SEPT-OCT 1979 PERFORMANCE ART VIDEOTAPES The notion that the camera (filmic, photo­ exotique ' which combines both a live perfor­ EDITED VERSION considers a body of perfor­ graphic and video) is a neutral, transparent mance and documented events. mances whid-i are developed primarily during device which faithfully records reality has post produ~tion, especially in editing. Classic been increasingly cha! lenged. The frame, Tt:ie· second category FOR THE CAMERA tapes of this genre are 'Vertical Roll' (1972) wfoch exclude~ m o re than it in ~ l~de ~m-arks considersanother body oT iiiiork in which the by Joan Jonas and 'Suicide Sutra'(l974) by Les out a selective process that is more subjective role of the camera becomes pivotal. In the case Levine (which records and transforms a than objective. of Reindeer Werk's 'Yeck's Garden'(l976) and reading by John Giorno). It ha~ proved more difficult, however, to John Mitchell's 'Born Again'(l977), the only In more recent work Nam June Paik re-presents recognize that the presence of a recording audience is that reached through the camera. and transforms performance by M ::~rce device; whether it is the photographic or video This "private" relationship and performer is Cunningham in an extraordinary tape that camera, is not only modifying the way in which . fully developed in Lily Eng's 'Defending The challenges our notions of both the process of we per.cieve "reality" ,'but also the way in Motherland' (1979). recording, and performance itself. ( Merce which we organize events. by Merce by Paik, 1979). We seem more ready to recognize ·manipulation The final tape in this section is one in search of (camera) events in the domain of politics of a mis-label. It will probably be called New than art. _Wave Video. 'Deviate Unit'(l979) was produced Increasingly, however, art is· as designed for by Daniel Dion from Studio Z in Montreal. documentation as the poltical personality is Again, through post production (hand holding designed for media-charisma. reel to reel tape during dubbing to create This particular exhibition, PERFORM, con - slow motion effects) Dion exploits distortion siders the way in which performance art is inherent in the recording process. being transformed by the video camera which records it. The final section of this exhibition Four catagories are considered; DOCUMENTS, INTEGRATED VIDEO considers an important FOR THE CAMERA, EDITED VERSION and body of work in which the v ideo camera and INTERGRATED VIDEO. monitor are not simply a recording device but a functional part of the performance, a In some senses these categories reflect a landscape in which the artist operates. relationship between video and performance In the earliest tapes in this section, 'Media which has evolved during the last decade. The Burn'(l975) by Ant Farm, the video monitors divisions, however, are not chronological. are both symbolic and architectural. In Some of the tapes in ' documents ' were made Piranha Farms'(l978) off-the-air footage during the last months. They reflect, rather, merges television (media) reality with perfor­ an attitude to the role of the camera and the mance reality. This process of substitution video monitor. > ·~ is carried further by Elizabeth Chitty's 'Telling Tales'(l979) and Clive DOCUMENTS considers the use of video as a -- Robertson. Robertson's 'Explaining Pictures " transparent " tool, a means of recording a . ~!iJ .To Dead Air'(l978) is a powerful investigation performance or event oriented towards a live ~~.I J~~JJ into the media personalities of artists like audience. Such documents, including the classic ' -'i . ~ -:;:·,~~. 'Deccadance - Art Stars in Hollywood' made in , ' .·~i'' ~-::. ~ Joseph Beuys through mass media formats 1974, are capable of evoking a past event for !_?~ ~IT~E L L such a,s television news. audiences distant in both location and time. Two tapes in this se.ction are designed specifi­ Forcing work by individual artist into categories Similarly, Hank Bull recently recorded his cally for the camera and _i n quite different ineyitably results in oversimplification and 'Relican Wedding' for both a future and a wider ways exploit the recording· process.- The ·often misnomers. PERFORM has been audience. meani11g o(Nan Hoover's perform§l':"lce 'Light or,,g_aq,i.;::ed not out of desire to categorize or Sometimes, the live audience for such events Dissol.:.-es, Light Poles1(l978) is-totally depen­ historically describe a body of work, but in an is small, at times non-existant. By recording dent on the way in which the video camera attempt to understand the evolving relationship a number of events the artist is ab le to trans­ records light. David Buchans's 'Lamonte Del­ between performance and video. mit information on a body of work, sometimes monte & The Fruit Cocktails(l978) is a series carried out in widely different locations. Such of production pieces which both parodies and videotapes include Chris Burden's 'Documen­ employs the cliches of 'live entertainment' tations of Selected Works 1971-75' and Patricia in a televison studio setting. In the original JO-ANNE BIRNIE DAl',IZKER Plattner's recent 'Pour moi vous etes aussi performance, cabaret becomes production set. Co-curator of Perform. VANCOUVER ART GALLERY RI PERFORM VIDEO SPACE 1145 W Georqia 682-5621

