Those of us whom was raised in the united states within the 1960s and 70s lacked art, Bible tales, and history as universal sources. The tome that shaped our values most tangibly had been the emporium catalogue, a wish guide of that which we might have and whom we’re able to be when it was got by us. Gender ended up being demonstrably defined, battle had been single, and course had been center. In this performance we make use of the tableau type to enact a typical page from the Eaton’s catalogue, the most-read guide of our Canadian youth. We now have paired women’s formals (a appearance we’ve had trouble effectively fitting into) with restroom plumbing system to invoke the endless bounty, cleanliness and hope that the catalogue implied. Three females stay in vacant stillness, water streaming through the spouts at their breasts.
Duration: The 15 moment performance is duplicated twice an hour or so
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 space that is deep to build up revisionist stellar cartography and explore the resistant character of anti-matter.
First performed: September 2014, Los Angeles Nuit Blanche, Calgary, Alberta
Photos by Lindsey Bond
The revolting while the revolutionary, the reviled additionally the revered are united by locks in this time travelling sing-along. Through the wigged ladies of Ancient Rome towards the hirsute levels of seventeenth century France to those really hairy 1960s: the world’s most infamous queen traces the annals of radical tresses while thinking democracy.
“we want personal revolution. I wish to conserve field tops, and order one out of the mail. I’d like anachronism and misconception, as well as the myth that is anachronistic things are certain to get better. I wish to be pretty and only a little tragic, yet not too tragic because that will make me personally dead. “
Duration: 35 min.
First done: 2017 Queer City Cinema Camp, Trash, Filth festival in Regina, Saskatchewan, curated by Gary Varro june
Revised: November 2017 Isolated Landscapes in Winnipeg, Manitoba, curated by Kathy Rae Huffman
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. In these pieces, fabric is changed by not likely materials, producing juxtaposition, brand new definitions and upending expectations. All costumes fabricated by Dempsey and Millan.
The pro/antagonist defends herself against racial and economic difference by clothing herself in the domestic architecture of the times: the house/dress is her shimmering, clean fortress and her prison in Arborite Housedress. Through the piece she reveals her worries (such as for example gravity, or perhaps worries that “parts of my dangerously sagging self might end in bad neighborhoods”) and her dreams (border city romances, getting straight straight down with dust, while the eradication 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 galleries and contains been bought by The Winnipeg memorial as an element of their permanent collection.
“Have you ever pointed out that in the event that you clean a floor each morning, by nightfall it appears to be 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 on up all types of stubborn spots and bringing them house once again? Well, I Am thinking. If i possibly could dispose of my children, it can efficiently cut might work load by 60%. ”
The Dress: lumber, laminate, chrome home equipment, screws, fabric, Velcro.
Duration: 25 moments
First performed: February 1994, Walter Phillips Gallery, Banff Centre for the Arts, Banff, Alberta
Photos by Sheila Spence
The world-weary mother of God proffers wry advice and sage warnings from behind her stained glass dress in Glass Madonna. Fashioned like a two-dimensional carnival cutout with holes on her fingers and mind, the gown is just a colourful and explicit rendering associated with Virgin Mary’s familiar apparel, with a particular peek-a-boo panel of clear cup to show the source of this Madonna’s fame: her 2000 hymen that is year-old. In her own never-the-same-twice visitations, Mary reviews on love, solution, therefore the males inside her life.
“When he comes for your requirements on a dream-filled evening, delivers his 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 visual element in this performance is a big ball dress, made out of crisp white paper, similar to a debutante gown. Translucent and stiff, delicate yet unyielding, the gown rustles noisily as Dempsey moves and talks.
In this particular costume the countless complexities of desire are talked about, such as the many means desire could be negated. The purity and purity regarding the gown, the available expression of “wanting”, in addition to sweetness of distribution, together create a presumption that the thing of affection talked about may be the conventional partner that is heterosexual. Nonetheless, these social presumptions are confronted through the final portion of the piece, as she finally, clearly, reveals the carnality of her desire to have an other woman.
“i would like you, to desire me personally. I’d like one to desire me personally, also though I do not want you. I do not would like you at all, but i would like everyone to. I’d like everybody else to wish you, but I do not would like one to wish other people but me personally. All i’d like will be your want. ”
The Dress: vellum, packing tape, Velcro
Duration: five minutes
First performed: Red Deer university, Alberta, December 1988 (previously variation done in 1987 before Dempsey started collaboration with Millan)
Picture by Lorri Millan
The performer wears an iconic wedding gown, the classic raiment of femininity, virginity and promise in Plastic Bride. Nonetheless, the gown’s meant meaning is changed by its construction, from veil to teach, of clear plastic. The materials encases the bride suggesting more medical sources to human anatomy bags and medical specimens, or commodities bagged and presented 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 sis if not your very own mom, and been told, ‘It’s ideal. It is you. It really is a knockout, ’ only to learn later on that it is a funeral, perhaps perhaps not a marriage. It is July, maybe maybe perhaps maybe not December. You’re a nurse, maybe maybe maybe not an aviator. ”
The Dress: clear plastic, fishing line, buttons
Duration: 20 mins