Session 1: FRIDAY, JANUARY 27 from 5pm to 8pm Live Performance: JON SASAKI – We Have All The Time In The World Streamed Performance: JEREMY BAILEY (Canada) – Jeremy Bailey Next Dialogue 1: FRIDAY, JANUARY 27 from 8pm to 9pm Panel: A panel discussion featuring curators, moderators, and artists in D&DII
Session 2: SATURDAY, JANUARY 28 from 11am to 5pm Live Performance: lo bil – GROUND/LINE Streamed Performance A: ANNA BERNDTSON (Sweden) – Live Collage (11am to 2pm) Streamed Performance B: MARITA BULLMANN (Germany) – Untitled (D&D II) (2pm to 5pm) Dialogue 2: SATURDAY, JANUARY 28 from 5pm to 6pm Moderator: FRANCESCO GAGLIARDI (Performance Artist, Writer, Filmmaker)
Session 3: SATURDAY, JANUARY 28 from 6pm to 8pm Live Performance: CLAYTON LEE – Informal Beginnings Streamed Performance: PATRICK S. FORD (Hong Kong) – No Holiday Dialogue 3: SATURDAY, JANUARY 28 from 8pm to 9pm Moderator: YAN ZHOU (Independent Curator)
D&D II Fête: SATURDAY, JANUARY 28 from 9pm onward Musical Performance: HEAT DEATH FROM THE UK
Session 4: SUNDAY, JANUARY 29 from 1pm to 4pm Live Performance: JULIE LASSONDE – In Memory of My Grandmother Streamed Performance: NADÈGE GREBMEIER FORGET (Canada) – I. Wall-flow-er Dialogue 4: SUNDAY, JANUARY 29 from 4pm to 5pm Moderator: CHLOË LUM (Artist and Independent Curator)
Session 5: SUNDAY, JANUARY 29 from 5pm to 7pm Live Performance: JENN GOODWIN – To do, To don’t Streamed Performance: JULIE LAURIN (Canada) – Performing the Cycle Dialogue 5: SUNDAY, JANUARY 29 from 7pm to 8pm Moderator: TANYA MARS (Performance/Video Artist, Professor)
Despite not owning a garden, I made a recent visit to a garden centre where I was smitten by a little gnome statuette, standing frozen in a pose of rapt attention, the epitome of friendly patience. I later made a single mould of him to use throughout the three hours of my performance, during which I will attempt to cast a custom concrete garden gnome for every visitor. Concrete takes about three hours to set properly. If more than one person attends the performance, the concrete setting time will have to be shortened to accommodate; time after all is finite and must be subdivided equally among everyone. It is possible that, despite my best intentions, the resulting gnomes might turn out a bit doughy and underdefined. The performance title, borrowed from a Louis Armstrong song, always felt tautologically truthy to me but woefully inaccurate when applied to real life.
Jon Sasaki is a Toronto-based multidisciplinary artist whose practice brings performance, video, object, and installation into a framework where expectation and outcome never align, generating a simultaneous sense of pathos and fun. His work employs reason-based approaches reminiscent of conceptual art while investigating romantic subjects; in this juxtaposition, Sasaki creates humorous, self-exhaustive systems caught in cycles of trial and error. His work has been in numerous solo exhibitions at galleries including the Ottawa Art Gallery, (Ottawa, ON); the Southern Alberta Art Gallery, (Lethbridge, AB); the Art Gallery of Ontario, as well as a 2015 performance project at the Museum of Contemporary Art Detroit. He has completed recent public art commissions for Sheridan College, (Oakville, ON) and the City of Barrie Ontario. Selected group exhibitions include Platform Art Spaces (Melbourne Australia); Nihonbashi Institute of Contemporary Art, (Tokyo, Japan); and the Museum of Contemporary Canadian Art (Toronto, ON). His video work has screened at the MCA (Sydney, Australia); Brick + Mortar Film Festival, (Greenfield, MA) and the Images Festival (Toronto, ON). He was the recipient of the 2015 Canadian Glenfiddich Artists in Residence Prize (Dufftown, Scotland). Sasaki holds a BFA from Mount Allison University (Sackville, NB), and is represented by Clint Roenisch Gallery in Toronto.
