“Revolution (La Revolución)”
I have a strong physical resemblance to my mother and father. Physically, it is evident that I am a mix of the two of them. On a very internal level, I hold a piece of each of them and of their previous generations (their expectations, emotions, fears, frustrations, forms of facing daily life, unresolved situations); I contain the process of migration. My construction is not separated from theirs. The work of resolving the previous generations is concentrated in my body. Through my parents, I connect with these generations, and with them I intend to traverse the conflict. When I move, they move; when they move, I move; when we ourselves move, we also move the preceding generations, and the next.
This video is part of “Modelo para Armar: Rehearsing the City”, a series of 6 video-recorded actions realized in Lima, Peru and New York City that demonstrate notions of the city-as-hub, internal migration, and everyday aggression.
Amapola Prada lives and works in Lima, Peru?. Her practice navigates the intimate spaces within human beings unprocessed by consciousness and expressed by non- rational impulses to create symbolic works resonating the social conflicts of everyday life. Her work has been presented by the San Francisco Art Institute; Performa 11; the Hemispheric Institute of Performance and Politics, Belo Horizonte, Brasil; the Museo de Arte Contempora?neo de Oaxaca, Mexico; and the II Bienal Internacional de Performance in Santiago de Chile, Chile. As a Franklin Furnace Fund Fellow, her work was on view at the AC Institute in New York City. She received a BA in Social Psychology from Pontifica Universidad Cato?lica del Peru?.
John G Boehme
DAIS (chaos with chair)
• Building of cultural chaos
• Construct a six inch high four foot by eight foot Dias wearing appropriate blue work wear with the insignia “Artist Working” above the upper right shirt pocket.
• Ciel 13 yrs old changes ringtones on mobile phone (loud)
• Place chair in centre of dias.
• Press record on video camera recording dias with chair.
• Change into appropriate white collar, chair sitting suit with tight collar and tie.
• Apply cologne
• Press stop then rewind on video camera.
• Sit on chair placed in the centre of dias.
• Make eye contact, acknowledging each person in room.
• Stand, Pickup chair and completely demolish dias with chair.
• Place chair in centre of dias remains.
• Press play on video camera attached to video projector project intact dias with chair in centre.
• Leave space.
As a widespread ceremonial ritual of the industrial age, sport is remarkable for its ability to express two apparently contradictory sets of qualities: on the one hand, modernity, abstraction, efficiency, science, concept, and mind; on the other, the past, archaism, worship, emotionality, sex and the body.
-Varda Burstyn, The Rites of Men: Manhood, Politics and the Culture of Sport.
Professional sports has paralleled the emergence of capitalism, developing recreational activity into a secular religion. Sports are the arena where the social and political tensions are remorselessly played out. The language of sports is the language of war, struggle, and conquest. Terms such as offense, defense, and sudden-death overtime, provide evidence of the codified nature of its conflict.
The adoration of the hero makes sports the sanctioned site for eroticism, and the idealization of the body. Professional athletes have used the cultural space awarded to them to articulate views on class, race and economic struggles. Obsessive “fan” culture serves as a release for otherwise expressed communal energy
moment of unpredictability and infinite potential where the underdog might triumph. Sport can be precarious, dangerous and seductive – all qualities embodied in works of ceramic and glass.
Channeling the historical connections between art and sports, manifest in society’s idealization of the body and its attendant homoerotic fetishism, this program will interrogate not specific contests or competitions, but rather those subjects within sports that “jump the hurdle” and “cross the line.”
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 festivals across Canada, the Americas, United Kingdom, Europe and China. John is an adjunct faculty at University of Victoria, Camosun and Brentwood Colleges.