I will be performing Be afraid only of standing still in conjuction with the National Gallery's first Children's Biennale.
Performance times:
Wednesday 6th - 9th Sept, 11am-5pm
Curated by: Vanini Belarmino | National Gallery Singapore
Photo credit: Annie Kwan. Part of MAP1: Waterways curated by Something Human.
I will be performing Tend at START Art Fair at the Saatchi Gallery - hope to see you!
Performance times:
Wednesday 13th Sept, noon-3pm
Thursday 14th Sept, noon-2pm
Sunday 17th Sept, noon-2pm
Curated by: Viv Lawes | One East Asia
Photo credit: Vestal McIntyre
On 9 June 2017 - as part of the MAP1: WATERWAYS - I will perform Be afraid only of standing still alongside Boedi Widjaja, Libita Clayton, and Paul Maheke.
MAP 1: WATERWAYS is a public live art programme that connects diasporic notions across Singapore, UK and Italy. Conceived by curator Annie Jael Kwan in collaboration with Something Human. WATERWAYS is presented in collaboration with Beyond the Frame, a project led by International Curators Forum (ICF) and University of the Arts London (UAL) alongside the Diaspora Pavilion exhibition, curated by David A. Bailey and Jessica Taylor, that is currently installed at Palazzo Pisani Santa Marina in Venice from 13 May – 26 November 2017.
Photo credit: Annie Kwan. Part of MAP1: Waterways curated by Something Human.
20 May - 8 Oct 2017
Children's Biennale: Dreams and Stories | curated by June Yap.
I will be presenting Performances for Kids which comprises two interactive installations, as well as a performance kit of three instructional works.
From 5-10 September, I will present live performances, details TBA.
Excited to be performing at the opening of 51% RememberHer exhibition of feminist art. March 8 Wednesday, 6-9pm. Curated by Rebecca Feiner.
tend, 2015. One-to-one performance: 6 hours. Palais de Tokyo, Paris.
You can buy the book here.
This volume brings together dynamic perspectives on the concept of liveness in the performing arts, engaging with the live through the particular analytical focus of audiences and experience. The status and significance of the live in performance has become contested: perceived as variously as a marker of ontological difference, a promotional slogan, or a mystical evocation of cultural value. Moving beyond debates about the relationship between the live and the mediated, this collection considers what we can know and say about liveness in terms of processes of experiencing and processes of making. Drawing together contributions from theatre, music, dance, and performance art, it takes an interdisciplinary approach in asking not what liveness is, but how it matters and to whom.
Full Contents list:
Part 1: Audiencing
Chapters
1. Coming (a)live: A Prolegomenon to any Future Research on ‘Liveness’
Martin Barker
2. Orange Dogs and Memory Responses: Creativity in Spectating and Remembering
Katja Hilevaara
3. Fandom, Liveness and Technology at Tori Amos Music Concerts: Examining the Movement of Meaning within Social Media Use
Lucy Bennett
4. Social and Online Experiences: Shaping Live Listening Expectation in Classical Music
Stephanie E. Pitts
5. The Meaning of Lived Experience
Paddy Scannell
6. Affect and Experience
Matthew Reason
Shorts
1. Live Art, Death Threats: The Theatrical Antagonism of First Night
Alexis Soloski
2. Attention as a Tension: Affective Experience between Performer and Audience in the Live Encounter
Victoria Gray
3. Empathy and Resonant Relationships in Performance Art
Lynn Lu
4. Embodied Traces: Co-presence, Kinaesthesia and Bodily Inscription
Imogene Newland
5. An Experience of Becoming: Wearing a Tail and Alpine Walking
Catherine Bagnall
6. Sisters Academy: Radical Live Intervention into the Educational System
Gry Worre Halberg
7. One-to-One Performance: Who’s in Charge?
Sarah Hogarth and Emma Bramley
8. A Performatic Archive
Kerrie Reading
9. Theatre of Bone
Rebecca Schneider
Part 2: Materialising
Chapters
1. What is a Live Event?
Gary Peters
2. Improvising Music Experience: The Eternal Ex-temporisation of Music Made Live
Steve Tromans
3. The Place of Performance: A Critical Historiography on the Topos of Time
Jonah Westerman
4. Objectifying Liveness: Labour, Agency and the Body in the 11 Rooms Exhibition
Lisa Newman
5. Reconsidering Liveness in the Age of Digital Implication
Eirini Nedelkopoulou
6. Environmental Performance: Framing Time
Anja Mølle Lindelof, Ulrik Schmidt and Connie Svabo
Shorts
1. Three Performances: A Virtual (Musical) Improvisation
Mathias Maschat and Christopher Williams
2. Chronography
Craig Dworkin
3. Memory, Time and Self: A Text Work based on a Conceptual Performance
Paul Forte
4. Broken Magic: The Liveness of Loudspeakers
Dugal McKinnon
5. Managing Live Audience Attention in the Age of Digital Mediation:The Good, The God and The Guillotine:
Martin Blain
6. Enlivened Serendipity
Allen S. Weiss
7. National Theatre Wales’s Coriolan/us: A ‘Live Film’
Mike Pearson
8. Machines in Queer Gardens: Performance as Mixed Surreality
Judd Morrissey and Mark Jeffery
Afterword
So Close and Yet So Far Away: The Proxemics of Liveness
Philip Auslander
In April of 2007 I will be giving a visiting artist lecture and performance at Sotheby's Institute of Art, London. Invited by author, journalist, lecturer and curator Viv Lawes.
2.30pm-4.30pm at 30 Bedford Square, London WC1B 3EE.