:.T:T-~55 . i . i •.~::..:­ =". .!..'=..:..-...:..=..:~:: _:...=-- PERFORMANCE VIDEO LECTURE. SUNDAY SEPT .30, 3:00 PM Discussion with Paul Wong and Jo-Anne Birnie Danzker who co-curated PERFORM on the evolving relationship between performance and video. A look at ho w performance is transformed by the video camera which records it . - Black, VALa l/2"

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0 .µ .c0 ===! 0.. 0z w Bluesi "NEW >­_J ~ 3/4" _J T o irn Art G _mg.ps Hall t stop t tary t Wong. and "" -Perfo1 Cave st V AIN ' FEATURED TAPES AT VIDEO INN 261 POWELL ST. l/2" Of hist BEHAVIOUR/RITUAL NEW M 'JSIC PORTRAITS for mar Friday, Sept. 28 7PM Saturday, Sept. 29 7PM Sunday, Sept.30 7PM New Y Nitsch, Hermann (Austria) Terry Riley/Arlo Acton (California) Dana Atchley/Eric Metcalfe (Vancouver) Warho l ACTION 58 19 78 M'JSIC WlTH BALLS 1969 SPOTS BEFORE YOUR EYES 1977 stage c 3/4" color 2 7 minutes 3/4" color 30 minutes 3/4" color 22 minutes Andy 'v Live /1 Nitsch is an artist who has been developing One of the first "for the camera" interfaces A v ideo portrait of Eric Metcalfe and his Cole, I his ritualistic performances for close to two of m'.Jlti-media and affected video. Terry character aliases as Ruby the Fop, Dr. GERTR decades. Often e ntrenched in controversy, Riley is a noted electronic musician who Brute, and Howard Huge. This well-paced l/2" b , his actions include the s laughter of animals, pioneered work in his· _field. KQED was o ne and informative tape includes perfo rmances the ritual of pouring blood, intense orches­ of the earliest "telev ision labs" to prov ide and interviews intercut with visual artwork One pe trations of sound and visuals . His actions access to artists experiments. and props related to the portrait. This col­ place i take on the appearance of large festive and For The Camera Document laborative tape, over a year· in the making, A Vane relig ious ceremonies, and last as lo ng as A KQED Production consolidates seven y ears of art activity . Eric Live A 48 hours. Metcalfe is media, performance and visual T o m Defanti/Dan Sandin (Chicago) For The Camera Document artist and is a co-founding director of The Coum \ SECOND ELECTRONIC V ISUALIZATION A Western Fro nt V ideo Productio n Western Front. "CONDI EVENT 19 76 Wong, Paul (Vancouver) F o r The C amera Doc ument l/2" 3/4" color 30 minutes in ten sity 19 78 ACE T V Productio n Optical 3/4" b/w 23 minutes Tape with excellent introductio n. A series of V incent Trasoff/Byron Black (Vancouver) Coum - color s y nthesized video pieces created be­ MY FIVE Y EARS IN A NUTSHELL 19 75 Agressiv e movement/action within the con­ censor~ fore a live audience using a.n image proces­ l/2" b /w 30 minutes in vide• finement of an 8'X8' c ube. The actio n is re­ sor and keyboard. Defanti and Sandin are A document tape of Vincent Trasoff as Mr. contain. c o rded sim.;ltaneously by 5 camera view­ artists who have been instrumental in the points. The piece designed for the Video­ P eanut, a three dimensional anthro m orph. He v iol enc. development of sy naesthet ~c video. space at the Vancouver Art Gallery deals is seen walking the streets of New York City, F o r Tr For The Camera Document with endurance, tension, frustration and in­ on the cover of File Magaz ine, in perfo rmai:e cludes the music of the Sex Pistols, Patti at the Hollywood Deccadance, at home in thP­ Western Front and Babyland - as well as Craig, Smith and the A venger s w ith additional sound in the running of the 19 74 Vancouver Mayor­ FLYINI composition and mixing by AL MATTES of ality Race. l/2" the M..1sic Gallery located in T o ronto. This PERFORMANCE ON FILM F o r The Camera Document is the premiere screening of the o ne channel Sunday, Sept. 30, 10:30 A dare edit. in res~ Live Action Document, For The Cam.era, details page 4 ing to Edited Version and Integrated Video . FREE ADMISSION For Tr Information: 688-4336 A Was! Daniel Dion/ Daniel Guimond (Montreal) SELECTIONS 1978 RECOMMENDED VIEWING l/2" B/w & color 60 minutes

