Those of us who was raised in the united states into the 1960s and 70s lacked art, Bible tales, and history as universal sources. The tome that shaped our values most tangibly had been the emporium catalogue, a wish guide of everything we may have and whom we’re able to be when it was got by us. Gender had been obviously defined, competition 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 now have paired women’s formals (a appearance we’ve had trouble effectively fitting into) with restroom plumbing work to invoke the endless bounty, 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 one hour
First performed: March 1998, Hallwalls Centre for modern Art, Buffalo, nyc. Later performed at Counterposes, Montreal, curated by Jennifer Fisher and Jim Drobnick.
Astroart area Corps
Commanders Dempsey and Millan are getting ready to enter deep room, 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
The revolting as well as the revolutionary, the reviled and also the revered are united by locks in this right time travelling sing-along. Through the wigged ladies of Ancient Rome into the hirsute levels of seventeenth century France to those extremely hairy 1960s: the world’s many queen that is infamous a brief history of radical tresses while thinking democracy.
“we want my own 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 gets 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: 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 team 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 new definitions and upending expectations. All costumes fabricated by Dempsey and Millan.
The pro/antagonist defends herself against racial and economic difference by clothing herself in the domestic architecture of the times: the house/dress is her shimmering, clean fortress and her prison in Arborite Housedress. Through the entire piece she reveals her worries (such as for example gravity, or even the fear that “parts of my dangerously sagging self might result in bad neighborhoods”) and her dreams (border city romances, getting straight straight straight down with dust, additionally the 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 galleries and contains been purchased by The Winnipeg memorial as an element of 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? That can be done all the meals, plus in a matter of hours someone has gone and dirtied them once more? That young ones 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 really could dispose of my loved ones, it might effortlessly cut might work load by 60%. ”
The Dress: lumber, laminate, chrome kitchen area equipment, screws, fabric, Velcro.
Duration: 25 moments
First performed: 1994, Walter Phillips Gallery, Banff Centre for the Arts, Banff, Alberta february
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 a two-dimensional carnival cutout with holes on her fingers and mind, the gown is a colourful and explicit rendering associated with Virgin Mary’s familiar apparel, with a unique peek-a-boo panel of clear glass to show the basis associated with Madonna’s fame: her 2000 year-old hymen. Inside her never-the-same-twice visitations, Mary reviews on love, solution, plus the males inside her 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 when it comes to 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 element that is visual 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 associated with gown, the available expression of “wanting”, in addition to sweetness of distribution, together create an presumption that the item of love talked about may be the old-fashioned partner that is heterosexual. 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 desire me personally. I’d like one to desire me personally, also though I do not really would like you. I do not wish you after all, but i would like everybody else to. I would like everybody else to would like you, but I do not desire one to wish someone else 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, 1988 (earlier version performed in 1987 before Dempsey began collaboration with Millan december)
Picture by Lorri Millan
In vinyl Bride, the performer wears an iconic bridal 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 product encases the bride suggesting more medical sources to human body bags and systematic specimens, or commodities bagged and exhibited to buy. Disturbing, dream-like and funny, love and fashion, desire and denial are done inside the gown’s unforgiving folds.
“You have actually gone shopping with a buddy, your cousin and sometimes even your very own mom, and been told, ‘It’s ideal. It is you. It is a knockout, ’ only to learn later on it’s a funeral, perhaps perhaps maybe perhaps not a marriage. It really is July, maybe perhaps maybe not December. You’re a nurse, perhaps maybe maybe not an aviator. ”
The Dress: clear plastic, fishing line, buttons
Duration: 20 mins