art. audience.

Tonight I offered free temporary tattoos to the Viva! festival audience and performers. Holding their wrists, arms, stomachs, necks, chests; and pressing a wet sponge on their bodies made me temporarily feel like some kind of healer or emergency worker.

But still there is this question of “Where is the art?” or “I haven’t seen the art.” Can it be performance if there is no applause or it doesn’t happen in a stage/pool?

What gets seen? Who gets supported? This is exactly what my work is about…

“It is important to distinguish performance from performativity: the former presumes a subject, but the latter contests the very notion of the subject. ” Judith Butler

No one in the art audience has asked about my mental health. (I was nervous about how complicated it would be to answer).  A few people have asked if I bathed this week (as the tattoos have not come off yet).

All week I have walked around the city, gone to work, taught my classes, met with friends, bought food… with these words repeated on my throat and wrists.



audience = cultural capital

‎”Capital is dead labor, which, vampire-like, lives only by sucking living labor, and lives the more, the more labor it sucks.” Karl Marx

Cultural capital can exist in three forms: in the embodied state, i.e., in the form of long-lasting dispositions of the mind and body; in theobjectified state, in the form of cultural goods (pictures, books, dictionaries, instruments, machines, etc.), which are the trace or realization of theories or critiques of these theories, problematics, etc.; and in the institutionalized state, a form of objectification which must be set apart because, as will be seen in the case of educational qualifications, it confers entirely original properties on the cultural capital which it is presumed to guarantee.” – Pierre Bourdieu (1986) The Forms of Capital


About workequalsworthequalsinnocence

Working with animation, video, painting, drawing, installation and intervention, my interdisciplinary practice examines the complex position of culture within neoliberal capitalism and critiques modes of social control, while exploring the potential for art to function as a site of resistance. I am specifically interested in how modes of violence are perpetuated collectively through popular narratives, concepts of justice and denial of accountability. Frequently engaging with communities and collectives, my practice eschews individual authorship in favour of collaboration. This has included an ongoing commitment to working with women and youth who are in conflict with the law, through the creation of art projects in prisons as well as at numerous centres that support marginalized people. In 2008, I completed an MFA through the Public Art and New Artistic Strategies program at the Bauhaus University (Weimar, Germany). My work has been shown nationally and internationally in festivals, screenings, artist run centres and museums. I am currently employed as an Assistant Professor of Studio Arts at Concordia University.
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