Interviews — Readings on Performance (2015)

Bataille, G. (1977). Story of the Eye by Lord Auch. New York : Urizen Books.

Firestone, S. (1970). The Dialectic of Sex : The Case for Feminist Revolution. New York : Bantam Books.

Horvitz, R. (1976). Chris Burden. Artforum, 14(9), 24-31.

Kempis, à T. (1951). The Imitation of Christ. London : Penguin.

Lyon, D. (1968). The Bikeriders. New York : The MacMillan Company.

McCarthy, C. (1985). Blood Meridian Or the Evening Redness in the West. New York : First Vintage International Edition.

Meyer, U. (1972). Conceptual Art. New York : Dutton Paperback.

Pontbriand, C. (éd.) (1981). Performance textes & documents : actes du colloque ‘Performance et multidisciplinarite : postmodernisme’= Performance : texts & documents : proceedings of the conference ‘Multidisciplinary aspects of performance : postmodernism’. Montréal : Éditions Parachute.

Warnock, M. (1978). Ethics Since 1900. London : Oxford University Press.

Wittgenstein, L. (1961). Tractatus Logico-Philosophicus. London : Routledge, Kegan Press.

Wittgenstein, L. (1968). Philosophical Investigations. Oxford : Basil Blackwell.

Tim Clark is an interdisciplinary artist invested in performance, photography, and film and video based installations that address issues of social conflict, imperialism and ethics. Since 2010, he has been particularly interested in formulating a genealogical critique of the first and second ecumenical councils in Nicaea and their effects on the history of modernity. His work has been presented in Europe and North America. In 2008, a retrospective of his work was shown at the Leonard & Bina Ellen Gallery at Concordia University and, in 2010, he took part in the exhibition Traffic: Conceptual Art in Canada 1965–1980 at the University of Toronto’s Justina M. Barnicke Gallery.

Baas, J. et Jacob, M. J. (2004). Bouddha Mind in Contemporary Art. Berkeley, University of California Press.

Déry, L. ; Groot, de R. et Pocreau, Y. (2006). Raphaëlle de Groot : En exercice. Raphaëlle de Groot : En exercice. Montréal, Galerie de l’UQAM.

Drouin-Brisebois, J. et al. (2008). Caught in the Act : The Viewer as Performer. Ottawa : Musée des beaux arts du Canada.

Giannachi, G. et al. (2012). Archeologies of Presence : Art, Performance and the Persistence of Being. Oxon : Routhledge.

Jean, M.J. (éd.) (2010). Mladen Stilinovic. (33) Montréal : VOX image contemporaine / contemporary image.

Loubier, P. et Karen S. (2011). Karen Elaine Spencer : Porteur de rêves = Dream Listener. Alma : Sagamie édition d’art.

Markonish, D. (éd.) (2012). Oh Canada : Contemporary Art from North America. Cambridge : MIT Press ; North Adams : MASS MoCA.

Montano, L. (2000). Performance Artists Talking in the Eighties. Berkeley : University of California Press.

Pontbriand, C. (éd.) (1981). Performance textes & documents : actes du colloque ‘Performance et multidisciplinarite : postmodernisme’ = Performance : texts & documents : proceedings of the conference ‘Multidisciplinary aspects of performance : postmodernism’. Montréal : Éditions Parachute.

Rosler, M., Vidokle A., et Wright, S. (2007). Martha Rosler Library. Paris : Institut national d’histoire de l’art.

Sylvie Cotton is an interdisciplinary artist, author and curator. Her work is tied to performance, art action, drawing, writing-based practices and residencies, although installation forms are also regularly used to put together exhibitions. Her work involves the creation of situations that establish a relationship with another, or an infiltration of another person’s personal world. She is an active member of the Centre Clark and was the Director of SKOL Centre des arts actuels in Montreal. Her work has been presented internationally including a recent retrospective at the Joyce Yahouda Gallery in Montreal.  In 2013 she co-published with Nathalie de Blois Moi Aussi. She is a doctoral candidate in the Études et pratiques des arts program at UQAM. 

Bronson, A.A. et Gale, P. (éd.) (1979). Performance by artists. Toronto : Art Metropole.

Guest, T. (1986). General Idea : The Armoury of The 1984 Miss General Idea Pavilion / Videoseries 86/87 : Videotapes by General Idea. New York, NY : 49th Parallel.

Luhmann, N. (2000). Art as a Social System. Stanford : Stanford University Press.

Martel, R. (éd.) Matériau manœuvre. (1990). Inter : art actuel, 47, 1-62.

Ministère de la culture et des communications. (1990). Chiffres à l’appuie. VI(1), 12. 

