This performance work features my body as the venue.
Intimacy as a method of connecting with an audience is central to my performance practice. Uterine Concert Hall features my uterus as the scene of the performance and the instrument of its production. Equipped with an internal speaker, my vaginal canal acts as the stage for the audience of my uterus. External concertgoers are invited to eavesdrop via stethoscope, on the faint echoes of the recital through the very flesh of my body. Like showing up to a concert and listening from outside the venue, this piece purposefully excludes external listeners while engaging with feminist performance practices of intimacy.
The latest form that Uterine Concert Hall uses intimate karaoke, where the audience is asked to sing a karaoke song for my uterus. Here, the karaoke singer wears headphones in which they can hear the musical track that they’ve picked as well as their vocal track. The catch is that everyone else in the room only hears the singer’s voice. Audience members are called upon to demonstrate their vulnerability while I am literally splayed out on a table offering myself for aural examination.