Performed at the Musée d’art contemporain de Montréal. November 20th, 2019, part of EMERGE.
Curators: Mehdi Brit and Mark Lanctôt
Coordinators: Anne-Léonie Auer and Marjolaine Labelle
“With Scream, Moser is experimenting with more overt and assertive politicization. Early in the performance, she delivers a cascading series of demands, which she would later describe as a “whiteness list”: “I’m not here for nothing, I’m here for me, for the consuming and destroying, the hoarding and decluttering, the binging and purging, the insatiable wants and unnecessary needs, the hiding and avoiding and rationalizing, […] the will to change and the desire to hold on tighter, the shock of a reality too complex and painful to reconcile oneself to, and the luxury to ignore.”
Commenting and reflecting on “whiteness” and capitalism have always been prominent ingredients of her work, especially since 2015, when she says she got “bored of rehashing my own anxieties over and over again and the lens had to shift.” But she’s found that her audiences don’t seem to be readily catching these themes, and she worries about it. “I always feel like when I want to talk about those things, I shouldn’t do that, because it’s so literal, or not abstract enough to be art,” she tells me. “But sometimes I feel like I’m talking about something and then realize later that no one else is picking up on that part of it.”
The question of lucidity – of how clearly to telegraph her ideas and messages – is “a problem I have to keep working on,” she wrote to me later in an email. Thankfully, Moser has built a form for her work that is so reliably fascinating and satisfying, she has given herself a durable artistic structure in which to keep experimenting. “I want to show you a solution, but I have none, because there is none, only a never-ending process of trying again,” she says in the final moments of Scream. “So try again.” ”