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A new chapter of Lisa Anita Wegner's storytelling.

Filmmaker Performance Artist www.mightybraveproductions.com

“I am working on a performance film series called Metamorphosis Human Realignment. This physical stretching practise has changed my life and now through that doorway I am creating a piece in which I tell the truth with my body. I am very excited about this work.”

After speaking at Open Show Toronto about two of my therapy videos I have become even more aware of the clear path my body of work is taking.

I created the Fictitious History of the Haus of Dada as a therapeutic art practise and the bulk of my film and performance work has stemmed from it. After using persona and then the Dada movement as parameters I now feel compelled to strip everything down and tell my story with my body. I’ll talk a bit about that in a moment.

I started here in 2008 when I was still very sick. I made this Eva and Bobby video series in my home with iMovie and started to find my voice

 

 

 

Mama Dada was going to host the installation but that didn’t feel right. Thin(k) Blank Human was born that night.

The work progressed with a library of videos like Marry The Night

A Collaboration with Steve Weiss and Leslie Barton

A solo performance at The Mod Club in Toronto

Thin(k) Blank Human: Metamorphosis is a performance piece by artist Lisa Anita Wegner (haus of dada) and musician Ray Cammaert (Pink Moth). It began as an extension of Wegner’s Trauma Therapy and represents a safe place in the search for one’s self after complete annihilation. It is both a confirmation of vitality and a call to action. The piece explores male and female layers of the neutral self and uses vibration of sound to assist in the expression of terror, hysteria, madness, resilience and joy on the journey to re-birth.

 

After this metamorphosis I realized that I will always continue to embody Thin(k) Blank Human but as for my personal artistic through line I have come through the structure of relying on artifice to find authenticity. My current work is based in realigning my chronically tight psoas muscles which have caused a leg length discrepancy and making my physical body unstable and chronically crooked. After going to a stretch class of Mary-Margaret Scrimger’s at Pursuit I understood the power of stretching my body and how I felt different immediately. Now every day I stretch for at least 10 minutes, some studio days I stretch up to three hours. In this stretching and realignment I am finding myself and who I really am as an artist without all the performance bombast that I so enjoy.

I am working on a nude performance / film series called Metamorphosis Human Realignment. This physical stretching practise has changed my life and now through that doorway I am creating a performance to tell the truth with my body. I am very excited about this work. It’s also the first time I am not sharing as I go.

LAW

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In Toronto Canada, an arrogant performance artist declares themself amazing while refusing to show any facial expression.

 

When we reached out to the haus of dada for comment we received the following message in German via telegraph from curator Fritz Snitz. “Thin(k) Blank Human only does private performances for close friends, artists and cherished audience members and is not interested in speaking with you peoples.” -Ritzy Fritzy

Artist Would Rather Give Ownership of Her Work to Those Who Inspire, Than Those Who Can Pay.

Performance Artist’s Perceived Gender Affects Audience Reaction 

 

 

 

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Akhilanda Collaborative is a new creative collective based in Toronto Canada. It began with a circus and film collaboration for MASHUP, a Hercinia Arts Collective Event curated by Kirsten Leila Edwards. Click the link to read the story of how “the way back home” came together and who is involved.

Read about the original collaboration for a Hercinia Art Party

Here is a teaser of “the way back home” Day of Delight performance shot and edited by Tarquin Richards.


“the way back home” at Dufferin Grove Day of Delight 2016 from Lisa Anita Wegner on Vimeo.

I felt a deep therapeutic need to continue to collaborate with this group. We truly are more than the sum of our parts. When we decided to move ahead we were stuck for an organization name. It was because we were missing someone. As well as Ashley Hurlock, Tamara Arenovich, Lisa Anita Wegner and Ray Cammaert we added Mary-Margaret Scrimger. Here she is below.

And then we were complete. We immediately started a steady stream of creative projects. Live performances, large scale art installations and films. For me this is the ideal addition to my therapeutic art practise. A group who is creatively open, nurturing and understands the emotional landscape. This is work that heals me.

portrait of mary-margaret from Lisa Anita Wegner on Vimeo.

I wanted to post some teaser images and a video study from our blue screen shoot of the other day. Projects will be announced here and on our Facebook page.
https://www.facebook.com/AkhilandaCollaborative/?fref=ts

the universe in her underpants from Lisa Anita Wegner on Vimeo.

I’ll write more soon and share more about our process. I’ll also write a little about the Goddess Akhilanda. Here are a few more images of what we are up to.

Lisa Anita Wegner
Akhilanda Collaborative
Mighty Brave Productions
haus of dada.

