Laura Paolini

© Laura Paolini, Make Your Bed, 2020. Photograph Adrienne Row-Smith.


My practice stands between historical interrogation, personal experience, and the conceptual trajectories of contemporary art. I am interested in complex overlaps and fleshy folds: the space where the “political” person and “personal” person meet, merge and overlay. My work’s exploration concentrates on performative actions and the methods we use to engage with objects and spaces. Throughout my practice, bodies and objects work together as a scale, not exclusively measuring distance through space and time, but also a scale that includes functions, habits, and the conditioning of a body through these means.

Laura Paolini (she/her) currently lives in Ottawa, unceded and unsurrendered Anishinaabe Algonquin territory. Her artwork is primarily conceptual and manifests through installations, videos, and performances, often unfolding where these forms meet, merge and collapse. She has exhibited in various Canadian institutions including Hamilton Artists Inc, The Ottawa Art Gallery, and Art Mûr during the 17th edition of Fresh Paint/New Construction (2021). She recently performed during PERF; a performance art Biennale hosted by AXENÉO7 (evening curated by Anna Khimasia and Thomas Grondin). Paolini earned an MFA from the Department of Visual Arts at the University of Ottawa (2021). In addition to previously published writing, she is currently a member of the editorial committee for Peripheral Review, an independent platform for critical and experimental art writing in Canada. Her video works are distributed through Vtape (Toronto).

Ignacio Pérez Pérez

© Ignacio Pérez Pérez, Untitled, Spain, 2017. Photo Ana Matey.


Ignacio Pérez Pérez is a performance artist, photographer and occasional writer. He has been making performances since 2002, and his work has been presented in the streets and museums, in festivals and as solo exhibition in Denmark, Finland, Germany, Italy, Poland, Uruguay and Venezuela. Currently, he lives and works in Helsinki, Finland.

Rodolphe-Yves Lapointe


Since the mid-80’s, Rodolphe-Yves Lapointe has worked successively as a musician, journalist, actor, screenwriter, international aid worker, university searcher, translator and director of multidisciplinary events. Since 2005, he has been exploring various aspects of art actuel, such as install-action, sound poetry, geo-poetical action and performance. His works have been presented in different artist-run centers and festivals.

Tomas Jonsson


As an artist, curator and writer, Tomas Jonsson is interested in issues of social agency in processes of urban growth and transformation. Tomas is pursuing a Masters in Environmental Studies at York University, with an emphasis on social planning. Tomas recently participated in the Border Cities Kolleg at the Bauhaus Institute in Dessau, Germany, where he developed projects with creative and precarious communities in Tallinn and Helsinki. Tomas has served on the board of Fuse Magazine, and was formally the Programming Coordinator at EMMEDIA Gallery and Production Society in Calgary, Alberta.

Julian Higuerey Núñez

© Julian Higuerey Núñez, The Artist and the Beanstalk, 2009. Photo Shannon Cochrane.

Venezuela / Canada

Julian Higuerey Núñez is a visual and performance artist from Caracas, Venezuela. Since 2004, his performance work has been presented in Mexico, Poland, Colombia and Venezuela. His work in photography, video, printmaking and installation has been exhibited in Sweden, Cuba and Venezuela. He’s member of the Laboratorio Digital de Musica (digital music lab) and has composed music for chamber ensembles and contemporary dance. Using a pseudo-scientific approach, his work deals with time, transit and the everyday.

David Frankovich

b. 1985, Canada

David Frankovich is an artist working in performance and experimental media. They hold a BFA in Film and Video from York University, Toronto (2007) and an MA in Live Art and Performance Studies from the Theatre Academy of the University of the Arts Helsinki. Their work is based in the body and its relation to others, including material, space and audience. They have exhibited internationally, including FADO Performance Art Centre (Toronto), Rhubarb Festival (Toronto), Mountain: Standard Time Performative Arts Festival (Calgary), Perform Now! Festival (Winterthur), ANTI – Contemporary Art Festival (Kuopio), CREATurE Live Art Festival (Kaunas), Cyprus International Performance Art Festival (Nicosia), Performance Studies International (Shanghai), Tonight (Helsinki) and Nomadic Arts Festival (Charciabałda and Warsaw).

