Feeling Totally Bronze
Performed at Learning Private View, Tate Britain, London
In this performance of a workshop, teachers strive to emulate the affective qualities of selected bronze sculptures. With thanks to Christine Egan-Fowler, Corinne Scurr, Stephen Bush, Kelsey Jacobson, Sophie Jezierski. Daniela Contreras López, Helen O Malley and Charlotte Hailey-Watts.
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And all because the lady loves mushroom fried rice and spring rolls (A Transparent Reflection on a Glazed Expression), with respondent Charlotte Knox-Williams Performed at How Near Is Here? Collective, Edinburgh
A collective exploration of an incident that occurred at a Chinese takeaway next to Whitstable railway station. Positioning architecture as a situated, embodied experience, we considered the gendering of space and desire, the particular architectural qualities that enable glass to act as a barrier between inside and outside and the ways in which we locate ourselves in opposition to one another.
Developed for How Near is Here? a collective enquiry centred on locality – a complex term that may refer to geographical surroundings, the people occupying an area, or the buildings and spaces that define it.
The programme brought together artists, arts organisations and academics working across the field of art and/in ‘the urban’, examining why locality is a contested and widespread concern now. Key questions posed were ‘What constitutes the local now?’ and ‘What role does art (and culture) play in constructing a locality?’
Thanks to Frances Stacy, James Bell, Julie Crawshaw, Charlotte Knox- Williams, Ana and Shona from Eastern Surf and all the participants.
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A Transparent Reflection
Performed at Until I, I Know You Better, Ti Pi Tin, London
Until I, I Know You Better enacted both encounters with, and deviations from, Richard Sennett’s text Together: The Ritual, Pleasures and Politics of Cooperation. For A Transparent Reflection host building Ti Pi Tin introduces a vaguely interactive presentation of cooperation between the built environment and its users including musings on the role of windows and mirrors in the formation of Richard Sennett’s Uncooperative Self.
Until I, I Know You Better included contributions from Aleph Trio, Chloe Cooper, Nisha Matthew, Amy McDonnell, Lucy Parker, Mónica Rivas Velásquez, Sian Robinson Davies, Katie Schwab and Jonathan Tibbs.
This Book was set up by curator Amy McDonnell and artists Katie Schwab and Mónica Rivas Velásquez in 2012 as a space in which to discuss, share and exchange ideas on fictional and non-fictional texts.
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And Now Let’s Make a Political Body
Developed in response to the Performance Art Intensive led by BODYWORKSHOP at The Tetley, Leeds
Riffing off of an action created during the embodiment exercises run by Nikhil Chopra, Madhavi Gore and Jana Prepeluh (BODYWORKSHOP) during the Performance Art Intensive. The five-day workshop “evokes performance as a means of artistic expression through a series of planned exercises. Through this an attempt will be made to break-out of what we understand as the ‘normal’ workings of the body, its automatic responses, and coded behavioral patterns. We hope to unpack ourselves, peal through the various masks we wear, with an attempt to bring us to our core. We want to use performance and its ability to transform and transcend as a means to get to this core.” – BODYWORKSHOP.
Thanks to Jules for the filming; Mel, Bryony and Zoe for making it happen and to all the artists for the love.