D&DII Jon Sasaki live in the gallery
Saturday January 28, live in the gallery from 11am - 5pm
Photo credit: Dahlia Katz
As wild as the performative state can be, it leads me into new knowledge. I am researching what it is that elevates my consciousness in the moment of performance, what crosses the line, allowing meaning to emerge that I could not have realized if I had not made the performance.
For 6 hours, I will notice the duration it takes to be overcome by energy wherein I am no longer leading the action but the action is compelling me into another way of operating, and unexpected results surface.
I am a Performance Artist who creates performative experiments to correlate research into process, pleasure, vulnerability, risk, memory, agency, labour, an aesthetics of sensory experience, and the impacts of a social location on identity. I find images through physical improvisations, spoken loops, and material interactions. My work has been called raw, amusing, transparent, and often involves a conversation with the audience.
Upcoming performances for 2017 include Rhubarb (February) and Flowchart (April). Most recent exhibitions in 2016, in Toronto: Summerworks Performance Festival, where I won the FADO Performance Art Centre Live Art Award; in Montreal at Words & [ ] a durational conference by the School of Making Thinking, Studio 303/WIVES ASSEMBLEE, and for Victoria Stanton/DARE-DARE; and in NYC at Panoply Lab’s Post Dance Conference. In 2015, Month of Performance Art-Berlin and ITINERANT Performance Art Festival NYC; in 2014, 25 Hours for 25 Years for DCAC (Washington) and 7a*11d International Festival of Performance Art.
D&DII lo bil live in the gallery
Saturday January 28, live in the gallery from 6-8pm. Moderated talk to follow by Yan Zhou from 8-9pm
Informal Beginnings is a re-imagining of a cultural and familial tradition in three parts - a barely recognizable deconstruction of the Chinese banquet. It is a ritual of, and an occasion for, waiting, witnessing, and feasting.
Clayton Lee is a Toronto-based performance artist. His practice is informed by a simple desire to connect. Mixing together popular culture, personal obsessions, and lived experiences, he offers quiet moments of reflections with (sometimes mischievous) gestures of generosity, intimacy, and play. Previous performances include: Duets for Beginners (SummerWorks Performance Festival), and Chew, Chew, Swallow, Spit (Buddies in Bad Times’ Rhubarb Festival). Upcoming performances: (◕‿◕✿) at Chapter’s EXPERIMENTICA in Cardiff. His publication Brandy, the Virgin Slayer – Missed Connections appears as part of the BOOK MACHINE Project at the Centre Pompidou in Paris, now part of its permanent Kandinsky Collection.
D&DII Clayton Lee live in the gallery
Sunday January 29, live in the gallery from 1-4pm
In Memory of my Grandmother
This performance is dedicated to my late grandmother, who died in 2015 at 97 years of age. In this piece, I will engage with objects I inherited from her, such as: her clothes, shoes, bags, jewellery, and photographs. I will revisit present and past stories about my relationship with her. Through movement work and day-to-day actions, I will navigate between meditation and interaction. The experience of mourning revealed to me the power of love that develops over multiple decades. I hope to open a space for others to connect with their own experiences of love, sadness, and mourning.
Originally from Montreal, Julie Lassonde is a performance artist who is interested in gender, intimacy, socio-legal norms affecting daily life, and processes related to performativity, such as repetition. Trained in corporeal mime school, she presented solo performances and improvisations in Canada and internationally. She also studied law at McGill University, and is a member of the Ontario and Quebec bars. In 2006, she was awarded the Law and Society Graduate Fellowship and an interdisciplinary master’s degree in law and the visual arts at the University of Victoria. She received the Innovative Electronic Theses & Dissertations Award from the Networked Digital Library of Theses and Dissertations for herthesis, in 2007, in Uppsala, Sweden. Julie co-edited the book Collision: Interarts Practice and Research (2008). In 2014-2015, she was anartist-in-residence at the Osgoode Hall Law School. In 2015-2016, she was Chair of Le Labo in Toronto.
