I'm off to Vancouver this weekend, and excited to learn a little bit about our sisters up north! 🍁
Marusya Bociurkiw is a filmmaker, video artist, writer, and educator. Bociurkiw has worked for over two decades in all three Canadian metropoles, based in Vancouver since the mid-1990s. Her early works addressed the interface of gender, class and geopolitics, while sexual identity emerged as a theme of an essayistic and narrative hybrid practice with Playing with Fire (1986, 75). Bodies in Trouble (1990, 15), an attempt to situate lesbian eroticism in the context of rightwing backlash, was full of the positive imagery of an ideal couple, equal parts sensual bedplay and defiant demonstrations, equal parts Toronto, Montreal and the no-dyke's-land in between, full of images of borderlines, passengers in transit, and very Canadian transportation images, full also of a sensibility of exile, liminality and melancholy. In the long-gestated Nancy Drew and the Mystery of the Haunted Body (1999, 45), Bociurkiw developed the playful format of the ideological essay narrative, setting the girl detective up for an investigation of the politics of sexual abuse and the “false memory syndrome.” Since 1990, Bociurkiw concentrated increasingly on her writing, often accenting her Ukrainian heritage. She has also given illustrated lectures on lesbian resonances on television and in music video, popular on the queer community festival circuit, and has taught at Concordia, York, SFU, and UBC. - #Mēdiaqueer
Beneath the staircase in the shadows, #videoart K5 A1 O1 S1 A1 is lurking at Articulate in Leichhardt until Dec 22, tamed by @theimpermanentsecretary and me. We have fed it with photos, bellbirds, scrabble™ tiles, encephalic electro-audio, and cicadas:
Cicada 1: Everything that has a heart must have a name.
Cicada 2: I shall be Kaosa, of the dappled dance, of dying dreams of light.
Cicada 1: I’ll be Serendipity, of neon in the night, with smokes and a pale mirror.
Cicada 2: Your mouthparts are unsuitable for cigarettes.
Excerpt from ‘repeat repeat’ (2014/2019) — 5-hour durational performance, artifact, video documentation — currently on view as part of ‘Principia’ at @dominikmerschgallery until December 22nd.
Documentation by @hospital_hill
While I was busy preparing for my solo show, I was invited to exhibit with the Bag Factory at their group exhibition ‘Tête-a-tête’ at the ABSA Gallery in Johannesburg. These three works have a definite tie with ‘Breaking a curse’, the work which I produced during the AtWork Workshop back in Harare. (See my first post :). I then later wrote an essay about this body of work as well which you can find in ‘Curating Johannesburg: rest.less, under siege and in/transition’ edited by Fadzai Veronica Muchemwa.
All three works examine how we communicate, or perhaps more so, how we miscommunicate. I am interested in the physical impossibility of speaking about certain topics – of purely being tongue-tied and unable to utter an audible sound. With a mild tongue-in-cheek approach, I aim to play with how we often struggle to hear one another, how we cannot speak, listen, or communicate efficiently whether it be in our own ‘mother tongues’ or in an adopted one. Each work addresses this notion in its own way and yet all three are in ‘dialogue’ with one another. Most evidently so is the symbiosis between the video and text-based work which is apparent only if one is able to decipher what is being ‘said’ in the mute video. Whereas, these pieces feature similar linguistic stimuli, the live ‘interactive’ performance of sitting, back to back, with the artist is an experiment to see if anything could be communicated without speaking, physical touch or eye contact.