Office québécois de la langue française. (2010). Art Performance. In Le grand dictionnaire terminologique. http://gdt.oqlf.gouv.qc.ca/ficheOqlf.aspx?Id_Fiche=26504500

Rouch, J., (2005). Le maître fou (1955). 104’, 16 mm / DVD. Films de la Pléiade. Paris : Éditions Montparnasse.

Robho (5-6) (1971).

Swidzinski, J. (1979). Art, Society and Self-consciousness. Calgary : Alberta College of Art Gallery.

Vattimo, G. (1990). La société transparente. Paris : Desclée de Brouwer.

Since 1987, without a studio and within an “indisciplined” practice, Doyon/Demers have explored questions of site-specificity, in socius, action-based art and the relationship between art and life. As a collective, Hélène Doyon and Jean-Pierre Demers have published numerous articles, most recently “Ratisser le réél” in the monograph Alain-Martin Richard – Performances, manœuvres et autres hypothèses de disparition (2014) and “Weaving an undisciplinary research methodology” in the publication Artes e Seus Territórios. Their work has been performed and exhibited internationally throughout Canada, Europe, Brazil, Cuba and Japan.

Arcan, W., Canyon, B., Coyote, I.E., David, T., Dragu, M., Lewis, G., Henry, K., Maracle, A., Mars, T., Pechawis, A., Radul, J., Wong, P. et Kiss & Tell. (2000). Live at the End of the Century : Aspects of Performance Art in Vancouver. Vancouver : Grunt Gallery.

Auslander, P. (1999). Liveness : performance in a mediatized culture. London : Routledge.

Bachelard, G. (1994). The poetics of space : the classic look at how we experience intimate places. Boston : Beacon Press.

Bronson, A.A. et Gale, P. (éd.) (1979). Performance by artists. Toronto : Art Metropole.

Phelan, P. (1993). Unmarked the politics of performance. London : Routledge.

Rainer, Y. (1974). Work 1961-73. Halifax : Halifax Nova Scotia College of Art and Design.

Trueblood Brodzky, Anne (éd). (1981). Ritual Actions. artscanada, 38 (240-241).

Wilson, M. (1997). Performance Art : (Some) Theory and (Selected) Practice at the End of This Century. Art Journal, 56(4), 2-3.

Johanna Householder has been making performances, videos and other artworks since the late 1970s and teaching performance art since the early 1990s. A member of the notorious feminist ensemble, The Clichettes in the 1980s, Householder practices her own brand of cultural détournement. Her work has been shown widely, from Canada to Indonesia. She is a co-founder and director of the 7a*11d International Festival of Performance Art, which held its 8th biennial festival in 2014. She edited, with Tanya Mars, Caught in the Act: An Anthology of Performance by Canadian Women (2005) published by YYZ Books, Toronto, as well as the 2nd edition More Caught in the Act in 2015. She is a professor at OCAD University in Toronto.

Bajar, K., Bergvall, C., Budzick, S., Bush, M., Condé, C., Cotton, S., Dajczer, B., Dawn, K., Guerrilla Girls, Women with Kitchen Appliances et.al. (2002). Culinary Arts Institute Performance Recipe Book. Montréal : La Centrale.

Bruguera, T. (2006), Vigilantes : The Dream of Reason. Toronto : Fado Performance Art Center et Montréal : La Centrale.

Cotton, S. (2006). Sylvie Cotton : Je préfère tout. Compton : Îles fortunées.

Couillard, P. et Johnson, E. (2014). Duorama Golden Book Series #1 – #120. Toronto : FADO Performance Inc.

Forkert, K. (1996). Kirsten Forkert : Performances. Montréal : Kirsten Forkert.

Fournier, N. et Spencer, K. (2003). Performance Chics. Montréal : La Centrale.

Fraser, M., Lafortune, M.-J. , Kocache, M. (2003). Gestes d’artistes = Artists’ Gestures. Montréal : Optica.

Garneau, D. (2013). Extra-Rational Aesthetic Action and Cultural Decolonization. FUSE 36 (4), 14-23.

Guttman, k.g. (2006). Elapse I and II : k.g. Guttman. Montréal : k.g. Guttman.

Kausalainen, E. et Simon, V. (éd.) (2004). Take Out : Performance Recipes for public space = Prête à porter : Recettes de performance pour l’espace public. Montréal : La Centrale.

Shed’art (1998). Document éphémère. Montréal : collection Artexte.

