International Festival of Live Art, Scotland 10

Tuesday 2 — Sunday 21 March 2010 2010

International Festival of Live Art, Scotland Produced by New Moves International

Artistic Director Dr. Nikki Milican MA, OBE Company Manager Colin Richardson-Webb Production Manager Will Potts Press Christopher Lord Design (website & print) Mark Gatti, Gatti Creative Design Ltd

With special thanks to the NMI Board of Directors

New Moves International is funded by the Scottish Arts Council; Glasgow City Council; EU Culture Programme 2007—2013.

Additional financial support has been gratefully received from the Goethe Institute, Glasgow; Japan Foundation; Pro Helvetia; Alliance Française, Glasgow; The French Cultural Ministry; CulturesFrance; Polish Cultural Institute; National Arts Council, Singapore; Australia Council, London; Canada Council for the Arts; Arts Council England.

A big thank you to all our supportive partners: Novotel and IBIS (Accor Hotels); Paul Hough and the documenting crew; Royal Scottish Academy of Music and Drama; The University of Bristol; University of Glasgow; Centre for Contemporary Art; The Arches; Tramway; Duncan of Jordanstone College of Art; Dance Base; Glasgow Film Theatre.

Contact Details: New Moves International PO Box 16870, Glasgow G11 9DS Telephone: 0141 357 5538 Web: www.newmoves.co.uk

Cover: Alastair MacLennan, image Manuel Vason, Collaboration #5, Belfast 2006

Contents new territories ...... 02 Curious ...... 25 Michael Mayhew ...... 47 new territories Calendar ...... 03 David Gale ...... 26 Miss Electric Gypsyland ...... 47 Fleur Elise Noble ...... 04 Pants presents David Richmond ...... 26 Monali Meher ...... 48 Catherine Diverrès ...... 05 Elvira Santamaria Torres ...... 27 Neil Bartlett ...... 48 Via Negativa ...... 06 Esther Ferrer ...... 27 Neil Butler ...... 49 Simon Thorne Music ...... 07 Fiona Wright ...... 28 Oreet Ashery ...... 49 Melanie Pappenheim Forced Entertainment ...... 28 Paul Hurley ...... 50 & Rebecca Askew ...... 08 Forkbeard Fantasy ...... 29 Qasim Riza Shaheen ...... 50 Into The New ...... 09 Francesca Steele ...... 30 Richard DeDomenici ...... 51 Hiroaki Umeda ...... 10 FrenchMottershead ...... 31 Richard Layzell ...... 51 Geraldine Pilgrim ...... 31 Robert Ayers ...... 52 The National Review of Live Art ...... 11 Gillian Dyson ...... 32 Roberta M Graham ...... 52 NRLA Diary ...... 12 Guillermo Gómez-Peña ...... 32 Ron Athey ...... 53 Celebrating 30 Years of The National Holly Warburton ...... 33 Rosie Ward ...... 53 Review of Live Art ...... 14 Ian Hinchliffe ...... 33 Sam Rose ...... 54 Robyn Archer ...... 14 Iona Kewney ...... 34 Shaun Caton ...... 55 Ian Smith MC ...... 15 István Kovács ...... 34 Sheila Ghelani ...... 55 Jamie McMurry ...... 35 Silke Mansholt ...... 56 Early Bird Talks, Panel Discussions John Byrne ...... 35 Silvia Ziranek ...... 56 & Workshop ...... 15 Julia Bardsley ...... 36 Stephen Partridge ...... 57 Alastair Snow ...... 15 Jürgen Fritz ...... 37 Third Angel ...... 57 La Pocha Nostra ...... 16 Kate McIntosh & Eva Meyer-Keller ...... 37 Trace Collective ...... 58 Lois Keidan ...... 16 Kate Stannard ...... 38 Varsha Nair & Lena Eriksson ...... 59 Rob La Frenais ...... 17 Kira O’Reilly ...... 38 Wladyslaw Kazmierczak & Ewa Rybska ... 59 Silvia Ziranek ...... 18 Kirsten Lavers ...... 39 Yann Marussich ...... 60 STELARC ...... 19 La Ribot ...... 39 Zoran Todorović ...... 60 Crossing Zones ...... 20 Lee Wen ...... 40 Remembering Performance ...... 20 Lei Cox ...... 40 One Year On ...... 60 National Review of Live Art Archive ...... 20 Leibniz ...... 41 Clara García Fraile & Sam Pearson ...... 60 Lisa Wesley & Andrew Blackwood ...... 42 Michelle Browne ...... 61 Invited Artists ...... 21 Professor Liz Aggiss ...... 43 Sophia Yadong Hao ...... 61 Akademia Ruchu ...... 22 Los Torreznos ...... 43 Alastair MacLennan ...... 23 MacDonald Vincent ...... 44 Winter School 2010 ...... 62 Anne Bean, with Vlasta Delimar, Efi Ben- Manuel Vason ...... 44 A Space For Live Art ...... 62 David, Sinead O’Donnell & Poshya Kakl ... 23 Marcia Farquhar ...... 44 Venues & Tickets ...... 62 Anne Seagrave ...... 24 Marie Cool & Fabio Balducci ...... 45 Boris Nieslony ...... 25 Marty St James ...... 46

