LINDA MARY MONTANO: April 2018

Wednesday, April 18, 2018

SONG AND DANCE FOR ANA MENDIETA

OH WOMAN OF SOIL...........AHHHHHHHHHHHH

OH WOMAN OF DIRT.............AHHHHHHHHH

OH WOMAN OF BLOOD..........AHHHHHHH

OH WOMAN OF HAVANA..........AHHHHHHHHHHH

OH WOMAN OF LYING DOWN........AHHHHHHHHH

OH WOMAN OF SCULPTURE............AHHHHHHHHHHH

OH WOMAN OF NO CLOTHES..........AHHHHHHHHHH

OH WOMAN OF EYES CLOSED.........AHHHHHHHH

OH WOMAN OF IMMIGRATION.............AHHHHHHHH

OH WOMAN OF VIDEO...................AHHHHHHH

OH WOMAN OF SAND..................AHHHHHHHHHHH

OH WOMAN OF REFORM SCHOOL..........AHHHHHHHHHH

OH WOMAN OF FIRE...............AHHHHHHHHHHH

OH WOMAN OF PERFORMANCE...........AHHHHHHH

OH WOMAN OF IOWA...............AHHHHHHHHHH

IOH WOMAN OF MIGRAATION..........AHHHHHHHHHH

OH WOMAN OF FRIENDSHIP..........AHHHHHHH

OH WOMAN OF REFUGE CAMPS.................AHHHH

OH WOMAN OF UNDERSTANDING VIOLENCE.................AHHHHH

OH WOMAN OF RITUAL.....................AHHHHHH

OH WOMAN OF AUTOBIOGRAPHY.................AHHHHHHHHHHH

OH WOMAN OF FEMINISM................AHHHHHHHHHHH

OH WOMAN OF IDENTITY...............AHHHHHHHHHH

OH WOMAN OF EARTH................AHHHHHHHHH

OH WOMAN OF NATURE..............AHHHHHHHH

OH WOMAN OF THE WOMB.............AHHHHHHHHH

OH WOMAN OF 200 EARTH PERFORMANCES...........AHHHHHH

OH WOMAN FRIEND OF HANS BREDER.................AHHHHHHHHHH

OH WOMAN OF AIR GALLERY................AHHHHHHH

OH WOMAN WINNER OF THE ROME PRIZE.............AHHH

OH WOMAN OF FEMALE SILOUETTES..............AHHHHHHHHH

OH WOMAN OF MUD...............AHHHHHH

OH WOMAN OF GRASS................AHHHHHHH

OH WOMAN OF LEAVES.................AHHHHHH

OH WOMAN OF PHOTOGRAPHS....................AHHHHHHHH

OH WOMAN OF WOOD................AHHHHHHH

OH WOMAN OF TREES....................AHHHHHHHH

OH WOMAN OF STONES......................AHHHHHHH

OH WOMAN OF TWIGS.........AHHHHHHHHHHHHHH

OH WOMAN OF SOURCE..............AHHHHHHHHH

OH WOMAN OF BODY ART................AHHHHHHHH

OH WOMAN OF CHICKEN BLOOD.............AHHHHHHHH

OH WOMAN OF COLONIZED BODY.............AHHHHH

OH WOMAN OF OCHUN..........AHHHHHHHHHH

OH WOMAN OF SANTERIA.............AHHHHHHH

PH WOMAN OF DISPLACEMENT................AHHHHHH

OH WOMAN OF LOSS...........AHHHHHHHHHHH

OH WOMAN OF EVERYTHING....AHHHHHHHHHHH

OH WOMAN OF AIR.....AHHHHHHHHHH

OH WOMAN IN THE SKY........FLYYYYYYYYYYYYYYYYYYY

LINDA MARY MONTANO, MARCH 2018

VIDEO: JOURNALS FROM 14 YEARS OF LIVING ART

JOURNALS FROM 14 YEARS OF LIVING ART VIDEO

https://youtu.be/2Fq44rne4W4

LINDA CHICKEN DANCE by MITCHELL PAYNE

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LINDA MARY MONTANO ON AGING AT MOMA

