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Live Biennale 2013

  • LIVE 2013
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Author Archives: livebiennale

ceramics, fundraiser |

October 29, 2014

| livebiennale

Stone(d) Soup: a benefit for LIVE Biennale

stoned soup flyer

Please join us on Friday, November 7th for an evening of soup, pots, art and entertainment in support of the 2015 LIVE Biennale. Come out and help us make LIVE 2015 happen!

Attending this special fundraising event gets you your own handmade ceramic bowl filled with delicious soup — and a chance to bid on classic ceramic pieces by renowned artists such as Sing-Ying Ho, Glenn Lewis, Eric Metcalfe, Gailan Ngan, Wayne Ngan, and John Springer in a once only auction hosted by the eminent Hank Bull.

Also works for sale by: Maggie Boyd, Meghann Hubert, Danny Kostyshin, Claire Madill, Becky McEachern, Dylan McHugh, Maria Palotas, Marty Peters, Ron Vallis, Chris Watt, Jinny Whitehead, Elizabeth Zvonar and more!

Special ¡LIVE! bowls by Patricia Galamb!
Special soup chefs Christos Dikeakos, Guadalupe Martinez, Leisha O’Donohue and Bernadette Phan!

WayneNgan_bowl

Wayne Ngan

Friday November 7th, 7pm
303 East 8th Avenue
Vancouver
$40

Elizabeth Zvonar

Elizabeth Zvonar

Tickets available online at eventbrite.ca/e/stoned-soup-live-biennale-fundraiser-tickets-13355028249
Preview the art at http://livebiennale.tumblr.com/ and email info@livebiennale.ca to pre-bid.

LIVE 2015—presenting a dynamic mix of performance art from here and around the world. Join us in 2015 for a celebration featuring performances, events, workshops, talks, festivities and more.

livebiennale.ca
info@livebiennale.ca

Glenn Lewis

Glenn Lewis

LIVEBiennale_130922-0651_JeliliAtiku_run LIVEBiennale_130922-0719_JeliliAtiku_circle
body, conceptual, meta-narrative |

October 1, 2013

| livebiennale

Jelili in Motion

press release |

August 31, 2013

| livebiennale

2013 Press Release

FOR IMMEDIATE RELEASE

LIVE 2013

8th EDITION OF VANCOUVER’S INTERNATIONAL PERFORMANCE ART CELEBRATION25+ ARTISTS | 6 DAYS | SEPT 18–23

LIVE International Performance Art Biennale announces an invasion of artists from here and around the world. LIVE 2013 is the eighth biennial edition of Vancouver’s renowned international performance art celebration dedicated to commissioning and presenting new visual art performances in Canada.

LIVE 2013 heats up over 6 consecutive nights from September 18 to 23, when artists from five continents will transform the city of Vancouver into a global platform for celebrating live art, with a diverse program of performances, public interventions, workshop, talks and festivities. Complementing this program, talented local artists from our own community will be presenting new, cutting-edge performance works.

 

“LIVE is on the vanguard of an exponentially growing myriad of performance art festivals and opportunities taking place throughout the world. While international in scope, performance art is grounded in fostering relationship with local community and identity. What is our attraction to Live Art? Perhaps we crave that which we can neither anticipate or expect. We have to be there. Then. There. In this place. At this time. With these people. Then it vanishes. Only traces remain. Which are just not the same as experience.” – Randy Gledhill, Director LIVE Biennale

 

PROGRAM HIGHLIGHTS

To celebrate SWARM, LIVE hosts a late nite pre-festival benefit and dance party with Sweaty Bones on September 12, 2013 at 11PM at VIVO Media Arts, 1965 Main St.

LIVE is pleased to initiate an innovative new pedagogical program led by renowned German artist and educator Jürgen Fritz, co-founder of Black Market International, International Performance Association, and the Festival Platform for Young Performance Artists. From September 14 to 17, 2013, Fritz will be facilitating ‘Exploring Performance Art’, an intensive four-day pre-festival workshop from 10AM – 5PM, hosted by VIVO Media Arts.

LIVE 2013’s nightly line-up September 18 to 22, 2013 starts at 8 PM at our feature venue, VIVO Media Arts at 1965 Main St. Evening admission is only $10/$5.

Durational and site-specific performance actions will be happening daily throughout Vancouver’s downtown core. Go to livebiennale.ca and friend us on facebook for details, times and locations.

The Dunlevy Snack Bar at 433 Dunlevy Ave. will host informal lunch talks and Q+As with participating artists every day at noon.

LIVE 2013 closes with the North American Premiere of ‘Marcel Duchamp’, a new play by French curator and critic Guillaume Désanges and Frédéric Cherboeuf. Presented at the Fei & Milton Wong Experimental Theatre SFU Woodwards, ‘Marcel Duchamp’ is co-produced by the LIVE Performance Art Biennale and SFU Woodward’s with the generous support of the Consulat general de France a Vancouver. Sunday September 23, 2013 at 7:30pm. Tickets $20/$25 available on-line through the SFU Woodwards Box Office.

Guillaume Désanges is also presenting a free public lecture on Monday September 23, 2013 at The Western Front. His artist talk is supported by the LIVE Performance Art Biennale & the Morris and Helen Belkin Art Gallery.

