"The Winnipeg Exchange District is the museum of a unique time in the history of early 20th-century architecture; like South Miami Beach, people have continued to work and live in the ruins," says Jeanne Randolph. "It hasn't been Disneyfied yet; its original dignity has been enhanced, not sullied, by the effects of ice, wind and tears in the ozone layer, and people who don't have a lot of cash."

The respected Canadian cultural theorist is describing the site, and thematic foundation, of the (IN)visible Cities Performance Festival, which runs Sept. 6 through 14. A veteran performance artist herself, Randolph will be watching, listening and blogging as the festival's official rapporteur.

Coordinated by independent curator Joanne Bristol along with Exchange-based galleries aceartinc, Urban Shaman Gallery, Plug In ICA and Video Pool Media Arts Centre, (IN)visible Cities will include diverse artworks (Randolph defines performance art as "anything that is set in motion by someone who cares") about community and identity for gallery-goers and practising artists alike.

Local favourites Shawna Dempsey and Lorri Millan will ride the elevator with audiences in a performance intervention titled Lift. New-media artist Jessica Thompson will help participants build wearable sound pieces, which will be donned in the streets afterwards in a workshop called Freestyle SoundHack. Artist collective Fastwürms will present two interactive performances (haircuts or tattoos, anyone?) and Cheryl L'Hirondelle and Nhan Duc Nguyen will both present installation pieces.

The varied lineup promises much to strike Randolph's insightful eye. But why have a festival devoted exclusively to performance art in the first place, and what's the Exchange got to do with it? For Bristol, who's presented performance events in venues across Canada, it's about "looking at the past, present and future of how art and activism can be combined.

"In relation to activism, performance art has had a unique role historically, in that it invites contemplation and can also act as a call to action," Bristol says, explaining that, while the Exchange is home to many artists, it is also in the throes of tension from economic and political change. Here, the activist nature of performance is bound to evoke relevant reflection. "We wanted to use sites within the Exchange to present alternative narratives (alternative to the narratives presented by government and tourism agencies, for example) about the realities and possibilities of how we can live here."

Randolph elaborates: "Architecture is the way that values, necessities, politics, aesthetics and ideas literally hold citizens in place. The relationship between architects and the body politic is timeless. Artists understand, through literally inhabiting, not just studying, that buildings and neighbourhoods can be read, that they can communicate our place in cultural history.

"My role is to create an imaginative context in which the art's relevance and timeliness will be dramatized," she continues. "I expect to be inspired." The author of several books including last year's Ethics of Luxury, once declared "language is the horse I ride on," and as rapporteur, Randolph's updates are sure to be informative and, without a doubt, a pleasure to read. Follow along and find a complete festival schedule at invisiblecitiesperformance.blogspot.com.
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