Celebrating graduating students’ performative innovations, IMPACT Performance Festival 2023 will be showcasing more than 16 core graduating artists. This performance festival is noteworthy as it features graduates from various departments, including Performance; Sound; Film, Video, New Media, and Animation (FVNMA); Art and Technology Studies (ATS); and beyond. School of the Art Institute of Chicago (SAIC), best known for its interdisciplinary freedom for artists, cultivates countless successful collaborations among peers. To understand these aspiring artists’ practices better, Juliana Castro Duperly (graduating MFA in ATS), Nikki Telegan (graduating MFA in Performance), and Mallory Qiu (graduating BFA) have shared their thoughts on their works, experience in SAIC, collaborative practices, and beyond.
Interview with Juliana Castro Duperly
Photo of Juliana Castro Duperly by Nikki Telegan
GF: What is your practice in general, and what is your statement behind this practice? Can you describe a little bit about your performance in this upcoming IMPACT festival?
JCD: I consider myself as a video artist and AV performer, who understands video, written text, and spoken word as agents of construction and deconstruction of meaning. Plasticity of this media has allowed me to create aesthetics that veil and unveil a poetry that, live video in real time, resides in the execution. The performance I’m presenting at IMPACT has been a long work about grief, loss, and memory. It comes from a very personal place and from this impossibility of grabbing something so big that I don’t even know how to name. How am I supposed to translate grief? There is a translation problem.
GF: What does body mean to you as a performance artist?
JCD: This work comes from my voice, literally. Working with my voice is a new thing in my practice and it’s such a strong medium to work with. It’s the sonic form of language. To work with my mouth is also working with the core of meaning and discourse, but it is also a way of getting out of it and that duality moves me a lot.
GF: What do you wish to expand in your future endeavors?
JCD: Fabricating sound objects. I feel that my practice sometimes is way too digital, and I’ve been missing that materiality.
GF: What is your greatest takeaway from SAIC during your study (and beyond)?
JCD: Being able to be open to different disciplines and collaborate with others. And in a more personal approach, I’d say: sound <3.
GF: How does collaboration at SAIC expand your practice in relation to technologies?
JCD: I think collaboration is more about weaving ideas together than learning new technologies. You work with someone who has another practice, and you start building things together, and I feel that’s the most rewarding part: getting to know other ways of approaching art and life. Collaboration is also getting access to other types of problems, and also other solutions which sometimes technically speaking makes everything easier.
GF: What does new media/technologies mean to you? How do you respond to these progressive developments as an artist? What would be the challenges you have faced so far with technologies?
JCD: I feel that new technologies bring with them an eagerness to be incorporated into art, just because they are new. And that can be complicated, because in the arts, technology should be used as a medium to accomplish something, not the main thing. Artificial Intelligence (AI), for example, is super interesting, but I feel that lately like everyone does AI just because it’s new and it’s cool, not because their work needs it. Personally I feel some pressure to learn all the software, but to always keep up with the technology is overwhelming. So I don’t know, I have mixed feelings about it.
GF: Why do you focus primarily in video works? Why does it catch your attention?
JCD: For me working with real time video it’s working with something that is alive. The image is fluid as time goes by, you’re not stopping time. It’s a live image. Alive. It’s free, it’s raw. Working in real time makes you work in a very flexible and fluid way, you work with rhythm and intuition, you’re not thinking so much, you’re just responding and connecting with your body.
GF: What does new media/technologies mean to you? How do you respond to these progressive developments as an artist? What would be the challenges you have faced so far with technologies?
JCD: I feel that new technologies bring with them an eagerness to be incorporated into art, just because they are new. And that can be complicated, because in the arts, technology should be used as a medium to accomplish something, not the main thing. AI, for example, is super interesting, but I feel that lately like everyone does AI just because it’s new and it’s cool, not because their work needs it. Personally I feel some pressure to learn all the software but to always keep up with the technology is overwhelming. So I don’t know, I have mixed feelings about it.
GF: You mentioned that “Language can be expanded” in your statement, how do you achieve that through your artworks?
JCD: Language is made, in my opinion, to pin things down, to be operational. But it is from language itself that one can also look for an aperture. An aperture that is given not so much from meaning (thought), but from feeling (body), which happens a lot in poetry, for example. In my work I think I have gone through all phases in relation to language. Sometimes I hate it, and sometimes I love it. In my latest works I have searched for an excess of meaning, which is given through repetition, redundancy, and in the case of the work I am presenting in IMPACT, from sound, from articulation, from my voice.
Interview with Nikki Telegan
Photo of Nikki Telegan’s work by Eugene Tang
GF: What is your practice in general, and what is your statement behind this practice? Can you describe a little bit about your performance in this upcoming IMPACT festival?
NT: My performance practice roots in the perversity of the object, the function of flesh, and the extent of which the body image can exist across space and time. My IMPACT work contains themes of excess, time, death, and sensuality, examined through the child-like lens of the birthday as both a celebration and marker of existence. It is by far my most ambitious project to date, and I can’t wait to share it.
