Category Archives: live action

Die Tomato, Die!!!

Last night I performed a piece, Die Tomato, Die!!! at the Performance Laboratory, which is a bi-monthly performance event I co-curate at the Contemporary Art Institute Detroit. The theme for this month was Death.

I performed Die Tomato, Die!!! for the first time last April in a seminar in grad school, then titled Tomato Smashing. Here are some pictures from that performance:

It was a successful performance, and I made a lot of discoveries by doing it. One of them was that smashing tomatoes with a hammer was more difficult than I thought (they roll off the table, especially if they’re not ripe enough). Another, that the juice sprays everywhere, including on the audience, who in that particular space space (an empty studio space) was in close proximity. As they were sprayed with squirts of tomato juice, my peers grabbed a plastic sheet on the floor that just happened to be there, and used it to protect themselves from the bursts. There were plenty of  yelps and squeaks as I worked away with my hammer. It was hard to be serious even though I was trying to be- I really didn’t know what would happen, and everything was unfolding in the moment.

The performance was aimed to be an exploration of the RED BLOB, which has been a theme I’ve been experimenting with in my work over the past year. I’ve done all kinds of experiments around the idea of what the red blob might represent, without wanting to define it too specifically as one particular thing. In the tomato smashing context, the tomato represents food and cooking (and a female doing it), there is something quite gorey about it as it is smashed, and it has an interesting context in a performance, especially with me, as the performer, smashing it. Usually it’s the audience members who throw the tomato at the performer…

So, with all these things in mind, I recreated this performance last night at the Performance Laboratory for The Death Show. And it went really well! In the context of death and horror (two other themes I’m working a lot with right now), I wanted to continue with the seriousness of the piece, choosing atmospheric ‘scary’ background music. I chose a costume that was a bit more ‘glamorous’ than the previous one, and was a red color just a bit deeper than the tomatoes, but would be partially hidden behind my white apron. I also added a timer, that I set to 10 minutes long, which is the duration limit for each piece at the Performance Lab. I added rubber gloves, which accentuated the horror effect and made a lot of people laugh in nervous anticipation. And lastly, I handed out plastic bags to the audience members in the first row, who were in close proximity to my table. Oh, the anticipation!!!! AND, I waited to enter for added suspense- just the audience staring at those shiny red tomatoes and a hammer with plastic bags on their laps, waiting for something to happen….

Here are pictures from the performance:

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I have to say, this is definitely one of the most satisfying performances I’ve ever done in my entire life. There is something so incredibly liberating about covering an audience in tomato juice. And even though it was a serious piece, there was a lot of laughter, a lot of participation, and a continuous dialogue between me and the audience. This is still a work-in-progress, and I plan on continuing to develop it for more future performances. I feel so thankful to have the Performance Laboratory as a continuous forum to try things out and experiment. I couldn’t have asked for a more willing and accepting audience, one willing to get covered in tomato juice for the sake of good and experimental art. I don’t know if this would happen everywhere… it would certainly have to depend on the context, and the space that I performed it in.

You can read a review of the Performance Laboratory’s Death Show on the Midwest Theater Review: http://midwesttheatre.wordpress.com/2011/10/22/detroits-performance-laboratory-journey-to-the-interdisciplinary-fringe-a-review-by-edmund-lingan/

For more info about the Performance Laboratory, please visit our facebook page here: https://www.facebook.com/pages/The-Performance-Laboratory/139602749441643. I co-curate this event with collaborator Carrie Morris. It takes place at the Contemporary Art Institute Detroit (CAID) every other month, featuring short works by artists and performers that explore what performance is, and what it can be.

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Stop Motion + Lo-Fi Awesomeness

I am IN LOVE with stop motion animation mixed with live action in film. I’m also obsessed with lo-fi quality, the kind of lo-fi that is obviously fake but offers the magic of using your imagination (*gasp*) to believe it. Here are a few of my favorite examples:

Alice in Wonderland by Lou Brunin, 1949. This film is magical. The cardboard sets are so theatrical, the flicker of the film so old. The scene where Alice is swimming in her tears is amazing- so obviously green-screened and yet so wonderful. The young actress who plays Alice’s hair is obviously bleached blonde. The world of the Queen, all red, is fantastic. Watch this whole film. Go on, watch it. It’s worth it. Move over, pixel animation!!!

Food, Part 1 & 2 by Jan Svankmajer. Czech surrealist filmmaker Jan Svankmajer is my idol. I LOVE LOVE LOVE his work. It’s the perfect combination of live acting and stop motion animation. It’s dark and humorous. It’s disturbing and beautiful. I have watched his films over and over trying to figure out how he does it. Truly a brilliant artist. Watch his films. Watch all of them. Now.

The Blob, 1958 version. Oh, the Blob. How I love it so. It’s like a cross between a big piece of red jello and strawberry jam. And yet, it keeps getting bigger and bigger! Here’s a horror film that I’ll actually watch. Why? Because I can still believe that it won’t actually happen. And despite that, it still holds the exciting suspense that horror films should, without the grossness of being too realistic. I’ve seen the advertisements for the newer 1986 version of The Blob, and it just looks disgusting. Yes, perhaps I should actually watch it to know for sure, but I prefer the older version, there’s just something about it and lo-fi films in general that excite me more than the newer ones.

Has the art world progressed too much for its own good? Has increasingly fancy technology turned it to the shit? Or, am I just too nostalgic for the past? What do you think?