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FILE MAGAZINE VOL 4 NO 2 (FALL 1979) alternative to the Alternative Press, legendary Toronto collaborative General Idea's FILE Megazine – published from 1972 to 1989.
FILE magazine Fall-1979 General Idea -LIMITED ED. Art Publication-VERY RARE
General Idea: FILE megazine, vol 4, issue 2, fall 1979 (the “Special Transgressions” issue), edition of 3,000 copies.
FILE MAGAZINE VOL 4 NO 2 (FALL 1979). Toronto: General Idea, 1979
35 X 27.5cm, 66pp plus pictorial wrappers. A single number from General Idea's art periodical where the trio published conceptual, mail and intermedia art including the GI's own work - often with a homoerotic element. This number has GI's "Billy wears a moustache at the Colour Bar Lounge" and several articles on/by David Byrne, Stephen Lack, Jean Genet, Jimmy DeSana,Kathy Acker and Robert Mapplethorpe. One slight crease on the front lower-right corner and spine wear and, as ever, browned internal newsprint pages else VG+. Scarce.
1979
FILE Megazine ("Special Transgressions Issue," Vol. 4, #2, fall 1979)
The first issues of FILE, the publication launched in April 1972 by the Toronto-based group General Idea (comprising artists AA Bronson, Felix Partz, and Jorge Zontal), leave a different, less sober impression than previous magazine-based Conceptual art projects. Lifting its name and logo from the most famous (and popular) postwar US glossy, Life, FILE clearly anticipated a strategy that today is an everyday youth-cultural ploy: namely, logo-busting, an ironic game with the powerful markers of consumer culture, a small act of semiotic subversion whereby one borrows power from the public side of capital--and momentarily uses it against itself.
For the better part of a century artists have been using the format of the periodical to create and disseminate their work. Yves Klein’s Leap Into the Void, another iconic work, was published in the artist’s broadsheet publication Dimanche, which was sold at Parisian newsstands in 1960. Artists' magazines were integral to numerous important movements, such as Conceptual Art, Mail Art, Performance Art, Intermedia, Concrete Poetry, Neo-Dadaism and Fluxus.
The name Fluxus was originally coined by George Maciunas for the title of a magazine of experimental notation that he had hoped to produce.
For the uninitiated, a simple distinction suffices: the “artist periodical” is a primary source and an “art magazine” is a secondary one. That is to say, whereas an art magazine features reproductions and documentation of artwork as illustrations, the artist periodical is an alternative site for the realization of art works rather than their review.
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
The pride of Mason County, Wood Paneling rocked the garden gnome and other sundry instruments at the 17th Annual Olympia Experimental Music Festival on Saturday June 11th at The Northern.
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
29 MAI 2015 - 3 JUIN 2015
rencontre performative avec : Allyce Arsenault, Miri Chekhanovich, Marc André Goulet, Soleil Launière, Mélodie Talbot et Catherine Tardif, avec la collaboration de Caroline Gravel et Karina Iraola
Les 29, 30 et 31 mai 2015, au parc des Faubourgs rue Ontario Est (coin Dorion), de 17 h à 18 h, beau temps, mauvais temps.
Finissage à la roulotte de DARE-DARE, le 3 juin 2015, de 17 h à 21 h.
*DARE-DARE est maintenant situé face au marché Atwater, sur le triangle formé par les avenues Atwater et Greene et la rue Doré à 5 minutes à pied du métro Lionel-Groulx.
« La création amène des réponses à la vie sans qu’on connaisse trop les questions » Allyce Arsenault
MARGE est le second volet du projet RÛE initié à l’automne 2014. Ce projet consiste en une série de recherches sur la rencontre, le dévoilement et la dilatation du temps.
MARGE est un projet avec des jeunes qui ont fait des choix marginaux et/ou des jeunes marginalisés. Jeunes et artistes performeurs/danseurs se rencontrent, se lisent, se disent et se livrent, sur la rue, en de petites bulles performatives dans lesquels les passants sont invités à entrer.
Dans sa pratique, Aurélie Pedron explore la rencontre entre le corps et la matière et développe une réflexion sur le rapport au public et au lieu. Elle oriente ses recherches vers l’installation et la performance. Aurélie aime considérer le corps comme un vecteur, un révélateur d’images invisibles.
Voir le projet RÛE.
//////
Aurélie Pedron s’est installée à Montréal en 1999. D’abord titulaire d’un baccalauréat en danse à l’UQAM, elle a ensuite complété en 2013, une recherche/création à la maîtrise sur « L’émergence en création ou l’anti-héroïsme du créateur ».
À ses débuts, elle réalise plus de 10 œuvres vidéo, diffusées dans plus de 14 pays : en Asie (Japon, Inde, Corée du Sud, Taïwan...), en Europe (France, Grande-Bretagne, Allemagne...), en Amérique du Sud (Brésil), en Russie et aux États-Unis. La scène garde cependant une importance fondamentale. Ses solos ont été présentés à Tangente, au Studio 303, à la SAT, aux Ateliers Jean-Brillant et au Blinding Light à Vancouver.
Avec la création de CHAIR en 2011, Aurélie Pedron conjugue, par le biais du circuit fermé, la scène et la vidéo. Avec la création de Corps caverneux (soutenu et diffusé par Tangente et Danse-Cité en 2013), elle poursuit sa quête de rencontre entre corps et lumière. Elle a également collaboré avec la compagnie de théâtre Odelah Création en tant qu’interprète et vidéaste.
