photo: Zoe Kreye in "DEDICATED TO YOU" rooftop Latitude 53
Sunday DAY May 21:
After an urban night soundscape at Dayz Inn of shattered glass,
body punches, puke-ing, bottle-passing, and car wheels spinning on gravel,
we arrive at Latitude 53. The handsome Todd Janes brews dark roast
coffee and serves lemon poppyseed muffins.
We slam into gear.
Energy cranks up several notches.
La Presse arrives. Artist interviews for radio/newspaper
are conducted on the roof top
inbetween Zoe Kreye's first performances of
"DEDICATED TO YOU".
I can see Zoe hostessing on the roof through the glass panes
but cannot hear. Tantalizing.
The gallery is de-installed from last night's gala then prepped up
for Naufus Ramierez-Figueroa's performance tonight
"MARIACHI HISTRIONICS".
LITTLE CHAT WITH NAUFUS RAMIEREZ-FIGUEROA
in Latitude 53's Kitchen:
A coupla' days before coming to Edmonton,
I saw Emily Carr Institute of Art & Design's Grad Show in Vancouver.
Naufus (like 2004 Visualeyez artist Julianna Barbaras)
took The Slow Boat to Art School Graduation; they both got the diploma
in May but both are very active artists with bodies of work.
[Not sure what this title "student" means? Nor nomenclature "teacher".]
Naufus's 3-dimensional piece "ASHEN VISCERA TO BLOOM" was made in
the shape of intestines covered in very fine white crocheting (like lace
or tatting). The needlework was executed by his mom/an aunt/a friend
who live in Guatemala and also by Naufus who learned how to do it
during a visit with his mom 3 yr. ago.
Although I get Joyce Wieland/Judy Chicago nods from this piece, it is a
stronger/visceral/embodied work inspired by Naufus's childhood nightmares
of being eviscerated by soldiers. He moved to Canada when he was twelve.
I ask Naufus about "WANDERING LIBIDO"
(a performance I saw at Gallery Gachet for 2003 LIVE Biennale
in Vancouver, BC). I recall a series of extremely
foccussed/executed aktions including frying pork fat in an electric fry pan
and smearing the fat on the floor, chopping and fying Barbie dolls in pork fat,
smoking cigars through mouth/anus, kneeling/wrapping, etc...
To me, his performance embodied the oppressive presence of FAT in the bodies
of The Poor and The Mentally Ill in that poverty/obsesity/diabetes/meds for most
mental illnesses all contribute to obesity. Naufus said that his performance was
based on his reclaiming his body after being prescribed "Haldole"
for PST (post traumatic stress disorder). The drug distanced/separated Naufus
from his body especially during sexual feelings/actions and the performance
was a way to reclaim his body.
"THE SUN IS CROOKED IN THE SKY - MY FATHER THROWN
OVER MY SHOULDER" is an already LEGENDARY performance
in our Living Art History.
Naufus performed it in Toronto for FADO.
[Go to FADO's webpageand read their article.]
It is a one (100) hundred hour durational performance!
Naufus calls it "an active meditation". I love this term
as it identifies some of the qualities/challenges/strategies
and joys of Durational Performance Art.
In "THE SUN IS CROOKED ...", Naufus wished to address
power and knowledge from his mixed ancestry (white & aboriginal)
as evidenced in many generations in his family history.
He devised aktions for the first 13 hours of the performance
then improvised the last 87 hours. Here, as well, Nauafus was dealing
with power, gender, culture, embodiment/disembodiment and reclamation.
I asked Naufus what attracts him to Durational Performance.
He said it gives him time to allow things to happen,
to get into his body, and to get into the mood.
I laughed when he said he wished it took him less time to get into the mood!
His performance tonight is scheduled for only 3 hours.
Performance starts at 7:00 pm.
Be there or be square.
Love,
La Dragu The Scribe
photo: Naufus in MARIACHI HISTRIONICS
