Lisa Anita Wegner

Tag Archives: #Poetry

July 25, 2022 Seeking Cotton Candy Administrator

A Resplendent Magician Trips Through the Orthodox Celebration in Robes

An Intergalactic Candy Corn Administrator Activates A Community of Glorious Freedom 

A Tenacious Contortionist Touches and Climbs Through The Zealot’s Conviction 

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Tags: #candy, #Poetry, haus of dada, lisa anita wegner

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

• Blog Posts

  • May 15, 2023 Mysterious gifts in the mail
  • July 25, 2022 Seeking Cotton Candy Administrator
  • July 13, 2022 Stretching Through Dimensions Like Lions Tied by Spheres
  • July 13, 2022 The Role of The Artist in Society
  • July 4, 2022 my open windows

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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