Tableau Vivant: Eaton’s Catalogue 1976
Those of us whom was raised in united states within the 1960s and 70s lacked art, Bible tales, and history as universal recommendations. The tome that shaped our values most tangibly ended up being the emporium catalogue, a wish guide of everything we might have and whom we’re mature couples able to be as soon as it was got by us. Gender had been obviously defined, competition had been single, and course had been center. In this performance we utilize the tableau type to enact a typical page through the Eaton’s catalogue, the most-read guide of your Canadian youth. We’ve paired women’s formals (a appearance we now have had trouble effectively fitting into) with restroom plumbing work to invoke the endless bounty, cleanliness and hope that the catalogue implied. Three females stay in vacant stillness, water streaming through the spouts at their breasts.
Duration: The 15 moment performance is duplicated twice one hour
First performed: March 1998, Hallwalls Centre for modern Art, Buffalo, nyc. Afterwards done at Counterposes, Montreal, curated by Jennifer Fisher and Jim Drobnick.
Astroart area Corps
Commanders Dempsey and Millan are getting ready to enter space that is deep to build up revisionist stellar cartography and explore the resistant character of anti-matter.
First performed: 2014, La Nuit Blanche, Calgary, Alberta september
Photos by Lindsey Bond
The revolting plus the revolutionary, the reviled together with revered are united by hair in this right time travelling sing-along. Through the wigged females of Ancient Rome into the hirsute levels of seventeenth century France to those extremely hairy 1960s: the world’s many infamous queen traces the annals of radical tresses while thinking democracy.
“we want my personal revolution. I do want to cut back field tops, and purchase one out of the mail. I’d like anachronism and misconception, and also the myth that is anachronistic things are certain to get better. I do want to be pretty and only a little tragic, not too tragic because that will make me dead. “
Duration: 35 min.
First done: June 2017 Queer City Cinema Camp, Trash, Filth event in Regina, Saskatchewan, curated by Gary Varro
Revised: November 2017 Isolated Landscapes in Winnipeg, Manitoba, curated by Kathy Rae Huffman
Photos By Karen Asher and Anita Lubosch
The Dress Series
The Dress Series (1989-1996), a small grouping of performances that explore the gown since the female ceremonial costume and icon of femininity. During these pieces, fabric is changed by not likely materials, producing juxtaposition, brand new definitions and upending expectations. All costumes fabricated by Dempsey and Millan.
In Arborite Housedress, the pro/antagonist defends herself against racial and financial huge difference by clothes by herself within the domestic architecture for the times: the house/dress is her shimmering, clean fortress along with her jail. Through the piece she reveals her worries (such as for instance gravity, or even worries that “parts of my dangerously sagging self might end in bad neighborhoods”) and her dreams (border city romances, getting straight down with dust, plus the eradication of her household, so she’s going to have enough time to devote by herself more completely to being truly a homemaker). The sculpture/costume that is wearable been exhibited at numerous free galleries and it has been bought by The Winnipeg memorial included in their permanent collection.
“Have you ever pointed out that if you clean a floor each morning, by nightfall it appears to be simply the just like before you began? Them again that you can do all of the dishes, and in a matter of hours someone has gone and dirtied? That kiddies are small magnets that are grime picking right on up all method of stubborn spots and bringing them house once again? Well, I Am thinking. If i possibly could eliminate of my loved ones, it can efficiently cut might work load by 60%. ”
The Dress: lumber, laminate, chrome home equipment, screws, fabric, Velcro.
Duration: 25 moments
First performed: February 1994, Walter Phillips Gallery, Banff Centre when it comes to Arts, Banff, Alberta
Photos by Sheila Spence
The world-weary mother of God proffers wry advice and sage warnings from behind her stained glass dress in Glass Madonna. Fashioned such as for instance a two-dimensional carnival cutout with holes on her fingers and mind, the gown is just a colourful and explicit rendering associated with Virgin Mary’s familiar apparel, with a particular peek-a-boo panel of clear cup to show the main for the Madonna’s fame: her 2000 year-old hymen. Inside her never-the-same-twice visitations, Mary reviews on love, solution, additionally the guys in her own life.
“When he comes for you on a night that is dream-filled delivers their angels to honk their horn at your door, don’t be home. ”
The Dress: stained cup, leading, patina, oak, stain, equipment
Duration: 20 mins
First performed: February 1994, Walter Phillips Gallery, The Banff Centre for the Arts, Banff, Alberta (developed from early in the day performance piece The Plaster Virgin, 1992)
Picture The Banff Centre
In Object/Subject of Desire t he main visual element in this performance is a big ball dress, made of crisp white paper, similar to a debutante gown. Translucent and stiff, delicate yet unyielding, the gown rustles noisily as Dempsey moves and speaks.
Through this costume the numerous complexities of desire are talked about, like the various ways desire could be negated. The purity and purity for the gown, the available expression of “wanting”, together with sweetness of distribution, together create a presumption that the item of love talked about may be the old-fashioned heterosexual partner. But, these social presumptions are confronted throughout the final element of the piece, as she finally, explicitly, reveals the carnality of her wish to have an other woman.
“i would like you, to desire me personally. I really want you to definitely wish me personally, also though I do not really would like you. I do not desire you at all, but i’d like everybody else to. I’d like everybody else to would like you, but I do not would like you to definitely wish other people but me personally. All i would like can be your want. ”
The Dress: vellum, packing tape, Velcro
Duration: five minutes
First performed: Red Deer university, Alberta, December 1988 (previously variation performed in 1987 before Dempsey started collaboration with Millan)
Picture by Lorri Millan
The performer wears an iconic wedding gown, the classic raiment of femininity, virginity and promise in Plastic Bride. Nonetheless, the gown’s meant meaning is transformed by its construction, from veil to coach, of clear plastic. The materials encases the bride suggesting more references that are clinical human body bags and clinical specimens, or commodities bagged and exhibited for sale. Disturbing, dream-like and funny, love and fashion, desire and denial are done in the gown’s folds that are unforgiving.
“You have actually gone shopping with a pal, your cousin and on occasion even your mother that is own been told, ‘It’s ideal. It really is you. It is a knockout, ’ only to discover later on that it is a funeral, maybe perhaps not a marriage. It really is July, perhaps perhaps not December. You’re a nurse, maybe perhaps not an aviator. ”
The Dress: clear plastic, fishing line, buttons
Duration: 20 moments