LINDA MARY MONTANO: STATEMENT FOR MOMA PANEL ON AGING

TEXT: NEW AGING: LECTURE AND PANEL AT MOMA, Curated by Paola Antonelli and Erica Petrillo. January 22, 2018.
There were four other women lecturers and I represented the artist's take on the subject of aging and illustrated my process via videos that featured sickness/nursing home care/ nursing homes in India/aging looked at humorously. I also talked about the DEMENTIA VILLAGES in Europe which duplicate real villages that allow dementia/Alzheimer patients to meander in them without getting "lost." Safe aging. My presentation ended with documents of my work with chickens and text about nursing homes in England and New Zealand that give their clients a pet chicken to hold/rock/feed/watch/clean up after so that they can earn the title of HENSIONER. My presentation was interactive, per usual, with the audience making sounds/laughing/imitating chickens. LINDA MARY MONTANO

PORTRAITS AT HILO

Come to HiLo on Sunday February 11th from 2:00-4:00 for a public art healing by Linda Mary Montano, Nina Isabelle, and Jennifer Zackin.

During these dangerous / confusing / armageddonned times, we are all looking for connection, understanding and warmth. The three of us are committed to providing public art medicine. ART=LIFE=ART. For our PIANO PORTRAITS event at HiLo, we invite audience member-collaborators to sit in a chair on stage to receive a public art healing. Linda Mary Montano will improvise your piano portrait, Nina Isabelle will interpret you through action / movement, and Jennifer Zackin will macrame. Using knots and rope, sunglasses, costumes, blindfolds, action, movement, and sound, we will publicly heal ourselves and you. ART HEALS!

WE ARE ALL HUNGRY FOR THE NURSES

WE ARE ALL HUNGRY: FOR THE NURSES

Dear Volunteers for the WE ARE ALL HUNGRY performance,

First I want to thank you for participating and to thank Ed for including me and Yuchen for organizing the details. As you hopefully can see from the images enclosed, you will be feeding me food that I will provide. You will do this very slowly and silently. There will be signs indicating that this is a silent performance so the audience will not be encouraged to ask questions, plus the sound we are using will fill the space and discourage interaction with the audience.

COSTUME; Please wear all white clothing. Shoes also if possible. Look like a "caregiver" or nurse. Your hair can be "nurse-like" and for the nurse hat you have some options. Please don't buy anything. Borrow if you need to. For the hat:

Make your own but make it look really authentic. Go online to find how to do this.
You can get one on Amazon in case you ever want to be a nurse sometime in the future!!!!
I will also bring a white scarf-like head gear that looks like a nurse's hat.

WHAT WE DO

We stand in a designated spot for two hours. You feed me when you are inspired to do so. I will bring the spoons/food. If you wish, bring a small chair if you need to sit. That is fine. No intense rules .
On April 5, we will be at the Amphitheatre from 11-1pm.
On April 6 we will be at the Mall. Space to be determined by Ed and Yuchen.
Before we begin we make a circle of paper flowers that I will bring...newspapers made to look like flowers. We stand in this circle with our signs Yuchen is providing.

INNER FOCUS:

This is about many things: HUNGER AND HEALING. With references to: respect for the body as it is, migrants without food, starvation of many in the world right now, eating disorders, mindful eating, nursing homes, no more free lunches for children at school , MGO's, poisoned crops and many more issues.

Your focus is to choose something in your life you want to address and bring healing awareness to. This can be something private or if you like we can name each other's intention just before we begin.

Performance is powerful and helps raise consciousness inside the performer and in the audience as well.

TIME: Please be there one half hour/45 minutes before we begin. So that would be 10:15/ 10:30.

CONCERNS: If you have any questions about anything at all, feel free to call me. Also if you would like, send me an image of your "nurse costume." My phone is

845-399-2502.

My email is lindamontano@hotmail.com

With gratitude to Ed woodham for inviting me, to the University of Virginia for hosting me, to Yuchen for arranging everything and to you for performing with me.

And if in the future I can be of help to you, please ask.