Michelle Lacombe has developed a unique body-based practice since obtaining her BFA from Concordia University in 2006. Purposefully minimalist, her research-based body art practice begins where bodily gesture and mark making are entwined and her performances, banal yet confrontational, are anchored in radically short actions. Her work has been shown in Canada, the USA and Europe in the context of performance events, exhibitions and colloquiums. Her practice as an artist is paralleled by a strong commitment to supporting the development of critical and alternative models of dissemination for live art practices. She has worked with a number of Montreal artist-run centres including articule and La Centrale Galerie Powerhouse, and is currently the director of VIVA! Art Action, a local biennial performance art platform. In addition, she has had a number of complementary experiences in curating, writing and generally resisting dominant culture.

Bryan-Wilson, J. (2012). Still Relevant : Lucy R. Lippard, Feminist Activism, and Art Institutions. Dans C. Morris, V. Bonin et M. Brooklyn (éd.), Materializing Six Years : Lucy R. Lippard and the emergence of conceptual art. Cambridge : The MIT Press, 71-95.

Eleey, P. (2008). If You Couldn’t See Me : The Drawings of Trisha Brown. Dans Eleey, P. (éd.), Trisha Brown : So that the Audience Does Not Know Whether I Have Stopped Dancing. Minneapolis : Walker Art Center, 18-35.

Farrell Racette, S. (2012). Encoded Knowledge : Memory and Objects in Contemporary Native American Art. Dans Mithlo, N. (éd.), Manifestations : New Native Arts Criticism. Santa Fe : Museum of Contemporary Native Art.

Forti, S. (1974). Handbook In Motion. Halifax : The Press of the Nova Scotia College of Art and Design.

Garneau, D. (2012). Imaginary Spaces of Conciliation and Reconciliation. West Coast Line : Reconcile This!, 46 (2), 28-38.

Hooks, B. (2000). Coming to Class Consciousness. Dans Hooks, B. (éd.), Where we stand : class matters. New York : Routledge, 24-37.

Hooks, B. (1990). Marginality as a site of resistance. Dans Ferguson, R. (éd.), Out there marginalization and contemporary cultures. New York, Cambridge : New York New Museum of Contemporary Art, MIT Press, 241-243.

Sontag, S. (2002). The Aesthetics of Silence. Dans Sontag, S. (éd.), Styles of Radical Will. États-Unis : Picador, 3-34.

Taylor, D. (2003). Who When What Why. The archive and the repertoire : performing cultural memory in the Americas. Durham : Duke University Press.

Wofford, T. (2011). Signifying Race in David Hammons’ Spade Series. Dans Hammons, D., C. R. Tilton, L. Charlwood, G. Jack Tilton, Roberts et G. Tilton (éd.), L.A. Object & David Hammons Body Prints. New York : Tilton Gallery, 88-134.

Wood, C. (2007). Yvonne Rainer : The Mind is a Muscle. Londres : Afterall Books.

Tanya Lukin Linklater’s performances in museums, videos, and installations have been shown in Canada and abroad. She is engaged with the relationships between Aboriginal bodies, stories, poetry, pedagogy, conceptual spaces and Aboriginal languages and institutions. Her work has been shown at EFA Project Space + Performa, New York City, Museum of Contemporary Art Santiago, Chile; at Western Front, Vancouver and elsewhere. In 2016 she presented He was a poet and he taught us how to react and become this poetry (Parts 1 and 2) at La Biennale de Montréal – Le Grand Balcon. In 2017, as a member of Wood Land School, she participated in Kahatenhstánion tsi na’tetiatere ne Iotohrkó:wa tánon Iotohrha / Drawing Lines in Montreal. Wood Land School participated in Under the Mango Tree – Sites of Learning, a gathering for documenta 14 in Athens and Kassel. Tanya’s poetry and essays have been published in C Magazine, Yellow Medicine Review, and in publications by the Whitney Museum of American Art Independent Study Program, amongst others. Tanya studied at University of Alberta (M.Ed.) and Stanford University (A.B. Honours) where she received the Mellon Mays Undergraduate Fellowship and the Louis Sudler Prize for Creative and Performing Arts. She was awarded the Chalmers Professional Development Grant in 2010 and the K.M. Hunter Artist Award in Literature in 2013.

Barber, B., Birnie Danzker, J.-A., Blakind, A., Bluin, R. et Roth, M. (1979). Living Art Vancouver. Vancouver : Western Front/Pumps/Video In.

Choinière, F. et Thériault, M. (éd.) (2005). Point & shoot : performance et photographie. Montréal : Dazibao.

Juno, A. (1999). Angry Women. RE/Search (13), New York : Juno Books.

Lippard, L.R. (1976). From the Center: Feminist Essays on Women’s Art. New York : E. P. Dutton.