Sunday January 29, live in the gallery from 5-7pm
To Do, To Don't
Photo credit: Erato Tzavara
Choreographed and performed by Jenn Goodwin
Music by Sandro Perri, Peregrine Falls, Mixed by John Dinsmore
Text “I Really Should" by Kelly Mark
A solo, a duet, a trio. With blanket, with hair. Through attempts at comfort, protection, concealment, trapping, suffocation, warmth, hostility, and weight, these partners do their own dance choreography and have their own experience. To do, to don't touches on themes of being enough. Good … enough. Being affected, repetitive, being every day. Trying to be better, be enough. Trying to get out of bed, be in the world, take it in, keep it out, change, or make change. It considers the possibility to hold sorrows of the world, and one’s own, while not forgetting the big picture, or the the day to day. Holding hope and fear in the same moment. There is no running away. Though running feels good. Walking is a controlled fall. Falling forward. Falling apart is not the best option, though falling feels good. Can't go over it, Can’t go under it. There is a lot to do. And a lot to don’t. Give me all your anger, I will bury it like a treasure.
Jenn Goodwin is a second year student in the Master of Visual Studies - Curatorial Studies program at the University of Toronto. She received a BFA from Concordia University in Contemporary Dance with a minor in Video. She is a dance artist, curator, programmer, producer, and filmmaker. Over the last 20 years her dance work and short films have been shown across Canada and internationally. Goodwin is one half of the art band Mortified with Camilla Singh, which is a band that uses choreography, drum kits, tap dancing, and cheerleading as its instruments. Goodwin has worked with Toronto’s Nuit Blanche since its inception in 2006, and has curated performance and exhibitions for the Summerworks Festival (2016), the Drake Hotel, and Harbourfront Centre. She has written for the Journal for Curatorial Studies and the Dance Current. She lives in Toronto with her husband and their two sons.
Thank you to Natasha Bailey, Dario Del Degan, and Johannes Zits, Neville Quinlan, Lo Bil, Seika Boye, Nikki Cesare Schotzko, Kaeja d”Dance, The Toronto Love-In/PS we are all here, Jenn Cole, Jill Carter, Stephen Johnson, Xing Fan, Kelly Mark, Sandro Perri, Peregrine Falls, John Dinsmore, Brandy Leary and Tanya Mars.
Produced with the support of the City of Toronto through the Toronto Arts Council.
Jenn Goodwin Live in the gallery
Friday January 27, 5-8pm, Streamed live from Toronto Canada
As Jeremy Bailey Next Famous New Media Artist Jeremy Bailey has uploaded himself to the internet in search of immortality. As data it is now possible for Bailey to spawn multiple fluid instances of the artist's body, potentially scaling its productivity infinitely. Visitors to the gallery can collaborate with this ultra-productive artist as it generates sympathetic gestural expressions in response to the overflowing email inbox communications of the real Jeremy Bailey.
Jeremy Bailey is a Toronto-based self-proclaimed Famous New Media Artist. "Since the early noughties Bailey has ploughed a compelling, and often hilarious, road through the
various developments of digital communications technologies. "(Morgan Quaintance, Rhizome.) His work has been shown widely including recent solo and group exhibitions at Whitechapel Gallery in London, Transmediale in Berlin, Mediamatic in Amsterdam and Museums Quartier in Vienna. Recent commissions include projects for FACT in Liverpool, Turner Contemporary in Margate UK, The New Museum in New York and Carroll Fletcher in London. Bailey is represented by Pari Nadimi Gallery in Toronto.
D&DII Live Stream of artists streaming in from Canada and abroad.
Saturday January 28, 11-2pm (Toronto time) streamed live from Sweden
This performance explores the notion of a live collage performance.
As we celebrate 100 years of the DADA art movement and its exploration of the boundaries of art, we also commemorate the tragic First World War Centenary. At present, however, it doesn't feel that far away as it did when I grew up in the 1970s and 1980s. War, terror, and political and religious extremism have become a part of our daily lives; if not down our own streets, then just a click away and very close in the constant news flow and media coverage.
