Artist
Stefanie Marshall

© Stefanie Marshall, where do I go from here?, 2000. Photo Paul Couillard.

Canada

Stefanie Marshall is a Toronto-based artist and educator. Her multidisciplinary practice spans installation, performance, design, public art, textile works, curatorial and community-based projects. She has presented work in galleries, museums, theatres, artist-run centres and non-traditional sites in Canada, United States and the United Kingdom. Her interest in green spaces, textiles, architecture, the history of objects, shifting perspectives, community, collecting, and playing with language inform her art practice.

Performance
where do I go from here? by Stefanie Marshall

“A deviser of territories, languages, works, the deject never stops demarcating his universe, whose fluid confines… constantly question his solidity and impel him to start afresh. A tireless builder, the deject is in short a ‘stray.’ He is on a journey during the night, the end of which keeps receding. …And the more he strays, the more he is saved.”
Power of Horror by Julia Kristeva

FADO is pleased to present where do I go from here?, a new performance by Stefanie Marshall, as part of the Public Spaces / Private Places series. where do I go from here? undertakes a form of artistic alchemy by bringing ritualized behaviour and obsessive gesture into the public realm.

For several hours on two separate days, Marshall will wheel an old 2-burner stove through the streets of downtown Toronto. Following her instinct, she will navigate the social and physical geography of the heart of the city, stopping frequently to engage more closely with her surroundings. This work is about carving out a public place of permission for the private poetry of the body and the imagination. In taking everyday objects and private actions into the street, Marshall holds a mirror up to the privacy of our emotions and inspires a different conscious awareness. Those who choose to enter Marshall’s world may find themselves taken deeper into their own senses, where half-forgotten memories can be reawakened.

Marshall writes: “If they had lips, my fingers would be my teeth, masticating, probing holes, moving, wrapping, marking days and cloth, rubbing, sliding, grabbing, squeezing, slapping—manifesting complex thought into repetitive patterns of action. They are my memory… allowing me to survive.”

August 21, 2000 from 2:00pm–5:00pm
The artist’s walk begins at the corner of Queen and Yonge streets, ending at Spadina Avenue and College Street.

August 26, 2000 from 12:00pm–3:00pm
The artist’s walk begins at the corner of Bloor and Yonge streets, ending in Kensington Market.

© Stefanie Marshall, where do I go from here?, 2000. Photo Paul Couillard.

Performance
Five Holes: Touched

Curated by Paul Couillard

ARTISTS
May Chan
Frank Green
Fiona Griffiths
Ed Johnson
Stephanie Marshall
Frank Moore
Julie Andrée Tremblay & David Johnston (jAT & jHAVE)

Five Holes: Touched is the second in a series of performances dealing with the five senses. The first part (Five Holes: I’ll be seeing you, A Space, 1995) used the device of a peep show to explore the sense of sight and the process of seeing. For Touched, artists are using the nooks and crannies of Symptom Hall to create performance installations that explore aspects of touch and our attitudes surrounding it.

All of tonight’s work is being presented simultaneously; each installation is available for viewing according to a timetable negotiated between you as an audience participant and the artists involved. Some pieces, like the work of Frank Moore and Frank Green, have a specific time cycle that may require waiting and committing to going through a kind of journey. Others, like May Chan’s, have ‘peak’ times that request a captive audience for short periods of time. Still other pieces can be entered at any point and experienced for as long as your attention span lasts. Explore, Enjoy. Remember, the work is about ‘touch’.

Co-presented by the 7a*11d International Festival of Performance Art and sponsored by the Theatre Resource Centre.


PROGRAMME

Sense of Touch
May Chan
My performance is about Chinese culture, about being a woman, and about living. I use sound, action and reading poem-stories. I deal with sense of touch abstractly, more in the sense of keeping in touch. Paul Simon sings, “Touch the sound of silence.” Part of the performance is about food and cooking. I come from Hong Kong, close to Canton in Southern China/ Canton is famous for its cooking. For people In Canton, cooking (eating) is important. Their sense of taste is well developed. Their art s their dishes of foods. Their art galleries are their restaurants. I keep in touch with my background – food.

Anonymous Test Site
Frank Green
With Thea Miklowski, Holly Wilson, Michell Allard, Churla Burla, Lucia Cino, Curtis MacDonald
Since testing positive for antibodies to HIV in 1988, I have practices my art as a ritual of self-healing. I now consider myself to be cured of my dis-ease. My work differs from much of current cultural practice around AIDS in its radical refusal of victim or patient status. I have analyzed and criticized various aspects of western medical ideology through a series of self-photographs, performances, and installations focused on my own body as evidence. I am now examining the phenomenology of the test, in which parts of the body are subjected to arcane processes in laboratories inaccessible to the subject, resulting in ‘diagnoses’ that have profound social implications.

Touched
Fiona Griffiths
by….When I am touched by….a transformation occurs, a momentous infinite stop in time. Then I am nothing.

Threshold
Ed Johnson
Craving sensation, we quickly learn to set in motion whatever is needed to satisfy our expectations.

To Touch Is To Feel
Bernice Kaye
A blindfolded exploration of different textures, including living creatures.

…she said nothing waiting
Stefanie Marshall
counting
1 2 3 4
ooooooohhhhhh
touch

The Cave of the Metasensual Beast
Frank Moore
With Michael LaBash & Linda Mac
Will you let yourself be guided into the cave of passion, imagination, healing human exploring touch, and the unlimited erotic possibilities of blindness? The Beast is waiting for you!

gravity light wind thought scent
Julie Andrée Tremblay and David Johnston (jAT & jHAVE)
Does the floor touch you? Or does gravity touch you? Does wind touch? Does it ask permission? The existence of identity seems to co-exist with illusion/desire for control over what touches us: we choose our food, clothes, lovers. What are we? What do we become when we are touched? Where does touch occur? Inside the body? Where inside? Can you smell it? Paranoia and trust are the parallel poles of touch. Look: no hands, no skin; only synapes and the skin inside the skin. Invisibly touched.

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