Saint Genet Presents:
An Aesthetic Declaration, An Offering, An Analytic Scenario
“An Exemplary Case of Love Without Respite”
“An Exemplary Case of Love Without Respite” begins at dawn on April 17th (5:02 a.m.) and will continue without break, pause, or hesitation for 3 days. Each day will begin with a dawn installation and performance in an abandoned factory (“Semperitfabrik”) located in Traiskirchen, immediately followed by a 30km procession, which will eventually intersect, as poetic homage, with Günter Brus’ original route taken while performing his Wiener Spaziergang (1965), and finally finish at Charim Events (Schleifmühlgasse 1, 1040 Vienna) where an accumulating “re-creation” of each days dawn performance will take place in the evening.
“An Exemplary Case of Love Without Respite” represents what artist Derrick Ryan Claude Mitchell describes as “An Aesthetic Declaration, An Offering, An Analytic Scenario, and A Prelude”. An event that manifests, through image, installation, transgression, procession,and performance, the inciting incident which provides an early, earnest, and fragile vocabulary and develops the conceptual narrative that will be the aesthetic foundation for a series of large-scale and experimental Operatic Works, time-based site-specific satellite performances, and gallery presentations currently in development for presentation at Donaufestival and Wiener Festwochen.
Charim Events will open at 18:00h on April 17th, 18th and 19th in preparation for Derrick Ryan Claude Mitchell’s arrival between 18:30h and 19:00h. The space will close at 20:00h.
“Myth is content without fixed form, it is protean, re-appearing, and embodied at any point in history, in diverse and unexpected fashions.”
Alain Borer “A Lament For Joseph Beuys”
The Two Functions of Methodology:
1. Open up the psychic space in the very center of indifference, when action occurs not as if foreordained, recorded, and available for re-enactment, but as if it were dreaming into being on the margins of impossibility in a cloud of unknowing.
This never happened but always is.
2. To keep us intact, to keep it not death at least the deadening outside the circle of existence in the fantasy of longevity through which we all expire.
Herbert Blau “Take Up The Bodies”
Toronto’s Luminato Festival
We were honored to be in Toronto presenting the Canadian premiere of Paradisiacal Rites at the prestigious Luminato Festival, June 10-14.
From Luminato’s website: “Paradisiacal Rites is artistic provocateur Derrick Ryan Claude Mitchell’s most ambitious piece to date. A non-narrative exploration of American hysteria, nationalistic vanity and utopian fervor, Paradisiacal Rites examines the delirious final moments of The Peoples Temple in Jonestown, Guyana, the madness attached to the Charles Manson murder trials, and manic derangement, through an obsessive commitment to the Oscars. It transforms elements of ballet, symphony, opera and installation into hypnotic and visceral performance. Everything and nothing is sacred.”
Paradisiacal Rites was co-commissioned by Luminato Festival (Toronto) and donaufestival.au (Krems). It’s creation was also made possible with support from over 150 individuals through our USA Projects Fundraiser.
Saint Genet also thanks Mid Atlantic Arts Foundation for a USArtists International travel grant to help support our travel to Luminato.
Luminato Festival Ancillary Performances
June 10th – 14th
For Luminato’s Paradisiacal Rites premiere, Mr. Mitchell pursued another series of “action images” at secluded and secret locations in and around Toronto. His site and time specific performance exhibitions known as Variations i, ii, iii, iv, v will began at Dawn (5:36am) and continued with the recreation of Buster Simpson’s Woodman as a 34k procession to Daniel Faria Gallery where Saint Genet exhibited Chris Burden’s SHOOT, alongside the documentation of the recreation of SHOOT and its artifacts Other action images occurred at 4:00pm in the gallery. A final procession led to MOCCA inciting the first actions of Paradisiacal Rites.
These impossible performance exhibitions created dramatic illusions affecting and changing the real history and interpretation of the large-scale experimental opera Paradisiacal Rites. These “Variations” operate and highlight real, dramatic, and historic/poetic time. They are each an exercise of “volitionlessness”; an exploration of the dissolution of ego and the release of consciousness into the structure of the performance/procession. Slowly becoming an image of the ultimate subtraction, the death of the self, which, as it materializes, is refused.
If, as Mitchell posits, by way of Herbert Blau, that the pivotal mechanism of the Theatre is the idea of punishment, whether in comedy or tragedy; that if, indeed, there is an Eternal Return it moves through punishment (the ordeal) like a compulsion dream; then there is a sense that every performance is a trial, the processions/action/images/and ghosts of past performances improvise a history that litters Toronto’s landscape with unnameable deeds, offering up evidence. This complex process allowed the walls of the theatre (MOCCA) to become diaphanous, turning the theatre into a memory place with an ever changing and unrecorded history.
Saint Genet MMXIII
Saint Genet: MMXIII from Saint Genet on Vimeo.
Saint Genet is proud to present a brief trailer of Derrick Ryan Claude Mitchell’s re-creation of Christopher Burden’s Shoot, the 2 hour performance in Pioneer Square Nearly, Nearly Invisible, and Paradisiacal Rites at On the Boards.
Please be on the look out of the extended version produced in partnership with Northwest Film Forum.