RECOMMENDED VIEWING DURING THE MONTH OF OCTOBER Video Art in the punk mode. A series of in­ A hand-picked selection of Internationa,l Performance Art Videotapes dividual and collaborative works. The tapes from the collections of the Western Front, Pumps Center for the Arts, range l-10 minutes. The tapes are primarily Video Inn and the Vancouver Art Gallery. Available for viewing at the sequences of surveillances and of behavior. VIDEO INN LIBRARY. The Video Inn is adminstrated by The Satellite They employ· techniques of tight editing, lay­ Video Exchange Society which has been in. operation since 1973. In­ ering of visuals and sound, repetition, var­ house facilities include a 4 channel viewing with 800 titles, the subject · iety of textures, optical transfers. The use matter which ranges from social/political. issues, ~ enviromental issues, of fire/flames, clothed and un-clothed bodies, the arts including 'Performance Art. The '. Video Inn will feature body contact, cream, magazine images, Performance Art tapes during October. Tf1is service is provided free. french/english. text and punk rock music are VIDEO INN Library Hours . interspel'.'sed throughout. Many pieces border 261 Powell St. Sunday,Monday, Tuesday ll-5 PM on fetish and erotica. Vancouver, V6A lG3 Wed. b.y appointment ll-5 PM .For The . Camera Document 688-4336 Thursday Producers Only 3-lO PM Live Audience Document

Black, Byron (Vancouv er) Druick, Don (Vancouver) VALENTINE'S DAY RUME 1974 l/2" b / w 30 minutes l/2" b,/w 22 minutes

Black's performance utilizes live action, text, Sound/ flute improvisation, 2 performers sound, music which inter-acts with himself with chairs, papers and scissors. Don on pre-recorded video. ··Driuck works in video, music, photography A Vancouver Art Gallery Production. and performance. He is co-founder and Live Action Document member of the New Orchestra Workshop in Vancouver. Live Audience Document. Vehicule Art, M ::intreal

