Antibody Corporation will present The Nyx Poject at Garbage World 6. which investigates the mythology of Nyx, the Greek Goddess of Night. The Goddess’ brood, beginning with Nemesis, demonstrate a path towards understanding the body’s energetic and instinctual response to an abstract, inhuman universe. Adam Rose, Holly Chernobyl, and Amanda Joy Calobrisi perform this piece. Antibody Corporation has participated in Garbage World 1, 2, and 4.
Heather Marie is a performance and video artist who has shown in Chicago, NYC, and Europe. She is currently writing her thesis on expressive art practice and self care as a transformative healing practice. She is working with the mentally ill at a clinic in West Rogers Park using meditation, movement, and art. She will present her performance Peaking at Garbage World 6. Heather Marie participated in Garbage World 2, 3, and 4.
Hanna M. Owens
The artist Hanna M. Owens, current MFA candidate at UIC (2014), plans to continue her collaborative efforts with hairClub — herself, Chris Little, and Elena Feijoo (both also current MFAs at UIC), with another live performance and video projection entitled bushExotic.
Ryan Richey is a Chicago artist. His work has him performing, writing, making videos, painting, singing, sculpting, and any other medium that helps him get his idea across. At the core of his practice, he writes and paints in tandem to breathe life into the stories of his ancestors, family as well as my own. His latest projects are an ongoing painting/writing series, My Whole Life, and his music collaboration with Chris Lin, Hanis Pannis. He recently had a solo exhibition at Rowley Kennerk Gallery. His performance for Garbage Fest is titled “Marion: The Truth”.
Heather Marie Vernon
by Heather Marie Vernon
Kandy Darling and Katherine Saccharine: Heather Marie Vernon
Mommy: Zach (kolo) Kolodjeski
Daddy: Sarah Weis
Sound: Ross Kelly
Heather plays two conflicting personas in front of a video projection of a erotic video “Hard Candy” featuring the colorful persona Kandy Darling, who dramatically pleasures herself with a plethora of candy that she fashions as sex toys. Her conflict resides in her exhibitionism — she pleasures herself on the top of a ferris wheel, furthering her inability to see the division between woman and child. Public and private dichotomies force her to create a militant persona, who thinks of her own sexual pleasure as the goal of her intimate relationships, as she continually rejects love. Katherine Saccharine, her Lacanian analyst elucidates on Kandy’s perversion and proceeds to explain that she suggested the video as an attempt to “to bring her desire into existence.” She explains, Psychoanalysis teaches the patient “to create from their hidden desires.” Eventually Katherine uses a Freudian approach, and while under hypnosis, we realize Kandy witnessed her parents having sex, at a young age, suggesting a conflict between love and sex. The final act is too have performers re-annact the childhood memory, that helps define the fissure between sex and love for Kandy, and finally frees her from the bondage of trauma.
Katrina Therese Schaag
Katrina Therese Schaag is a performance artist currently studying for her Masters in English at UW-Madison. She’s a poet, poststructuralist subjectivity/gender theorist, video artist, and installation artist as well.
IF THE DOLL IS IN THE BIRDCAGE / IF HER ANXIETY IS INSCRIBED IN THE DIRECTIONS
He looks at the doll. The television flickers and his toolbox opens wide. His doll is new
and waiting for unwrapping. She is shiny and glinting and comes just like she should.
Pristine limbs. Molded toes. She shifts on the mattress, stretching away.
“She will now attempt to evoke sympathy. Don’t believe her.”
“Sometimes she experiences a delayed reaction to emotional events.”
“She is holding the image of that precious object in her mind.”
“She is remembering a painful experience.”
“Why are you all staring at me?”
“Now she’s recalling a painful memory.”
“Now she is trying to suppress the physiological symptoms of anxiety.”Now that she is finally unwrapped he looks away. He doesn’t like to see her like this.
Her performance for Garbage World — Garbage Fest draws from her recent studies in autobiology (biology + Biography) with Helen Paris and Leslie Hill. Katrina embodies a melancholic doll confronting the absence of her former owner. The doll is unable to celebrate her autonomy and instead mourns over her owner, who became a part of her. Loss, detachment, sadomasochism, and desire drive her attempts at agency while mourning her owner as a lost object.
In a multiplication and external projection of the doll’s inner body/consciousness, a narrative audio-noise-text fills the space. The multiple vocal layers convey a fragmented subjectivity; her physical presence is the vessel for the audio-consciousness to flow through into the audience. In a struggle for autonomy, the doll performs against and within her script, obeying and resisting the panoptic/disciplinary audio voiceover. As her body remembers and reenacts – manipulation, power, desire, confinement – she in turns seems to willingly participate in (and derive pleasure from) her own objectification as a doll in the spotlight, and confront the audience in their voyeurism.
Originally from Upstate New York, Matthew Nicholas relocated to Chicago in 2004 to complete his Bachelor of Fine Arts Degree at The School of the Art Institute. His back round in steel fabrication and music has come full circle with the addition of performance, creating presentations based on theatrical paradigms, misinterpretations of language, and constructions of reality.
He will be performing The Fingerlicker, 2010, a monologue on one being fixated on the moment at which they achieve gratification in something. The lone character confesses to killing himself, consuming too many hamburgers, and purchasing all of the yellow suits in world to wear them all at once.