In evidence, Julie Tolentino’s naked, moving body articulates backward on her hands and knees, balancing a cluster of Asian medicine cups. The piece, originally made in 2010 in collaboration with Abigail Severance, was remixed for Visual AIDS in 2014. Tolentino's self-made sound piece was added and initiates the video with a queer list of loved ones living and lost, recognizable or not, as both invocation and provocation of individuals who deeply shifted her perspective. As the listed names blur and are archived in Tolentino's body, evidence opens up to the list's potency through a female, brown, artist/activist body in the unseen yet held spaces of relationship, memory, sex and loss.
Commissioned in 2014 as part of ALTERNATE ENDINGS, a program of seven videos that bring together charged moments and memories from their personal perspective amidst the public history of HIV/AIDS.
About the artist
Julie Tolentino’s career spans over two decades of dance, installation, and site-specific durational performance. Her diverse roles have included host, producer, mentor, and collaborator with artists such as Meg Stuart, Ron Athey, Madonna, Catherine Opie, David Rousseve, Juliana Snapper, Diamanda Galàs, Stosh Fila, Robert Crouch, Elana Mann, Mark So, Gran Fury, and Rodarte. Tolentino is deeply influenced by her extensive experience as a caregiver, an Eastern and aquatic bodyworker, a highly disciplined contemporary dancer, and as proprietress of Clit Club in New York. Her manifold, exploratory duet/solo practice includes installation, dance-for-camera, and durational performance engaging improvisation one-to-one score-making and fluids, including blood, tears, and honey. As an extension of her practice after twenty-five years in New York City, she designed and built a solar-powered live–work residency in the Mohave Desert called FERAL House and Studio, where she explores the remote forms of physical inquiry through landscape and texts. She has received numerous grants and fellowships. She is currently the editor of Provocations in the Drama Review-TDR (MIT Press). Her works have been commissioned by The Kitchen, Participant Inc., Invisible Exports, Performa ’05 and '13, and in the UK by Spill Festival, Tramway, DanceExchange, and queerupnorth. Recent tours include England, Europe, Myanmar, the Philippines (at Manila Contemporary and Green Papaya Gallery), and Theaterworks in Singaporeas well as Broad Art Space at University California Los Angeles (UCLA), Los Angeles Contemporary Exhibitions (LACE), Commonwealth & Council, Honor Fraser, PSI19 at Stanford, Perform Chinatown, Install Weho, Cypress College, USC Ecotone, the New Museum, Radical Archives/NYU and YBCA In-Community project. (Special thanks to Abigail Severance & Juvenal Cisneros)