Kiera Boult is an interdisciplinary artist and performer from Hamilton, Ontario. Boult’s practice utilizes camp and comedy to skeptically address issues that surround the role and/or identity of the artist and the institution. In 2019, Boult was the recipient of the Hamilton Emerging Visual Artist Award. Her video and installation based works have been exhibited at Art Gallery of Hamilton, Trinity Square Video and Artcite Inc. She has performed in the Art Gallery of York University’s final Performance Bus, 7a*11d’s 7a*md8 – ONLINE, and the Art Gallery of Ontario’s First Thursday. Boult has participated in Life of a Crap Head’s Doo Red (2019), special performance show presentation at the Toronto Biennial of Art, and in Killjoy’s Kastle in Philadelphia (2019), a performance and immersive visual art installation by artists Allyson Mitchell and Deirdre Logue. Boult’s work has also appeared in the Chroma Issue of Canadian Art, Peripheral Review and the Brut Neuve issue of Blackflash. She holds a BFA in Criticism and Curatorial Practice from OCAD University and is currently Vtape’s Submissions, Collections & Outreach Coordinator.
a firm decision to do or not to do something.
the quality of being determined or resolute.
the action of solving a problem.
the process of reducing or separately something into its components.
the smallest interval measurable by an optical instrument.
the conversion of something abstract into another form.
Keith Cole & Jeanne Randolph
W. A. Davison
Vanessa Dion Fletcher
Serge Olivier Fokoua
Tess Martens & Holly Timpener
Diana Lopez Soto
Performance Resolution(s) is FADO’s 2021/2022 at-home residency series. Participating artists were chosen from a Canada-wide open call for submissions inviting artists to propose performance-based research projects that engaged with the theme of ‘resolution.’
It goes without saying that 2020 changed everything. The world is now a very different place than before. (We resolve never to say, “it goes without saying” again.) For artists working in live art and performance, events were cancelled and festivals postponed. What happens to embodied practice when the bodies can’t be together irl? With dizzying speed, we were compelled to bring performance to the tiny back-lit screen as an alternative. Sometimes that worked. Without being able to gather in large groups, sometimes we leaned on old tricks (what performance artist doesn’t know what it’s like to perform in a half-empty theatre?) to shoehorn our work into the current context. More often than not, to keep moving, we stuck with the script—over producing and addicted to presentation.
But thankfully the new year brings with it fresh starts, new directions and an opportunity to reflect. We make promises in the form of new year’s resolutions—a private or public personal commitment to change. Most resolutions dissolve by the end of March, or sooner. If 2020 taught us anything, it taught us that transformation comes slowly. The real breakthroughs are still in the (social) distance, but a seed has been planted.
Our inspirations for Performance Resolution(s) are the hope for a better 2021 for all, and a profound performance exercise designed by Marilyn Arsem that we think about from time to time. Read Marilyn’s exercise below.
Some of the projects in this at-home residency series will have tangible outcomes; many will not. The point was not to find to way to support artists through replicating old ways of doing things by keeping the hamster wheel of production going. Instead, we encourage a slowing down and a deep dive into what it means to have resolve, even if you don’t have the answer.
Watch this space for updates on various projects and research contributions as they reveal themselves over the 2021–2022 programming year.
An ode to FADO's history, Series Purple is composed of a collection of purple fragrance materials dating back to the Roman Empire. Dense, intense, and meandering, this fragrance tells us non-linear stories.
cassis, lilac, heliotrope
orris root, purple sage, labdanum