The MAC Presents
Cosmic to Corporeal: Contemporary Queer Performance Practices
Performance by Le’Andra LeSeur Saturday, October 12, 6 PM
Local Performances Saturday, October 26, 6-9 PM
The MAC is pleased to present Cosmic to Corporeal: Contemporary Queer Performance Practices, curated by Liss LaFleur, artist, activist, and Assistant Professor of New Media Art at the University of North Texas. Cosmic to Corporeal is on view September 21 through November 9, 2019 with an opening reception Saturday, September 21 from 6 to 9 PM, including a performance by Jer’Lisa Devezin at 7 PM. Two performance events will be held during the run of the exhibition: a performance by Le’Andra LeSeur Saturday, October 12, 6 PM; and a performance event featuring local artists on Saturday, October 26, 6-9.
Cosmic to Corporeal seeks to provide an intergenerational, and intersectional exchange of artists who are working to redefine the constructs of performance art and identity, specifically in relation to the queer body and the relationship of the body to technology. Curator Liss LaFleur has selected works from an international open call, including, among others, works by: Zackary Drucker, Le’Andra LeSeur, Jonathan Molina-Garcia, and Legacy Russell.
Cosmic to Corporeal expands notions of corporeality through performance, time-based, photographic, and sculptural works. Many of the works in this exhibition reach beyond the typical idea of performance art by prompting the viewer to engage or to consider everyday life as an act of performance. The viewer is encouraged to reflect on the body beyond a physical occupation of space and explore the charged border between ‘queered’ bodies and society, narratives and politics, or private selves and public views.
Full list of artists included in this exhibition (all statements and bios here):
ATOM-r (the Anatomical Theaters of Mixed Reality), Christian Cruz, Chuck + George, Zackary Drucker, Fierce Pussy, Jer’Lisa Devezin, Hannes Egger, Kris Grey, Sungjae Lee, Le’Andra LeSeur, Leslie Martinez, Jonathan Molina-Garcia, Cori Olinghouse + Shona Masarin, Martin Wannam Roca, Legacy Russell, and Jesse Treviño.
Devezin’s work includes video and performance with precious, sharp, heavy, loud, delicate, and strong materials that reference the artist’s own physical body, and stereotypes placed upon black women. For this exhibition, she will be performing and erecting her sculptural work, titled “Kiss My Ass.” For this installation she focuses on the ass, an overly fetishized icon, to address themes of power, labor, sexuality, and the gaze. Rather than fixating on the oppression of the black woman, she is interested in depicting a new black woman, one from a millennial black lesbian woman’s gaze.
Made in collaboration with New York performer and drag queen Flawless Sabrina, the film “At Least You Know You Exist” explores the interaction between two artists of different ages. Set in Flawless Sabrina’s ornate Manhattan apartment, where she has lived for more than four decades, the work depicts the two artists sharing the roles of filmmaker and subject, creating an intimacy that speaks specifically to their relationship as fellow transgender artists, and also more broadly to the queer community. According to Drucker, there are few older transgender individuals to look towards as role models. Her work with Flawless Sabrina investigates this legacy of queerness, which remains largely overlooked. “There is proof that we exist in a luminous dark corner of history as men know it,” Drucker narrates, “a vortex and a realm where our trace is barely evident.”
LeSeur will perform her newest work, There are other hues of blue, as part of this exhibition on Saturday, October 12, 6PM. An interdisciplinary artist, her work explores black identity informed by the effects that regulated systems of oppression have on black women, specifically. Through visual media, installation, and performance, her hope is to reclaim and dismantle stereotypes surrounding black female identity through the reworking of conventional art forms and mundane objects – ultimately reshaping the context of spaces where the lives of the oppressed are silenced and celebrated in the same breath. This performance finds LeSeur seated in front of a projected blue screen reading notes she made in a stream of consciousness. The performance – which is approximately 120 minutes, or the length of a feature film – addresses the way language is used with others or ourselves in moments of emotional distress caused by discrimination and systems of oppression. There are other hues of blue is inspired by Derek Jarman’s last film “Blue” (1993).
A citizen of the third world and an American DREAMER, Garcia is committed to experiments in sharing. His work looks at various topical and social themes in national and sexual identity. Primarily a collage artist, his mediums of interest also include time-based actions – performance art and video documentation; book-making and labor crafts. Included in this exhibition is his project, The Hyperpassport/Superpasaporte, a forged one-page passport. These one-of-a-kind replica does not expire and mimics all original anti-forgery patterns and designs, while rewriting the interior and cover language to shield Salvadoran citizens from foreign abuse.
Included in this exhibition is a screening of Russell’s performative lecture, #GLITCHFEMINISM, a term she coined in 2013 to identify the multiple ways in which digital space explores, challenges, and radicalizes our understanding of both the body and the self.
“In a society that conditions the public to find discomfort or outright fear in the errors and malfunctions of our socio-cultural mechanics-illicitly and implicitly encouraging an ethos of “Don’t rock the boat!”-a “glitch” becomes an apt metonym. Glitch Feminism, however, embraces the causality of “error”, and turns the gloomy implication of glitch on its ear by acknowledging that an error in a social system that has already been disturbed by economic, racial, social, sexual, and cultural stratification and the imperialist wrecking-ball of globalization-processes that continue to enact violence on all bodies-may not, in fact, be an error at all, but rather a much-needed erratum. This glitch is a correction to the “machine”, and, in turn, a positive departure.” (L. Russell, The Society Pages, 2013)
ABOUT THE CURATOR
Liss LaFleur (b. 1987, Humble, TX) is an interdisciplinary artist who works with video, new media, and performance. Through the merging of digital and physical space, she explores queer identity, the future of feminism, and historical narratives. In 2018 she was named an Immersive Scholar by the Andrew W. Mellon Foundation. Her work has been exhibited internationally, including presentations at the TATE Modern, UK; Cannes Court Métrage, FR; PBS/ POV Digital; the Reykjavik Art Museum, IS; the Museum of Glass, US; Sister Gallery, AU; and the Czong Institute for Contemporary Art, South Korea. LaFleur received an MFA in Media Art from Emerson College, and is an Assistant Professor of New Media Art in the College of Visual Art & Design at the University of North Texas. She is currently represented by Galleri Urbane Marfa + Dallas. www.LissLaFleur.com.
Cosmic to Corporeal: Contemporary Queer Performance Practices
Le’Andra LeSeur performance Saturday, October 12, 6 PM
Local artists performances Saturday, October 26, 6-9 PM
GETTING TO THE MAC
The MAC is located just south of Downtown in the single-story baby blue building at the corner of Ervay and Sullivan. We’re next door to Ro2 Art and across the street from Dallas Heritage Village. Parking is in back off Sullivan and street parking is available throughout the neighborhood.
GETTING TO THE CEDARS
The Cedars is located just blocks from the heart of Downtown Dallas south of I-30. By car, the Cedars is connected to the metroplex from major arteries: I-30, US-75, I-45, and I-35. The neighborhood is easily accessible by DART lightrail and bus.
DART Cedars Station is just over a quarter mile away.
THE MAC MISSION
The MAC is a 501(c)(3) nonprofit arts organization that stands as an advocate for creative freedom, presenting visual art in all its forms. It supports emerging to established local, regional and international artists by offering the opportunity for exhibition and experimentation and by providing a forum for critical dialogue.