M. Dragu’s Museum

TWEED CURTAIN: making the invisible visible

M. Dragu's Museum, Past / By

VIDEO[clickhere]


part performance, part walking-tour, part agit-prop, fun/funny with serious intentions. It was about making the invisible visible; creating ephemeral body aktions as traces of embodied mapping.

Dancers & performers gave the public TWEED CURTAIN passports, stamps & stickers, and blank postcards (to write folks back home). Performers & public were measured/organized/routed/re-routed
and held a long pink survey tape (daycare style) to safely follow Fran Benton (intrepid guide/translator/storyteller for all things Oak Bay) to 3 Oak Bay Landmarks behind the TWEED CURTAIN ending at Oak Bay United Church with Reverend Michelle leading the crowd in singing the Jesus Loves the Little Children to 16 right-wing “Christian” World Leaders with anti-immigrant and refugee platforms.

Marginalia

M. Dragu's Museum, Marginalia, Past / By

Marginalia is both a long story and a continuing one.

Marginalia is a collaboration, correspondence and conversation between two artists on opposite coasts of Canada. In an early Artist Statement, Dragu and Hall said –

MARGINALIA is about creating discourse: both between the artists, who have undertaken this committed correspondence, and between audiences who experience the work both virtually and in real-time. Our process engages new technologies and old manual practices to explore the ground between art and life, between one coast and another, between two strangers deciding to “make a relationship”. We are, like most Canadians, exploring how it might be possible to forge deep connection, mutual understanding, and complicity across great distance.

MARGINALIA: getting out of the house

M. Dragu's Museum, Marginalia, Past / By

Marginalia: Getting out of the House was presented at Richmond Art Gallery (RAGA) in Richmond, BC, in 2008 as an installation of two flying houses suspended from the ceiling accompanied by the artists’ square-correspondence printed on 4″x6″ recipe cards and hung on gallery walls like multiple clotheslines; the artists invited members of the local community to help them “make meaning” by putting the squares into new conversations with one another.