Tableau Vivant: Eaton’s Catalogue 1976

Tableau Vivant: Eaton’s Catalogue 1976

Those of us whom was raised in 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 we started using it. Gender ended up being demonstrably defined, battle had been single, and course had been center. In this performance we utilize the tableau type to enact a web page through the Eaton’s catalogue, the most-read guide of our Canadian youth. We now have paired women’s formals (a appearance we now have had trouble 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, nyc. 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 area, 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

Big Wig

The revolting together with revolutionary, the reviled and also the revered are united by locks in this time travelling sing-along. Through the wigged ladies of Ancient Rome towards blonde amateur sex the hirsute levels of seventeenth century France to those extremely hairy 1960s: the world’s many queen that is infamous the real history of radical tresses while thinking democracy.

“we want personal revolution. I wish to conserve package tops, and purchase one out of the mail. I would like anachronism and myth, as well as the anachronistic misconception that things gets better. I do want to be pretty and a little tragic, yet 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 costume that is ceremonial icon of femininity. During 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 clothes by herself within the domestic architecture for the times: the house/dress is her shimmering, clean fortress and her jail. Through the entire piece she reveals her worries (such as for example gravity, or driving a car that “parts of my dangerously sagging self might end in bad neighborhoods”) and her dreams (border city romances, getting straight down with dust, together with reduction of her household, so she’s going to have enough time to devote by herself more completely to being fully a homemaker). The wearable sculpture/costume has been exhibited at numerous free galleries and it has been bought by The Winnipeg memorial as an element of their permanent collection.

“Have you ever realized that in the event that you clean a floor each day, by nightfall it appears to be simply the just like just before began? That can be done every one of the meals, plus in a matter of hours some one has gone and dirtied them once again? That kiddies are small magnets that are grime picking right up all types of stubborn spots and bringing them house once more? Well, I Am thinking. If i possibly could be rid of my loved ones, it could effectively cut could 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 just like a two-dimensional carnival cutout with holes on her fingers and mind, the gown is a colourful and explicit rendering associated with Virgin Mary’s familiar garment, with a particular peek-a-boo panel of clear cup to show the basis regarding the Madonna’s fame: her 2000 hymen that is year-old. Inside her never-the-same-twice visitations, Mary commentary on love, solution, together with guys inside her life.

“When he comes for your requirements 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: February 1994, Walter Phillips Gallery, The Banff Centre when it comes to Arts, Banff, Alberta (developed from early in the day performance piece The Plaster Virgin, 1992)

Picture The Banff Centre

In Object/Subject of Desire t he main element that is visual this performance is a big ball gown, made of crisp white paper, similar to a debutante dress. Translucent and stiff, delicate yet unyielding, the gown rustles noisily as Dempsey moves and talks.

Through 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 open expression of “wanting”, in addition to sweetness of distribution, together create an presumption that the thing of love talked about may be the old-fashioned partner that is heterosexual. But, these social presumptions are confronted throughout 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 desire me personally. I really want one to even want me though I do not really would like you. I do not would like you at all, but i’d like everybody else to. I’d like everybody else to would like you, but I do not desire you to definitely wish someone else but me personally. All i’d 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 bridal dress, the classic raiment of femininity, virginity and vow. But, the gown’s meant meaning is changed by its construction, from veil to coach, of clear plastic. The product encases the bride suggesting more references that are clinical 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 buddy, your sibling and sometimes even your mother that is own been told, ‘It’s ideal. It really is you. It really is a knockout, ’ only to discover later on that it is a funeral, perhaps maybe perhaps not a marriage. It is July, maybe maybe perhaps maybe not December. You’re a nurse, perhaps maybe perhaps perhaps not an aviator. ”

The Dress: clear plastic, fishing line, buttons

Duration: 20 mins