Tableau Vivant: Eaton’s Catalogue 1976

Tableau Vivant: Eaton’s Catalogue 1976

Those of us whom spent my youth in united states when you look at the 1960s and 70s lacked art, Bible tales, and history as universal recommendations. The tome that shaped our values most tangibly had been the emporium catalogue, a wish guide of that which we might have and whom we’re able to be as soon as we first got it. Gender had been demonstrably defined, competition had been 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 now have paired women’s formals (a appearance we’ve had trouble effectively fitting into) with restroom plumbing system to invoke the bounty that is endless cleanliness and hope that the catalogue implied. Three ladies 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 modern Art, Buffalo, ny. Subsequently 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 produce revisionist stellar cartography and explore the resistant character of anti-matter.

First performed: September 2014, Los Angeles Nuit Blanche, Calgary, Alberta

Photos by Lindsey Bond

Big Wig

The revolting plus the revolutionary, the reviled while the 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 infamous queen traces a brief history of radical tresses while thinking democracy.

“we want my personal revolution. I do want to cut back box tops, and order one out of the mail. I’d like anachronism and misconception, and also the anachronistic misconception that things are certain to get better. I would like to be pretty and just a little tragic, yet not too tragic for the reason that it would 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. In these pieces, fabric is changed by not likely materials, producing juxtaposition, brand brand 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 of this times: the house/dress is her shimmering, clean fortress and her jail. Through the entire piece she reveals her worries (such as for instance gravity, or the fear that “parts of my dangerously sagging self might end in bad neighborhoods”) and her dreams (border city romances, getting straight straight down with dust, plus the reduction 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 Art Gallery as an element of their permanent collection.

“Have you ever realized that in the event that you clean a floor each morning, by nightfall it seems simply the just like just before began? Them again that you can do all of the dishes, and in a matter of hours someone has gone and dirtied? That kids are small magnets that are grime picking right up all method of stubborn spots and bringing them house once again? Well, I Am thinking. It would effectively cut my work load by 60%. If i possibly could be rid of my family, ”

The Dress: lumber, laminate, chrome kitchen area 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 behalf fingers and head, the gown is really a colourful and explicit rendering of this Virgin Mary’s familiar apparel, with a unique peek-a-boo panel of clear glass to show the main for the Madonna’s fame: her 2000 hymen that is year-old. In her own never-the-same-twice visitations, Mary reviews on love, solution, as well as the guys in her own life.

“When he comes for you 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 mins

First performed: February 1994, Walter Phillips Gallery, The Banff Centre when it comes to 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 big 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 associated with the gown, the available expression of “wanting”, together with sweetness of distribution, together create a presumption that the item of love talked about could be the traditional partner that is heterosexual. But, these social presumptions are confronted through the section that is last of 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 wish me personally, also though I do not really would like you. I do not wish you after all, but i’d like everybody else to. I would like everybody else to would like you, but I don’t wish you to definitely wish someone else but me personally. All i’d like will be your want. ”

The Dress: vellum, packing tape, Velcro

Duration: five minutes

First performed: Red Deer university, Alberta, 1988 (earlier version performed in 1987 before Dempsey began collaboration with Millan december)

Photo by Lorri Millan

In vinyl Bride, the performer wears an iconic wedding dress, the classic raiment of femininity, virginity and vow. But, the gown’s meant meaning is changed 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 shown to buy. Disturbing, dream-like and funny, love and fashion, desire and denial are done in the gown’s unforgiving folds.

“You have actually gone shopping with a buddy, your sis and sometimes even your mother that is own been told, ‘It’s ideal. It really is you. It is a knockout, ’ only to learn later on that it is a funeral, not a marriage. It really is July, perhaps perhaps not December. You’re a nurse, maybe maybe not an aviator. ”

The Dress: clear plastic, fishing line, buttons

Duration: 20 mins

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