new territories 01 10 an international programme of première performances

02 new territories Calendar February

Date Time Artist/Event Venue Thu 11 0900-1730 Jürgen Fritz (Winter School) Theatre Studios

Mon 22 1000-1800 Michael Mayhew (Winter School) RSAMD Thu 11 1000-1800 Ron Athey (Winter School) CCA 5 & clubroom

Tues 23 1000-1800 Michael Mayhew (Winter School) RSAMD Thu 11 Paves (Residency) Tramway 4

Wed 24 1000-1800 Michael Mayhew (Winter School) RSAMD Thu 11 1800 Meet the Artist (Hiroaki Umeda) Apple Store

Thu 25 1000-1800 Michael Mayhew (Winter School) RSAMD Thu 11 1800 Into The New The Arches

Fri 26 1000-1800 Michael Mayhew (Winter School) RSAMD Fri 12 0900-1730 Jürgen Fritz (Winter School) Theatre Studios

Sat 27 1000-1800 Michael Mayhew (Winter School) RSAMD Fri 12 1000-1800 Ron Athey (Winter School) CCA 5 & clubroom

Fri 12 Paves (Residency) Tramway 4

March Fri 12 1800 Into The New The Arches

Date Time Artist/Event Venue Sat 13 1000-1800 Jürgen Fritz (Winter School) CCA 5 & clubroom Jamie McMurry (Winter School) Mon 1 0900-1700 Peter Boneham (Winter School) Dancebase Sat 13 Paves (Residency) Tramway 4 Tues 2 0900-1700 Peter Boneham (Winter School) Dancebase Sat 13 1400 Into The New symposium The Arches Tues 2 1900 & 2030 Fleur Elise Noble CCA 5 Sat 13 1930 Hiroaki Umeda Tramway 1 Wed 3 0900-1700 Peter Boneham (Winter School) Dancebase

Wed 3 Athena programme Theatre Studios Mon 15 1000-1800 Jamie McMurry (Winter School) CCA 5 & clubroom

Wed 3 1900 & 2030 Fleur Elise Noble CCA 5 Mon 15 Paves (Residency) Tramway 4

Thu 4 0900-1700 Peter Boneham (Winter School) Dancebase Tues 16 1000-1800 Jamie McMurry (Winter School) CCA 5 & clubroom

Thu 4 Athena programme Theatre Studios Tues 16 Paves (Residency) Tramway 4

Thu 4 1930 Catherine Diverrès Tramway 1 Wed 17 1000-1800 Jamie McMurry (Winter School) CCA 5 & clubroom