In art=life=art,

Linda

14 YEARS OF LIVING ART BOOK LAUNCH

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Greetings! Linda Mary Montano's book 14 YEARS OF LIVING ART has just gone to press in time for the New Year! This 220-page portable archive published by C.X. Silver Gallery Press in Brattleboro, Vermont, features Montano's journal writings during 1984-1998, 18 of her ecstatic tantric tales, 52 of her drawings, 119 photo documents related to her performances, 13 essays and interviews by art historians, curators and writers. Via Montano's instructions, an Art/Life recipe for the reader to practice making life a work of art. Preview and purchase the book at magcloud.com/browse/issue/1184522.

More about the book and Linda Mary Montano: cxsilvergallery.com/linda-montano

Adam Silver, Publisher
Voicemail: 802-257-7898
Email: info@cxsilvergallery.com

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LECTURE ABOUT TIME: TIME IN GENERAL

LECTURE ABOUT TIME, 1990

LECTURE: ABOUT TIME

TIME IN GENERAL

This paper is divided into six sections:

1.Time in general.

2. My use of time in performance.

3. Reasons for using time.

4. Time and the university.

5. Timelessness in Eastern Thought as explained by Daepak Chopra and Dr. Ramamurti Mishra.

DEFINITION OF TIME:

In childhood there is not time, only the feeling of space, expansion and infinite possibility. Time is a concept that is taught. learned and defined in Webster's dictionary in a six inch column, using miniscule type. It reads, "Time is the measured or measurable period during which an action, process or condition exists or continues." Another says, "Time is a continuum which lacks spatial dimension and in which events succeed one another from past to present to the future."

Once I lost the feeling of space in childhood, I began romancing time because my life became a series of thoughts about events instead of mythological journeys, the mental food of a child. As a good Catholic girl I monitored my mental, physical and emotional responses to life so that I could avoid sinning by thought, word or deed. In the process I began to appropriate and play with time and controlled it with the same intensity that I controlled my actions. I counted, watched clocks, competed with time by giving myself temporal deadlines. I would clock off minutes and seconds and make rules. For example I would say that I would move or not move by the count of 2. In retrospect I realize that I was enjoying a control and power that allowed for a deep mental and poetic intimacy and spaciousness. Time became my playmate and my friend. It was a doll and obedient servant.

2. MY USE OF TIME IN MY ART:

In the 70's, I transformed time into matter. I molded it, sculpted it, painted with it, designed with it. It was how I always structured my art.

3. REASONS FOR USING TIME IN MY ART:

By durating as art for extended periods of time, I found that among other things, I was able to affect my physical chemistry. Basically my art was a cheap drug and time was the pill. Athletes use running, I use duration and it's been found that long term activity releases histamines and adrenaline into the bloodstream and that leads to a cessation of pain. Joseph Previle in the book, Human Physiology, theorizes that endorphins, enkephalins and dynorpphins bind to opiate receptors in the brain and body, triggering a series of physiological events that induce narcotic effects like drowsiness, hallucinations and the inhibition of stress or distress. I used art to change my mood.

4. TIME AND THE UNIVERSITY:

Before I took a full-time tenure track university teaching position at The University of Texas, Austin three and a half years ago, my work was devoted full-time to large scale projects . I made my living by teaching part-time and working part-time at blue collar jobs.

When I came to the University I had already completed Tehching Hsieh's ART/LIFE:ONE YEAR PERFORMANCE. We were tied together for a year by an eight foot rope, never touching. And I had completed six years of a chakra experience titled, 7 YEARS OF LIVING ART.

I took this job knowing that I could do two things at once. That is I could continue to perform ANOTHER SEVEN YEARS OF LIVING ART and keep the three part commitment that the University asks of it's professors:

A commitment to private research, performance and books.
A commitment to teaching, office hours and seeing students doing independent studies.
A commitment to 5 administrative committees.

The world is my studio and my life is art. So logistically, teaching is my art as was suggested by Joseph Beuys whose theory of Social Sculpture expanded the concept of art. His classes at the Dusseldorf Academy were sculpturally forming artists for life on every level. He says, "Artists must be kneaded from top to bottom. We are malleable and might turn out to be an agriculturists, doctors, computer scientists, police officers, mothers but always the artist."

5. TIMELESSNESS

I will not stop dreaming. If the dream is too big for the University job, I will have to leave even though I love and am addicted to the security, the health insurance and the dental plan. And my students.

