Lisa Anita Wegner

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February 23, 2015 Canadian Artist Misses her Own Art Opening, Forced into (mī′grān′) Performance.

February 23 2015 Fritz Snitz for the haus of dada

Canadian Filmmaker Performance Artist, Lisa Anita Wegner was curiously missing from the opening party of Phil Anderson’s Sex Show V at Gallery 1313 on Queen Street West.

Still from Eva Gets a Better Job (2008)

This group art show includes Eva Gets a Better Job (2008) a short film of Wegner’s. The opening on January 19th was a booming success and it was a shame the artist wasn’t there.

Curator Fritz Snitz announced was forced to perform  (mī′grān′) at haus of dada in Toronto and was unable to make the Gallery1313 event. 

The Following day Ms. Wegner performed as The Ubermarionette “Tech Scout for The Fall and Rise if The Queen of Jupiter” at Walker Court at The Art Gallery of Ontario. Afterward she teleported to The Artist Project. Photos by Angela Chao.

The Artist Project with Adrienne Dagg

Coming soon: Thin(k) Blank Human BadAss.

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Tags: adrienne Dagg, angela chao, art gallery, art openings, Fritz Snitz, gallery 1313, lisa anita wegner, migraine, performance art, performance artist, phil anderson, queen street west, sex show, the artist project, thin(k) blank human, Toronto

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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.

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