Dudar, Peter (Toronto) RUNNING IN O&R 1975 l/2" b/w 12 min\-'tes Lewis, Glen (Vancouver) Choreographed for cam.era, Lily Eng and WE ALL SING THE SAME SONG 1978 Peter Dudar run in patterned movements . 3/4" color 26 minutes Peter Dudar works in movemant, Film, video and photography. H.e is a co-founding mem­ A Shadow Play with split screen is Lewis' ber of Missing Associates and edits the means to research origins and mythologies Bluesinger, Taki (Vancouver) Tabloid Missing in Action. of Paradise.. A musical event of the Pygmy. "NEW ERA MARATHON" 1974 The vibrattb . and words create an internat­ 3/4" color 60 minutes ional language. Eng, Lily (Toronto) For The Camera To inaugurate the opening of the Burnaby WALL TO FLOOR EXERCISES 1975 A Western FrDrit Video Production Art Gallery "Video Bag Exhibition", Taki maps ·oi,Jt tl°le ro1.Jte from YancQ!...lv.er Ci~y . Impr0vi.sational mGvement workir-ig- within Hall to the gallery entrance by running non­ the set limitations of a free standing wall Lux Radio · Players (Vancouver) stop the 15 km.- a sporting event, commen­ which is 4 ft. wide and the area directly HABITART 1976 tary by Gerry Gilbert, Camera by Paul in front of that wall. Lily Eng is an inde­ · 3/4" rolor 60 minutes Wong. Taki is met enroute by surprises pendent choreographer based in Toronto and and well-wishers. is a co-founding mamber of ·Missing Assoc­ Lux Radio Players was a group of artists Performance 'For the Camera' iates. She last performed here in Vancouver exploring expanded use of radio, producing in 1977. She has performed in Europe and and wr.iting original radio plays. Habitart Cavestani, Frank (New York) . North America. was created especially in response to the VAIN VICTORY l97l Habitat Symposium held in Vancouver in - l/2" b/w 20 minutes "For The Camera Document" 1977. Habitart includes a witty script, cos­ • Produced at 15 Dance Lab, Toronto tumes and in'novat i ve sound effects . Recor­ Qf historical interest, this is an early per­ ded at the. Vancouver Art Gallery. formance with Jackie Curtis and various Live Audience Document New York Glitter Queens as part of the Andy Vancouver Art Gallery Production Warhol Talent Cartage. Early camp. Back­ Fenn Friedmann/TerriHan ton/Deborah Slater stage cameos: ...bhn Lennon and Yoko Ono, (San Francisco) Andy Warhol . "WHAT HOUSE" 1978 Live Audience Document. 3/4" b/w 35 minutes Mauri, Fabio (Rome) "NEW.$. FROM EUROPE" 1978 Cole, Nancy The job of waitress is metaphorically exa­ 3/4" color 20 minutes GERTRUDE STEIN'S GERTRUDE STEIN 1973 mined . to explore everyday movement and l/2 " b/w 30 minutes sounds which naturally occur in an environ­ An early silent Joan of Arc film is . projec­ ment tranformed i nto a set score. The per­ ted onto a man's white shirt front, lit subtly One person literary performance which takes formance includes live voice recitations, pre from behind and from the side. The audio is place in the parlour of Gertrude Stein's home recorded loop and linear sound tapes to give solemn cathedral organ and choir . As the A Vancouver Art Gallery Production. a sculptural quality to the context of the heroine is ·consumed in flames the artist's ic Live Audience Document narrative. Camera: Kate Craig hand unbuttons his shirt and the face of Joan Live Audience Document· is projected on his bared chest. Coum Video Transmission (England) A Western Front Video Production. "CONDENSATION MUCUS" 1975 "IDEOLOGY ·& NATURE II 1978 l/2" b/w 35 minutes 3/4" color 55 minutes

Optically transferred from European Standcrd. Mauri ' concer:-ns himself with Facism as he Coum Transmission has often been met with presents the · dress as ideology and the human censorship and controversy about their work body as nature. Jeanette Reinhardt performs in video and performance. Condensation ML.Cus ·as 'a young Facist girl in uniform, who contains scenes about sexuality and hinges on -'T,'rethgdically undresses and re-dresses sev­ violence and self-destruction. er~~i ifrnes, becoming more and more arbi­ y, For The Camera Document trary and impractical in the choice of the n::e garments removed and put on. This is .ac­ ) P- companied by a girl's voice repeating "I do Craig, Kate (Vancouver) not want to be a facist ... I do not want to be FL YING LEOPARD 1975 a ... I do not want to be ... " etc. interspersed l/2" color 15 minutes with propogandist rhetoric and music, creat­ - ing a mood of conflict between conditioning A dare-devil performance by Kate Craig and individuality or "Ideology and Nature". in response to a life time fantasy of wish­ Performance 'For the Camera' ing to fly. A Western Front Video Production. For The Camera A Western Front Video Production continued Paik, Nam .June (New York) spends to a closed circuited video. His actions DOCUMENTA 6 1977 are those of a caged animal-he responds to a l/2" b/w 20 minutes closed circuited view of the audience. His cage is located in the attic of the Western Front A performance by Nam .June Paik, an early Live Audience Integrated Video Document pioneer of video art, with long time colla­ A Western Front Video Production. borator Charlotte Moorman at Documenta. Documenta in Germany is an internationally T. V. IDEO/K .Roesch/U. Armanski/M. acclaimed exhibition of comtemporary art (Germany) held every five years. It brings together FRAVEN POWER 1974 and revie. ws major figures and developments l/2" b/w 25 minutes in the art world. Paik' s piece is one of three that inclucfes .Josef Beuys and Douglas In Munich's marketplace a woman's street Davis, a performance that was broadcast theatre troupe dramatizes, in song and in by satellite with an introduction by Russell skit, the causes and consequences of abor­ Conner at Documenta. tion. A Powerful social docum1entary. For The Camera Document. Live Audience Document.