LIVE 2013 Featured Artists:

  • Lori Blondeau, Saskatoon
  • Alain-Martin Richard, Quebec,
  • SUKA OFF, Poland
  • Jelili Atiku, Nigeria
  • Macarena Periche Rosas, Chile
  • VestAndPage, Italy/Germany
  • Marcio Carvalho, Portugal
  • Snežana Golubović, Serbia
  • and many more!

For information about everything LIVE
Including Artists, Places, Updates, Schedule, News, Documentation, and Surprises…

  • Website – livebiennale.ca
  • Facebook: facebook.com/livebiennale
  • Twitter: twitter.com/livebiennale #live2013
  • Email: info@livebiennale.ca

 

2013 PRESS RELEASE – PDF VERSION

announcements |

July 14, 2013

| livebiennale

Announcing LIVE 2013 – September 18 to 23, 2013

poster_sml_trimmed2

art historical, conceptual, indigenous, intimate, political, spoken word |

September 16, 2011

| livebiennale

LIVE 2011 Opening night: Jean Dupuy, Dana Claxton, Fortner Anderson

Jean Dupuy, B vs BWell folks, last night was the first night for Live 2011! An auspicious start to what should prove to be a powerful and fun-filled festival.

Fortner Anderson kicked things off, reciting the long poem, “Drifting into Fire”. The piece is one of three from a cycle called “Annunciations”, which each stem from investigative reports of modern disasters. Drawing from NASA’s accident report on the Space Shuttle Columbia, Anderson’s dynamic delivery shifted rapidly between ecstatic and mechanistic. At the most intense points of Anderson’s performance, it felt as if words were being forced from his mouth, like they could barely squeeze themselves out. Fitting, given that his subject is catastrophe at a scale that is at the very limits of what we can express or fathom. By truly considering the details outlined in these reports, Anderson saves these contemporary events from dry factuality. Our collective experience of tragedy takes on the feeling and gravity of something closer to Blake instead of the numbness of a newsfeed.

Following was Dana Claxton performing The Elsewhere with the help of Sam Bell. Central to this piece was a vessel made of hide, brightly painted with a long fringe at the bottom. Sam, who has collaborated with Claxton on several films, mentioned later that Claxton has a collection of such special objects. Despite the predominant position given to this beautiful container, it remained untouched for the majority of the performance. Instead a delicately balanced space was slowly built around the object, using stones, gestures and sound.

The piece proceeded in a gratifying 4/4 time, with Claxton moving backwards, eyes shielded from sight. Four bags of large grey stones were emptied on the floor. Four pairs of stones were each struck four times and laid out to make four paths radiating from the centre of the space. Four new bags of rocks were each dropped four times, the gesture creating a forceful and heavy sound, then emptied on the floor. Polished stones were revealed in red, black, pale yellow and white.

When Claxton finally approached the container, she began for the first time to move forward, circling the room and shaking the vessel so its contents rattled. A final action, the container’s contents were poured out in the centre of the room, revealing rainbow-hued abalone shells and handfuls of turquoise. Surprise at the sudden unveiling of this colourful bounty. A song is played on the stereo, traditional, aboriginal, female, and the audience is invited to take with them a “token of mother earth”. We are left with a gift of beauty.

This place, this Elsewhere that Claxton created last night, conveyed a specific conception of space, an ‘Indianized’ space. The materials and structure of her piece invoke a space that is organic, natural, harmonious. By offering us the materials of her piece, she implies a space that can shift and travel, as well as a space of sharing.

Claxton’s performance was nicely balanced by the cheeky humour of Jean Dupuy, who presented three pieces in sound and video. In B. versus B., a ‘stuttering’ author plays Beethoven’s Sonata #9 and Brahms’ Sonata #3 out of two separate speakers as images of the venerable composers slowly revolve on two back-to-back laptops placed on the floor. Not only were the two poor B.’s pitted against each other, but they also had to face the trial of presentation through digital technology. Some (unintentional?) audio glitches added to the stutter of the piece. Brahms’ gaze remained sulkily fixed on the mouse cursor that graced the laptop screen.

Next, a performance with the lighthearted spirit of Chaplin, preserved on 16mm film. Shot in 1976 from a bird’s-eye view, Dupuy and his wife stride towards each other in the middle of the street. They meet in the centre of an intersection and embrace. The camera zooms as they strip and exchange clothes. She has big, light yellow undies; I think his drawers are black. They fumble around a bit, dress, and as a final touch, exchange eyeglasses. Arms around each other’s waist, they walk merrily down the street. The couple turn a corner, and are gone. Simple and charming.

The final piece was a sound work of the train from Paris to Bordeaux, at the time the fastest train in France. Recorded using the train’s toilet bowl to amplify the sound, the Western Front’s audience was treated to fifteen minutes of this hours long piece. Dupuy recommended that the audience lie on the floor to enjoy the vibrations from the sound waves. Some dutifully complied though others were put off by a warning that the sound would be very loud. Despite this notice, when I laid down I found the irregular yet repetitive overtones of the moving train acted as a sedative to my prone mind and body. As I enjoyed the calming effect of these mild tremors across my back and legs, I distinctly felt the footsteps of people quietly exiting the room, bringing to a close the first night of the Biennale.

– stacey

Dana Claxton, Fortner Anderson, Jean Dupuy, LIVE 2011, Stacey Ho