January 2014 - May 2014
PHASE ONE: Genesis
Michael Dudeck: The first phase of my residency at The Institute for Art, Religion and Social Justice involved auditing two courses led by Dr. Brigitte Kahl : Introduction to the New Testament and Reading Ancient Sources and Images.
At the time I was writing and illustrating my third artist book, The Genesis Complex, which was a queer re-imagining of the myth of Adam, Eve and the Serpent. During this timespan I performed The Genesis Complex at The Glasshouse (Brooklyn) curated by Lital Dotan and I launched the exhibition Queering Genesis Through Punc Arkaeology at Freeman Space, in collaboration with exhibition designer Isabella Bruno.
My residency culminated with the presentation of the lecture/performance PUNC ARKÆOLOGY: Queering Cartographies, which featured a collaboration with a number of Seminarians wherein a large scholarly map of Palestine was ritually excavated and utilized as a counterpoint for dialogue around empire and territory.
Read Hyperallergics' "Queering Cartography and Theology" by Daniel Larkin, a response to PUNC ARKÆOLOGY: Queering Cartographies here.
Watch a video about the making of the Genesis Complex here
October 2014 - January 2015
PHASE TWO: Exodus
The second phase of my residency focused upon the construction of a queer, primate, messianic mythology, which is now the focal point of my current practice.
I developed the foundations for a trilogy of "illuminated manuscripts" which I call The Religion of Species : Book One : The Messiah Complex, Book Two: The Meta Codex and Book Three: The Religion Virus. The entirety of the storyline was prophetically transcribed during a painful eye infection that forced me to sit in darkness in the Seminary for days:
"..The three words "myth" "mysticism" and "mystery"... are derived from the Greek verb 'musteion' [which means] to close the eyes and the mouth. All three words therefore are rooted in an experience of darkness and silence"
-Karen Armstrong, A History of God: The 4000-Year Quest of Judaism, Christianity and Islam, p.211
The residency culminated with a ritual four-course meal wherein I presented the skeleton of the mythology, alongside of presentations by Dr. Brigitte Kahl and performance artist Sharon Alward. I am now writing the first book of my trilogy inspired by my time as artist in residence at the Institute for Art, Religion and Social Justice.
Michael Dudeck is an artist and cultural engineer who decodes dominant cultural mythologies and re-codes them into contemporary fictions. He has performed, exhibited, and lectured internationally including: Center for Performance Research, The Watermill Center, John Connelly Presents, Parade Ground and Union Theological Seminary [New York], Pari Nadimi Gallery, Videofag and Progress Festival [Toronto], The Winnipeg Art Gallery, Aceartinc., Platform Center, and Plug IN ICA [Winnipeg], DeFibrillator [Chicago], Neutral Ground [Regina], Latitude 53 [Edmonton], Insel Hombroich [Neuss, Germany], The Brucebo Museum [Visby, Sweden] and The Venice International Festival of Experimental Cinema and Performance Art [Venice, Italy].
His work has been featured in The New York Times, The Village Voice, The Globe and Mail, Canadian Art, Border Crossings, View on Canadian Art, and is included in the publications The Younger than Jesus Artist Directory [Phaidon], The Artist is Present [Moma] and Queer Spirits [Creative Time]. He has published two artist monographs Parthenogenesis  and Religion  and his third, a large-scale graphic novel The Artificial Mother will be released in Fall 2016. He is the recipient of numerous grants, scholarships and awards, and In 2014 he was both longlisted for the prestigious Canadian Sobey Award, and listed as one of ARTINFO Canada’s Top 30 Under 30.