The public profile of Intermedia's Performance Day seemed somewhat limited compared to previous years, as all the events were staged within the environs of the Triskel. Furthermore, it was hard to see how two of the seven events - a screening of Sophie Calle's engaging film Double Blind and an education workshop - qualify as performance art.
That said, Anne Seagrave's intimate performance workshop was quite absorbing, revealing working processes through the use of demonstrations, collaborative choreography and video/photographic illustration. These elucidated the origin and evolution of various pieces and provided fascinating insight into the creative process behind a frequently obscure discipline.
Lorna Healy's contribution related well to Seagrave's presence, in that both had educational import. Healy's presentation was rather unusual as she transposed her experience as a cultural studies tutor into thematic content - a modish lecture format for the 21st century, the speaker armed with slide projector remote controls.
Artur Tajber's wore a white balaclava with map contours lines drawn over the surface - this visage was replicated on two monitors, one of which the artist balanced precariously on his shoulder. Cynics might interpret the physical weight of the monitor bearing down on the artist as an ironic metaphor for the ungainliness of new media materials. But Tajber's concept of exploring the "territory" of self-identity was an interesting thematic motif.
Michelle Darmody's atmospheric piece began with the artist caged inside a translucent cube on which colourful slide images of female icons and historical figures were projected. Inside, the artist shuffled around the incredibly cramped space sewing "feminine" objects on to the skin of the cube - a commentary on the social constructs impinging women.
Pauline Cummins contribution began with Hollywood action movies segueing into disturbing images from the Nazi holocaust. Throughout, Cummings weaved a mournful mantra, angry at man's inhumanity. A live video patch-in of the artist's face periodically appeared on the screen, adding an interesting dimension to the work.
The final performance by Robert Ayers recounted imagined scenarios from a fictitious diary (including a tryst with Grace Kelly). At the culmination of each entry, the artist soberly poured cornflakes/ soap powder/ walnuts /tomato ketchup over his head. The "set" was rounded off with a rousing song, which had the audience and artist in jovial mood. Perhaps performance art is not as serious and aloof as we thought.
Intermedia '99 continues throughout May.
