Live Performance
Body Ody Audy Audience for No Microphone, 2019
Performative Lecture about the physical experience of being in performance, and the complicated relationship with audiences. Performed at Hauser and Wirth Gallery, December 17, 2019 for No Microphone, curated by Khaela Maricich. Performers include Ka Baird, Stephanie Barber, Muyassar Kurdi, Seung-Min Le, Tracie Morris, Maya Suess, Aisha Tandiwe Bell, Geo Wyeth and Sacha Yanow.
Body Of Craft, 2013
Body Of Craft, 2013. A performative lecture on the historical and hidden meanings of Craft and including an ancient European love spall baked into bread. Written for Craftivism, curated by Coral Short, at Le Petit Versailles in New York on July 12, 2013.
Fallow The Dream, 2011
Performed at the Vancouver Art Gallery on March 18, 2011, Fallow a Dream is a three hour durational magical invocation of Yip Harburg by turning his two most famous songs Somewhere Over the Rainbow and Brother Can You Spare a Dime into an extended invocation. It investigates how the concept of the “dream” can both inspire and oppress.
Cabaret 2005 - 2008
Lady Luck, 2010
Lady Luck was a public performance offering the spell of luck to passersby; presented by the Art In Odd Places festival along 14th Street in New York City. Everyone wants to be Lucky. The luck spell was grounded in magical conveyance. Whether or not there is actually “luck” transferred, the receiver will either believe, wonder or want to believe. Even if s/he is skeptical s/he will be watching the events in her/his life over the next while, wondering if s/he did indeed received luck from Lady Luck
Everybody Needs A Friend Like You, with Ingrid Gerberick. 2007
Everybody Needs a Friend Like You is an interactive installation made up of a small wooden stand flanked by two stools, and two hand-made books. The books contain 6 chapters, each a transcribed conversation between myself and my collaborator and friend, Ingrid Gerberick. One book contains my half of the conversations and the other Ingrid's. The work invites viewers to sit across from one another and each play the role of the artists. The result is an interaction where strangers connect as friends
Herculine's 1000 Names, 2006
The Big Winner is in love with a cyborg named Herculine. Through their love affair The Big Winner discovers, to much her judges dismay, that she may also be a compilation of many parts.
An absurdist look at gender and identity, Herculine's 1000 Names was first performed at the Sistahood Festival in Vancouver, BC, and later published in the journal Sexing the Text, as part of a conference on Sex and literature through Simon Fraser University.
Herculine's 1000 Names runs approximately 17 minutes
An absurdist look at gender and identity, Herculine's 1000 Names was first performed at the Sistahood Festival in Vancouver, BC, and later published in the journal Sexing the Text, as part of a conference on Sex and literature through Simon Fraser University.
Herculine's 1000 Names runs approximately 17 minutes
Guilt, Gelt and Gifelte Fish, 2005
On January 14, 2005, RL Cutler and Maya Suess presented the bestselling dime store primer Guilt, Gelt and Gefilte Fish in the window at Dadabase/Xeno Gallery, Vancouver, BC. Exploring the stereotypes and narrative potential of two distinct identity groups, the artists performed a series of tableaus that exposed the undoing of subjectivity, embodiment and caloric intake. Manifesting a three-hour installation Cutler and Suess riffed on pop culture, retail culture and cultural baggage. The resulting window display represented the nine chapters of this compendium. This was a reenactment and should not be construed as in anyway representing or reflecting the lives of the performers. Instead the performance was an act of liberation against the tyranny of conceptual art, a gesture of hope in the face of strategic career moves, a surreal entertainment on a dark and stormy night.
R L Cutler, Maya Suess
R L Cutler, Maya Suess
A Reinterpretation of Yoko Ono's Cut Piece, 2004
In 2004 the Western Front hosted a festival called That 70's Ho, an homage by contemporary female artists to the brave women of the 1960's and 70's who pioneered performance art. I explored Yoko Ono's infamous work Cut Piece. In order to move away from the extensive critique and projected meaning that surrounded Ono's original work, I approached it with a sensibility absurd and fantastical.
John and Yoko, 2004
Performed at the Western Front as part of the That 70's Ho festival, which payed homage to women performance artists of the 1960's and 70's. A re-performance of the interview that John Lennon and Yoko Ono gave Rolling Stone magazine the year before John was killed.
John and Yoko performed by Sarah Edmondson and Heather Redmond.
John and Yoko performed by Sarah Edmondson and Heather Redmond.