Joanne Bristol


An artist and writer, Joanne Bristol has presented installations, performances and video work across North America for the past 15 years. Current projects include, a work for the web about technology, obsolescence and invention; and the Institute for Feline & Human Interaction, a matrix for ongoing projects in inter-species communication and cohabitation. In the fall of 2009, Joanne starts a practice-based PhD at the Bartlett School of Architecture (London, UK). Her thesis, titled Performance Spaces for Domestic Animals, combines research in spatial culture with the emergent field of animal studies.

John G. Boehme

USA / Canada

John G. Boehme identifies as a cisgender white male from the Kumeyaay territory what is now La Jolla, California and currently is a settler on the Lekwungen speaking /Songhees W̱SÁNEĆ territory what is known as Victoria BC. He holds an MFA from University of Victoria), BFA from Emily Carr University (VAL) and Diploma Visual Arts from Camosun College. His the early art practice included painting, sculpture, performance video and digital technology, installation and photography. Boehme describes recent work as “trans-disciplinary” often employing performance, video, audio and objects in a number pieces simultaneously, Boehme is not constrained to any particular creative mode and therefore utilizes integrated approaches to realize the work. John continues to have exhibitions, screenings and festivals across Canada, the Americas, United Kingdom, Europe and China. John is and Artist and Educator teaching Performance Art, Ceramics and sculpture as a continuing faculty of the Visual Arts Department at Camosun College.

claude wittmann

© claude wittmann, Legs, Too, 2015. Photo Henry Chan.


claude wittmann was born in Switzerland where he worked as a molecular biologist and now lives in Toronto; works as a bicycle mechanic and in performance art; has performed in festivals, in curated events, in self-produced pieces, and in the public space; in butoh-based solos, in intent-based durational process work, in body-directed although very psychological gender identity work, in improvised voice/noise/sound experiments and improvisations, during teaching and on live FM and internet radio. his most recent projects include Radio-Equals (one-on-one egalitarian conversations about equality, broadcast on FM radio and/or internet radio) and 2894 (participative reading on an internet radio of the Truth and Reconciliation’s Commission report). claude is concerned by the (in)ability of art in triggering social change.

On Escapist Action: Performance in Recession

The context of performing in Canada has changed extensively since Dot Tuer first observed these actions: 

On Queen Street corners, performance art is an everyday occurrence of spontaneous street actions and bodily gestures.(1) 

It is somewhere in this dystopic territory – one in which the looking glass of simulation mirrors back narratives of the subject and representation of the body – that a context for performance art emerges in the 1980s.(2)

How does performance exist now? And just as importantly – why? Fast-forward twenty five years, and Parkdale still retains some of its charm (and problems), sandwiched between the continually gentrifying Queen Street West and Roncesvalles village. Toronto’s architectural boom, orchestrated to remake it as a “city of innovation” is punctuated by a sudden turn for the worst at the end of the first decade of the 21st century. Globally, from bombings to political scandals and massive natural disasters, to the weakening dollar, crash of the housing market and global recession, the last ten years have been the bleakest in history (according to some)(3). Like the scenarios in Dot Tuer’s Toronto, seen through the looking glass the city becomes a stage where performer’s motions and gestures evoke all the feelings the recession has inflicted.(4) The five artists (four projects) curated by Don Simmons in Escapist Action: Performance in Recession and focused on in this essay, best embody the zeitgeist of the current economic state, and not in their actions alone, but in how these gestures evoke very telling audience responses.