Since DADA emerged amid the Great War, I am eager to explore the impact our current horrifying situation can have on art today. Fascinated by the photomontage of Hannah Höch, a prominent member of the Berlin DADA movement, I am exploring what collage work can mean to me as a performance artist.
Anna Berndtson is a Swedish performance artist working foremost with Long Duration Live Performance Art. She is a graduate of the Dartington College of Arts, UK, as well as the performance class of Marina Abramovic at the HBK Braunschweig, Germany. The foundation of her practice is the presence of both the artist and the public. She transgresses boundaries with her body and own perception at the centre of her work. To maintain presence is one of her main challenges, and the mission to stimulate the public, capture their attention and keep it, is reflected in the endurance of the artist. With minimalism as a goal, the reduction of the image is fundamental in her performances, videos and photographs.
Anna Berndtson has performed and exhibited work extensively including; Fondation Beyeler, Basel, Liljevalchs, Stockholm, The LAB Gallery, Dublin, MoMA PS1, New York, Van Gogh Museum, Amsterdam, and VV2 at the Venice Biennale.
D&DII Live Stream with Anna Berndtson from Sweden
Saturday January 28, 2-5pm. Streamed live from Germany
Within my work, I examine situations that are present in our everyday life, but not perceived consciously. Small, delicate moments illustrate how I detect the world around me. Materials are decontextualized from their original use and provided with new different characteristics.
Note that I keep the number of materials for each performance minimal, which is helpful to keep the action focused and clear. What happens between me and the material is that it becomes a comparison between shapes, structures, and movements capabilities of the material itself. It is an exploration of how the material reacts to the body’s movement and vice versa. My intention is to affect normal visual and perceptual mechanisms far away from their cultural coinages, and to create a new “space” that reminds us of how differently we perceive things. I’m searching for images and actions that manifest the beauty of now and its simplicity.
Marita Bullmann is a performance, installation, and photography artist.
She lives and works in Essen, Germany. Marita studied photography at the Folkwang University of the Arts in Essen, Germany, and in the same period went to Israel to study at the Bezalel Academy of Art and Design in Jerusalem, where she followed classes in Performance Art with Adina Bar-On. In 2011, she graduated with distinction from the Folkwang University of the Arts in Essen, Germany.
Together with Boris Nieslony (Black Market International) and others, she founded PAErsche in 2011, an action-laboratory, which focuses on encounters and networking as a gift and cooperation.
Since 2013, she is the organizer and art director of the performance art platform INTERVAL, featuring artists from all over Europe and China. (www.maritabullmann.de/interval/)
Since 2006 Marita showed her work across Europe, Israel, Russia, Singapore, Thailand and China.
D&DII Live Stream with Marita Bullmann from Germany
Patrick S. Ford
Saturday January 28, 6-8pm (Toronto Time). Streamed live from Hong Kong.
Followed by a moderated talk by Yan Zhou from 8-9pm
In No Holiday, Ford continues his practice of deconstructing everyday life for paradigms that can be isolated and examined within a durational event that retraces an action or an activity observed in life, exploring and reconfiguring observed movements he calls “found actions.”
For many working people in China, the highlights of the year are the annual holidays (Summer holiday, Chinese New Year holiday etc.). During these short, intense periods, people remove themselves from their habitual surroundings and immerse themselves enthusiastically into what is often unfamiliar geographical and/or cultural territory.
No Holiday deals with the journey to and from this holiday adventure, reversing the usual paradigm by focusing on the journey rather than the destination, and eliminating the relief felt upon arrival at the intended holiday location. Ford will take his suitcase, map, and selfie stick as he explores the choreography of the holiday experience in unfamiliar surroundings.
Patrick S. Ford, born in the UK, but living and working in Hong Kong since 1993, gained his initial training at Leeds College of Art (UK), BA (Hons) Fine Art at Northumbria University (UK). He then earned his MFA at RMIT (Royal Melbourne Institute of Technology, Australia). He currently works as lecturer at the Hong Kong Design Institute. He has lectured on many subjects, conducted workshops on printmaking and drawing in Hong Kong and Japan (Kyoto Saga University of Arts), and held artist-in-residence positions in Hong Kong and China (Guanlan Original Printmaking Base).
