GO ON Festival Programming
August 3
Daisuke Takeya | a burning pan
performance 8pm EST/ 5pm PST
Q&A 8:30pm EST/ 5:30pm PST
August 4
Holly Timpener | Two Week Tea
performance 3pm EST/ 12pm PST
Q&A 3:30pm/ 12:30pm PST
August 5
James Knott | Almost Serenade
performance 8pm EST/ 5pm PST
Q&A 8:30pm EST/ 5:30pm PST
August 6
Johannes Zits | The Tree Out Back
performance 3pm EST/ 12pm PST
Q&A 3:30pm/ 12:30pm PST
August 7
Nicolas Aca | Infinite Hunger
performance 8pm EST/ 5pm PST
Q&A 8:30pm EST/ 5:30pm PST
August 8
Racquel de Loyola | Glitch
performance 3pm EST/ 12pm PST
Q&A 3:30pm/ 12:30pm PST
August 9
Maya Ben David | Romance Egg
performance 8pm EST/ 5pm PST
Q&A 8:30pm EST/ 5:30pm PST
August 10
Aokid | Untitled
performance 3pm EST/ 12pm PST
Q&A 3:30pm/ 12:30pm PST
August 3
A pan is to cook. But the pan in my performance burnt masks and toilette paper.
August 4
Holly is a Montreal/Toronto based performance artist. They uses performance as a way to challenge and understand their place in this world, and to investigate how we as people connect. Performance allows them to confront issues related to gender, intimacy, beauty and the body by engaging themes of trust, power, control and consent. These themes are approached from a personal perspective, along with with research collected from within Queer communities. One-on-one performances allows them to gather stories and materials, which they reflect on and responds to through performative expression.
Holly is working with translating collective Queer trauma memories, in an endeavour to investigate what personal transformation occurs when exploring the stories of others and in turn, how others are transformed as witness to the exploration. By balancing their personal experience, knowledge and memories with insight gained through community research, Holly investigates "The Personal Is Political" in a modern sociopolitical context. Within these works they claim ownership of their own body and reflect on how trauma is woven into the lived experience of being Queer. Holly's work communicates femininity, sexuality, identity, and creates strong images that transmute the space, public and themself into a new awareness.
August 5
The accordion, harkens the romantic serenade of street performers. The symbolic weight of this object and its sound sours in the lonely context of isolation. To be re-introduced through the transitional in-between-ess of the alleyway allows it to exist enough in the public sphere to be heard, but with the attempted privacy and seclusion of hiding, of accessing the private.Through a process based approach this push and pull is rendered self-consciously by the performance itself. As someone who has not mastered domain over this instrument, the use of it in semi-public performance will serve as an extension of “practice”, something that is to be done privately, domestically, in the home.Public performance, something that traditionally is understood to be pre-meditated, measured, practiced, and executed with confidence and precision, is here rendered meta-theatrically as the period of its own gestation. In this context, the performance of practice, exposes the domestic rituals of learning, exploration, failure, and chance.Via this video document, segments of the performance are fast forwarded to arrive on moments of failure and triumph alike; highlighting the trial and error of methods of practice
August 6
"The Tree Out Back” is a performative action with me engaging a Manitoba Maple. Many years ago this tree was severely impacted by a wind storm. The damaged area has been cut away and what remains is a three metre high trunk. This trunk became a platform for a garden statue that has long since disappeared. With time, a sapling, nurtured by the vast root systems of this tree appeared and grew to its present height of six meters. During my performance, I interacted with the stump of the old tree and its new growth, as well as the space between them. My intention was to foreground the vitality of the young tree while respecting the life that it came from. This performance is a celebration of the tree’s perseverance and fortitude, in short, the life forces that keeps the old tree living while nurturing its new growth.
While presenting this performance, I wore a special moon pendant around my neck in honour of my mother. The pendant is a reminder of her strength, support and love that helped to shape and nurture me.
August 7
On the path, the artist will position two full-length standing mirrors facing each other. On the ground in between these mirrors, the artist will eat a pot-full of rice.
The performance is symbolic of the pandemic experience in the Philippine context. In the country of a community-engaged culture centered around family and close kinships, the community quarantine and social distancing policies imposed by the government are a psychological, physical, and economic experience. In the past three months of quarantine, there has been a rising number of suicides and depression. The pandemic has severely affected the mental health of the common Filipino whose immediate system of support is the community. This is conjured by the image of the artist eating in isolation, his reflection multiplied exponentially by opposing mirrors. The image as infinite reflection magnifies the emptiness, desperation, and uncertainties for the present and the future. The commo Filipino laborer whose livelihood has also been halted by social distancing can only afford to eat rice, a staple doled out by the local government. As a result, his hunger is for company, for work, for survival. In isolation, his hunger is infinite. ZGM
August 8
A great threat we are caught up from the unseen virus Covid-19 pandemic around the globe spreading rapidly alongside with a much more evident result of terror, fascism, police brutality as what we may call state terrorism as the unbundling policy makings that constitutes to abuse of power, human rights violations as well as socio economic downfall in the face of uncertainty. This unanticipated event is turning our space into somehow alienating place for each human individual from where we have appear to be normal, suddenly this event turn out to be a new dimension for experimentation, exposition and exploration for another means of survival.
August 9
Inquisitive maiden with cat hair on her shirt waxes and wanes over a curious object, an egg. This unreliable labeled “Romance Egg” has caught the scrutiny of the maiden and she will not stop until she has discovered the hidden meanings.
