Selected Participants (alphabetical order)

Pat Ashe

Biography

Pat Ashe is a live artist and performance maker who works with video games, technology and stories, overheard and remembered to create his performance work. His work quite often focuses on the fine line between performance and video games and their ability to cross over into each other. The work often mixes real life and game in a unique performance style. He was also a founder member of We Want Your Dog, a successful arts night based in Winchester, Hampshire which ran for two years, and showcased both local and national talent working in Live Art and Performance. He recently founded the East-Midlands based collective How We Run with Kris Rowland, and they are currently developing their first projects together. He has had work shown at The Basement, Forest Fringe, Fierce Festival and Stoke Newington International Airport.

An Oasis in 5 Parts (1)

An Oasis In 5 Parts (1) is the first part of a series of works I'm creating based around place, memory and the concept of oasis. This first piece is an exploration of my home town and of the last year of my life, it is a mapping and an attempt to find a place I could consider an oasis in a town that I have very little love for. Through the use of maps, live projection and auto-biography, I hope to show the audience my idea of an oasis.

The same stories and memories will form the basis of all 5 parts of the piece, with each one using a different medium for those explorations. The 5 works will also show how different mediums affect the retelling of these memories, stories and moments. With each medium having separate strengths and weaknesses. The piece can be experienced on their own, but when experienced as a whole, they will build to a whole event.

 

 

Amelia

Beavis-Harrison

Biography

Amelia Beavis-Harrison is an artist based in Nottingham. Since gradating in 2007 Amelia has shown, performed and exhibited predominantly in the East Midlands, but has also shown in America and Europe. Alongside practicing independently Amelia collaborates with Alan Armstrong in Exit Here who recently published a book with New Art Gallery Walsall. Key works include, Pocahontas and The Masquerade Ball as a part of a show curated by Hugh Dichmont at the Wasp Room, and a major project for 2010 called 2010 Challenge which saw performances in front of the mayor of Nottingham, and interventions on the roof of Nottingham Castle. Amelia’s action focused work highlights the un-exceptional, using the art work as a commentary for normality, appropriate actions in inappropriate places. Actions are influenced from both visual art and performance, combining the two into a simplified and focused rerepresentation.

The Test of Intelligence

For too long we have accepted intelligence as a hierarchical structure, allowed intelligence to inform our responses and demean those lesser informed. But is intelligence not just a social construct like that of religion, are we not just falling for the same power structures religion once imposed. The unquestioned identity of intelligence has been prevalent for too long.

The performance aims to address the reality of intelligence and to question what intelligence actually is. The participatory nature of the work will act as a starting point for the audience to evaluate their own perceptions of given descriptions and hierarchies claimed by intelligence.

 

[Image: Sorry, 2010. Credit: James E Smith]

 

 

Rachel Bernard

Biography

Rachel Bernard was born in France in August 1967. In 1993, she graduated from both the Fine Art school of Lyon and from the University of Lyon 2, France. At that time, she came across Katherine Mansfield's Journals. While reading them, she decided to capture these sparkles of truth through miniature images she made with an Exacto knife. She currently lives in Leicester and dedicates her time to writing and illustrating children’s books while carrying on with her research in visual art.

Katherine Mansfield was born in New-Zealand in 1888. “I’m a little shocked at her commonness at first sight. However, when this diminishes, she is so intelligent and inscrutable that she repays friendship”, confessed Virginia Woolf on meeting her. “Like everyone else she was born naked but unlike most of us she remained naked her whole short life”, noticed Rachel Bernard on illustrating her journals.

Katherine Mansfield Under the Knife

I was 25 when I came across the journal of Katherine Mansfield. While reading her journal some words and sentences triggered glimpses in my mind like stars in the very dark of the night. From that moment on, I have tried to capture these sparkles of truth. They may be seen as an echo from my Unconscious to that of the writing of Katherine Mansfield, as a kind of instant and automatic answer to the sound of Katherine Mansfield’s voice.

The installation provides some of the images I have assembled together. They will be projected in their original dimension (miniature) through slide projectors. A word and music audio clip in both English and French called The Daughter of the Watchsmith (La fille de l'horloger) will play. It was devised by Rachel Bernard with a vocal piece co-arranged with Olivier Capparos. It is composed exclusively of extracts from Katherine Mansfield's Journals.

 

Olwen Davies

Biography

Olwen Davies is a performance maker and writer. She is co-founder of performance company ‘Southpaw Junction’, and has devised and performed original work since 2009, presenting at the Hatch festival 2010 in both Nottingham and Leicester and the IUTA 8th world Congress. With an interest in the repossession of cultural images on screen, comedy and the uses of recorded and live moments in performance, Olwen creates work that explores the audience’s relationship with the screen and with each other.

