Cosmic to Corporeal: Contemporary Queer Performance Practices
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When someone calls my iPhone, it rings, as you’d expect. But so do my Mac and my iPad. It sounds like a teenage band at their first rehearsal: everyone’s trying to play the same tune, but they’re not doing it at the same time. While I get how this feature could be convenient, I’ve never answered a phone call from my Mac.
September 21 – November 9, 2019
Submission deadline: Tuesday, August 20, 2019 (EXTENDED!)
Submission fee: $10 (free for MAC members)
Open to all media!
Apply here: http://themacdallas.submittable.com
ABOUT THE EXHIBITION
The MAC is calling for submissions that respond to the thematic of an upcoming exhibition, entitled Cosmic to Corporeal: Contemporary Queer Performance Practices, curated by Liss LaFleur and on view September 21 through November 9, 2019.
Cosmic to Corporeal is a juried exhibition which will explore performance practices specifically in relation to the queer body. We are particularly interested in the relationship of the body to technology, and invite submissions of all media with an emphasis on performance, performance documentation, performance texts, video, and time-based works. This exhibition seeks to provide an international, intergenerational, and intersectional exchange of artists who are working to redefine the constructs of performance art and identity.
Potential areas of focus include:
Corporeal < of the body, for the body, from the body >
- How does the revolution begin in our own body and expand our corporealities? (including riots, revolutions, manifestations and revolts)
- How can artists create visceral work where spectators see themselves drawn through the human body, to the point of falling inside themselves?
- How can vibrations, repeated gesture, sound, light, or other bodily or bioacoustic sources generate ephemeral experiences?
- How can presence and embodiment produce more than just a physical occupation of space?
Cosmic < surroundings, future bodies, othered bodies >
- How are artists using expanded forms of reenactment/ reimaging to destabilize the narratives of the past?
- What happens when queer artists project themselves 20 years into the future and present their own vision of what the future holds?
- How can “hacking the body” expand into code, poetry, performance or other ideas related to corporeality?
- How is technology used to explore the charged border between ‘queered’ bodies and society, narratives and politics, or private selves and public views?
ABOUT THE JUROR
Liss LaFleur is an American artist, activist, and educator primarily working with video, installation, and performance. Through her work, she posits questions regarding gender, identity, sexuality and power within an increasingly digital world.
LaFleur is a 2018- 2019 Immersive Scholar, funded by the Andrew W. Mellon Foundation. As an Immersive Scholar, she is using cultural analytics to research the #metoo movement and produce a new series of 3D animations. This ongoing project was nominated for a 2019 Webby Award, and the data associated will be among the first acquisitions in the #metoo archive at the Schlesinger Library at Harvard.
Since 2014, her works have been exhibited and screened internationally, including presentations at the TATE Modern, Cannes Court Métrage, on PBS/ POV Digital, the Reykjavik Art Museum in Iceland, the Museum of Glass, the Mckinney Avenue Contemporary, Sister Gallery in Australia, and the Czong Institute for Contemporary Art in South Korea. Her recent lectures include “Queering Virtual Reality” at SXSW, “Dyke Camp & Future Feminism” as the Rose Goldsen Guest Artist at Cornell University, “Propositions: Greener Pastures” at the School of the Art Institute of Chicago, and “Hack MIT” at the MIT Media Lab.
LaFleur was born into a family of creative figures in Houston, TX: her grandfather was one of the first public radio hosts in the south; her grandmother, a beloved opera singer; and her mother, a glass artist. She holds an MFA in Media Art from Emerson College, and is an Assistant Professor of New Media Art in the College of Visual Art and Design at the University of North Texas. She is currently represented by Galleri Urbane Marfa + Dallas.
ELIGIBILITY
The exhibition is open to all artists 18 years of age or older. Each participant may submit up to three completed works for consideration. Entries are due by 11:59 PM CST on Thursday, August 15, 2019.
Selected art should be ready for installation at the time of delivery. No artwork shall be removed from the exhibition before the closing date. Artists whose work requires the use of electronic equipment must plan to provide their own equipment, and indicate their needs along with their proposal.
HOW TO APPLY
Please apply via The MAC’s Submittable page at themacdallas.submittable.com.
Artists may submit up to three artworks for consideration. Additionally, we request a brief bio (250 words) and a written artist statement (500 words or less) that responds directly to how your proposed work(s) respond to this exhibition prompt. Artists may submit images (up to 5MB each), video (up to 250MB each), audio (up to 30MB each), and PDFs (up to 10MB each). Public links to media on YouTube, Vimeo, and SoundCloud will also be accepted.
There is an entry fee of $10 per application for non-MAC members. MAC members should contact assistant(at)the-mac.org for instructions. Notifications will be sent on Thursday, August 22, 2019.
SHIPMENT
Artists are responsible for delivery and pick-up of their own artwork. All work needs to be shipped or personally delivered to The MAC by Friday, September 13, 2019. Return shipment or personal pick-ups will be scheduled for Sunday, November 10 through Tuesday, November 12, 2019. Shipped work must include return delivery label.
Please ship to:
Attn: Rachel Rogerson
The MAC
1503 South Ervay Street
Dallas, TX 75215
Note: The MAC operating hours are Tuesday through Sunday 12-5
Contact assistant(at)the-mac.org with questions or concerns.
WHEN/WHERE
Phone Call From Computer
Cosmic to Corporeal: Contemporary Queer Performance Practices
Mac Free Calls Online
September 21, 2019 – November 9, 2019
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Opening reception and performance Saturday, September 21, 6-9