2017-2018 GUEST PERFORMANCE ARTIST SERIES | CURATED BY CASSILS
I envision my body as a meeting point, a node, where external lines of force and social determination thicken into meat and circulate as movement back into the world. So much that constitutes me I did not choose, but, now constituted, I feel myself in a place of agency. SUSAN STRYKERVital signs are important indications of the status of the body’s life-sustaining functions. Vital Signs is also a series of live performances and artist talks spread over the academic year at Stanford University. Focusing on elements of perfromativity, each quarter will pair artists from different generations. Assessing urgency, these artists will offer a broad approach for triaging the social body. With the use of different formal and conceptual strategies, measurements can be taken and assessments made, giving us clues to diseases and possible progress toward recovery. The series aims to highlight and showcase underrepresented performance forms such as experimental performance art, durational art, and body art, among others, by artists from underrepresented communities.
about the curator
Cassils has been listed by the Huffington Post as “one of ten transgender artists who are changing the landscape of contemporary art” and has achieved international recognition for a rigorous engagement with the body as a form of social sculpture. Featuring a series of bodies transformed by strict physical training regimes, Cassils’ artworks offer shared experiences for contemplating histories of violence, representation, struggle, and survival, often juxtaposing the immediacy, urgency, and ephemerality of live performance against constructed acts for the camera in order to challenge the “documentarian truth factor” of images. Cassils is an award-winning artist who has been featured in solo exhibitions around the world as well as in publications such as The New York Times, Wired, The Guardian, and TDR, and among others. They are the recipient of a Guggenhime Fellowship (2017), a COLA Fellowship (2017) and a Creative Capital Award (2015).
COMPANION COURSE: TAPS 156V/256V
The first decade and a half of the 21st century have been transformative for performance art. On the one hand, it brought an unprecedented cultural acceptance of this art form, which is now featured in most prestigious museums and art festivals; on the other, the most recent generation of performance artists is showing a great awareness of the historicity and complexity of this form. This class aims to recognize and investigate these and other prominent features of performance art produced since the turn of the millennium. Performances featured in Vital Signs will serve as primary case studies. The class will meet each quarter for three weeks: before, during, and after the artists' visit. Students will thus have an opportunity to prepare for the visit, engage with the visiting artists, and reflect on their work. View course on ExploreCourses.
Vital Signs events are free and open to the public.
Vital Signs is sponsored in part by The Anderson Collection; the Department of Art & Art History; the Vice Provost's Diversity Innovation Fund Grant; the Vice Provost for Undergraduate Education; and the Stanford Arts Institute.
FALL QUARTER VITAL SIGNS GUESTS
Harry Gamboa Jr. + Xandra Ibarra
OCTOBER 19 + 20, 2017
HARRY GAMBOA JR.
Since 1972, Harry Gamboa Jr. has been working in various media/forms to document and interpret the contemporary urban Chicano experience. He was a co-founder of the East L.A. conceptual-performance art group 'Asco' (Spanish for 'nausea'), 1972-1987, and is currently teaching in the Photography and Media program at CalArts. His work has been exhibited nationally and internationally at Museum of Contemporary Art (2011, 2010); Musée de l’Elysée, Lausanne, Switzerland (2009); Los Angeles County Museum of Art (2011, 2008, 2001); Museum of Latin American Art (2011); Orange County Museum of Art (2011), Fowler Museum (2011); Museo Tamayo Arte Contemporaneo, Mexico City (2008); El Museo del Barrio, New York (2008); The Huntington Library, San Marino (2008); Museo José Luis Cuevas, Mexico City (2006); Centre Pompidou, Paris (2006); Museo Nacional de la Estampa, Mexico City (2005); International Center of Photography, New York (2003); MIT List Visual Arts Center (2000); Queens Museum of Art (1999); Smithsonian Institution (1997); Statens Museum for Kunst, Copenhagen (1996); 1995 Biennial, Whitney Museum of American Art; Museum of Modern Art, New York (1994); Getty Research Institute (1994); LAX/CSU Los Angeles (1994); Museum of Contemporary Art, Chicago (1979); Museo de Arte Moderno, Mexico City (1978). Harry Gamboa Jr. has been awarded several individual artist fellowships including the Rockefeller Humanities Fellowship/CSU Los Angeles in 2004 and the J. Paul Getty Trust Fund for the Visual Arts in 1990. He is the author of Aztlángst (2011), Fallen (2010); Rider (2009); Urban Exile: Collected Writings of Harry Gamboa Jr. (1998), and has been featured internationally in publications including Afterall, Art in America, Artnews, Artforum (Front Cover, October 2011), Modern Painters, ArtReview, BBC Mundo, Flash Art, Frieze, Poliester, and The New York Times. A permanent collection of his media works/papers has been established and archived at Stanford University (Special Collections: Mexican American Manuscript Collections, Harry Gamboa Jr. Papers, 1968-1995).
Image ©2014, Barbara Carrasco
Xandra Ibarra is an Oakland-based performance artist from the US/Mexico border who sometimes works under the alias of La Chica Boom. Ibarra uses hyperbolized modes of racialization and sexualization to test the boundaries between her own body and coloniality, compulsory whiteness, and Mexicanidad. Her practice integrates performance, sex acts, and burlesque with video, photography, and objects. Throughout her multiple works, she teeters between abjection and joy and problematizes the borders between proper and improper racial, gender, and queer subject.
Ibarra’s work has been featured at El Museo de Arte Contemporañeo (Bogotá, Colombia), Broad Museum (LA, USA), Popa Gallery (Buenos Aires, Argentina), Joe’s Pub (NYC), PPOW Gallery (NYC), and Yerba Buena Center for the Arts (SF) to name a few. Recent residencies include Fort Mason Center for Arts and Culture, National Performance Network, and the Atlantic Center for the Arts. She has been awarded the Art Matters Grant, NALAC Fund for the Arts, ReGen Artist Fund, and the Franklin Furnace Performance and Variable Media Award. Her work has been mentioned in Artforum, Hyperallergic, Huffington Post, and in various journals internationally. She is currently co-curating a Latinx feminist performance series with Nao Bustamante for The Broad Museum.
As a community organizer, Ibarra’s work is located within immigrant, anti-rape and prison abolitionist movements. Since 2003, she has actively participated in organizing with INCITE!, a national feminist of color organization dedicated to creating interventions at the intersection of state and interpersonal violence. She currently lectures within the Critical Studies program at California College of the Arts.