Olwen graduated from De Montfort University in 2010 with a Drama Studies degree where she is currently studying an MA in Drama. Following a mentorship with performance company Zoo Indigo, Olwen is performing in a new site based work by the company as part of Nottingham European Arts and Theatre festival in May/June 2011 and continues to work with Zoo Indigo in the devising of their new performance ‘Blue print'.

Fridge Logic

Fridge Logic explores the audience’s relationship with the mediated performer within a media literate culture. The event starts with youtube videos which have been distributed the week before the show, these involve simple tasks for the audience to complete. In a studio setting the audience watch a live-streamed projection of the performance that is taking place behind them. The audience are directly addressed through the camera lens and at times invited to participate.

Olwen; the performer, is attempting to make a movie, following classic narrative structures, referencing other famous movies and their characters. She is having trouble, she doesn’t have the resources she needs. She is not sexy enough, scary enough, entertaining enough. She needs you to believe in her and help her discover the emotive direction needed.

Fridge Logic takes a humorous and moving journey through bad re-enactment and confessions of a lonely performer with surprising twists.

 

 

Deux Oiseaux

Natalie Raven & Joanna Partridge

Biography

Natalie Raven is a live artist from Leicestershire who is currently undertaking an MA in Drama at De Montfort University on a part-time basis. Natalie has shown work predominantly in the East Midlands, but has ventured further afield to show in Toronto, Canada. Natalie works as a solo practitioner, but has collaborated with Zoo Indigo, Ryan Jordan, Dirty Electronics and most recently Simon Atkinson. Natalie is co-founder and director of Deux Oiseaux.

Joanna Partridge is a performance artist originating from Canada. Joanna is currently undertaking the MA Drama course at DMU. Joanna wishes to continue her studies in 2012 with a PhD in performance art. Joanna is co-founder and director of performance companies Deux Oiseaux and jamie & jo.

Deux Oiseaux is a performance company created by Natalie and Joanna upon their collaboration on the MA Drama course at De Montfort University. In realising a mutual admiration of body based performance work, 'Other Women' is their first artistic piece which sets out to stimulate, challenge and confront audiences with a feminine discourse.

Other Women

Primarily,'Other Women' is a conceptual piece. By using 'body-words' (Cixous and Clements 1993), two women, two persona's, two ‘others’, deliver a multifaceted narrative of strength, dominance, suppression and emancipation. The space is baron, except for a single piece of string that cuts across it. A boundary is created between the two personas; a boundary that is continually confronted, challenged and finally overcome in their quest for intimacy.

The performance relies on stillness, repetition and complete control to deliver a silent story about two women/two ‘others’, on a journey for recognition, power and intimacy. The performance poses questions to an audience; Who are these women? Who are these ‘others’? What do they represent, and most importantly what are they trying to say, without actually saying it?

The work takes the audience on a visual journey of power, liberation and politics.

 

 Nick Kilby

Biography

Nick Kilby is a performance artist who makes work for both club and gallery spaces, at times has utilising solo and ensemble work to execute investigations of autobiology. In 2009 he graduated with a BA (Hons) in Contemporary Performance Practice from Leeds Metropolitan University.

Kilby recently completed a series of performances that studied the aesthetic and body politic of boxing and the contradictory elements of the sculpted body in a state of violence. Nick is in the process of developing a series of performance investigating the inculcation of rage in fringe movements combined with the invocation of mimetic viral infection in the context of audience. He has been awarded a residency at Bradford's Theatre in the Mill, which will take place in July to craft an ensemble piece within this series. In 2010 Nick facilitated the first Glorious Trauma Festival, a three day event which aimed to present body performance in the Leeds area, the next series of events planned for the late and early part of 2011.

Invoking Jonestown

Invoking Jonestown is a durational development of a piece previously shown as a work in progress as part of the 'Whips' event, which took place in Leeds on the 26th March 2011. The piece is part of a series of performances which are being utilised to explore the inculcation of rage within fringe movements and is a triangulation of the events which occured in the final days of The People's Temple, the aesthetic of the hardcore punk movement and Wilhelm Reich's theory of trauma resting within the soft tissue of the human frame.

The piece is an interactive installation performance lasting up to three hours in which members of the audience will be influenced to create a disturbing tableaux; a blinded, marked 'other' which they are free to leave at any point, should they wish. The process involves placing the audience member blindfolded on a table, massaging their feet and rubbing syrup upon their lips. Following this, with their permission they will be placed within the context of a congregation bearing witness to further acts of inculcation.

 

Elena Marcevska & Charlotte Nichol

Biography

Both Charlotte and Elena have been practising Authentic Movement together for 3 years. Their work involves Installation and live-arts practice and both practitioners are currently engaged in PhD research at the University of Northampton. Charlotte’s work involves visceral representations of the body through screen based practice and Elena’s video and performance work deals with the topics of female mOther body and digital mobile technology.

