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Video Pool Media Arts Centre
100 Arthur St # 300, Winnipeg, Manitoba R3B 1H3
As part of Isolated Landscapes: Prairie Women in Video (1984-2009), Ming Hon presents filmed in front of a live studio audience
when: November 17 | 5:30pm — 8:30pm | come and go as you please
where: Poolside Gallery | 221-100 Arthur Street
10 background actors are hired from a local casting company and outfitted to simulate the look of attendees at the gallery opening of a local performance artist. The featured lead actor is also the director on a live film-shoot occurring during the opening. The contexts of movie making and live performance meet in the absurdity of employing and compensating an art audience when there already is one readily available in the room. The art star-brat-director-artiste directs and orchestrates her desired reactions, applause and gestured criticisms.
A performance does not exist until it is performed before an audience there to witness it. Shooting a live art film as a performance immortalizes the ephemerality of the performed actions. Does this activity constitute a dramatization of performance? What does it mean for a performer to feed off the energy that a live studio audience provides? How does one utilize the tropes of conventional film and television culture with respect to featured roles in a scene with background actors?
The title filmed in front of a live studio audience draws on the tradition of live tapings of television sitcoms, daytime/late-night talk shows and game shows which created authentic audience laughter and applause instead of canned laugh tracks and incited the actors to perform to the best of their ability in order to illicit these audience responses.
The artist allows the layers of audience, performer and filming to complicate and improvise with each other. There is a play between the glamorous/unglamorous hierarchical system of film making, the participation of the live audience and the self-importance of the performance artist.
Born in Hong Kong, raised in Winnipeg, she found a loophole which afforded her a slim chance of winning the crown for Miss Hong Kong 2003. Thinking she could secretly undermine the pageantry and its fanfare of endorsements, the judges proved her wrong and were not interested.
Ming Hon is an independent dancer, choreographer and performance artist working with installation and video based in Winnipeg. Her practice looks into themes of work, labour, capitalism and the economy and politics of the female body.
Ming Hon has exhibited her works and performed both locally and internationally, at such galleries and venues as: The Taipei Artist's Village (Taiwan), CAM Raleigh (Raleigh, North Carolina), the National Art Gallery (Ottawa), the Surrey Art Gallery (Surrey, British Columbia), the Mississaugua Art Gallery (Mississaugua, Ontario), Plug In Institute for Contemporary Art (Winnipeg, Manitoba) and more. She regularly collaborates as a performer on projects with visual artists, such as Sarah Anne Johnson, Karen Asher, Rebecca Belmore, Rober Racine and Noam Gonick, and she maintains an active creation/research practice as a dancer. Ming was awarded the 2011 On The Rise award from the Winnipeg Arts Council. In 2014 she was commissioned by the Winnipeg’s Contemporary Dancers to create a new work Forever in Blue Jeans, which opened their 50th anniversary season. Hon continues to produce work that incorporates video installation, dance and performance across North America and internationally.
The Artspace Building is wheelchair accessible by elevator, from the west side entrance at King Street and Bannatyne Avenue, and has wheelchair accessible washrooms.