Lisa Anita Wegner

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October 23, 2026 Haus Special Announcement

Intangible Adorations: Experience The Icon was commissioned by Post Script Patio and was a headliner at Rendezvous with Madness Festival 2019. Created by artist Lisa Anita Wegner and director Scott White it is a social experiment, film and performance series.Closing night included Celebrity and Anonymity: An Artist Talk with Lisa and Scott and Q&A moderated by Lisa McKeown.

Featuring key members of Lisa’s Performance Art Salon and 5 masked celebrities.

Pictured is the artist surrounded by director Scott White (front) , filmmaker Ciaran Federico, (top left) and her Salon- KC Cooper, (left) Meek, Amy L (behind) and Ava Emily (right). Photo by Sean Patenaude.

The series was nominated for six Broadway World Awards (2018-22) and a Governor General Nomination in Media for Wegner (2023).

https://workmanarts.com/rwm-archive-events/intangible-adorations/

https://www.broadwayworld.com/toronto/article/Celebrities-In-Disguise-Tackle-Mental-Health-In-INTANGIBLE-ADORATIONS-EXPERIENCE-THE-ICON-20191001

https://www.broadwayworld.com/toronto/article/Celebrities-In-Disguise-Perform-At-The-Toronto-Fringe-In-The-Icon-Experience-20190624

Scott took on the intense scheduling, booking and sneaking celebrities into our Post Script Patio Tent and into Workman Arts. All the Icons signed Non Disclosure Agreements (NDAs).

All these years later we have something to share with you.

We can now disclose that improv teacher and Performance Art Salon’s own KC Cooper performed as The Icon on one of the performances when a celebrity had to cancel at the very last minute. KC saved the day with such an outstanding Icon performance not one of the Salon recognized her! A true star!

While it is unclear, which celebrity KC replaced, there were rumours that it could have been any one of the celebs interested in the idea of anonymity put forward by the piece. The mystery of who they were are still protected by NDAs, but we can confirm that, on one night, KC donned the morph suit, saved the performance, and gave the audience a star turn.

KC pictured performing a duet with Lisa.

A big thank you to our very own KC Cooper!

October 23rd 2026

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Tags: art, award-winning-artist, Canadian Art, canadian artist, dada, film, haus of dada, immersive-art, life-as-art, lisa anita wegner, performance art, performance artist, public-art, realistic confabulation, scott white,, Toronto

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• Posted under Canadian Art, comedy, dada lab experiments, film and art, Love Letters, performance art, Spoonie

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• mental inertia, clichés and bad jokes

  Lisa Anita Wegner (°1973, Toronto, Canada) creates performances, installations, films and conceptual artworks. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, Wegner makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.

  Her performances often refers to pop and mass culture. Using written and drawn symbols, a world where light-heartedness rules and where rules are undermined is created. By rejecting an objective truth and global cultural narratives, her works references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.

  Her work urges us to renegotiate performance as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. By using popular themes such as sexuality, family structure and violence, she creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.

  Her works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By demonstrating the omnipresent lingering of a ‘corporate world’, she touches various overlapping themes and strategies. Several reoccurring subject matter can be recognized, such as the relation with popular culture and media, working with repetition, provocation and the investigation of the process of expectations.

  Her works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image.

  -500 Letters