- April 4, 2003 to April 26, 2003
Marlene Madison's new works Audition Tapes and Open Call explore notions of "Celebrity". Audition Tapes, a single screen video installation, consists of three "cold" readings of a prepared text in a format that closely resembles a screen test. Open Call is the reading by 15 actors and non-actors of texts they receive when they arrive at the event.
By Marlene Madison
- Curated by Glenn Alteen
date | 17 ProgramsDates 2003
- March 7, 2003 to March 29, 2003
Converging in the space of a gallery, the proposed exhibition, Anatomica Nervosa, will unify a synthesis of two project series, Project Series: Preserves and What She Saw. Installed concurrently, a body of work will surface, each project[ion] intent on informing an independent yet synchronous discourse of bodily disclosure, a narrative set in reference to a visual and textual process coherent within interdisciplinary practices. Realized on site, the work will reflect an atmosphere of archive, multiple sites constructed of multiple mediums performing multiple readings, a visual shifting of textual boundaries between the mediums and the exhibition state. The exhibition will unfold, collecting, compiling, and housing images, the objects of photographic image and the specimens of anatomical waxes. Over the months, the proposed work will continue to actualize, substantially increasing in collection and size, image and text yet; the premise and [psycho] analysis will remain unaltered. Accompanying the exhibition is further support material, in particular, a text entitled Lapsus Lingae: [Slip of the Tongue], a narrative of fact/fiction/friction that informed and initiated the beginnings of this project, and photographic images wherein the sites were of chance and circumstance, the collection only a construct in assemblage.
By Sue Camm
- February 22, 2003
This performance deals with first memory, the first realization of individuality. The cycles, patterns, rhythms and eddies that resonate in the course of a life from that first drop into a consciousness of self. The piece has a duration of about 45 minutes, 25 minutes of action and a 20 minute epilogue, which the audience may or may not be aware of. The music, actions and lighting all relate the artist's family history (for full overview see attached performance description below).
By Merle Addison
- January 10, 2003 to February 1, 2003
Fragar and MacNeil will have corresponded from mid-June until the time of their Vancouver exhibition via a series of small painting with letters written postcard-style on the back. The paintings are derived from snapshots of their respective immediate surroundings and have been sent as both common mail and scanned attachments. Shaan Syed will be showing a selection from the "Some People I Know" series, begun in 2000 and ending in 2002. In this series of small portraits, Syed paints from memory and strives to capture that particular nuance of face or gesture that best identifies his subject. All three artists are bound together by the intimacy and immediacy of their paintings. As either postcard or portrait, they make art of the ordinary and out of their own life. This art works as diary, journal, or log reflecting day to day impressions of people, places, and events.
By Jessica MacNeil, Julie Fragar, Shaan Syed
- January 7, 2003
LaDragu, edited by Paul Couillard, is the first in FADO's Canadian Performance Art Legends Series and looks at the life and works of Vancouver's Margaret Dragu. With essays by Couillard, Glenn Alteen, Andy Fabo, Debbie O'Rourke, and Sarah Sheard, a chronology by Brice Canyon, a 16 page photo insert, and a DVD featuring two videos of recent performances by the artist, it is an intelligent and exciting publication.
By Margaret Dragu