks pretty, even better” she says.
Jennifer Ashley will be performing her new piece for Shooting Gallery Performance Series at Left of Main on March 28, 29 and 30.
Olivia Fauland and Lucas Wilson-Bilbro are two artists with very different artistic backgrounds who also happen to be in a relationship. Together they started the dance company Sapiens Sapiens, and their piece for Shooting Gallery combines sculpture, sound art and various “non-dancerly” movement practices including meditation poses , warm up exercises, trust falls, contact improv, and jiu jitsu.
Olivia graduated from Emily Carr University in 2014, focusing on sound art and immersive installation near the end of her time there. The contact microphones used in the piece were developed by Olivia while she was at Emily Carr, and she is reworking the technology for Shooting Gallery. After graduation, she took a concerted step back from the “party scene” art world and began her career at the Portland Hotel Society. Sapiens Sapiens marks her return to making things, this time in a different context.
Lucas has trained in classical ballet for his whole life, and eventually moved into the contemporary dance world upon moving to Vancouver in 2015. He studied in the post-grad programme at Arts Umbrella before being asked to apprentice with Ballet BC, and even appeared in Centre Stage 3. He now freelances in Vancouver, working mostly in the contemporary dance scene, and trains in parkour and acrobatics.
Sapiens Sapiens includes a rotating roster of artists and was born out of a desire for more experimentation and play, and a feeling of dissatisfaction for Lucas with the work that was being produced in the contemporary dance and ballet scenes. The two artists have similar tastes and trust each other implicitly, which for an artist like Olivia who usually works alone, are very important components to a fruitful collaboration. Coming from such different backgrounds, both artists feel a sense of freedom working in a new space, with each of them bringing something different to the projects. “For me, the dance world, especially with language, is kind of like a freedom because I’m so new to it…to me it’s kind of fun to play with what a dance company could mean” says Olivia. Sapiens Sapiens is aiming to blur the lines between “dance” and “art”, and their piece for Shooting Gallery incorporates sculptural tiles fitted with contact microphones, and the types of movement available to them will be largely dictated by these complex surfaces.
Their relationship dynamic plays a large role in the piece as well. “We like this idea of baggage and history and our entire history with each other, artistic or otherwise, is part of it and we allow it to be a part of it, even if we aren’t necessarily making it about that” says Lucas. Their working relationship is predicated on a deep trust with one another, and each of them has various techniques they use to help one another when they begin to spiral into anxiety and self-doubt, as most artists do.
Olivia and Lucas are influenced by Michael Schumacher and others in the live improvised dance world, and are interested in smelling the room and letting their senses dictate their movements. Lucas says “it’s about just being in a space and experiencing it and how if you are cued in very sensorially, it helps you keep your brain straight in a very sensitive place as opposed to a performative ‘oh my god’ place…it’s about a situation, it’s about you experiencing something, it’s not about you doing the moves”. They are interested in the natural improvised and unconscious methods of movement that we engage in, and Olivia has recently become obsessed with YouTube videos of mosh pits; “I had thought about this thrashing movement, and letting things be the echo of that” says Olivia.
Olivia and Lucas also have an Instagram page called @gooptubes that documents the intimate moments of their life together with various film cameras. The resulting images are beautifully shot and the love between them is palpable, with each of them being their most beautiful when viewed through the others eyes.
Sapiens Sapiens will be debuting their new piece at Left of Main on March 28, 29 and 30.
Sydney Southam is a visual artist, filmmaker, performance artist, and professional pole dancer. She often works with archival 16mm film, exploring themes of nostalgia, death, memory, and identity. Her current work explores the backstage and domestic lives of exotic dancers and how their private and professional lives are defined through ideas of Feminism, objectification, power, and love. Sydney is one of the founding members of Vancouver-based Iris Film Collective, and the curator of the potluck dinner and artist talk series Special Sunday Supper. Her films and artwork have shown across Canada, Europe and Asia, at venues such as MOCA Taipei, Gabriel Rolt Galerie (Amsterdam), Athens International Film and Video Festival, Antimatter Media Art Festival, Aesthetica Short Film Festival, Access Gallery, Emmedia Gallery, Yinka Shonibare Guest Projects, Vivo Media Arts Centre, Cinema Spectacular, Western Front, Cinemateque Vancouver and the Haida Heritage Centre. She graduated from Central Saint Martins with a BA Fine Art First Class Honours in 2011 and from the University of Toronto with a BA in English, Philosophy and Cinema Studies in 2007.
Open to all forms of dance, theatre and/or live art, this is an opportunity to explore ideas in the beginning stages of creation. Priority is given to new ideas, experimentation in movement and interdisciplinary performance, adventurous and interesting work suitable for a low tech studio theatre environment. The call is open to Canadian Artists.
Where: Left of Main, Vancouver, BC, Canada
When: March 28th, 29th & 30th
Deadline for applications: Jan 20th 2019
Selected artists will receive a performance fee, curatorial support, and rehearsal space (based on availability). Please be aware that technical capabilities in the theatre are limited.
To apply please send a short bio or artistic statement, a brief description of the proposed piece including approximate length and two links to recent works firstname.lastname@example.org with ‘Shooting Gallery Submission’ in the subject line.
Artists for our March show will be selected by guest curator Sydney Southam
Submissions are open to:
– artists at any stage of their career
– solo, duet and group pieces
– works between 5 – 15 mins
– performances with minimal technical needs
***Work must be interdisciplinary or experimental in nature.
Curatorial criteria is based on the quality of previous work, unique vision, a range of aesthetic viewpoints, and artists whose work is underrepresented within the Vancouver arts community.