Performance / Installation >>>>>>>> Scroll Down
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It It and the Gimme Box, 2009
It It and the Gimme Box (IIGB) is a three channel video installation that toys with consumer objects.
First shown at the AC [Institute Direct Chapel] in New York City, IIGB requires viewers to participate with the work. Entering one of three "portals," the viewer raises her hands in front of a sensor which triggers a video; when she lowers her hands the screen goes dark. Using MAX/MSP Jitter technology the video is broken into segments and played from new points each time the viewer triggers the sensor.
Each video is a six minute music video sung by one of three personofied consumer objects: a house key, a paper trail and an earbud. The lyrics of each song tell the story of the object's lifecycle - from material excavation, manufacture, disposal and decay- while also cheekily expressing the object's emotional relationship with the viewer/consumer.
IIGB is exhibited both in a single channel screening format and a three channel video installation.
This work was produced with the support of the New York State Council on the Arts, Harvestworks Digital Media Center, the Bric/Rotunda Gallery and the Gowanus Studio
First shown at the AC [Institute Direct Chapel] in New York City, IIGB requires viewers to participate with the work. Entering one of three "portals," the viewer raises her hands in front of a sensor which triggers a video; when she lowers her hands the screen goes dark. Using MAX/MSP Jitter technology the video is broken into segments and played from new points each time the viewer triggers the sensor.
Each video is a six minute music video sung by one of three personofied consumer objects: a house key, a paper trail and an earbud. The lyrics of each song tell the story of the object's lifecycle - from material excavation, manufacture, disposal and decay- while also cheekily expressing the object's emotional relationship with the viewer/consumer.
IIGB is exhibited both in a single channel screening format and a three channel video installation.
This work was produced with the support of the New York State Council on the Arts, Harvestworks Digital Media Center, the Bric/Rotunda Gallery and the Gowanus Studio
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Helmet Piece, 2005 - 2008
An embodied installation, duration 1–3 hours.
Helmet Piece is an exploration in audience-performer proximity. Each performer wears an opaque helmet with the headset of a stethoscope protruding from the front; the bell of each stethoscope is pressed to the performer’s throat inside every helmet. Audience members wear the headsets like headphones, and listen to the vocal expressions made by each performer. The sound is a detailed amplification of visceral human sounds, such as swallows, heartbeat and breath.
Helmet Piece is an exploration in audience-performer proximity. Each performer wears an opaque helmet with the headset of a stethoscope protruding from the front; the bell of each stethoscope is pressed to the performer’s throat inside every helmet. Audience members wear the headsets like headphones, and listen to the vocal expressions made by each performer. The sound is a detailed amplification of visceral human sounds, such as swallows, heartbeat and breath.
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Muck, 2007
A three hour performance or a looping four channel video installation.
A bleak look at the personal profile, Muck is made up of eight original show tunes.
Songs written by Maya Suess,
Arrangement by James Coomber
Directed by Adriana Bucz
Performed by Maya Suess, Luisa Jojic, Jennifer Barcley and Yasser Ismael.
A bleak look at the personal profile, Muck is made up of eight original show tunes.
Songs written by Maya Suess,
Arrangement by James Coomber
Directed by Adriana Bucz
Performed by Maya Suess, Luisa Jojic, Jennifer Barcley and Yasser Ismael.
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A Reinterpretation of Yoko Ono's Cut Piece, 2004
In 2004 the Western Front hosted a festival called That 70's Ho, an homage by contemporary female artists to the brave women of the 1960's and 70's who pioneered performance art.
I explored Yoko Ono's infamous work Cut Piece. In order to move away from the extensive critique and projected meaning that surrounded Ono's original work, I approached it with a sensibility absurd and fantastical.
I explored Yoko Ono's infamous work Cut Piece. In order to move away from the extensive critique and projected meaning that surrounded Ono's original work, I approached it with a sensibility absurd and fantastical.
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Guilt Gelt and Gifelte Fish: a Jewish Lesbian's Handbook, 2005
On January 14, 2005, RL Cutler and Maya Suess presented the bestselling dime store primer Guilt, Gelt and Gefilte Fish in the window at Dadabase/Xeno Gallery, Vancouver, BC. Exploring the stereotypes and narrative potential of two distinct identity groups, the artists performed a series of tableaus that exposed the undoing of subjectivity, embodiment and caloric intake. Manifesting a three-hour installation Cutler and Suess riffed on pop culture, retail culture and cultural baggage. The resulting window display represented the nine chapters of this compendium. This was a reenactment and should not be construed as in anyway representing or reflecting the lives of the performers. Instead the performance was an act of liberation against the tyranny of conceptual art, a gesture of hope in the face of strategic career moves, a surreal entertainment on a dark and stormy night.
R L Cutler
R L Cutler
