A mix of works presented in simultaneity (details on each work here). The layered performances explore repetitive gestures, sonic references, and somatic rhythms.
Mixer is a list of verbs: translating, holding, swaying, measuring, writing, flipping, lying, dropping, unfurling, interpreting, repeating, reading, singing, aging, breathing, pushing, dragging, screaming, imagining, releasing, muting, noising, counting, testing.
Mixer activates space. Mixer performs outside of the concert hall favouring small, mobile, and furtive strategies.
Mixer thrives in the interstices—ranging from brief eruptions to longer sustained activities, from discordant surges to subtle moments.
Sometimes the public can interact, at others the performers are right beside them doing something perplexing or imperceptible or even inaudible.
Mixer is part of 21C but is more 22D – 23E – 24F – 25G.
Project initiated by Christof Migone consisting of works by him mixed and remixed by an ensemble of performers – including Migone. The Toronto iteration is an expanded one which incorporates works authored by others.
Wednesday May 25th – 1-9pm
Thursday May 26th – 1-9pm
Friday May 27th – 1-7pm
Saturday May 28th – 3-9pm
Sunday May 28th – 1-4pm
Free.
Photos of performance by Yuula Benivolski.
LIST OF WORKS
Abbas Akhavan, Correspondences (2008)
Brick/ pigeon: taxidermy pigeon, brick, silver letter carrier, ink on paper.
Molotov/letter: glass bottle, cloth, electric tape, gasoline, oil, ink on paper.
Smoke signal/mushroom clouds: digitally altered photograph.
Ronnie Clarke, Almost Here (2016)
One to two performers wear a cardboard virtual reality headset, mimicking the artist’s gestures as seen in the digital scene. Performer(s) describe their surroundings over the phone with each other, or with another static performer.
Francisco-Fernando Granados, movement study (bomba) (2011/2016), movement study (sway, sway, sway) (2012/2016)
Score for bomba: the performer traces the contours of the architecture by dancing in contact with and alongside the edges of the space. they may dance to their own tune or use found sound in the room.
Score for sway, sway, sway: touch the ground with bare feet, lift the other leg, hold, notice a destabilizing force, sway, sway, sway.
Jessica Karuhanga, Boom Aura (2016)
The performer arrives before 3 boomboxes and a collection of CDs. They begin to DJ. Materials: 3 boomboxes, CD collection.
Duncan MacDonald, Aluminum Drop (2010)
The work was created by dropping the material onto my studio floor, recording its sound, and then cutting the waveform of that sound back into the material itself. Materials: 6061 aluminum, 4″ x 12″ x 4″.
Christof Migone, Evasion, or how to perform a tongue escape in public (2000), Hold Out (2016), Interval (2005), Record Release (2016), The Rise and Fall of the Sounds and Silences from Mars (2011), Testing, Testing (2016) Evasion—a tongue sticks out as far as it can for as long as it can. Materials: recorded and live tongues. Hold Out consists of amplified air or an invitation to speak to me. Duration: up until the extended arm can hold out no longer. Interval. Repeat your age repeat at the rhythm of your choosing for the equivalent of your age in minutes (eg. a 28-year old person repeats the word ’28’ for 28 minutes) Record Release works with lentil-sized bits of vinyl (the raw material to make records) and grooveless (and thereby silent) records to produce sound and visually reference sound recording. Rise and Fall is a compilation of all the appearances of the words which specifically refer to sound or silence in Ray Bradbury’s book The Martian Chronicles. Materials: 91 double-sided panels of coroplast, 18″ x 24″. Testing, Testing. Does the microphone work? Duration: infinite (once all the microphones have been tested, we start again).
Stephen Mueller, Marble Mouth (2016)
Fill your mouth with as many marbles as you can at whatever pace you choose. Whisper everything you wanted to say to everyone you love into ignored or forgotten cracks/holes/crevices/openings in the building for as long as you want or as long as it takes. Materials: marbles, mouths. Lisa Myers, Playing Spoons (2016) *Wednesday and Saturday only
A sound interpretation using the blueprint profile of the Canadian Pacific Railway mainline and the profile of blueberry stained spoons as graphic notation. Materials: music stands, graphic notation, birch wooden spoons,
blueberries, maple syrup, CPR profile.
Juliana Pivato, Tumblebook (2013/2016)
A large, blank, hand-bound book is rolled, pushed and dragged throughout the space. The action is stabilized as a graphic scoring of marks, dents and tears. Materials: white butcher paper, thread, canvas, tape, wax.
Tazeen Qayyum, We Do Not Know Who We Are Where We Go (2012/2013/2015/2016) *Friday and Sunday only
A drawing performance of a single phrase from Nanni Balestrini’s poem Istruzioni Preliminari, translated in Urdu. Materials: Canvas, pigment ink and body.
Skawennati, Imagining Indians in the 25th Century (2000)
Text piece that is part of a website that was created for I.Witness, a multi-media, millenium exhibition by First Nations artists at the Edmonton Art Gallery, November 10, 2000 to January 14, 2001.
Xuan Ye, I’ll Be Your Mirror (2016)
Walk (with) the bells in the space. Invite an audience and butterflykiss the top of his/her hand. Scream without making any sounds.