Never a team player, I might have to leave having been on my own since 1970 and never learning how or wanting to spend "time" with the other members of the team. I do life My Way.

The muse is timeless and more powerful than money and if I hear her call for me to recalibrate and follow The Path of Space and leave the University, I will do so and then design a new way to consciously prepare for my last performance: The Performance of The death of the Body and Mind.
Without Time, there is only Space.

1990. Linda Mary Montano

PLAYING WITH SOUNDS: Class for Lifespring

PLAYING WITH SOUNDS : Linda Mary Montano

THE RESULTS OF MAKING SOUND

Physically sounding and creating intuitive sounds:

*raises good energy

*encourages release of serotonin and dopamine

*creates a cohesive community

*can bring to the surface/heal memories and images from past events

*teaches a spirit of play

Anyone who has witnessed and heard the sounds of children playing in a school yard after an entire day inside, has heard their sounds of joy, excitement and improvisational fun.

NAME OF CLASS: PLAYING WITH SOUND: No experience necessary. Just a willingness to play.

PLAYING WITH SOUND is an experience based on the healing properties of group sound making.

STRUCTURE OF THE CLASS:

Group sonic introductions
Breath as sound
A lullaby to oneself
Laughter as improvised sound-release
Sonic gratitude sounds/nature sounds
Sounding the community as a sonic portrait

PRESENTER:

Linda Mary Montano . I am a Performance Artist and Certified Laughter Leader. Having included singing and sound

making in all of my performances, I have found sound to be an incredible tool of healing and improvisatory story-telling. For more , go to www.lindamontano.com. Linda Mary Montano at Blogspot.com.

AGING AS ART: Curated by Nicolas Dumit Estevez

AGING AS ART : Curated by Nicolas Dumit Estevez

An evening with Linda Mary Montano and Curmano

This event will bring together two of the movers and shakers of the performance art and art in everyday life fields in the U.S. for a participatory engagement with the audience dealing with the presenters’ experiences with aging and dying. Montano sees her body as a canvas, a sculpture that is chiseled by time as she grows older. Curmano has daringly orchestrated his own funeral in order to perform for the dead, and as an act of self- transformation: a rite of passage.

Montano says: “We all age. This is inevitable. Artists age, non-artists age. As a performance artist, my body is, has been and will always be my canvas, my clay, my paint, my material, and aging has brought an incredible menu to the table...a smorgasbord of physical, mental, physical, psychological and spiritual issues for me to choose from and work with and present to myself and others. One such issue is THE NURSING HOME! The dreaded last stop for many of us. And my theory is that if we prepare now, if we take care of our fears and angers and betrayals and jealousies, and rages NOW while we can still transform these obscurations into acceptance, then we will make it easier on the 40847 UNDERPAID nurses aides and caregivers who will feed, bathe and change our Depends. My presentation is an opportunity to bring up this subject as a discussion and then together watch my video NURSE NURSE, with participation from the audience as nurses and other personas that the video elicits. This presentation will last about one hour and it is not only a transformational experience but also a chance to heal unspoken fears and terrors regarding the fear of dying and death itself. After the event we will have a Q and A.”

WE ARE ALL HUNGRY: STATEMENT

WE ARE ALL HUNGRY

Hunger is for food, for love, for contact with the Earth, for sustenance. We are born hungry , nursed or bottle fed and then fed again by caregivers in a nursing home. We rehearse by feeding ourselves mindfully, by feeding others, by growing food.

This performance is about my relationship to food which is one which gives me fodder for performances and prompts for my therapists. I was bottle fed, allergic to cows milk and then brought up on goat's milk. And at 20, developed anorexia, going from 135-80 pounds.
As a life-long anorexic, never comfortable in restaurants, to be fed publically is a way to help me pay aesthetic attention to food, a way to be 'HELPED" by others via the act of being fed, a way to receive and rehearse the future possibility of my being fed by a nurse in a nursing home.

May all migrants, may all children of the poor who are perpetually hungry, may all who are forced to eat chemically tainted food, be nourished in ways that heal their loss of nutrition.

LINDA MARY MONTANO