Tableau Vivant: Eaton’s Catalogue 1976

Tableau Vivant: Eaton’s Catalogue 1976

Those of us whom spent my youth 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 able to be when it was got by us. Gender had been obviously defined, battle ended up being single, and course had been center. The most-read book of our Canadian youth in this performance we use the tableau form to enact a page from the Eaton’s catalogue. We’ve paired women’s formals (a appearance we now have had trouble successfully 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 an hour or so

First performed: March 1998, Hallwalls Centre for Contemporary Art, Buffalo, ny. Later done at Counterposes, Montreal, curated by Jennifer Fisher and Jim Drobnick.

Astroart area Corps

Commanders Dempsey and Millan are getting ready to enter deep area, to produce revisionist stellar cartography and explore the resistant character of anti-matter.

First performed: 2014, La Nuit Blanche, Calgary, Alberta september

Photos by Lindsey Bond

Big Wig

The revolting as well as the revolutionary, the reviled together with revered are united by locks in this time travelling sing-along. Through the wigged females of Ancient Rome to your hirsute levels of seventeenth century France to those really hairy 1960s: the world’s many queen that is infamous the real history of radical tresses while thinking democracy.

“we want personal revolution. I do want to cut back field tops, and purchase one in the mail. I’d like anachronism and misconception, together with myth that is anachronistic things are certain to get better. I do want to be pretty and only a little tragic, not too tragic for the reason that it will make me personally dead. “

Duration: 35 min.

First done: June 2017 Queer City Cinema Camp, Trash, Filth event in Regina, Saskatchewan, curated by Gary Varro

Revised: 2017 Isolated Landscapes in Winnipeg, Manitoba, curated by Kathy Rae Huffman november

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. Within 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 and her prison. Through the piece she reveals her worries (such as for example gravity, or driving a car that “parts of my dangerously sagging self might result in bad neighborhoods”) and her dreams (border city romances, getting straight straight down with dust, together with removal of her household, herself more fully to being a homemaker) so she will have time to devote. The sculpture/costume that is wearable been exhibited at numerous free galleries and it has been bought because of The Winnipeg memorial included in their permanent collection.

“Have you ever realized that before you started if you wash the floor in the morning, by nightfall it looks just the same as? 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 grime magnets, picking right up all types of stubborn spots and bringing them house once more? Well, I Am thinking. If i really could be rid of my children, it could effortlessly cut might work load by 60%. ”

The Dress: wood, laminate, chrome home equipment, screws, fabric, Velcro.

Duration: 25 mins

First performed: 1994, Walter Phillips Gallery, Banff Centre for the Arts, Banff, Alberta february

Photos by Sheila Spence

In Glass Madonna the world-weary mom of Jesus proffers wry advice and sage warnings from behind her stained cup gown. Fashioned such as a two-dimensional carnival cutout with holes on her arms and mind, the gown is really a colourful and explicit rendering for the Virgin Mary’s familiar apparel, with a unique peek-a-boo panel of clear cup to show the source associated with the Madonna’s fame: her 2000 hymen that is year-old. Inside her never-the-same-twice visitations, Mary responses on love, solution, while the guys inside her life.

“When he comes for your requirements on a dream-filled evening, 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 moments

First performed: February 1994, Walter Phillips Gallery, The Banff Centre for the Arts, Banff, Alberta (developed from previous 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 sizable ball dress, made out of crisp white paper, similar to a debutante dress. Translucent and stiff, delicate yet unyielding, the gown rustles noisily as Dempsey moves and talks.

The many complexities of desire are discussed, including the many ways desire can be negated within this costume. The purity and purity of this gown, the available expression of “wanting”, and also the sweetness of distribution, together create a presumption that the item of love talked about may be the conventional heterosexual partner. But, these social presumptions are confronted through the final part of the piece, as she finally, clearly, reveals the carnality of her desire to have an other woman.

“i would like you, to wish me personally. I really want one to desire me personally, also though I do not really would like you. I do not would like you at all, but i would like everybody else to. I would like everybody else to would like you, but I do not would like one to wish other people but me personally. All i’d like can be your want. ”

The Dress: vellum, packing tape, Velcro

Duration: five full minutes

First performed: Red Deer university, Alberta, December 1988 (early in the day 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 changed by its construction, from veil to teach, of clear plastic. The materials encases the bride suggesting more references that are clinical human body bags and clinical specimens, or commodities bagged and shown 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 buddy, your sis if not your very own mom, and been told, ‘It’s ideal. It is you. It really is a knockout, ’ only to learn later on that it is a funeral, perhaps perhaps perhaps not a marriage. It is July, perhaps perhaps not December. You’re a nurse, maybe perhaps not an aviator. ”

The Dress: clear plastic, fishing line, buttons

Duration: 20 mins


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