Julian Higuerey Núñez and Ignacio Peréz Peréz collaborated in week-long series of performances, created using the 72 objects they received during their first day of performance, in their titled Open Barter Market. The artists brought with them 72 objects from their hometown of Caracas, Venezuela, with hopes to trade equally meaningful objects with audience members. The objects from Venezuela weren’t merely souvenirs, but ranged from personal momentos given by loved ones to childhood relics, each with a story of their own, that the artists were happy to share with you while you traded your object with them. They too, were interested in the story of your object. This initial gesture would set the stage for the rest of the week. Putting restraints and parameters around the work in this manner establishes some control for the artists, but much of the power lies in the barteree.

I arrived at InterAccess on November 23rd to participate in the market. I scanned the gallery for the objects I wanted and negotiated the trades with one of the two artists. Afterwards each traded object is logged and a photo is taken of the barteree and their new object, as well as the artist and their new object. These records are then immediately put online on the artists’ blog. It was difficult for me to barter without having feelings of attachment and responsibility for what I was taking, and leaving behind. As I went through some stuff at home I found myself thinking “What will the artists find most useful?” Admittedly though, another sentiment took over: “Do I really need this?” But, one person’s (performance art) trash could be another person’s (performance art)treasure. One gallerist, bartering a birdcage mentions, “Oh, this was just in my basement for a long time.” Perhaps that’s not exactly the best criteria for offering great source material. Ignacio said his exchange with me was one of the most meaningful ones of the day. What’s that old adage? What’s good for the goose is good for the gander?

During the week leading up to the performances on Black Friday, Red Flag Saturday and Grey Cup Sunday (weekend events of the Escapist Action series), Higuerey Núñez and Pérez Pérez performed with each of the 72 newly bartered objects, creating a new performance each hour on the hour, from 9am to 9pm for six days, accumulating a total of seventy two hours. The title of the project, The Artist and the Beanstock fittingly narrates the artists’ own experiences arriving to Toronto (change in climate, and a certain amount of culture shock), while heralding the classic tale of Jack and the Beanstalk, where the hero’s error of trading his last piece of material wealth is remedied by finding new riches (by stealing from a giant). Each of the 72 performances were streamed live on the web making thework accessible, and invariably added an ironic tone. Information on the internet has fed recession fears and yet has connected people to news (not to mention, speculation) and spurred change faster than ever.

In the wake of this, the performance series Escapist Actions: Performance In Recession did a uniquely Canadian thing and offered a range of relatively objective and unscathing responses, while projecting an understanding of just how jarring the current economic climate is. We are all restless, and we are a restless audience. This is key to understanding all the performances. The work shown made people feel restless for a variety of reasons, and this restlessness is a reflection not only of the work, but of the response regular folk have to the current economic recession.

InterAccess, the main venue for the series, is currently facing hard times of its own, making the whole situation rather apropos. Having my own personal and professional ties to InterAccess, for me this feeling lingered as I watch the performances, and I sensed that this and other feelings of apprehension are present in all the work. Pérez Pérez and Higuerey Núñez’s project took over the entire gallery and permeates the space. Each hourly performance was created on the spot, completely improvised based on the bartered object. For one performance, Pérez Pérez used twine to wrap around a central pillar at InterAccess, through the door handles, out the main doors, into the hall, back through the gallery space and around the same pillar, following the same path again and again until the string broke and needed to be tied together. After using up the twine, Pérez Pérez beckoned an assistant. The spool was placed in her hand, then he dropped to all fours and begged. She tossed the spool, and he fetched it. This gesture was repeated until he sat at her feet. This seamless transformation of a familiar space and familiar objects transitioned into a change of power dynamics. The artist begged, played, and cowered like a dog after the audience accommodated his transformation of the space. A fair exchange? Potentially, and disarming for the audience. 

