Museum of Non-Participation.

What Will The Next Revolution Look Like? 
Performance in collaboration
with Karen Mizta and Brad Buttler,
curated by Amy Lynn Kazymerchyk
Co-Presented by
Institutions by Artists / The Convention
with artists Raymond Boisjoly, Coupe L'etat, Sebnem Ozpeta, Emilio Rojas and Jeremy Todd

 For this generative performance that tells the story of the Museum's emergence. Mirza/Butler  staged a conversation between their experiences in London, Karachi, Mumbai and Cairo, and VIVO’s community and their experiences in Vancouver. The performances created an agora–a space to raise such questions as: What position do you take? When do you participate and when do you abstain? What is your stake in artist-run culture? Are you running your culture? Is it a culture or a museum?

For my participation in this project entitled El grito, el coro, y el cantante. I invited an opera singer, and members of two social justice choirs which Ive been  part of for the past three years (the cultural medicine cabinet and the Woodward´s Community Singers). The performance consisted in sound interventions and performative actions that responded to the piece presented by Mizra and Butler. The choir blocked the entrance for the beginning of the night, so people had to squeeze through them while they were singing a variation of a verse written by Leonard Cohen, composed by the choir. Song that we often sing in protests and social justice events.

Forget your perfect offering
Just Ring the bells that still can ring
There is a crack in everything
That's how the light gets in.

That same night the choir had been invited to sing at Saint Andrew's Wesley Church for an event of Homelessness Action week. The song was sing in both venues, and the video projected at the entrance of the gallery, to link the social justice event with the simulacra of the political by the performance. The performance ended with a scream from all the singers, that ended in a tone, and turning off the lights of the space.