Tableau Vivant: Eaton’s Catalogue 1976Devan
Those of us whom was raised in united states into the 1960s and 70s lacked art, Bible stories, and history as universal sources. The tome that shaped our values most tangibly ended up being the department store catalogue, a wish guide of that which we may have and whom we’re able to be as soon as we first got it. Gender had been demonstrably defined, competition ended up being single, and course had been center. In this performance we make use of the tableau type to enact a full page through the Eaton’s catalogue, the most-read guide of your Canadian youth. We’ve paired women’s formals (a appearance we now have had difficulty effectively fitting into) with restroom plumbing work to invoke the bounty that is endless cleanliness and hope that the catalogue implied. Three ladies stay in vacant stillness, water streaming through the spouts at their breasts.
Duration: The 15 moment performance is duplicated twice one hour
First performed: March 1998, Hallwalls Centre for modern Art, Buffalo, ny. Afterwards done at Counterposes, Montreal, curated by Jennifer Fisher and Jim Drobnick.
Astroart area Corps
Commanders Dempsey and Millan are getting ready to enter deep room, to produce revisionist stellar cartography and explore the resistant character of anti-matter.
First performed: 2014, La Nuit Blanche, Calgary, Alberta september
Photos by Lindsey Bond
The revolting therefore the revolutionary, the reviled and also the revered are united by locks in this time travelling sing-along. Through the wigged females of Ancient Rome into the hirsute levels of seventeenth century France to those really hairy 1960s: the world’s many queen that is infamous a brief history of radical tresses while thinking democracy.
“we want my very own revolution. I would like to cut back package tops, and order one out of the mail. I’d like anachronism and misconception, plus the myth that is anachronistic things are certain to get better. I want to be pretty and just a little tragic, not too tragic for the reason that it would make me personally dead. “
Duration: 35 min.
First done: June 2017 Queer City Cinema Camp, Trash, Filth event in Regina, Saskatchewan, curated by Gary Varro
Revised: 2017 Isolated Landscapes in Winnipeg, Manitoba, curated by Kathy Rae Huffman november
Photos By Karen Asher and Anita Lubosch
The Dress Series
The Dress Series (1989-1996), a small grouping of performances that explore the gown since the female ceremonial costume and icon of femininity. Within these pieces, fabric is changed by not likely materials, producing juxtaposition, brand brand brand brand new definitions and upending expectations. All costumes fabricated by Dempsey and Millan.
In Arborite Housedress, the pro/antagonist defends herself against racial and financial huge difference by clothing by herself when you look at the domestic architecture associated with times: the house/dress is her shimmering, clean fortress along with her jail. Through the entire piece she reveals her worries (such as for instance gravity, or perhaps driving a car that “parts of my dangerously sagging self might end in bad neighborhoods”) and her dreams (border city romances, getting straight straight straight down with dirt, while the removal of her household, herself more fully to being a homemaker) so she will have time to devote. The wearable sculpture/costume has been exhibited at numerous free galleries and it has been bought because of The Winnipeg memorial included in their permanent collection.
“Have you ever realized that in the event that you clean a floor each day, by nightfall it seems simply the just like just before began? Them again that you can do all of the dishes, and in a matter of hours someone has gone and dirtied? That kiddies are small grime magnets, picking right up all types of stubborn spots and bringing them house once again? Well, I Am thinking. It would effectively cut might work load by 60%. If i really could be rid of my family, ”
The Dress: lumber, laminate, chrome home equipment, screws, fabric, Velcro.
Duration: 25 mins
First performed: 1994, Walter Phillips Gallery, Banff Centre for the Arts, Banff, Alberta february
Photos by Sheila Spence
In Glass Madonna the world-weary mom of Jesus proffers wry advice and sage warnings from behind her stained cup gown. Fashioned just like a two-dimensional carnival cutout with holes on her fingers and head, the gown is just a colourful and explicit rendering for the Virgin Mary’s familiar apparel, with a particular peek-a-boo panel of clear cup to show the source associated with the Madonna’s fame: her 2000 hymen that is year-old. In her own never-the-same-twice visitations, Mary commentary on love, solution, plus the males inside her life.
“When he comes to you personally on a night that is dream-filled delivers their angels to honk their horn at your door, don’t be home. ”
The Dress: stained cup, leading, patina, oak, stain, equipment
Duration: 20 mins
First performed: 1994, Walter Phillips Gallery, The Banff Centre for the Arts, Banff, Alberta (evolved from earlier performance piece The Plaster Virgin, 1992 february)
Picture The Banff Centre
In Object/Subject of Desire t he main element that is visual this performance is a sizable ball gown, made out of crisp white paper, similar to a debutante dress. Stiff and translucent, delicate yet unyielding, the gown rustles noisily as Dempsey moves and speaks.
Inside this costume the countless complexities of desire are talked about, such as the various ways desire could be negated. The purity and purity associated with gown, the available expression of “wanting”, and also the sweetness of distribution, together create a presumption that the item of love talked about may be the old-fashioned partner that is heterosexual. But, these social presumptions are confronted through the section that is last of piece, as she finally, clearly, reveals the carnality of her wish to have an other woman.
“i would like you, to wish me personally. I’d like one to even want me though I do not want you. I do not would like you after all, but i would like everyone to. I would like everybody else to wish you, but I do not would like one to wish someone else but me personally. All i would like can be your want. ”
The Dress: vellum, packing tape, Velcro
Duration: five full minutes
First performed: Red Deer university, Alberta, 1988 (earlier version performed in 1987 before Dempsey began collaboration with Millan december)
Picture by Lorri Millan
In vinyl Bride, the performer wears an iconic wedding dress, the classic raiment of femininity, virginity and vow. But, the gown’s meant meaning is changed by its construction, from veil to teach, of clear plastic. The product encases the bride suggesting more clinical sources to human body bags and clinical specimens, or commodities bagged and exhibited for sale. Disturbing, dream-like and funny, love and fashion, desire and denial are done in the gown’s folds that are unforgiving.
“You have actually gone shopping with a pal, your cousin if not your mother that is own been told, ‘It’s ideal. It really is you. It really is a knockout, ’ only to learn later that it is a funeral, maybe perhaps perhaps not a marriage. It is July, maybe maybe perhaps not December. You’re a nurse, perhaps maybe maybe not an aviator. ”
The Dress: clear plastic, fishing line, buttons
Duration: 20 mins