Meanwhile, artist Tomas Jonsson had set up shop at 3072 Dundas Street West. Slightly north of Parkdale, this Junction neighbhourhood is still negotiating gentrification, littered with a glut of failing businesses and a whole new populace moving in. The goal of Jonsson’s work, titled Magpie was to create “a personal engagement with a variety store that has been a long time fixture in the Junction neighbourhood of Toronto, another area of the city whose retail identity is rapidly changing.” Jonsson purchased several items from this eclectic store, and set up shop across the street in front of a construction wall, marking where another store had been. In exchange for his goods, in a similar spirit to Núñez and Pérez, Jonsson asked participants to tell him what they wanted this empty lot to become, which he would then post on the wall. Rather than entertain escapism as passive consumption, his work very actively  subverts it, going straight to the heart of the matter, and the neighbourhood, to ask people directly about how they feel when they see their community being gentrified. The objects do not have the cache, it’s the stories. Suggestions included ‘shoe store,’ ‘diner,’ bank’,The artist’s agenda suddenly seemed very different than the community and the developer’s agenda. Perhaps it’s a case of confusing wants and needs.  Your story might be intriguing, and through this project the artist gives the viewer a voice, but dollars to donuts the Wal-mart still comes to town.

Later that night at InterAccess, claude wittmann presented his piece, my first witch piece. It was framed as an exploration of witches, and what it means to be accused of being a witch. Wearing all black and a charm made of feathers and pieces of an antler, the artist asked the audience sit on the floor with him. He explained his interest in the history of witches and how his fascination kept him on the fence. He wanted to believe and immerse himself but sometimes he couldn’t; a perplexing balance. He pointed to a jar of ‘flying ointment’ he had made, sitting in the centre of the circle, and listed its ingredients (stating that he omitted anything unethical or poisonous). He invited the audience to verify it, as it would be part of the performance. He then began to lead the audience in breathing and meditation exercises designed to dispel fears; He suggested people find a comfortable position, and express their feelings verbally throughout the meditation.

Accusations of witchcraft were fraught with anxieties, insecurities and outright sexism. Yet, it is not uncommon in situations of crisis to find a return to religion or the more spiritual. During and after World War I many new church groups emerged, begging mankind to repent from evil and return to God, and begging forgiveness for the atrocities and suffering of the Great War. Paralleling this was another lunatic fringe: the séance. This return to spirituality also provoked some to try to find a means of connecting to loved ones lost.(5) Connecting me to these ideas are wittmann’s own musings: “if we all decided not to commit to this image [an image of reality] it would disappear.” Here, we are given a very different reading of the definition of recession, one of going back, receding and withdrawing, this time into oneself.

Perhaps where things began to unravel in wittmann’s performance was when a protocol was suggested: during part two of the performance the artist asked the audience to apply the ointment to places on the body with particular energies -anywhere on the left side of the body or in contact with the earth, or on the genitals. It was perhaps this last suggestion that caught the audience off guard. Listen to your body; it’s all about you. As the performance progressed, the ointment was distributed and for those who chose to, applied. Some found the means to sink into themselves. wittmann became consumed by his actions. Would the ointment work if you wanted it to? The performance was aimed to make everyone feel like a witch, to become their own personal mediums for themselves, but instead became a spectacle. The audience couldn’t seem to find it in themselves to commit to wittmann’s sorcery. Another symptom of the recession era – doubt, mistrust and maligned séances. 

Depression-era entertainment was the subject of the next performance that evening. With the rise of the proverbial curtain, Rodolphe Yves Lapointe presented himself to the audience tied to the wooden chair he was sitting on holding a sign on black paper, upon which was written in white chalk: “will he survive his work?” This stylized cue card reminded me of the black and white text narration of silent movies. Movies were often indulged in during the Great Depression, as during times of recession in modern day, as they offered wholesome fantasies allowing viewers to escape their own harsh realities. Is it ironic that the 1930s film industry led to the boom of the Classical Hollywood era, only now to find Hollywood the source of so much personal drama and ennui in the age of reality television? Although Lapointe was able to untie himself, he kept certain parts of his body restrained with the ropes being held by the audience. Taking a small axe he cut an arbitrary amount of rope, and proceeded to tie classical sailing knots and deliver anecdotes about their names, uses, origins. Lapointe blew a whistle before each knot name,  turning the magician escape act into boy scout recreational activities. After tying the “hangman’s noose knot” he demonstrated its use (with the audience’s help) by hoisting sandbags equaling his weight. Furthering his demonstration he then wrapped the noose around his own neck. He smoked his “last cigarette” and punctuated his execution aesthetics with another title card, before asking for the audience’s help, one last time, in hanging himself. Despite their cooperation so far, in the end the audience refused to help him hang himself. But not before going half way, and offering a slight tension on the rope. Quite quickly, Lapointe slipped his neck from the noose and fell to the floor, ending the performance. Was this a plan b in case the audience really anted to see him hanged? The paradox of Lapointe’s performance lied in the assumption of autonomous, passive spectatorship. The audience watching Lapointe’s actions were asked to participate, yet compliance was assumed. When the audience refused to finish the job, so to speak, and their commitment annulled, one wonders if he was really going to do it.

