an online exhibition of performance art on video
February - August 2018
Second Daytime is an exhibition presented by Ortega y Gasset Projects on the Ortega y Gasset website www.oygprojects.com/second-daytime. It is an exhibition of video documentation of women artists performing solo in locations outside of (but nearby) their studios.
Looking back to the birth of video art when the Portapak became available, artists brought this previously unreachable technology into their studios to utilize it as a multi-tool. Because of its low cost, portability, and immediacy the tenor of much early video art was experimental, and used as a tool for protest and reflection on identity. Second Daytime seeks to use the medium of video in its essential way again, as an immediate, experimental art medium for poignant contemplation as well as social and political resistance.
Each of the performance artists featured is recorded by the curator Sarah Rushford in the artists surroundings, using a single camera, available daylight only, little or no camera movement, and minimal editing. Second Daytime will unfold over a period of several months beginning with Cayla Skillin-Brauchle who performed Conduit on January 26, 2018 at Willamette University in Salem Oregon, where she teaches and maintains her art practice. The second installment is a presentation of Dearest Pauline by Michele Jaquis who performed at Elysian Park in Los Angeles on March 19, 2018 and is a performative reading of letters from one hundred years ago this month.
On March 19, 2018 in Elysian Park in Los Angeles, CA over the duration of five hours, Michele Jaquis read aloud seventy letters that her great-grandfather Barnett (Ben) Kahn wrote to her great-grandmother Pauline Zuckerberg one hundred years ago. Between March 1918 and April 1919 Ben who was in US military training in Long Island NY and later on active duty in France during WWI wrote to Pauline, who lived in New York's Lower East Side and later in the Bronx. The letters are an ordinary and arrestingly tender telling of the drama, novelty, and trauma, as well as the tedium, uncertainty, and physical and emotional challenges of military service.
Michele's reading is matter-of-fact, open, and allowing, with occasional faltering because of low legibility and the disintegrating condition of the paper. The long reading is part memorial to her relatives and part endurance performance art. Complexities of war, gender, race, and language speak through it.
The piece's length and repetition is notable, during it, the viewer's mind wanders in a powerful way, tethered just closely enough by the narrative to be allowed to discover more subtle sociological implications; such as realizing that these letters have been cut by censors. (In one way this humorously suggests that the letters may have originally been more exciting!) Then, one realizes some of the letters are self-censored by Ben because he writes on paper with the YMCA logo and measures time in relation to Christmas and Easter, in addition to Purim. Ben's subtle erasing of his and Pauline's Jewishness as Russian and Austrian immigrants and aspiring US citizens colors the writing as a foreshadowing of the genocide that would befall their relatives in the coming holocaust and demonstrates the multinode, far-reaching temperament of the art work.
The work is presented in Second Daytime as a twelve minute excerpted footage montage, shot and edited by curator Sarah Rushford. A multi-channel video of the five hour performance is forthcoming from the artist.
Michele Jaquis is an interdisciplinary artist and educator based in Los Angeles, CA, who combines strategies of conceptual art, documentary, and social practice to examine the complexities within personal and social relationships, identity, language, and communication. Her work has been exhibited in alternative spaces, galleries, museums, and film/video festivals throughout Southern California as well as in cities across the US and in Australia, Canada, England, Ireland, New Zealand, and South Korea. Jaquis has been an artist in residence at Vermont Studio Center, Skirball Cultural Center, and the Institute for Cultural Inquiry. She is currently Associate Professor and Director of Interdisciplinary Studies and the Artists, Community, and Teaching Program at Otis College of Art and Design. Awards include a Spring 2018 Sabbatical and 2016, 2014, and 2011 Faculty Development Grants from Otis College, 2009 Vermont Studio Center Artist Grant, 2009 Voice Award Nomination sponsored by the United States Substance Abuse and Mental Health Services Administration, and Best Documentary in the 2008 Director’s Chair Film Festival in Staten Island, NY. She holds an MFA in sculpture from Rhode Island School of Design, a BFA in sculpture and experimental studio with a minor in psychology from Hartford Art School, University of Hartford, and also studied at Brown University and Burren College of Art.
In Conduit, Cayla Skillin-Brauchle pulls many yards of paper through straps that are sewn into the waist and shoulders of an original costume. The brightly colored dress with a large hoop skirt that surrounds the artist as she sits on the ground acts as a multivalent ceremonial garb (resembling a child's party dress, a poodle skirt, or a mandala in garment form.) She pulls the paper through the channels in the dress and accrues a paper mountain before herself by allowing segments of unrolled paper to fold into a loosely balanced heap.
Cayla Skillin-Brauchle on Conduit:
My body is the site from which I draw.
My body is the site from which I draw.
In recent years my practices of drawing and performance have become mixed up. In Conduit I start with the directive, “Draw a straight line and follow it,” offered by Fluxus artist La Monte Young in Compositions 1960. As I pull the paper off the roll and through my dress the rigid paper yields to the grasp of my hands, the curve of my waist and the arc of my shoulder as I guide it into the space in front of my body. The consequence of my actions and the resulting drawing is the performance. A straight line records a curved course.
Cayla Skillin-Brauchle is a visual and performance artist whose events, drawings, prints, zines, installations and performance art have been exhibited internationally at the Rotunda Gallery in Thailand; ROY G BIV Gallery in Columbus, OH; Artspace Mackay in Australia; the Whatcom Museum in Bellingham, WA; Ortega y Gasset Projects in Brooklyn, NY; and the Sleeth Gallery in Buckhannon, WV. In 2017 her solo exhibition Super Speed! opened to the Hallie Ford Museum of Art in Salem, OR. This year, her new solo exhibition STAT! will open at the Plains Art Museum in Fargo, ND where she will also complete a residency with the Hannaher’s Print Studio in the Plains Art Museum Center for Creativity. She has been awarded residencies at Iskra Print Collective, Vermont Studio Center, Hambidge Center, Hypatia-in-the-Woods, and PLAYA Summer Lake. Most recently, she was the 2018 Artist in Residence at TEDxSalem where she also gave a TED talk to 800+ attendees on the power of art to change the viewer’s perspective. After earning a BA from Beloit College and her MFA from Ohio University, Skillin-Brauchle spent a year in India as a Fulbright Fellow. Skillin-Brauchle lives and works in Salem, OR where she is Assistant Professor of Art at Willamette University.