GF: What is your greatest takeaway from SAIC during your study (and beyond)?
NT: My greatest takeaway from this experience is that I’m unbelievably lucky to have had the chance to focus this time on my practice and invest in this community I’ve become a part of by being here. Lin Hixon’s reminder that we are the art world and everyday we get to play a part in shaping it to work for us will stay with me forever.
GF: What does body mean to you as a performance artist?
NT: In order to make work about the body, I find it to be absolutely necessary to show the body. My body is the tool I’ve known the longest, how to manipulate, to make work for me. Something changes about the work when a live body is present. It’s a life force, demanding attention to a moment that I don’t often experience with other works. I also see all elements of my practice as stemming from performance, even the objects or installations that I make — they’re all an extension of the body for me.
GF: What is the rationale behind incorporating new media/technologies in your practice?
NT: I’m often trying to find ways to extend the body. I use the frame of the camera to show the viewer exactly what I want them to see when I want them to see it as a way to take up space, create excess, express power, and heightened vulnerability. I’m sensitive to the reasons why the frame often has to be shown as a rectangle or square on the wall when using projections, which has led me to exploring other ways of seeing and experiencing, like through the framing of your phone or CRT TVs. New portals, new explorations.
GF: How do you see the possibility of expanding your artistic idioms through collaborations?
NT: Ego is something that I try to steer clear from, so the falsity that I’m physically, mentally, psychologically capable of doing this all on my own is not one I’m interested in promoting. Bodies on “stage” take bodies off stage, always. So does all of art really, but in performance, I think it’s more interesting when the other bodies are displayed or expressed. There’s nothing more exciting to me than walking away from a collaborative session with an idea or thought that I couldn’t have had on my own in the morning. Collaborations are generative and mutually beneficial in driving all of our practices.
Lately my collaborations have been with other femme bodies’ live mixing technologies in my performance, a kind of feedback loop, topping and bottoming each other interchangeably. What I do affects what they do and what they do affects what I do. The possibilities for improvisation are heightened and exhilarating.
GF: Confrontations and uneasiness are not uncommon through your practices, What do you wish to bring to your audiences through such unconventional expressions? What is supposed to be their takeaways after seeing your performance?
NT: Back when I was primarily a burlesque/drag performer, I loved to shock my audience. The bait and switch of being lured in by something hot or arousing and the disgusted was a fun theatricality to my performances.
Nowadays, I’m less interested in shock and more interested in a consistent tone of unease, playing with the questions of uncomfortability, but more so a permission to look at these parts of the body or bodily experiences and question their subversity through the experience of unabashed bodies. Carolee Schneemann once said something to the effect that censorship is a collaborator, what is or isn’t allowed helps to show me the edge, the line that I can rub up against to expose contradictions and examine insubordination.
GF: What do you wish to expand in your future endeavors?
NT: To simply keep making work is the dream. Finding a way to balance all other aspects of life outside of my practice, but still maintain it, would be ideal. A lot of things go by the wayside when you’re in grad school and this amount of focus on making work sometimes feels unsustainable. The dream is to have both, keep making community, and keep making work. The rest will come 🙂
GF: In the past, you have successfully collaborated with sound/video artists, do you picture yourself expanding such collaboration in a larger-scale?
NT: This IMPACT performance is definitely a large-scale collaboration! With my good friend and video artist Oona Taper, but yes definitely more in the future. When thinking through the fun mind game of how I would write a grant proposal for $10,000, I always think about the people, the artists, those that I would hire to be both physically in the performance or supportive of the performance. The larger the scale, the more people I want to work with. That would be the dream.
Interview with Mallory Qiu
Photo of Mallory Qiu’s performance by Issac Duan
GF: What is your practice in general, and what is your statement behind this practice? Can you describe a little bit about your performance in this upcoming IMPACT festival?
MQ: My interdisciplinary practice combines live sound/video performance, poetry, body movement, and sonic study. My passion seeks to challenge audience perception through an exploration of physical sensory perception and simulated biological action. I strive to create a unique and immersive experience for the audience through a harmonious fusion of movement, sound, and visual art, which investigates experiences and perspectives in both physical and virtual realms.
“Still, Move, Walk with me” delves into the concept of lost memories in the everyday spaces that we tend to overlook. Five performers create a dynamic interplay between stillness and movement on a staircase. They share weight and space, creating a sense of connectedness and interdependence. By repeatedly working on the staircase, I measure time and trigger transitions between the still poses. This creates a sense of rhythm and structure to the performance. Audiences are invited to participate in the performance by sharing footsteps with the performers on the staircase. Alternatively, they can view the work from the gallery balconies and landing areas.
GF: What does the body mean to you as a performance artist?
MQ: The body holds a pivotal position in my artistic endeavors. I explore the interrelation between the body and space, daily behavior, and difference. I examine how physical experiences influence our self-awareness and perception of the world. The body connects directly with people and elicits genuine emotions. Through performance, I create a visceral and embodied experience for the audience that transcends mere intellectual comprehension. By utilizing the body as a means of engagement, I foster a deeper emotional connection with the audience and creating new memories. Although the temporal nature of performance may cause it to fade, the impact of the body endures and serves as a lasting reminder of the experience.