August 10
I'm thinking of the earth motif I'm using recently. Since 2018, I have been making works with the motif of the earth. During this self-restraint period, I took a small globe to a nearby park and played with it, and used it through the screen to give workshops to children and friends.
By creating a small earth and moving it with my own body, it became a dance in itself, and it gave me a big sense of the small room and the small world around me.
I'm wondering if I can develop this idea or start working on a work that involves play.
Daisuke Takeya | a burning pan
A pan is to cook. But the pan in my performance burnt masks and toilette paper.
Q&A with Daisuke Takeya
August 4
Holly Timpener | Two Week Tea
Holly is a Montreal/Toronto based performance artist. They uses performance as a way to challenge and understand their place in this world, and to investigate how we as people connect. Performance allows them to confront issues related to gender, intimacy, beauty and the body by engaging themes of trust, power, control and consent. These themes are approached from a personal perspective, along with with research collected from within Queer communities. One-on-one performances allows them to gather stories and materials, which they reflect on and responds to through performative expression.
Holly is working with translating collective Queer trauma memories, in an endeavour to investigate what personal transformation occurs when exploring the stories of others and in turn, how others are transformed as witness to the exploration. By balancing their personal experience, knowledge and memories with insight gained through community research, Holly investigates "The Personal Is Political" in a modern sociopolitical context. Within these works they claim ownership of their own body and reflect on how trauma is woven into the lived experience of being Queer. Holly's work communicates femininity, sexuality, identity, and creates strong images that transmute the space, public and themself into a new awareness.
Q&A with Holly Timpener
August 5
James Knott | Almost Serenade
The accordion, harkens the romantic serenade of street performers. The symbolic weight of this object and its sound sours in the lonely context of isolation. To be re-introduced through the transitional in-between-ess of the alleyway allows it to exist enough in the public sphere to be heard, but with the attempted privacy and seclusion of hiding, of accessing the private.Through a process based approach this push and pull is rendered self-consciously by the performance itself. As someone who has not mastered domain over this instrument, the use of it in semi-public performance will serve as an extension of “practice”, something that is to be done privately, domestically, in the home.Public performance, something that traditionally is understood to be pre-meditated, measured, practiced, and executed with confidence and precision, is here rendered meta-theatrically as the period of its own gestation. In this context, the performance of practice, exposes the domestic rituals of learning, exploration, failure, and chance.Via this video document, segments of the performance are fast forwarded to arrive on moments of failure and triumph alike; highlighting the trial and error of methods of practice
Q&A with James Knott
August 6
Johannes Zits | The Tree Out Back
"The Tree Out Back” is a performative action with me engaging a Manitoba Maple. Many years ago this tree was severely impacted by a wind storm. The damaged area has been cut away and what remains is a three metre high trunk. This trunk became a platform for a garden statue that has long since disappeared. With time, a sapling, nurtured by the vast root systems of this tree appeared and grew to its present height of six meters. During my performance, I interacted with the stump of the old tree and its new growth, as well as the space between them. My intention was to foreground the vitality of the young tree while respecting the life that it came from. This performance is a celebration of the tree’s perseverance and fortitude, in short, the life forces that keeps the old tree living while nurturing its new growth.
While presenting this performance, I wore a special moon pendant around my neck in honour of my mother. The pendant is a reminder of her strength, support and love that helped to shape and nurture me.
Q&A with Johannes Zits
August 7
Nicolas Aca | Infinite Hunger
On the path, the artist will position two full-length standing mirrors facing each other. On the ground in between these mirrors, the artist will eat a pot-full of rice.
The performance is symbolic of the pandemic experience in the Philippine context. In the country of a community-engaged culture centered around family and close kinships, the community quarantine and social distancing policies imposed by the government are a psychological, physical, and economic experience. In the past three months of quarantine, there has been a rising number of suicides and depression. The pandemic has severely affected the mental health of the common Filipino whose immediate system of support is the community. This is conjured by the image of the artist eating in isolation, his reflection multiplied exponentially by opposing mirrors. The image as infinite reflection magnifies the emptiness, desperation, and uncertainties for the present and the future. The commo Filipino laborer whose livelihood has also been halted by social distancing can only afford to eat rice, a staple doled out by the local government. As a result, his hunger is for company, for work, for survival. In isolation, his hunger is infinite. ZGM
Q&A with Nicolas Aca
August 8
Racquel de Loyola | Glitch
A great threat we are caught up from the unseen virus Covid-19 pandemic around the globe spreading rapidly alongside with a much more evident result of terror, fascism, police brutality as what we may call state terrorism as the unbundling policy makings that constitutes to abuse of power, human rights violations as well as socio economic downfall in the face of uncertainty. This unanticipated event is turning our space into somehow alienating place for each human individual from where we have appear to be normal, suddenly this event turn out to be a new dimension for experimentation, exposition and exploration for another means of survival.
Q&A with Racquel de Loyola
August 9
Maya Ben David | Romance Egg
Inquisitive maiden with cat hair on her shirt waxes and wanes over a curious object, an egg. This unreliable labeled “Romance Egg” has caught the scrutiny of the maiden and she will not stop until she has discovered the hidden meanings.
Q&A with Maya Ben David
August 10
Aokid | Untitled
I'm thinking of the earth motif I'm using recently. Since 2018, I have been making works with the motif of the earth. During this self-restraint period, I took a small globe to a nearby park and played with it, and used it through the screen to give workshops to children and friends.
By creating a small earth and moving it with my own body, it became a dance in itself, and it gave me a big sense of the small room and the small world around me.
I'm wondering if I can develop this idea or start working on a work that involves play.
Q&A with Aokid
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