Performing our Reality / Dreaming our Escape - Notes from Satellite 2.0
Alexandra Hammond for Performance is Alive
It’s just before the opening of Satellite 2.0 and the Parisian hotel in Miami Beach is as ready as it will ever be. Each room has been cleared of furnishings and occupied by a gallery, curatorial project, artist collective or publication. Many have been transformed beyond recognition while others, including our booth for Performance is Alive, revel in the dingy tones of cream and pale-peach paint, making use of the vaguely sordid yet standardized markers of the hotel’s architecture of transience: dated carpeting, wall-mounted televisions and lamps.
We have covered the linty carpet with an uncanny layer of adhesive plastic rug-guard topped with beige drop cloths. Artist, Curator and Performance is Alive founder Quinn Dukes has been performing and managing performance events for years and knows that “performers get messy”. She is keen to support the artists and tend to the realization of their works as much as possible under the constraints of a nonexistent budget and the hotel setting. The only rule: no fire.
After a day and a half of nearly round-the-clock preparation (more for many of the elaborate booths) the Satellite Art fair feels like a possible setting for a Borges story: a world within the world, with its own sense of time and cultural mores.
The lobby is now equipped with a giant cereal bowl, titled F+++ Off, fashioned from a modified Doughboy pool and filled with enlarged Captain Crunch pieces sculpted out of foam. A bubble-bath fountain shaped like a giant milk carton pours down from above. Its creators, Jen Catron and Paul Outlaw don bathing suits and float in doughnut-styled inner tubes from time the fair opens until it closes each day. They take their job seriously, just like the exotic car rental agency that normally shares the lobby of the Parisian and continues its usual business throughout the fair, tending to and lending out a small stable of Lamborghinis and Rolls Royces that are parked out front.
Curator Jesse Firestone (creator of the Soothing Center and an organizer of the fair along with Founder Brian Whiteley) stops into our booth for Performance is Alive. Jessie, Quinn and I joke that if we had to stay at the Parisian forever, we would survive and make our own world. Like the Eagles’ Hotel California, but with more exuberance and less downfall.
The fantasy of the self-sustaining art-pod was particularly poignant in the days immediately following the presidential election. The final dissolution of the myth of American exceptionalism calls for action, and the temporary world-building represented by repurposing a hotel for a few days of art viewing (even as it participates in the commercial crush of Miami art week), can be seen as a utopic gesture, perhaps even an act of love towards a world that has revealed itself as a more troubled place than we had imagined.
Nestled on the second of three floors of this most wacky and artist-powered of the Miami art fairs, Performance is Alive’s room 15 was poised to be occupied by the first of its politically-charged performances. Artists addressed the interconnected subjects of landscape and environmental destruction, race, gender, consumer capitalism, labor, violence and eroticism. In short, the range of issues that arise when the medium is the ever-political, ever-present body.
CURATORIAL RECAP: THOMAS ALBRECHT, BUTCH MERIGONI + ALICE VOGLER AT FOUNDATION FIGHTING BLINDNESS BENEFIT
I was given the opportunity (thank you Susie Watkins!) to bring together an incredible group of artists to present performances at Foundation Fighting Blindness' benefit event, Taste for Sight. This unlikely pairing of performance art plus benefit within a winery was all very intriguing to me. In addition to the many wines available, the audience present at this benefit also got a "taste" of sincere, daring and inquisitive performance. For most guests, this was the first time they heard the words "performance art." I am deeply grateful to Thomas Albrecht, Butch Merigoni (plus 9 performers!) and Alice Vogler for braving the non-traditional aspect of the evening and forging forward to present dynamic work. The benefit was a wild success. Please consider donating to the cause at blindness.org. - Quinn Dukes
BUTCH MERIGONI >> All Of It (Part 2)
ALICE VOGLER >> Disappearance
Grace Exhibition Space Directors, Erik "Hoke" Hokanson and Jill McDermid-Hokanson | photo by Miao Jiaxin
Grace Exhibition Space launched the Great American Performance Art Festival (GAPAF) in February 2015. The festival runs thru June 2015 and is the long-term vision of Jill McDermid-Hokanson, (chief curator, director and co-founder of Grace Exhibition Space). Thus far the festival has offered performance workshops, lectures and of course- live performances from both local and international artists.
I was astonished to receive an invitation announcing live performances by seminal performance artists, Linda Mary Montano and Martha Wilson in conjunction with GAPAF. Both Montano and Wilson have presented performances around the world since the 1970's. They shared the roster with both seasoned and new performance art practitioners. As the evening grew closer, the artist roster grew. Ultimately, I witnessed nearly 5 hours of performance art from 9 performers! The following day Preach R. Sun led a street action as a continuation of the festival. Overall the programming was truly inspiring.
After a weekend of viewing historic performances, I was reminded of the incredible significance and influence of the curator. The Great American Performance Art Festival is a wonderful example of artists curating artists. It provides an audience and space for performance art- a medium that scarcely receives funding. Of course, GAPAF is not the only festival of its kind (thank goodness!). Rapid Pulse in Chicago is currently in its final days of an equally compelling group of performers and events.
For this week's post, Jill McDermid-Hokanson provides further insight into curating performance art in America. All too often the efforts of curators are overlooked, so I am pleased to share our conversation with you. Enjoy! -Quinn