Tag: Lisa Visser

Lisa Visser, 2009. Photo Henry Chan.

Canada

August 31, 1983 – August 11, 2013

www.lisavisser.org
www.lisavisser.ca

Lisa Visser is a visual artist and curator currently based in Toronto, Canada. Visser’s work focuses on sculpture, performance, textiles and printmaking. She holds a BFA from Queens University and is currently enrolled in the Interdisciplinary Master’s of Art, Media and Design at OCAD University.

Extra-Rational is a series of performances by emerging Canadian artists that embrace the aesthetics of popular culture and seek to recuperate/utilize these “low brow” processes of production and cognition. The artists in Extra-Rational intentionally make use of aesthetic choices and methods of production that directly challenge the rubric of high-brow vs low-brow culture. These artists use the position of the trivialized, the unmentionable, the frivolous, the carnal and the other as a means to challenge the rationalization of high culture. 

ARTISTS
Amy Jenine Ling Wong
Amy Lam
Johnny Forever
Iris Fraser-Gudrunas
Lisa Visser
Marisa Hoicka

Trust My Gut: A Drag Opera Surgery, performed by Mini Maul and Uncle Wink (two characters selected from the drag oeuvre of Johnny Forever and Marisa Hoicka) dramatizes the recent merging of home and stage on social networking sites such as YouTube, Vimeo and facebook. This eight-hour durational installation references Orlan’s televised performance art surgeries of the early ’90s. Framed by a crochet replica of a YouTube window, Mini Maul performs surgery on Uncle Wink with a pair of tailor’s scissors, crochet hooks and a sewing needle. While splayed open Uncle Wink remains gloriously conscious as Mini Maul crafts his innards, a mass of yarn and fabric, into outrageous sculptural forms that rise from his belly and spill onto the floor. From time to time patient and doctor break into lip-synced duets chosen by audience members from a nearby laptop.

Insight mixes with consumerism and pop culture to create intuitive knowledge in Iris Fraser-Gudrunas’ performance Pop Tarot. Fraser-Gudrunas divines the future and answers the viewers’ life questions using a collection of strange and unfamiliar pop bottles. Viewers are invited to blindly select 4 beverage bottles/cans from a large inventory, stored in a nondescript cardboard box. The bottles represent the past, present, future and soul of the participant. Carefully analyzing the qualities of the consumer packaging, the clarity of the labels, the visual nature of the liquid and the list of ingredients, Fraser-Gudrunas provides the viewers with insight and guidance. 

NANA by Amy Jenine Ling Wong is a four-hour durational performance that references narcissism in youth culture and questions the rise of the self-made Internet celebrity. Occupying the gallery’s street level window, Wong confronts viewers caught off guard with the image of her slowly licking a honey-encrusted monitor. Under the honey, the monitor flickers with a mirror image of herself performing various actions. NANA is an extension of Wong’s online Vimeo library, in which she plays a wide variety of characters including: a young girl offering advice on the application of Avatar make-up, a sullen woman smoking a cigarette while explaining her attempts to replicate the “real community” of the ‘60s on facebook and a teenager aimlessly video blogging about piercing her nose.

Droozle Help Me, a performance that references the comedy sketch genre, makes use of humour and high concept comedy. In this performative lecture Amy Lam plays a character named Droozle who is looking for a new roommate. She uses inappropriate props and costumes in her attempt to be persuasive. As the performance unfolds Lam creates deliberate incongruence between herself as performer, the goals of her character and the audience’s reactions. Lam’s work continues the dialogue started by female comics of the ’50s who used intelligence, wit and a fair amount of acting out to comment on contemporary culture.

We Don’t Love Each Other is a reflexive performance that investigates the female abject body. Composed of a series of simple actions and objects, Lisa Visser drinks a copious amount of hard alcohol while attaching her left arm to her right with the use of a sewing needle and thread. The performance combines contrasting images of harm and repair: what appears to be harmful (sewing) is conceptually approached as repair – or reclamation – of not just a body but everything that is given and compromised in a relationship. And the repair – drinking and drowning one’s feelings in alcohol – is actually harmful. The piece is implicitly humorous; the artist is drunk, awkward and bloody, while the audience is compelled to watch seriously and earnestly while the hour-long performance unfolds.

PROGRAM
March 8 @ 1:00pm–5:00pm
Trust My Gut: A Drag Opera Surgery by Johnny Forever & Marisa Hoicka

March 12 @ 1:00pm–5:00pm
Pop Tarot by Iris Fraser-Gudrunas

March 12 @ 7:00pm
Trust My Gut: A Drag Opera Surgery by Johnny Forever & Marisa Hoicka
NANA by Amy Jenine Ling Wong
Droozle Help Me by Amy Lam
Pop Tarot by Iris Fraser-Gudrunas
We Don’t Love Each Other by Lisa Visser

ARTISTS
Corina Kennedy
Guillaume Adjutor Provost
Henry Adam Svec
Joshua Schwebel (cancelled)
Julia Mensink
Michelle Lacombe
Sophie Castonguay
Stacey Ho

Misinformed Informants: Preface to the Performance
By Lisa Visser

Fragments, fleeting words, fights. You’re not listening to me. 