Roth, M. (1983). The Amazing Decade: Women and Performance Art in America, 1970-1980. Los Angeles : Astro Artz.

Singh, V. (éd.) (2004). Ritual in Contemporary Performance : A Document of the Contemporary Ritual Series. Vancouver : Western Front.

Weintraub, L. (1996). Art on the Edge and Over Searching for Art’s Meaning in Contemporary Society 1970s–1990s. Litchfield : Art Insights, Inc.

Tanya Mars is a feminist performance and video artist that has been active on the Canadian scene since the 1970s. His work is characterized by satirical and politically engaged feminist imagery. She was a founding member and director of Powerhouse Gallery (La Centrale) in Montreal as well as editor of Parallelogramme magazine for 13 years. She has performed widely across Canada, in Valparaiso, Chile, China, Mexico City, Sweden, France and Finland. She is co-editor with Johanna Householder of anthologies Caught in the Act (2004) and More Caught in the Act II (2015).  In addition a book on her work edited by Paul Couillard, Ironic to Iconic: The Performance Works of Tanya Mars, was published in 2008. She is the recipient of a 2008 Governor General’s Award in Visual and Media Arts and teaches at the University of Toronto at Scarborough  in the Department of Art, Culture and Media. 

Ardenne, P. (2002). Un art contextuel, création artistique, en milieu urbain, en situation, d’intervention, de participation. Paris : Flammarion.

Debord, G, (1992). La société du spectacle. Paris : Paris Gallimard.

Deleuze, G. et Guattari, F. (1980). Mille plateaux : capitalisme et schizophrénie. Paris : Éditions de Minuit.

Dewey, J. (1934). Art as experience. New York : Putnam.

Filliou, R. (1995). From Political to Poetical Economy. Vancouver : University of British Columbia.

Fréchette, J. ; Martel, R. ; Perreault, N. ; Richard, A.-M. et Saint-Hilaire, J.-C. (1995). Territoires Nomades : Une manœuvre des membres du collectif Inter/Le Lieu. Québec : Les Éditions Intervention.

Inter : art actuel (1-119) (1978-)

Loeffler, C. et Tong, D. (1989). Performance anthology source book of California performance art. San Francisco : Last Gasp Press, San Francisco Contemporary Arts Press.

Loubier, P. et Ninacs, A.-M. (éd.) (2001). Les commensaux : quand l’art se fait circonstances = when art becomes circumstance. Montréal : Centre des arts actuels SKOL.

Martel, F. et Thériault, N. (1973). Québec Underground 1962-1972. (Vol. 2). Montréal : Les éditions Médiart.

Richard, A.-M. et Robertson, C. (éd.) (1991). Performance au Canada 1970-1990 = Performance in Canada : 1970-1990. Québec, Toronto : Éditions Intervention, Coach House Press.

Alain-Martin Richard is a performer, artist, editor, and critic. Since the 1970s he has developed a multidisciplinary practice that considers questions of art in society, and of art as poetic action―and as a philosophy enacted. His production has focused on the objective conditions of artistic experimentation, incorporating practices not usually associated with the field of art. He has participated in many festivals and events, performing in North America, Europe and Japan. With Martin Mainguy he is a member of the collective Les causes perdues, dedicated to the exploration of contemporary poetry. He is co-editor with Clive Robertson of the book Performance in/au Canada 1970-1990, and was an active member at INTER/Le Lieu in Québec. In collaboration with Les Éditions Intervention he has organized numerous events, such as Au contraire, la performance (2013) at the Musée du Québec.

Bronson, A.A. (éd.) (1987). From Sea to Shining Sea. Toronto : The Power Plant.

Bronson, A.A. et Gale, P. (éd.) (1979). Performance by artists. Toronto : Art Metropole.

Buckley, B., Cleland, S. et French, B. (2010). Bruce Barber : Work 1970 – 2008. Woolloomooloo : Artspace.

Couillard, P. et Liva, A. (éd.) (2014). Alain-Martin Richard : Performances, manœuvres et autres hypothèses de disparition = Performances, Manoeuvres and Other Hypotheses for Disappearing. Toronto : FADO Performance Inc.

Couillard, P. (éd.) (2008). Ironic to Iconic : the Performance Works of Tanya Mars. Toronto : FADO Performance Inc. 

Drobnick, J. et Fisher, J. (éd.) (2002). CounterPoses : Re-concevoir le tableau vivant = CounterPoses : Re-imagining Tableaux Vivants. Montréal : Oboro.

Greyson, J., Shilts, R., Leavitt, D. et Volodya. (1993). John Greyson : Urinal and Other Stories. Toronto : Art Metropole.

