Making Time at Human Resources: Michelle Dizon
I’ve been thinking and teaching a lot lately on the question of what is critique.
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I’ve been thinking and teaching a lot lately on the question of what is critique.
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Since 2008 I have been working with a team of colleagues at The Museum of Contemporary Art, Los Angeles (MOCA) to design and organize the museum’s performative/social practice program, Engagement Party.
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LACE has been a crucial participant in Los Angeles artistic production for over three decades. One can argue that LACE’s existence emerged directly from the creative intensity generated in Los Angeles in the 1970’s. More specifically, performance art was a driving force behind the emergence of Los Angeles’s alternative spaces, including LACE. At the same time, performance-based activities provided a central platform for three new forms of contemporary practice to emerge: performance art, video art and public practices.
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Central to the PoLAAT is a performance lab in which participants are trained in the tactics and techniques of the Post-Living Ante-Action Theater. Classes are comprised of exercises designed to educate the participants in the five principles: 1) Estrangement, 2) Indistinction, 3) Suspension of Beliefs, 4) Mandate to Participate and 5) Inspirational Critique. Songs based on these principles are taught to the group.
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My collaborative practice with Brennan Gerard has centered around the production of live performances informed by dance and engaged in a dialogue with the histories and legacies of Minimalism. In recent work we have interrogated the couple as the hegemonic formation of intimacy.
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Visual art and performance are in a classic bad relationship. Art stays for the sex, the good times, the feeling of being alive. But art will belittle performance in public, will call it late at night but won’t let it stay over, doesn’t really believe what performance does is valuable.
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TWO WORKS I’m thinking about:
1) Otis Public Practice at CAA: Radical pedagogy and educational critique are key concepts in current debates on artistic public practices. Pedagogical models are explored, re-imagined, and deployed by art practitioners in highly diverse projects comprising laboratories, discursive platforms, temporary schools, participatory workshops, and libraries.
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The past five years have witnessed the explosion of dance in an art context. Major exhibitions exploring the relationship of dance and the visual arts have been mounted at the Museum of Modern Art (2010), Institute of Contemporary Art Boston (2011), Hayward Gallery (2011), and the Centre Pompidou (2012), while choreographers have been the subject of solo shows as well as articles and monographs in visual art publications.
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In a recent conversation with a performance scholar whom I respect deeply, the issue of re-performance, or as it is also often referred to re-enactment (the distinction between these two terms being another topic ripe for conversation), was brought up only to be quickly written off as kitsch and as a sign of a lack of any new platforms for performance production, signaling a sort of dead end in performance’s political efficacy.
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Sometimes (most times), I act on irrational impulses. Several nights ago as I was driving home from my studio in Culver City to my apartment in Koreatown, I realized that I had never counted out loud to 1,000. As soon as the thought occurred, I began counting: 1, 2, 3, 4, 5, 6, 7, 8 . . . 246, 247, 248, 249 . . . I had parked my car somewhere between 487 and 518.
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