The next night of the series, Red Flag Saturday, had two performances, one also taking a violent turn. The first, Calentura, is part of a series of new performance works by John G Boehme. “Looking into the performance of gender, specifically masculinity, the valorization of labour, the pursuit of leisure, and the marshaling of amity, John explores language and paralanguage, the spoken and gestural aspects of human communication.”(6) The work began with two videos projected on either wall of the gallery depicting teenagers throwing plates and fluorescent tubes into the camera. Boehme had a colleague with him. The younger accomplice and the artist enticed the audience to drink Pabst Blue Ribbon and Canadian Club whisky with them, as if to achieve camaraderie. The age difference between Boehme and his accomplice confused fraternal and paternal loyalties. Boehme took a few moments to take some drugs (or so it would appear) and then he tied a dresser to a ceiling beam, and Hitler’s face and the McDonald’s logo were drawn on either side with a black marker. The two fascist icons. Together they proceeded to throw knives at the swinging dresser, play the guitar (roaring single cords, played loudly and not too well) and entice the audience. It was unclear whether or not the work was meant to be participatory; maybe we were all just too scared to move. Once drawers were smashed Boehme cut the dresser from it’s tether, and his accomplice smashed it to pieces ending the performance.

Similarly to wittman’s personal exploration, the recession Boehme references is a return to memory and history. Because this performance was pretty stressful for the audience to experience, it’s hard to interpret anything leisurely about it. A clue in the form of a title: Calentura is a region in California where Boehme spent some of his youth. The artist mused to me after the performance that many of his friends there were surfers, some of whom had million-dollar surfing sponsorships from Billabong and Quiksilver. Angst riddled youth with spare time and copious spending money is a dubious combination. When youths reach the point of rebellion, these processes of questioning and breaking rules (and plates, sometimes) is normal, but now that these things can be put on YouTube and shared as a group, growing pains can be labeled deviant, and Boehme offered a stylized display of the typical worst. wittmann’s performance showed that everyone wants a scapegoat, and economic turmoil may try to solidify causal links between recession, anger and violence. Major research show this continues to be a red herring.(7) Boehme’s work makes the viewer wonder if they misspent their youth, and the deceptive power balance keeps the audience at bay. Both artists work illustrate escapist actions and coping mechanisms for financial turmoil, yet their audiences paradoxically can’t withdrawal from the scenario and also face the difficulty of becoming immersed.