Householder, J. et Mars, T. (éd.) (2004). Caught in the Act : An Anthology of Performance Art by Canadian Women. Toronto : YYZ Books.

Johnson, L. (éd.) (1997). Suggestive Poses : Artists and Critics Respond to Censorship. Toronto : Photographers Workshop.

Martel, R. (éd.) (2001). Art Action 1958-1998. Québec : Éditions Intervention.

Pontbriand, C. (éd.) (1981). Performance textes & documents : actes du colloque ‘Performance et multidisciplinarite : postmodernisme’ = Performance : texts & documents : proceedings of the conference ‘Multidisciplinary aspects of performance : postmodernism’. Montréal : Éditions Parachute.

Richard, A.-M. et Robertson, C. (éd.) (1991). Performance au Canada 1970-1990 = Performance

in Canada : 1970-1990. Québec, Toronto : Éditions Intervention, Coach House Press.

Robertson, C. et Woodrow, P. (éd.) (1975). W.O.R.K.S.C.O.R.E.P.O.R.T. Calgary, Collumpton : W.O.R.K.S., Beau Geste Press.

Stimson, A. (2014). The Life and Times of Buffalo Boy. Calgary : Truck, M:ST Performative Art Festival.

Wallace, K. (éd.) (1993). Whispered Art History : Twenty Years at the Western Front. Vancouver :

Arsenal Pulp Press.

Clive Robertson began making and curating performance art in England in 1970. He co-instigated the Calgary-based international performance and publishing collective, W.O.R.K.S. with Paul Woodrow in 1972. Robertson is a founding editor/publisher of Voicespondence Audio Art Publishing (1974) and of Centerfold/ FUSE  magazine (1976). With Alain-Martin Richard he edited the book, Performance au/in Canada 1970-1990 (Coach House Press/Éditions Intervention, 1991) and in 2007 produced a touring archival retrospective of his collaborations, THEN + THEN AGAIN: Practices Within An Artist-Run Culture, 1969-2006.  He is currently finishing a feature-length video documentary I.O.60’s (In Our Sixties) that reconnects with earlier artist communities in the UK and Canada. Clive is recognized as a leading theorist and historian of artist-run culture and currently teaches Performance Art, Art History and Cultural Studies at Queen’s University.

Ardenne, P. (2002). Un art contextuel, création artistique, en milieu urbain, en situation, d’intervention, de participation. Paris : Flammarion.

Bourriaud, N. (2001). Esthétique relationnelle. Dijon : Les presses du réel.

Couillard, P. et Liva, A. (éd.) (2014). Alain-Martin Richard : Performances, manœuvres et autres hypothèses de disparition = Performances, Manoeuvres and Other Hypotheses for Disappearing. Toronto : FADO Performance Inc.

Lippard, L. (1990). Mixed Blessings. New Art in a Multicultural America. New York : New Press.

MacLennan, A. et Watson, G. (2003). Alastair Maclennan Knot Naught. A retrospective. Belfast : Ormeaux Baths Gallery.

Martel, F. et Thériault, N. (1973). Québec Underground 1962-1972. (Vol. 2). Montréal : Les éditions Médiart.

Martel, R. (2001). Arts d’attitudes. Discussion. Action. Interaction. Québec : Éditions Intervention.

Martel, R. (2005). Art – Action. Dijon : Les presses du réel.

Richard, A.-M. et Robertson, C. (éd.) (1991). Performance au Canada 1970-1990 = Performance in Canada : 1970-1990. Québec, Toronto : Éditions Intervention, Coach House Press.

Sioui Durand, G. (1997). L’art comme alternative réseaux et pratiques d’art parallèle au Québec : 1976-1996. Québec : Éditions Intervention.

Guy Sioui Durand is a Wendat (Huron) based in Wendake, Québec. He is a sociologist (PhD), art critic, independent curator, and performer (spoken word). He is specialized in contemporary North American indigenous art practices and contemporary art. He is the co-founder of the magazine Inter and the publishing house Les Éditions Intervention in Québec. He has published widely and his most well known publications include Les très riches heures de Jean-Paul Riopelle (2000), L’art comme alternative. Réseaux et pratiques d’art parallèle au Québec, 1976–1996 (1997) as well as his essay “Indiens, Indians, Indios” (Inter, art actuel, no.104, 2009) and his dossier Les ruses de Corbeau/Coyote/Carcajou published in (Esse, arts + opinions in 2002). Sioui Durand was Aboriginal advisor for 400e anniversaire de la ville de Québec 1608-2008 and curator of Gépèg : Souffles de Résistance (Gatineau, Québec/Ottawa, Ontario, 2009).