Robert Young/Eric Metcalfe/Hank Bull Randy & Bernice (Toronto) "THREE MUSICIANS" 1979 AS THE WORLD BURNS 1978 3/4" color lO minutes MacDonald, Mike(Vancouver) prod. Kate Craig Concieved as a performance to open the ex­ ELECTRIC EYE - Videocabaret 1978 3/4" color 2 tapes 80 minutes hibition at Pumps A 3/4" colour 35 minutes Young/Metcalf~ Gall~ry. Soap Opera parody - unwinds/ evolves around relationship is developed between the perfor­ Electric Eye written by playwrite Michael the tribulations of a couple. The banalitie.s of mance and painting of same title by Picasso. Performance rescripted for video. Camera: Hollingsworth is derived from the exploita­ love. tions of David Berkowitz and features THE Integrated Video Kim Tomczak, Peter Lipski. GOVERNMENT. A document from the 1978 Live Performance Document A Pumps Video Production visit of Videocabaret. A Western Front Video Production Intergrated Video document. Vanderbilt, Amy (Vancouver) A Metro-M-edia Production Sharp, Willoughby (New York) AMY VANDERBILT AND THE VIGNETTES "NEW SOCIETY" 1976 (VALENTINE'S BALL) 1975 NYMPHO WARRIOR - Videocabaret 1978 l/2" b/w 30 minutes l/2" b/w 30 minutes Was the death of Amy Vanderbilt the death 3/4" colour 55 minutes. A M •.Jlti-media performance installation which of etiquette? The "Ettes" celebrate a "com­ includes the simultaneous piaying of two grand ing out deb utantes. ball in an attempt to an­ Features The Hummer Sisters in the search pianos and Hitchcock's "The Man Who Knew swer this question. A collaborative produc­ for the male vagina. T he 1978 production re­ Too M .Jch" running forward on one screen and tion. Lively and entertaining. Camera: David corded at Pumps. backwards on another. Willoughby is revealed Rimmer. lntergrated Video document. to tre audience via closed circuited video. His Live Audience Document. A Metro - Media Production. actions are those of a caged animal - he re-- A Western Front Video Production.

Horne, Bill Black, Byron OCEAN PICTURE * BLOCKING PERFORMANCE colour 16 m'll 3 l/2 min. b/w l6mm lO min. Concrete poetry meets so"und poetry as Bill 'B' movie rehearsal for the 1984 Miss General Bissett sings and chants his way through a Idea Pageant. "typographic landscape of water colour, ON FILM rubbings and bus transfers. Performance as Black, Byron only film can do it. SlJRFACiNG ON THE SUBLIMINAL 10:30 PM SUNDAY SEPTEfV\BER 30 ,colorized !Pmm 3 min. at VIDEO INN, 261 Powell St. 688-4336 The Hank Bull band with singer Ann.ie Siegal, drummer Andy Graffitti, M"'. Peanut .. on v iolin, Gallagher, Chris and the Brute Saxes play HURRAY FOR SIDESHOW* HOLLYWOOD. b/w 16 mm 5 min.· A bizarre little aside where we see the rela - BYRON BLACK AND HIS BENSHI ACI - tionship of child control and r)')anipulation Performance pioneer Black does his stand up exposed as real people becoming convincing comic assassination along with original melies puppets. pathe bros. and other film greats. l/2 hour Performance with Film. Kennedy, Mel .JACK'S LUNCH b/ w 16 mm 3 min. Cam era observes an everday event that of a * These films are from the Vancouver Branch fat man eating his lunc h in a garage o bliv ious of the Canadian Fi lm:nakers Distribution to the filmaker. The cam.era surveillance Centre (2265 Fir St., 732-9396), now an transforms this rather mundane event into official non-profit society with 60 independent paradoxical hum::iur . filmmakers as members.

VIDEOGUIDE is a 16 page tabloid published 5 times a year by The Satellite Video Exchange S ociety . VIDEOGUIOE is the guide to 'alternative television activity', nationally and internationally. SUBCRIPTIONS are $5 a year, $8 overseas . PRODUC TION THIS ISSUE Video Inn Selections: Nora Hutchinso n , Peg Cam;:ibell Vancouver Art Gallery Selections: .Jo Anne Birnie Danzker Paul Wong Film Selection: Peg Cam;:ibell Production: Nora Hutchinson, Peg Campbell, Paul Wong, Brian Townsend and Chris. / With thanks to the Canada Council for their support.

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VIDEOGUIDE 261 Powell St. Vancouver,B .C. V6A lG3 LIVING ART PERFORM.ANCE FESTIVAL