Charlotte’s background is in Dance and Performance, completing an honours degree in dance in 2008 and MA in Performance in 2009. Elena’s background is in Live Art and Media, she received her BA (2001) from the Faculty of Drama Arts, Skopje and MFA degree (2005) from The School of The Art Institute of Chicago.

Both are lecturing in Performance and Technology, both in Dance and Performance context. Charlotte is a Lecturer at the University of Northampton and Elena is an Associate Lecturer at the University of Kent.

Dia

The name "Dia," taken from the Greek word meaning "through," was chosen to suggest movement in process, developed from the internal personal landscape with the use of digital technology. This performance uses what Jane Bacon calls a processual approach. With Dia we are developing embodied reflexive practice, that enables us as researchers and practitioners “ to examine and explicate the nature of interaction with the subject of study and [ ] ground this engagement in the experiential, or performative aspects of the creative work.” (2006, p.138) By using Authentic movement method, we are exploring our bodies, and the digital screen. What establishes the “distance” between the mover/performer and the viewer/ audience? What it means to access the body “through” technology? And how do we find our body “through” the pixelated screen? We will use movement, streaming technology and empty space to explore the meaning of “through”.

 

 

 Peter Mills

Biography

Julia Hannukainen and Peter Mills, have been working together and collaborating for 2 years, producing No choice, don’t watch this as a result of a long conversation with their role within life and performance. After performing the piece as a duet in Glasgow this April, the piece has been made into a solo, forming more ideas of the role of the spectator, creator and performer, Julia and Peter attempts to merge all roles, getting rid of all the boundaries that once separated them.

No Choice, Don’t Watch This

No choice, don’t watch this, is an attempt to highlight the choices and freedoms we have, to remind us that we do or do not have to conform. The piece started as a duet, co-created with Julia Hannukainen and now to be performed as a solo. The past is instructing us all, as we explore our roles within this space, and find how our inability to follow the instructions given from the past inform and create the future. Our new world will be made from the mistakes of our future selves trying to recreate our past selves.

 

 

Cardboard Disaster

Mel & Ian Mutter

 Biography

www.liveartcollectiveeast.com

then 'mel donohoe(mutter)'

Dirty Soles

Cleaning shoes becomes part of the ritual that has lapsed into the daily grind. Shoes become disposable as in society & reflect our insatiable need for the short-lived. cardboard disaster reinstate the ritual of tradition, raking up a plethora of undertones, boundaries & challenge what is sociably (un)acceptable.

Her shoes are cleaned to the point at which the shoe cleaner falls into relentless rhythmic repetitious cleanliness. The shoes & hands are bound by a common factor, the black of the polish. She, the shoe wearer dons gloves in a bid to secure distance from the marking polish. As speed takes control, inevitability demands that the feet become as black as the hands.


The soles of the shoes remain dirty at all times. The perpetual removal of her soul shakes the status & cripples your first perception of the piece.

 

Rachel Parry

 Biography

Born in 1983, in Nottinghamshire, I am an early career artist and arts educator. I have been exhibiting as an Interdisciplinary artist since 2004, making pieces of body based live art, performances, video, installations and visual art.

Since graduating from Northumbria University, Newcastle upon Tyne in 2005, in Fine Art BA (hons), I have exhibited in the UK, Europe, USA, Mexico and Australia; in art festivals, Galleries, University spaces, Theatres, Artist led studios, Hijacked spaces, nightclub venues and site specific places such as caves and hotel rooms.

I have been supported by, amongst others, The Arts Council of England, The Arnolfini/Bristol, Contact Theatre/Manchester, Falmouth&Plymouth University, The Boninngton Gallery/Nottingham Trent University, ArtEvict, Duckie, Act Art, Experimenta/Tactilebosch/Cardiff,, MOCA/ Arizona and HATCH/Notts. I was selected for the Elevator Artist programme at The National Review of Live Art 2008 performing in The Tramway/Glasgow. I have /been personally mentored and trained by some established artists such as Stacy Makishi, Annette Foster, Sam Rose, Ernst Fisher&Helen Spackman/LEBNIZ LAB, Brian Routh and Guillermo Gomez Pena. Most recently I was interviewed for the book “The body in performance art: the real, the abject, the vulnerable, the sexed.” by Rebecca Clunn Cunningham, after my involvement with Exist-ence Festival, Brisbane/Australia, to which I have been re-invited to perform at in October 2011. I am currently preparing for Berlin venues this summer, including The Festival of the art of Lust.

All sex, no head

The piece continues my investigation of the representation and deconstruction of the body and mind, in particularly in relation to gender, identity and desire. The failing body, the bruised self-ego, alongside the bloody and the raw language of the body. Finding ways to articulate the historical importance of traditional values, the rules in social conduct and oral traditions, how such etiquettes have evolved, transcended and now fit neatly into people’s lifestyles.

