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wpid57531 Jolanda Jansen The Netherlands
Jolanda Jansen, NL – IPA The Hague 2017
3. Februar 2021
Jelili Atiku (Nigeria
Jelili Atiku, Nigeria
25. September 2017

John G. Boehme, Canada

John G. Boehme, Canada

Invited to IPA Summer 2014

johngBiography

MFA, University of Victoria (VAL), BFA Emily Carr University + Art and Design, Diploma Visual Arts Camosun College.

Weaned in the Windansea of La Jolla, California, John G. Boehme’s early art practice included painting, sculpture, performance video and digital technology, installation and photography. Boehme describes recent work as "trans-disciplinary" often employing performance, video, audio and objects in a number pieces simultaneously, Boehme is not constrained to any particular creative mode and therefore utilizes integrated approaches to realize the work. John continues to have exhibitions, screenings and participate in Performance Art festivals across Canada, Australia, the Americas, United Kingdom, Europe and China. John is continuing faculty in the Visual Arts Department at Camosun College and adjunct faculty at University of Victoria.

Artist Statement:

What interests me as an artist is the ongoing reformulation of a set of key interests. These interests are drawn from my observations of some of Western society’s less considered compulsions. Looking into the performance of gender, specifically masculinity, the valorization of labour, the pursuit of leisure, and the marshalling of amity, I explore language and paralanguage, that is, both the spoken and gestural aspects of human communication.

Live artwork presents a direct relationship with material, with action and process, with human interaction. As I understand it, physical involvement is the most embodied way in which to create meaning. Through durational works both the artist and the audience gain access to the experience uniquely available through such commitment. This is of course the archetypal modality of ‘performance art’, an experience that unfolds through an extended period of time. Nothing can replace that learning, that specific duration of being. But although there is no alternative to the durational aspect of performance per se, I remain interested in the question of representation of performance, the very clear and obvious problem of making the ephemeral available to a larger audience at a different time. Using video to “reconstruct” an event makes publication and discourse possible. Despite its material concerns I believe that art is rendered ultimately in the social domain.

With regard to multi-disciplinary works, I prefer the alternative term “trans-disciplinary”, as it refers to integration between media, as opposed to, say, a sequential use of different forms. For instance, I employ performance, video, audio and objects simultaneously in a number of my pieces. I am not constrained to any particular mode; rather, I utilize integrated approaches within my practice.

562 Selkirk Avenue.

Victoria B.C. V9A 2T1 CANADA Facsimile250 . 361 . 3116 Phone   250. 361 . 3199 Mobile 250 . 514.5204

 e-mail             johngboehme@shaw.ca

http://www.finearts.uvic.ca/~jgboehme/

Students, with a variety of experience, will be introduced to the fundamentals of Performance Art.  Exercises and readings will guide them to explore the use of among others autobiographical material, dreams, ritual, text, and personas. They will be introduced to visual and sound elements, the use of time, site and space in Performance Art, and the performer’s relationship to the audience. They will develop original material for performance and use it to produce works of Performance Art. Upon successful completion of this workshop a student will be able to: 1.     Produce works that demonstrate an awareness of the issues, history, and concerns of Performance Art 2.     Show an understanding of performance as art by developing ideas into scripts; which include executing movement, sets, lighting, sound, costume and text, resulting in live performances. 3.     Identify the importance of subject matter and content in live image making. 4.   Social and political environments as a source of subject matter 5.     Produce Performance Art using established and personal criteria to reflect, assess, revise, and adjust throughout the creative process. 6.     Critique one’s own and others’ projects in the context of Performance Art. PERFORMANCE Contextual Presentations:
  • Historical Context and Overview
1)     Europe 2)     USA 3)     Canada & South America 4)     SE Asia &  Australia
  • Political
1)     Activism 2)     Protest 3)     Dialogue & Debate 4)     Contexts, Implications& Responsibility
  • Transgressive
1)     Individual Artist 2)     Marginalization 3)     Body Art
  • Gender
1)    Feminism/contemporary women artists 2)    Gay/Queer 3)    Machismo
  • Pop Performance
1)     Club/Monologue 2)     Video 3)     Music/Sound
  • Site Specific
1)                                                                           Outside the limits [established venues/galleries etc.. 2)                                                                           Urban/Natural – City – Rural – Wild 3)                                                                           Architecture – being performed by the built environment 4)                                                                           Intervention[Built Environment/Wild] 5)                                                                           Dislocation/alienation
  • Artists Networks/Networking
1)                                                                                                                   Projects & Initiatives 2)                                                                                                                   Alternatives 3)                                                                                                                   Festivals The Context is half the work Working Methodology The areas under discussion are to be seen as dynamic interdependent interactive elements that contribute to a holistic concept of the production of performative artform.
  • Time - Examples of time based work - short to extended durational - Relationship to site.
  • Process - drawing – notes – scores – research – experimentation
[elements that inform working process, cultural context/politics, social context, contemporary contextualisation i.e. music, literature, pop culture, film/video.]
  • Documentation of work – perception, dissemination of information/image, reviews,
Artist statements, reality & hearsay [myth &stories.]
  • Site[s] inside – Outside – Virtual – body – environment
  • Commodification – presentation of work – perception – publicity – information
  • Focus on one performance – research and evaluate layers of meaning, process, skill, production. Intention of artist and success.
  • Making/Doing – objects – devices – body – technical – material – practical means of production
  • Relationships – collaboration – audience – participation [body-work-environment-spatial-audience]
  • Meaning – Personal Research – Emotional – Psychological – Philosophical – Spiritual – Communal – Anthropological.
  Personal website:              www.finearts.uvic.ca/~jgboehme/ This website harbours the breadth of my trans disciplinary practice which is infrequently updated   and was first uploaded in 1999.   Video Links: Vimeo:                                 http://vimeo.com/user7683852 Student Vimeo Channel:  http://vimeo.com/channels/391572 Student Vimeo Group:            http://vimeo.com/groups/125504 This Vimeo website harbours several student channels and groups that were assignments that students uploaded work for class assignments as well as a number of my videos and performance artworks. Youtube:                                 http://www.youtube.com/user/johngboehme This channel has twenty eight videos that span the last eleven years Class website: http://art271-a01-201209.classes.finearts.uvic.ca/course-info/ ART 271 A01  FO2 (DIGITAL VIDEO ART ) (1.5 units) Art 271 is an experimental video course that will explore the production of moving images within the context of contemporary art practices. University of Victoria class with assignments and resource material.   Recent review: http://www.realtimearts.net/article/116/11280

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