Towards the end of the series, there was a light at the end of the tunnel. Recessions are supposed to be a natural part of business, and what goes down must come up. In an inclusive gesture both celebratory but cautionary, David Frankovich’s Grey Cup Party was a performance, installation and intervention staged on the day of the Grey Cup (the Super Bowl of the north). Camaraderie and sportsmanship were viewed through a queer lens, as historical victorian references and various Earl Greys were mixed. “The Grey Cup is also the name of the trophy given to the winning team of the CFL and is named for Albert Grey, the 4th Earl Grey and former Governor General of Canada. Every year, millions of Canadians watch the Grey Cup from home on their TVs. Earl Grey tea is an aromatic tea blend made with oil of bergamot. Like the Grey Cup, it is also named for an Earl Grey, but a different one: Charles Grey, the 2nd Earl Grey and former Prime Minister of the United Kingdom.” Male lineage as patriarchy were subtly critiqued in this piece, while other surprises happened along the way. Four ‘dandies’ sat to watch the football game in a grey object adorned room in a Victorian hotel, while other spectators (mostly women) came for tea and the performance. The performers were consumed in watching football, and the audience was consumed with watching the watching of footballBeyond the artist’s control were the commercials aired on the CBC that day, which were frequent, gendered, and aiming at a specific clientèle that weren’t necessarily present that night. While the performance intended to subvert the dominant narrative of the Grey Cup, it did so while inadvertently indulging in class tourism; plus, only so much tea come be consumed before getting the point. As the game wore on, eventually the Dandies started to serve tea to the audience, mingling, as unclear how the narrative would end as everyone else. An upset by the Montreal Alouettes ended the performance, the football game, and the series. Like some recessions, the problems continue, slowly fading out with a murmur, leaving most people to the daily monotony as if nothing had happened.


(1) Dot Tuer. Gestures in the looking glass: performance art and the body. Mars, Tanya and Householder, Johanna. Caught In The Act: an Anthology of Performance Art by Canadian Women. Toronto: YYZ Books, 2004, Page 54.

(2) Ibid, 56.

(3) Time Magazine. ‘Goodbye to a decade from hell’ by Andy Sewer. Published November 2009.

(4) On some, Toronto and Canada have been relatively unscathed by the recession.
(5) For examples, see Spiritualism:

(6) Artist statement from Boehme’s website. Accessed 02/04/2010.

(7) See Media violence research and youth violence: Why do they conflict? Dr. Cheryl K Olson, M.P.H, S.D. Accessed 02/04/2010.

Escapist Action: Performance In Recession

Joanne Bristol
John G. Boehme
David Frankovich
Tomas Jonsson
Rodolphe-Yves Lapointe
Julian Higuerey Núñez
Ignacio Pérez Pérez
claude wittmann

Curatorial Statement by Don Simmons

Daily media reports bombard us with the reality of the current worldwide economic situation. We are in the midst of a recession. Businesses are failing and offering discount prices on everything in the store, the stock market is volatile, companies are looking for bailouts, and government agencies are giving away bloated stimulation packages.

Despite these tough economic times, some businesses are experiencing a boom. Alcohol sales are up; Hollywood movies are experiencing a surge in attendance and theatres are reporting a rise in audience numbers. People need to escape from their problems and forget about reality. During tough economic times, art relating to escapism prospers.

Escapism is an immersive art. It satisfies a desire for sensual pleasure. It envelops the viewer in a hermetic and narcissistic space where reality is suspended. Stimulated by an individual’s need for escape the realm of the imaginary is opened and new possibilities arise. Non-places that do not exist make themselves possible, submerging the individual and leaving them in a state of confusion. Spectators who participate or view an escapist action become disconnected from their everyday surroundings and transport themselves to a place of contemplation or simply blank out. 

Escapist Action: Performance in Recession begins with a weeklong series of performance events that investigate economics and presents the audiences with alternative methods of exchange. The series culminates in three evening programs of performance entitled Black Friday, Red Flag Saturday, and Grey Cup Sunday. These three evening investigate the mixed emotions evoked by the volatile economic market. The performances navigate the sensations of fear, despair, laughter, and hope. The audience is transported from the dark emotions of Black Friday through the humour of Red Flag Saturday arriving at the celebratory Grey Cup Sunday.

Julian Higuerey Núñez and Ignacio Pérez Pérez activate Escapist Action by creating an alternative barter system in which performances and time can be exchanged between the artists and audience. The exchange starts with an Open Barter Market on Monday, November 23, followed by a 72-hour performance (6 days / 12 hours each day). Tomas Jonsson’s work creates a redundant economy across the street from a storefront display he mimics. In the piece Magpie, Jonsson observes the shopkeepers display, purchases items from the shop, and then sets up shop across the street. Jonsson consciously contradicts traditional exchange structures by giving away items, available for purchase at the neighbouring store, to passersby who engage the artist in conversation. Joanne Bristol presents an intimate service based performance dealing with internalized space as a form of escapism in her performance entitled Association for Imaginary Architecture.

