Vancouver's Second LIVE 2007: Welcome to the Second LIVE 2007 Festival archives...

Monday, October 29, 2007

Welcome to the Second LIVE 2007 Festival archives...

Vancouver's "Second LIVE 2007" festival was created as a curatorial component of the LIVE Biennial of Performance Art 05 (2007).

Second LIVE was unique in that this was a mini-biennial curated under the umbrella of LIVE and took place exclusively in the mainstream virtual world, Second Life.

This event took place over two afternoons at the Western Front in Vancouver on October 19th & 20th, 2007. Natalie Loveless (a.k.a. Loveless Finsbury) was the RL curator for this event as Second LIVE was also part of her initiative called Participatory Dissent.

The Second Life curators for this historic event were:

1) Jeremy Owen Turner (a.k.a. Wirxli Flimflam)from Second Front. As the LIVE Biennial's Director of Avatar Development and the former Events Coordinator for LIVE 2005, Turner curated most of the events for Second LIVE.

2) Skawennati Tricia Fragnito (a.k.a. xox Voyager) from the Aboriginal Territories in Cyberspace Network (AbTec). Skawennati guest curated performances by Bea Parsons (a.k.a. Bea Box) and iHeart Kuri (Bonnie Quaite).

3) James Morgan (a.k.a. Rubaiyat Shatner) of Ars Virtua. Morgan curated Second Front's performance at Second LIVE.

Here is a reproduction of the original schedule where each official performer and the title of their respective performance as well as duration is listed:

FRIDAY, OCTOBER 19th, 2007

2 PM- Fau Ferdinand (Yael Gilks) - "All nOObs are Sailors/ The Siren Act 2" - 30 mins (East Odyssey)

2:30 - Bea Box (Bea Parsons) - "You want a piece of me?"- 30 mins

3 PM- iheart Kura (Bonnie Quaite) - "The Dream Never Dies (Just The Dreamer)." - 30 mins (Notata Falls)

4:00-5:00 PM - Eba Hax (Tagny Duff) - "Skin Relation #1" - 1 hour

SATURDAY, OCTOBER 20th, 2007

2:00-2:30 PM - Tran Spire (Doug Jarvis) - " Wow! Tran Spire visits World of Warcraft" (30 mins)

2:30-3:00 PM - Man Michinaga (Patrick Lichty) - "RGB (Events, 3 color score)" - (30 mins)

3 PM - Second Front - "Theatre of the Subliminal Front" (45 mins) (new Ars Virtua sim).

3:45 PM - Nyko Nakamura (Classified) - "14 Extra Open Slot Minutes (Courtesy of Nyko Nakamura & LIVE) While Eating a Sandwich in Real Life." - (15 mins)

*15 minutes open time slot*

4:15-5:00 PM - Eba Hax (Tagny Duff) & LadyJustice Beaumont (Margaret Dragu) - "PERFORMOLOGY REMIX #2" - (1 hour).

To read official publicity about the LIVE biennial in general, please click on LIVE's blog link.

Archives and related documentation from this event will gradually be uploaded online within a month or two. Please bookmark this blog and check back in the coming days to read the news...

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Curatorial Statement by Wirxli Flimflam (Jeremy Owen Turner)...

Since 1999, Vancouver 's LIVE Biennial of Performance Art has been at the forefront of biennales dedicated to the practice of performance art. The theme for this year's LIVE Performance Art is "public" and in order to continue LIVE's innovative legacy, I have chosen to bring the institutionalized practice of gallery-related and legitimized performance art into the public (yet occasionally corporate) and much-hyped mainstream virtual world, Second Life.

Running parallel with the PERFORMA Performance Art Biennale in New York , 2007 is the year where virtual performance has officially entered the realm of "real" institutional legitimacy and popular appeal. Timing is of the essence since it is predicted by media moguls that by the year 2011, most online inhabitants around the world would have at least flirted with virtual worlds as part of their everyday routine.

This ambitious curatorial project was made in collaboration with an in-world gallery called Ars Virtua and an institutional broadcast venue, The Western Front.

It is hoped that this mini virtual-performance fest is a catalyst for future avatar performance art events to come.

- Jeremy Owen Turner – LIVE 2007 Director of Avatar Development, Vancouver , B.C., Canada .

xox Voyager's (Skawennati Tricia Fragnito's) Curatorial Statement...

It is extremely important that Aboriginal people show up in The Future. Images of Indians, silent and unnamed, can readily be found in history books. But, judging by our lack of presence in pictures of things to come, we apparently don't have a role to play in a technologically advanced society such as our own. I fear that if we cannot see ourselves in The Future, we will not be there. Conversely, however, if we can visualize our participation in this multi-mediatized world, there is a good chance that we will become active agents in it and that we will help to shape new (and newer) medias as they arise.

Nothing can represent The Future better than a real-time, interactive, 3-D space where fantastic people populate improbable architecture as they fly, teleport, and telepathically communicate their thoughts and dreams. Where do Native people fit into such a space? And, more importantly, where do we want to fit in that space?Parson's performance will touch upon several themes that have been central to contemporary Aboriginal art in recent years. These include stereotypes (and the ignorance and stagnation that these imply); colonization; appropriation; the environment; the Other, the body and the gaze. However, what sets this work apart is the effective use of the medium-Second Life-to convey her particular take on these subjects. For example, a real-life version of You Want a Piece of Me? would have required Bea to bake and serve a five-foot, three-inch cake decorated to look like herself, and still it would not fully express the idea that she was being consumed. In Second Life, she is able to actually be the cake, and to slowly disappear as her party guests consume her.At the same time, Parson's performance attempts to answer some of the questions posed above. Simply by virtue of performing in a virtual space, she is claiming that we have a place there.

The piece also comments on the idea of "there". As the purported environmental custodians of their various continents, Aboriginal people have often been psychologically tied to the land they inhabit (in both our own minds and in the minds of non-Aboriginals). In a digital place dispossessed of land (if we can rightly say that Second Life is dispossessed of land) perhaps the Indian can shed the burden of stewardship and focus on some other things that interest her.

Participatory Dissent Description

Here is the official Second LIVE website.

Participatory Dissent: Debates in Performance (October 18-22, 2007, Vancouver), an encounter between traditional forms of performance art (endurance/duration) and new forms of social practice and intervention. Produced in conjunction with the LIVE Biennial of Performance Art, the program looks to the overlaps between practices, modes of thinking, and opinions about contemporary performance. Viewers are invited to participate, enjoy and intervene in four days of individual performance art, social intervention, and discussion surrounding performance art practices that forge new relationships between artists, site and community. Facilitating the creation of new work by artists from across Europe and North America, Participatory Dissent: Debates in Performance will consist of individual and collaborative works (situated at the Western Front, online, and in various outdoor locations in Vancouver), online discussions, a round-table discussion event at the Western Front and a panel discussion at Emily Carr Institute. Works will address public intervention, alternative economies, the limits of the body, and cultures of fear in the post 9/11 era. This series of events is organised by Western Front Performance Art. Guest Curator Natalie Loveless.

Vancouver's Second LIVE 2007

Monday, October 29, 2007

Welcome to the Second LIVE 2007 Festival archives...

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LIVE 05 BIennale of Performance Art (2007)

Blog Archive

Wirxli Flimflam

Curatorial Statement by Wirxli Flimflam (Jeremy Owen Turner)...

xox Voyager

xox Voyager's (Skawennati Tricia Fragnito's) Curatorial Statement...

Rubaiyat Shatner

Rubaiyat Shatner's (James Morgan's) Curatorial Statement...

Participatory Dissent Description