En avril 2013, elle fonde sa compagnie de création Lilith & Cie, avec laquelle elle explore la perméabilité des matériaux et le rapport privilégié au spectateur qu’offre la nanoperformance. Son travail a été présenté au Festival de Théâtre de Rue de Lachine, ainsi qu’au FNC. Sa dernière création ENTRE, nanoperformance sur le thème de la rencontre, est présentée à Tangente lors de la saison 2014/15.
Aurélie travaille présentement sur LA LOBA, une installation performance avec 11 femmes et quelques loups, SAPPHO est un projet sur l’érotisme qui se veut ni choquant, ni vendeur.
Le projet MARGE bénéficie d’un soutien du Conseil des arts du Canada.
Impromtu meetup with a couple of fire spinning friends more for fun and practice than anything else :)
Leake Street tunnel
Southbank riverside
with Olympus OM-D E-M10
Fujian 35mm 1.4
Samyang/Walimex 8mm Fisheye
Panasonic 14mm 2.5
Olympus 45mm 1.8
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
©2009 www.AbodeofChaos.org
No program, No press, No money
La Borderline Biennial 2009 se refuse à un programme, les seuls mots seraient : Apparition, Art Royal, Annonciation, avènement, commencement, création, éclosion, émergence, épiphanie, éruption, esprit, évocation, explosion, fantôme, forme, hallucination, irruption, magie, manifestation, psychose maniaco-dépressive , spectre, théophanie, venue, vision…
L’entrée est libre et gratuite mais réservée à un public adulte et averti. (Pour chaque performance, nous sommes limités à un nombre restreint de participants). L’absorption de la pilule DDC ainsi que son échographie et un test ADN constituent votre laissez passer obligatoire pour disparaître dans le monde de la Borderline Biennial. Compte-tenu que l’on tourne en live, l’abandon du droit à l’image et à son âme est obligatoire.
En cas de pandémie de la grippe A(H1N1) et passage par le gouvernement du niveau d'alerte en 5b ou 6 (obligation de fermeture par la préfecture des ERP espaces culturels) la Borderline serait en live sur Internet avec login et mot de passe pour adultes avertis et consentants.
Plongée dans les eaux profondes, la Borderline Biennial va au-delà des contre-cultures, elle possède cet aspect festif de l’instant non-contrôlé qui adhère en auto-organisation spontanée. C’est une épiphanie, une expérience démesurée aussi bien au niveau social qu’individuel. Notre TAZ de 40 jours et 40 nuits implique une certaine sauvagerie, une évolution du domestique au sauvage, un retour qui est un grand pas en avant. elle implique également une danse du chaos face à l’appareil de contrôle : l’Etat qui continue à se déliter et se pétrifier devant l’insurrection qui vient.
A mesure que le pouvoir disparaît, notre volonté de pouvoir doit être la disparition. Nous devenons, dans l’Internet profond, la Babylone de l’information. Entre le Tigre et l’Euphrate, nous jonglons à travers nos labyrinthes analogiques et tunnels numériques. Enfin, nous avons reçu nos implants, ils sont indispensables pour certaines expériences Borderline. Nous devons revivre le Matin des magiciens à travers la Materia Prima.
Je sens de bonnes vibrations alchimistes mes petits loups, il faut parfois regarder derrière l’apparat et les rites et comprendre l’humanisme fraternelle de l’univers CyberPunk. C’est mon monde, c’est notre monde, c’est votre monde. C’est le lieu où l’histoire se déroule, d’un futur déjà passé. On est tous dans une zone d’incertitude, post-nuke entre le réel et le virtuel à subir les déviances du capitalisme dans ce putain d’univers et la narration pathétique d’un occident dans les ruines du 9/11 .
C’est pourquoi la Demeure du Chaos/Abode of Chaos est un univers cyber-punk comme une dystopie. L’incarnat pourpre de la Cité Interdite et de ses règles, je reviendrai dessus prochainement…
courtesy of Organ Museum
©2011 www.AbodeofChaos.org
This is a historic photo of the Apollo 11 launch that sent a man to the moon. The Apollo project, and its intersection with the civil rights movement, is the theme of Nancy Keystone's World Premiere Apollo, playing at Portland Center Stage January 13 to Feb 8, 2009.
This evening of 4 simultaneous performances was easily one of the most enjoyable evenings I've experienced this year.
In an indiscreet location, Guadalupe Martinez wrote from entrance door, down stairs, into the main hangar-like room
where Nelly César was taping huge sections of geometric shapes around tables, around standing people, around sitting people,
while Emilio Rojas had locked himself inside a clothes dryer with only a massive flashlight, his robes trailing out of the closed door.
Luciana D'Anunciação danced in a head-to-toe frilled layered costume, contorting her body every which way, at times poking sections of her body out, teasingly, while Alex Mah accompanied her on guitar.
After Luciana's performance, Emilio Rojas would emerge to spread stones across the cement floor, then move from room to room, spraying a garden hose on himself, on his plants, then get undressed, and proceed to set off a fire extinguisher…
The performance "FEiL© produkter - wrong© products",OUTSIDER performance series for 2visual4arts
Sawing the burka at Røros, South Trøndelag
photo: N. Noer
From the workshop production of Apollo part two at the Center Theater Group: Ensemble members perform within an ever shifting arena of boxes full of files, data and detritus from the Apollo project in Nancy Keystone's World Premiere multimedia exploration of the intersection between the space race and the civil rights movement in Apollo, blasting off at Portland Center Stage January 13th through February 8th, 2009. Tickets, blogs, info and more at www.pcs.org.
Photo by Efren Delgadillo, Jr.