The first evening program takes place on Black Friday. Renowned as the biggest shopping day in the US, and an indicator for financial forecast for the upcoming holiday season, Black Friday also refers to the financial crisis of 1869. On Black Friday, Julian Higuerey Núñez and Ignacio Pérez Pérez start the evening with the last performance of their twelve-hour day. claude wittmann explores the fears we experience in times of economic uncertainty and the mob like tendency to blame it on the “other”. In this case Wittmann looks at the instances in history where woman have been labeled as witches and damned for financial hardship within communities. Rodolphe-Yves Lapointe addresses risk taking and responsibility in a final desperate act of escapism.

Black Friday is followed by Red Flag Saturday. The Red Flag signifies warning, defiance, left-wing politics and amazing sales at department stores. This evening’s tone is decidedly lighter than Black Friday, compelling the audience to escape from their recessionary blues and find some relief in humour. This evening begins, like Black Friday, with a portion of The Artist and the Beanstalk by Julian Higuerey Núñez and Ignacio Pérez Pérez. Then John G. Boehme explores adolescent escapism and Joanne Bristol encourages Torontonians to relocate to the “wallet friendly” city of Winnipeg. 

Escapist Action: Performance in Recession concludes with Grey Cup Sunday, and a performance party in celebration of escaping the daily grind with cheap televised entertainment and the excitement of an annual national sporting event. David Frankovich’s Grey Cup Party mixes high and low brow activities, morphing the football party with an Earl Grey tea party to reveal hidden sexual truths.

My First Witch Piece by claude wittmann
Nut your way out!
 by Rodolphe-Yves Lapointe

RED FLAG SATURDAY | times various
Magpie by Tomas Jonsson
Association for Imaginary Architecture by Joanne Bristol
Calentura by John G. Boehme
My Winnipeg Can Be Yours… by Joanne Bristol

Grey Cup Party by David Frankovich


Association for Imaginary Architecture by Joanne Bristol
This performance involves architectural design and touch. I am interested in investigating relationships between our physical experiences of the built world and how we imagine and internalize those spatial experiences. The performance involves a one-on-one exchange between the audience and myself: I will ask audience members to verbally describe an architectural space. It could be a space from memory, a dream, or any kind of space in the built world that is of significance to them. As the space is described, I will draw a ‘plan’ of it on the speaker’s clothed back with my hands. Sessions will last no longer than five minutes. 

My Winnipeg Can Be Yours… by Joanne Bristol
In this lecture performance Joanne BristolI will describe the advantages of living in Canada’s low-budget cultural capital. This performance is especially designed for Torontonians who might like to experience the joys of living an in what is arguably North America’s most affordable city.

Calentura by John G. Boehme
Calentura (first in the series) intends to investigate autobiographical escapist narratives of adolescent disenfranchisement projected through direct akshun.

Grey Cup Party by David Frankovich
The final day of Escapist Action: Performance in Recession ends with a party to celebrate all things…football? Join us for Grey Cup Party by David Frankovich. A team of dandies gather to honour Earl Grey’s Cup over a cup of Earl Grey. The sports bar and the Victorian tearoom collide. Dressed in thrift store finery, they engage in male bonding over tea and biscuits while watching the Grey Cup final. Masculinity is reconstructed through a recession-friendly social ritual. Join us for a cuppa and the game!
6:00pm | The Gladstone Hotel Art Bar, 1214 Queen Street West