Misinformed Informants invites emerging artists to answer to the idea of miscommunication, misunderstanding, misplaced lines of agreement. Responses range from antiquated expressions of communication to suggestions, covert signals, mis-remembrance and the unapologetically false. Diverse interpretation converges into an overhead problem of mistrust. In trusting the informant (who may be misinformed) misinformation is communicated as true information. Truth and reality negate the very premise of this performance event. I begin to doubt the truth I communicated. And yet: I would never lie to you. But: this is about lies.

This curatorial premise acknowledges the complicated boundaries of curator-performer-audience relationships and pushes past them. These tensions are apparent in the work of Misinformed Informants, and can be as subtle as a gesture, as apparent as a role-reversal, or as confrontational as a slap in the face.    

Julia Mensink’s maybe it was nothing brings a tension to the audience/performer role by inviting her ex-boyfriend to be a participant. Both Julia and her ex tell a lecture-style story, based on their own experiences of the same event. Through the development of the story, what becomes clear is the absence of synchronicity in memories, the highlighting of the fuzzy parts and the uncomfortable inclusion of audience members into a breakup. The audience can choose between listening to Julia or her-ex’s side of the story: a literal choosing of sides. How terrible to be brought in to this. I would like us not to fight.

Joshua Schwebel’s piece deliberately misses the mark, or so it was meant to. Relying on the accuracy of Canada Post, Joshua mis-addressed his application to the call for submissions. However, a glitch delivered the package to the correct address in a sensible amount of time. In following Joshua’s instructions, I rejected the dossier. Joshua’s cheeky approach to the premise has yet to play itself out, but his deliberate determination to accepting and then rejecting causes me to question my role as curator. What have I done in creating these intentionally missed formations of informants?

In a similar farce, Henry Adam Svec plays with the role of the lecturer and delivers a performance rooted in fiction. Stompin’ Tom Connors never wrote The Lost Stompin’ Tom Song. Did he? Henry engages the audience in an experiment that questions and abuses the influence of authority and the audiences’ desire to be patient, active and honest listeners.

Sophie Castonguay toes the line between performer and director, creating a confusion that arises from the conditioned reverence of the audience for the performer and the space of performance art. You took the words right out of my mouth puts audience members under the direction of the performer. The audience wants to know what is happening. The performer is in control. Is this the performance? Sophie withholds the one thing the audience wants: clear communication about what will happen next. Going beyond the unexpected is also the under-expected, the under-performed and the under-communicated. 

Stacey Ho invites additional participants in her GROOP MEDITEHSHUNS, a three-part piece that draws attention to breathing, blinks and beats. Each performance will have the participants respond to one another’s bodies with a gesture, a sound, or a slap in the face. By drawing attention to the subtleties of the bodies’ motions, Stacey is over-communicating in a way that is delicate and absurd, respectful and brutal.  

The obsessive nature of this over-observant performance is present in Corina Kennedy’s cheer sir or madam, a durational performance in which letters are typed out on a typewriter, only to be immediately rendered unreadable. Letters of love, protest, and rejection are destroyed upon their completion. What remains are mounds of lonely letters of the alphabet, without a structure or form. Both antiquated forms of communication and obsession elevates these letters until they are objectified and displayed, nearly fetishized.  

Guillaume Adjutor Provost’s fetishization comes into play in a different form, a covert and suggestive gestural work. Guillaume claims a subjective reinterpretation of historical moments, changing meanings and communicating a new history. SLOW READERS, argument no.1 is based on a song meant to inspire spirituality. Through the performance, the song and it’s intent is broken down in subtle movements, hidden meanings and secrets only the performer knows. The secret is there. But we stopped understanding each other long before that. 

The performances in Misinformed Informants break down communication—reducing it to an elemental approach. What results is a step-by-step guide on how to mis-communicate and a deliberate delivery of misinformation. Each artist claims a unique response, playing with issues of trust, structure, defined roles, tensions and obsessions. These are common-place issues. Every moment we are faced with the authority of being an informant and of being the informed. Sweet lies for protection, small in nature, keep us from personal disaster. The authority of the speaker is consistently abused in a way that is difficult to place and even more difficult to accuse.

Your word against mine. But I know you’re lying. I would never lie to you.

Special thanks to Clive Robertson for the hook-ups, Johanna Householder for the coffee and advice, and Shannon Cochrane for a being a model of enthusiasm, dedicated support, and superior decision-making skills, to which I aspire. Also thanks to Sarah E.K. Smith for listening to all my lies. Big thanks to Matthew Williamson and all the staff at XPACE for their help and support.

Exhibition Hours
December 17–19: 12:00pm–8:00pm
Friday & Saturdays: 12:00pm–6:00pm