12.5.15 JULIE TOLENTINO: The End of the Party, 2015 + subtitled by my sister, Rita: (I hope she doesn’t) Fall Asleep In The Ocean

The End of the Party, 2015
subtitled by my sister, Rita:
(I hope she doesn’t) Fall Asleep In The Ocean

Julie Tolentino with the eternal players:
Mark So, Pigpen, Maria Garcia, John Bertel, Patrick Murch, Tamaki aka Banetoriko,
Leon Hilton, Ivan Ramos for N.T. and the rest of the worst of us

Human Resources
Saturday, December 5, 2015, 11pm

I may be fully missing the mark --
this space with you, this piece, the spaces opened by Her
 
out of my range
overdue
out of luck
under
disenchanted

while completely immersed --
Her: non-verbal, horizontal, chip-like, adducting
She reveals herself as material & person, righteously object, abject 
r e a l    
and wandering
unreal, curved, sweet even, out-of-time
non-psychoanalytical, not familial, not dull
deeply seeking pleasure, comfort
steeped in animal scent
queerest of them all, resistant
elusive and delicate
 
fully invested --
to relate to this -how- and learn about the unreal stretch of time that it may
actually
take
to
die
“naturally”
 
very there, running too
loyal
moving on, dismantling
re-engaging
 
yet vaguely aware that we are “waiting” as Frank O’Hara says,
"for the catastrophe of my personality to seem beautiful again, and interesting, and modern.”

- Julie Tolentino

Julie Tolentino creates intimate movement-based installations, including performance, objects, sound and video works. Her diverse roles have included host, producer, mentor, and as collaborator/performer with artists such as Meg Stuart, Lovett/Codagnone, David Rousseve, Kelly/Gerrard, Diamanda Galàs, Pigpen/Stosh Fila, Ron Athey, Catherine Opie, Robert Crouch, Mark So, Matanoise, Stanley Love, Maya Munoz, Madonna, Gran Fury, Candidate, and Rodarte. As an extension of her practice after twenty-five years in New York City, she designed and built a small solar-powered live–work residency in the Mohave Desert called FERAL House and Studio, where she explores remote forms of one-to-one physical inquiry through landscape and texts. Her work has been presented at Participant Inc., The New Museum, The Kitchen, Invisible Exports, Performa 2005 and 2013, Wexner Center, St. Mark’s Danspace, High Desert Test Sites, Tramway, Spill Festival, DanceExchange, queerupnorth, Theaterworks, Singapore, Myanmar FC Project, Manila Contemporary, Green Papaya Gallery in the Philippines, as well as Broad Art Space at University California Los Angeles (UCLA), Yerba Buena Center for the Arts In-Community program with Alter Space and the Luggage Store with Ryan Tacata and Kadet Kuhne and five young emerging artists, Los Angeles Contemporary Exhibitions (LACE), Commonwealth & Council, Volume at the Night Gallery, Honor Fraser, PSI19 at Stanford, Perform Chinatown, Install Weho, MOCA, Incognito at Santa Monica Museum of Art, Church of the Epiphany, Santa Barbara Museum of Art, San Francisco Art Institute, Derive-Mulholland Drive, NYU Abu Dhabi, Haus der Kulturen der Welt, Pact Zollverein, Essen, Germany. She is developing three works: the VOID Series, THE SKY REMAINS THE SAME archiving the work of Stanley Love in NYC and LOLAs, upcoming with Ryan Tacata. She is the co-editor of the TDR Provocations section and editor of an upcoming book entitled: Guard Your Daughters - Clit Club 1990-2002.


This performance is part of the group exhibition The Closer I Get To The End The More I Rewrite The Beginning curated by Suzy Halajian and on view until December 13, 2015 at Human Resources.

JT thanks Suzy, Pigpen, Mark, Sho, Rita, Vardui, Human Resources

Image: Christopher Wormald