FEBRUARY 25, 1994 GAY PEOPLE'S CHRONICLE

ENTERTAINMENT

Performance art

Continued from previous page

On Friday, Saturday, and Sunday, Geoffrey Hendricks recreated his 1971 Dream Event, from the period when he was a member of the Fluxus group. In the piece, Hendricks sleeps he used local volunteers on Friday and Sunday-nude under a sheet and records his dreams upon waking. In the space for the piece are documents relating to a group of performances Hendricks created in 1971. It was the year Hendricks acknowledged his homosexuality. He and his wife of 10 years, Bici Forbes, performed a Flux Divorce in which they literally divided their property, sawing their bed in half, cutting their marriage certificate in half, etc. On Saturday, when I entered the space where Hendricks was sleeping, I felt I had somehow violated his private world. Hendricks later told me this was one of the intended effects.

The opening weekend events concluded on Sunday with a panel discussion Performance Art is Dead: Long Live Performance Art. Jacki Apple chaired the discussion that tried to touch on the very diverse aspects of performance art. Apple described the position of performance art as "between the wall and the stage" or "between the gallery and the theater." She stressed the importance of issues of identity and culture to performance art. She also described how the field has been dominated in the 1990s by performers emerging from a theatrical background.

When Apple stated that at present "performance has ceased to be based in the visual or in the object," she hits on a point that is central to an understanding of the exhibition. Outside the Frame most clearly represents the tradition of performance art that developed among the visual artists who became interested in ways to break the conventional passive presentation of art as objects.

Geoffrey Hendricks' 1971 performance of Dream Event.

VALERIE HEROUVIS

In contrast to the exhibition the Performance Art Festival represents the current trend for work that is based in writing and acting. If the exhibition emphasizes the form's relationship to the gallery, the Festival highlights the form's ties to the theater. Karen Finley, an extremely theatrical writer and performer, has a piece in the exhibition that deftly captures the tension in these two trends of performance art. In Black Sheep she creates a sculpture out of a poem. The poem We are the Black Sheep Family is in raised letters on two bronze tablets. It is an object, but its objectness is absorbed by its writerliness. In the poem Finley casts her lot with the outcasts of the world,

Gay artist Nyland Blake's nylon and steel body suit.

poets, rebels, queers and artists. As we stand reading the poem, the object disappears as the words come to life.

Outside the Frame: Performance and the Object continues at the CCCA 1 May 1. The Center is open Tuesday and Wednesday from 11 am to 6 pm, Thursday and Friday from 11 am to 8:30 pm, Saturday from noon to 5 pm and Sunday from 1 pm to 4 pm.

Suggested admission is $3 and $1 (students). Admission is free on Thursday. For information telephone 421-8671. The Seventh Annual Performance Art Festival continues through May 1 as well. For information about performances telephone 221-6017. A schedule of performances is available at the CCCA.

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