GF: What is your greatest takeaway from SAIC during your study (and beyond)?
MQ: My experience at SAIC was truly transformative and has a lasting impact on me. I had the freedom to explore and learn in different departments. This allowed me to expand my horizons and gain a more well-rounded understanding of the art world.
Another highlight was the chance to connect with a diverse group of incredibly talented peers. Interacting with this constellation of individuals was like looking through a kaleidoscope of inspiration, enriching my artistic practice. Through these interactions, I was able to blossom as an artist.
One of the core values at SAIC that really resonated with me was the idea that meaning and making are inseparable. This principle continues to influence my work, emphasizing the importance of the creative process and experimentation.
GF: What does movement mean to you in performance?
MQ: When I move or move with collaborators, I’m tapping into a deeper part of self-awareness. I also connect with my movement with memories, environment, and people around me.
Every movement is a chance to create a memory, to leave an impression that lasts beyond the performance. And the environment I perform in is just as important as the movements themselves. The architecture of a space, the way the light filters through the windows, the sounds of the city outside — all of these elements can add to the performance and create a more immersive experience for the audience.
I also believe that tension is an important aspect of movement in performance. It’s not just about the big, flashy movements but also the subtle movements and stillness that create a sense of anticipation and build tension.
GF: How do you maximize your spatial relationship during performances? Or how do you cater to site-specific movement/performance?
MQ: I’m interested in creating a dialogue between my work and the space. To work with different sites, I first begin by analyzing the site-specific environment and the available space. I identify the space’s unique features, including the daily function, layout, acoustics, lighting, etc., which can be utilized to create a sensory and emotional experience.
To cater my movement and performance to the site, I consider the context and history of the building environment. I aim to transform the space’s normal function by integrating my art into the environment and creating an unconventional experience. In terms of maximizing the spatial relationship, I experiment with different movement and sound sequences that take advantage of the space’s unique features. I also explore the use of varying levels, heights, and depths to create a three-dimensional and dynamic rhythm.
GF: As you are interested in curatorship, does your studio/performance practice inform your curatorial decisions?
MQ: Yes, my passion for curatorship starts with my experience of being a performance artist. As a curator, I act as a bridge between artists and audiences, utilizing my unique experience as a performer to empathize with and support the artists I work with. Having undergone the complex process of developing, creating, and executing a performance myself, I have gained a deep appreciation for the artists and their decisions throughout their creative journey. Drawing upon my understanding of the creative process, I can provide artists with the necessary support to ensure their vision is realized to the fullest extent possible.
Additionally, my experience as a performer has given me a heightened awareness of the dynamics between the performers and the audience. As a result, I consider not only the aesthetic value of a performance but also how it will resonate with the audience. This enables me to curate events that engage and captivate the audience while remaining true to the artist’s vision.
GF: What do you wish to expand in your future endeavors?
MQ: In my future endeavors, I aspire to expand my horizons and become a bridge between international performance art communities. I am eager to travel around the world and learn from different live art communities. My primary objective is to immerse myself in various cultures, gain a deeper understanding of the diverse perspectives that drive the creative processes of different performance art communities, and then create a platform that brings these unique perspectives together.
I envision a future that promotes international cooperation, creating opportunities for performance artists from all around the world to collaborate and showcase their work to a broader audience. By fostering connections and building relationships between different live art communities, we can create a more vibrant, diverse, and meaningful artistic landscape that can inspire, challenge, and connect people from all walks of life.
GF: You have been collaborating in groups in a multidisciplinary manner. What are the biggest challenges and takeaways for you?
MQ: One of the primary obstacles is to establish a shared language and comprehension. Each artist possesses a distinctive outlook, abilities, and creative strategy. It necessitates the meeting of the right individuals, cultivating confidence, and fostering a secure setting that encourages cooperation.
Furthermore, coordinating the logistics of a project, such as budgeting, scheduling, and communication, can present another challenge when working in a group. Each artist’s availability and timetable differ, this poses challenges to rehearsals and performances schedules. Moreover, interdisciplinary work can lead to unforeseen costs or technical difficulties that must be addressed.
The three interviewed artists gave us valuable insights on how collaborations at SAIC enhanced their practices. Join us to celebrate the fruition of our SAIC boundary-pushing graduating artists: Lula Asplund, Dorothy Carlos, castroduperly, FLEMING, Andy Giovale, sun Lynn Hunter, Anna Johnson, Carissa Lee, Mao, Gabe Postle, Mallory Yanhan Qiu, Judy Lea Steele, Arti Tefo, Nikki Telegan, Ricardo Vilas Freire, and Kezia Waters.
The IMPACT performance festival located at 33 E. Washington Street on Friday, March 3, from 7:00 to 10:00 pm, Saturday, March 4, from 7:00 to 10:00 pm, and Sunday, March 5, from 1:00 to 3:00 pm and 5:00 to 7:00 pm. For more details, visit: https://sites.saic.edu/gradshow2023/impact/.