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Consciously or unconsciously, in your daily routine you operate with great understanding of the overall patterns, and you act with more foresight and consideration than usual. You. Yeah you.

Akemi Nishidera’s love of all things paper began when she was a small child, and her grandmother would bring her gifts of origami and washi paper from Japan. After studying printmaking at OCA, she apprenticed in Japan for three years, immersing herself in the study of wash (traditional Japanese paper making). She then returned to Toronto and opened KOZO Studio Gallery, where she focuses on letterpress printing, and offers workshops on letterpress and book arts.
Growth, her new installation for Gallery 1313’s Window Box, represents a new avenue for her work in paper, using self-representations on paper to showcase a sometimes difficult, but evolving relationship to her own body. The piece graphically depicts the movement from rejection to acceptance, and the blossoming of the artist’s full potential once that goal is reached.
To see into Akemi’s process, inspiration, thoughts and motivation see her tumbler blog ahdoerei.tumblr.com
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Curated by Lisa Anita Wegner for Gallery 1313.
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New creative collective to form for filmmaker performance artist in Toronto, Canada. http://ow.ly/4ntsB0

After having the pleasure of working with choreographer Brandy Leary on my performance piece, Sex & Candy Floorshow, I was intrigued when I heard about her 2015 Nuit Blanche piece ,GLACIOLOGY. It is part of curator Christine Shaw’s exhibition Work of Wind along the Toronto Waterfront. Glaciology is a human glacier made of 50 human bodies that slowly sweeps across the Toronto waterfront from dusk until dawn.
My art practice has always been relatively solitary, and for the past three years I have performed solo for Nuit Blanche. I was very much drawn to a different way of working and the opportunity to collaborate with a large group.
At first rehearsal, I was hoping that I was physically strong enough for this project. With the dancers, acrobats and circus performers warming up, I felt unsure. As soon as Brandy started the rehearsal with a performer massage, it felt right. Her meditative style “state work” is very much up my alley. My daily practice involves body work and meditating and I felt Brandy’s concepts for the Glacier made perfect sense. My body knew what to do.
I realized that this piece of 50 bodies was actually about doing nothing. It’s about relaxing and physically giving in to the glacier as a whole. It’s about radical physical listening and gracious waiting with your whole body.
I wasn’t sure about potentially being underneath a pile of people. I dislike crowds, and thought it might be too much for me. What was a surprise was that the glacier felt like being embraced. It was a benevolent place to be. If a foot or elbow was coming toward your head, someone would guide it away. I found the physical safety of the glacier was remarkable. I also found the feeling of being protected intoxicating. In rehearsals, when I was out of the glacier watching, all I wanted was back into the warm safety of the group.
Being in the glacier is one of the peak emotional experiences I’ve had in a performing situation, and we’re still only in rehearsal. I’ve been swept up in the movement of this physical entity of 50 bodies, and it is transformative. The first time I got flipped across the top of the group, I felt such joy. Many of the performers talked about how being in the glacier bends time. An hour in the glacier feels like about 10 minutes, and I am craving the longer sessions that we have scheduled for the actual Nuit Blanche performance. I am trying to figure out how to get this kind of emotional physical work into my daily practisc.
As with any public performance, I look forward to the plethora of images that will be collected throughout the night. Please tag your images #glaciology2015
I will write more about this experience after the festival.
2015 ADT Season FB Banners DRAFT A2
Cheers
Lisa Anita Wegner
Filmmaker Performer Curator Programmer
Here is the free link to download the soundtrack for an immersive experience next weekend: http://jamesbunton.bandcamp.com/album/glaciology-i-v
About GLACIOLOGY:
A glacier composed of 50 human bodies slowly sweeps the city for 12 continuous hours as part of curator Christine Shaw’s exhibition The Work of Wind. Anandam’s Glaciology examines the permanent effects of human and ecological disruptions in the converging wakes of colonialism, globalisation, wars and unsustainable economies by overlapping and contrasting these images with the indelible power of glacial movements across landscapes.

Using the movement of glaciers across landscapes as an entry point, this piece explores states of density, collaboration, collapse, overpopulation, relocation, disruption, environmental tipping points, disappeared people, mass graves, icebergs, and melting ice caps.  Glaciology combines site specific performance with human sculpture and choreographic installation to create a surreal, constantly shifting image of bodies as landscape and simultaneously as capsules of history and memory; both human and geological.

http://www.scotiabanknuitblanche.ca/project.html?project_id=1568

Choreography: Brandy Leary

Sonic Designer/Composition: James Bunton

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