FADO is pleased to present Ethel: Bloodline, a new performance by Louise Liliefeldt as part of the Public Spaces/Private Places Series. In this new work, Liliefeldt weaves together the disparate elements of her personal history into a tableau that plays on the tensions between the public meaning of private symbols and the private meaning of public symbols.
A wooden cross angles up out of the grass as the sun hangs low on the horizon. As you approach, you hear a piano playing, and you notice that the surface of the cross is covered in photographs. This is a language, a series of keys to a personal history, but how do you interpret them, and what do they tell you of the figure who clings to the cross?
Louise Liliefeldt's work explores notions of beauty and the attempt to slow time through metaphors, symbols and physical actions. Her work is predominantly concerned with the politics of identity, especially as it intersects with issues of gender and race. Other concerns include the cultural conventions of spectatorship and the links between expanded emotional/psychological states and physical experience.
ABOUT PUBLIC SPACE / PRIVATE PLACES
Public Spaces / Private Places was a three-year long international performance art series featuring 22 projects (26 artists) from Canada, the US, Europe and Asia. The series explored the elements that turn neutral 'space' into meaningful 'place' through performances that examined the degrees of intimacy, connection and interaction that mark the dividing line between public and private. The series was particularly focused on performances created for intimate audiences. Some projects featured site-specific or installational environments that invited participants into a sensory or experiential journey. Others were process-oriented, involving public intervention, intimate gestures, or actions that were, by their nature, nearly invisible. Above all, the series explored the points where identity and geography intersect to generate meaning.
The series took place in Toronto in various locations, from 2000 - 2003, and was curated by Paul Couillard.