Ford, who has worked in a variety of media including: sculpture, printmaking (previous Chairman of the Hong Kong Graphics Society), drawing, and, more recently, performance art, has participated in over 100 visual art exhibitions in: Europe, Asia, North America, and Australasia, and his work is included in many public and private collections.
D&DII Live Stream with Patrick S. Ford from Hong Kong
Nadège Grebmeier Forget
Sunday January 29, 1-4pm. Streamed live from Montreal.
Something, such as a tapestry, that is hung & You
Nadège Grebmeier Forget’s art practice provokes a reflexion on the act of looking’s implicit consumption and the power dynamics within which the gaze operates. Her work is characterized by a preoccupation with re-appropriation, actively exploring the role of documentation and digital technologies in mediating access to her performing body. Vulnerable, baroque and decadent, she serves discomfort, mirrors and blurs fiction with intimacy.
I.Wall-flow-er. continues her research on ways of mirroring and blurring fiction with intimacy through live streamed durational improvisation within her household, using divers strategies of occupying space with image making and identity de/contstructed.
Nadège Grebmeier Forget is the daughter of a runner-up 1950’s California Beauty Queen. Active in the Montreal artistic community, both in visual and performance-based art practices, she has — as a visual artist, performance artist or curator — organized and participated in numerous events, festivals, conferences, residencies and exhibitions in Canada, the United States and Europe since 2009. She has worked on several selection and consultation committees and is currently vice-president of Centre CLARK’s board of administration. Her most recent works have been performed and/or exhibited at the Musée régional de Rimouski, the Musée d’art contemporain des Laurentides, VU Centre de diffusion et de production de la photographie, She Works Flexible Gallery (Houston, Texas), the Sophiensale theatre (Berlin), the HOLD-FAST festival of Eastern Edge Gallery (Newfoundland), the Centre d’art Mains d’Œuvres (Paris) and at Friche de la Belle de Mai (Marseille).
D&DII Live Stream with Nadège Grebmeier Forget from Montreal
Sunday January 29, 5-7pm (Toronto Time). Streamed live from Montreal Canada
Performing the Cycle is a cyclical, intimate dance with a damaged shopping cart for a duration of two hours. During the performance, I will permit the object to transform my body with dialogical movements to embody the routine. The cycle, in this case, reveals the structure that binds my actions. Similar to a ritual, I endeavour to connect my movements to social contexts by exploring the trajectories in the work that arise out of my complex and diverse daily interactions with others. These human rituals are then considered alongside the natural cycles that govern the human body: day and night, hunger and nourishment, sleep and awake, life and death. Since these natural mechanisms are also part of a larger, worldwide production and consumption cycle, I will intertwine my own cycles with global ones to create interesting oscillations and overtones between the macro and the micro. In an effort to reappropriate this vessel, which was crushed after its last journey along the Lachine Canal, and now only moves in a circular pattern, this performance embraces the natural deformation of the shopping cart and its symbolic overtones of the cycles that govern our lives.
Julie Laurin is an interdisciplinary artist in sculpture, performance and installation who lives and work in Montreal, Canada. She completed a BFA in sculpture at Concordia University in 2011 and is currently completing her MFA at UQAM, engaging actively in nomadic artistic forms such as déambulation and performance apparatus, observing the circulation between identity, territory and object. In 2012, she did a residency project in Catalonia, Spain (CeRCCa) where she developed an in situ approach to her performances and installations. Since then, she did a 6 months residency project in a Montreal elementary school, where she presented infiltration performances and worked in sculpture and performance in collaboration with a class of three graders. Her final project was presented as a solo show in Articule's artist run center (2015). She also presented a cycle of outdoor performances in Walk and Talk festival, Azores, Portugal (Atlantis, 2015) and a cyle of outdoor and indoor performances in Visualeyez festival in Edmonton, Canada (Performing the Trajectory, 2015). Her latest project, Performative Monument (2016)was supported by DARE-DARE artist run center and is still going on. She is an active member of Le tas invisible, a performance collective who explores the group as a context in an antispectacular approach.