 

 

 

Famous and Divine

Amanda Price & Mary Steadman

Biography

Mary Steadman and Amanda Price co-founded Famous & Divine in 2007 in order to create devised work with an emphasis placed upon the performers’ bodies as a site of experimentation and transformation. Our process is committed to exploring representations of women which articulate the complexity of contemporary female subjectivity. In both pieces to date we have taken as our starting point woman as a desiring subject, working with cross-gendered performance, autobiography, intertextuality and female sexual fantasy as our palette. The work we devise is interdisciplinary, drawing on our professional performance training in movement, voice and text. We are both full-time lecturers in Performing Arts and work together once a month, supplementing our studio-based practice with a blog on which we log ideas, documentation, reflection, dreams and creative tasks. Our first piece, Last Night I Dreamt My House Was Leaking… played in Germany (British Live Art Performance Festival), Camden People’s Theatre (Sprint), Lancaster University, Bath Spa (Live) and Bedford (ScriptBeds).

Fugitive Songs

In our current piece two women appear as ‘Fugitives’, having ‘stolen away’ from their constructed lives as mothers and daughters in order to explore the hidden desires which form an ‘unlived life’; a subterranean narrative to their everyday reality. These unlived lives take the form of songs which they ‘sing’ using a framework of fantasy; creating and negotiating personas borrowed from film which they require as a ‘screen’ to the projection of their desiring beings. As the piece progresses the fantasies they conjure lead them ever closer to a confrontation with the trauma out of which the songs originally erupted. The journey undertaken by the two performers is one of transformation and catharsis; in the process of negotiating their desires they cross gender, culture, and identity – the women that exit the performance at the end of the piece are entirely different beings from those that make their initial – furtive – entrance into the space of transgression.

 

[Image credit: Farrows Creative]


www.famousanddivine.org

 

 

Simon Raven

Biography

Simon Raven has made solo and collaborative performances at events including East End Collaborations and The National Review of Live Art. He has taken part in residencies at CCA Kitakyushu, Japan, and The Royal Standard, Liverpool. In 2010 he set up Box Gallery, in which to organise and take part in an experimental program of monthly exhibitions. He has curated performance events at Nottingham Contemporary and Wollaton Hall, and performs regularly with London based groups, including ArtEvict, Parlour Collective and The Red Velvet Curtain Club.

Scissor Action

A durational performance about cuts to the arts, and the traditional link between 'action' based art and protest. Working on a patch of grass outside the University, dressed formally in a suit, cap and gown, I will make a ritual circle of bread crumbs. Sitting quietly inside the circle I will then transform my appearance into a threadbare, scarecrow like figure, posing as if for photographs whilst using a pair of scissors, gradually cutting the suit to ribbons. I will then attempt to explain the work/deliver a performance lecture to any birds that have landed to feed nearby, using a loudhailer and a bread roll held in my mouth to comically muffle/project my voice.


'Scissor Action' is intended as a (partly comic) meditation on the link between performance and protest, particularly in light of recent cuts to arts education budgets. I am interested in the way that a threat of disaster is often used as a catalyst for performative action (particularly following a reading of Peter Schimmel's book 'Out of Actions') and I would like to figuratively and slowly suggest the projected, sped up destruction of arts cuts over time. I also hope that my inverse tailoring may signify a connection to the clothing industry in Leicester, and Yoko Ono's 'Cut Piece' from 1964. The work is in part based on research into my namesake, the Raven (and crows) use as a chthonic image in folklore, poetry and myth.

www.nevarnomis.com

 

How We Run

Christopher Rowland

Biography

How We Run is an emerging company that has performed at a variety of fringe events including Fierce festival, Brighton's supper club, Live art speed dating and the Forest Fringe. After graduating at the University of Winchester, Pat Ashe and Chris Rowland (me) decided to create a company that harnesses a conceptual and game-like performance style through low-fi aesthetics. This was showcased in our degree show Ut Astrum Una Hora (or To the stars in an hour) , where we invited our enrolled our audience into a 'space programme' leading them into a world of wonder, beautiful music, cardboard puppets, lamp constallations and contemplation. Inspired by Tinned Fingers, Little Bulb and Uninvited guests amongst others we created an open space in our theatre that allowed for interaction with the audience as well as a feeling that the audience could claim the space as their own. We feel it is important to value the audience's place in a performance and not to leave out the involvement of the audience in both performing and developing work.

Claque

Do you have a hearty laugh?

Have you ever interrupted a performance? 

Have you ever clapped a performance because you thought it was the done thing when actually you hated it?  


The Claque agency invites you to be part of an underground network of Claques, hired audiences for better responses. 
Using the agencies unique methods, the interviewees will create their own CV showcasing their talents as audience members, for performers to use in future performances.

 

 www.krisrowland.com

 

 

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