Magpie by Tomas Jonsson builds on a person engagement with a variety store that has been a long time fixture in the Junction District of Toronto, which is increasingly precarious as a result of the rapidly altering the retail identity of the street. Creating a dynamic that resisted the usual flows of investment, speculation (eviction and/or gentrification) this performance installation piece is an ongoing adjunct redundant economy. By selecting, sorting and taking advice from the seller the collection of items will be built to there after offered them on the streets to the passers-by for exchange. In place of monetary gain, other forms of exchange are favoured. The objects will function more or less as token opportunities for discussion about the economic and material transformations in the neighbourhood and city, the role and ritual of corner store shopping, and the determination of value and exchange.
1:00pm–10:00pm | 3072 Dundas Street West, Toronto

Nut your way out! by Rodolphe-Yves Lapointe
The intensive use of the spoken word, nonverbal languages and the ingenuous manipulation of props is what typically characterises Lapointe’s Performance Art work (“textactions”, in his own words.) But, the thematic of ‘escapism’ induced a restrained use of expressive means and the Quebec-based artist radically reduces his display of objects to a plain hemp rope, and the flow of words to only two, “Pull it!” In Nut your way out!, as he leads the public through productive time-killer activities (knot-tying), social games (tug-of-war) and skills tests (rescue techniques) until he reaches the “highest stage” of escapism. The end of the performance virtually lies in the spectator’s hand.

My First Witch Piece by claude wittmann
Today, my first witch piece exists as an idea that has to do with my body and with escapist acts, which I see as impulses to avoid or to transform a certain system of beliefs. I am fascinated by myths about 15th century witches, and I allow myself to ossilate between believing and not believing that they had unusual abilities, such as “flying” or temporarily depriving men of their male organs. I wonder what kind of consciousness shift I would need in order to commit to their philosophical view of the world, and to see myself become one of them. What are my embodied psychological walls? Doubt? Fear? Judgment? My relationship with death? My goal with this work is to take my audience on a journey that makes visible our resistance to a shift of consciousness.

Open Barter Market & The Artist and the Beanstalk by Ignacio Pérez Pérez and Julian Higuerey Núñez

Presented in the context of Escapist Action: Performance in Recession

Barter is a relational practice, and is as old as the wheel. In a pairing of related performance works, Open Barter Market and The Artist and the Beanstalk, Núñez & Pérez create an alternative exchange and cultural economy, one based not on capitalist value, but on need value. Barter as an opportunity for performance. Performance as an opportunity for escape.

The artists arrived to Toronto carrying with them 72 objects from their home country. Objects ranging from the absurd to the personal, trinkets, objects with stories. On November 23, they opened the doors of the gallery with a performance called Open Barter Market. The public was invited to bring an object of their own to trade and barter for one of the objects the artists brought. Or instead of an object, you could trade an hour of your time in which the artists would do an action for you, within reason, at a location of your choosing. After a day of bartering and exchanging objects and stories about the objects, the artists had 72 new objects. Some absurd, some personal, trinkets, objects with stories.

The very next day the gallery transforms from a market place into a performance space. Using the newly exchanged items as materials in an ever-changing and exchanging series of one-hour performances, the artists begin the next phase of their project entitled, The Artist and the Beanstalk. For 6 days, 12 hours a day, Higuerey Núñez and Pérez Pérez take turns choosing one of their new 72 objects and create a live performance using that object. All of the objects stayed in the gallery space, and often (but not always) become a jumping off point or a part of the next performance. You are encouraged to trade an hour of your time during the 6-days of The Artist and the Beanstalk to come and witness the performance being made with your item.

Open Barter Market
November 23, 2009 @ 2:00pm–9:00pm

The Artist and the Beanstalk
November 24–29, 2009 @ 9:00am–9:00pm

Performance Yellow

This fragrance opens us to the question, has the show started? It's winter, the theatre is colder than the street and the room is filled with people and all their winter smells: wet faux leather, down, too much shampoo, and beer breath. The atmosphere is a trickster. Am I late, am I early?

Top Notes

yellow mandarin, mimosa

Middle Notes

honey, chamomile, salt

Base Notes

narcissus, guaiac wood, piss, beer