Fri 5 0930-1730 Peter Boneham (Winter School) Dancebase Wed 17 1100-1200 Early Bird NRLA CCA Cinema

Fri 5 Athena programme Theatre Studios Wed 17 1300-1430 Talk (Stelarc) NRLA GFT

Fri 5 1930 Via Negativa CCA 5 Wed 17 1530-1700 Julia Bardsley NRLA Tramway 1

Sat 6 1930 Via Negativa CCA 5 Wed 17 1730-2130 NRLA The Arches

Wed 17 1900-2030 Julia Bardsley NRLA Tramway 1 Mon 8 1000-1800 Ron Athey (Winter School) CCA 5 & clubroom Wed 17 2230-0100 NRLA CCA Mon 8 Athena programme Theatre Studios Thu 18 1100-1230 Early Bird NRLA CCA Cinema Mon 8 Paves (Residency) Tramway 4 Thu 18 NRLA The Arches Tues 9 1000-1800 Ron Athey (Winter School) CCA 5 & clubroom Thu 18 1530-1700 Julia Bardsley NRLA Tramway 1 Tues 9 Athena programme Theatre Studios Thu 18 1900-2030 Julia Bardsley NRLA Tramway 1 Tues 9 Paves (Residency) Tramway 4 Fri 19 1000-1230 Early Bird NRLA CCA Cinema Tues 9 1930 Vocal Sonics Tramway 1 Fri 19 NRLA The Arches Wed 10 0900-1730 Jürgen Fritz (Winter School) Theatre Studios Sat 20 1000-1130 Early Bird with Lois Kiedan NRLA CCA Cinema Wed 10 1000-1800 Ron Athey (Winter School) CCA 5 & clubroom Sat 20 NRLA The Arches Wed 10 Paves (Residency) Tramway 4 Sat 20 1930-0100 NRLA Tramway Wed 10 1800 Into The New The Arches

Via NegativaVia Sun 21 NRLA The Arches

Calendar 03 British Premiere Tuesday 2 March, 1900 + 2030, followed by Meet The Artist & Wednesday 3 March, 1900 + 2030 Fleur Elise Noble (Australia) CCA5 2-Dimensional Life Of Her

A performance installation work made of drawing, animation, puppetry, projection and paper. The audience enters a space pregnant with possibility, becoming part of a multi-dimensional real time artwork. Tensions build between surfaces and realities, as the act of creation separates itself from the artist who is responsible for its beginnings.

In a space littered with papery chaos, a drawing unfolds upon large paper surfaces. Projected image and a naturalistic soundscape traverse the space between, and the space inside, deceptively empty surfaces.

New realities present new dilemmas, breaking through everything that is thought to be solid. The artist’s marks assume a life of their own, and their history, the artist’s truth, is replaced by contradictory propositions. 2-Dimensional Life of Her posits a richly imagined parallel world where drawings reproduce themselves, drift between surfaces and move in and out of three dimensions. Sheets of paper suspended in space appear thickly laden with marks, only to be scrubbed clean, revealing windows into yet another parallel reality where the laws of physics are different still.

A densely layered line drawing is given an alternative genesis as a monoprint, stamped from the ink-soaked face of a puppet. Time compresses; a drawing that we know to be built up through the laborious accumulation of marks is seen to be created in an instant. Amongst all this, the artist appears as a kind of sorcerer’s apprentice, barely in control of the elemental forces she has unleashed.

Fleur Elise Noble is an Australian Director/Creator of visual-based theatre experiences. She has a specifi c interest in the performative possibilities of drawing and process. In 2006 she received a Bachelor of Visual Art (Hons) from Adelaide Central School of Art. She has also studied in New York, and worked with a number of theatre, arts and multi-media professionals in Australia and New Zealand. Her work has been exhibited in numerous established and make-shift spaces around Australia and overseas and this is her fi rst presentation in the UK.

Arts SA, Arts QLD and the South Australian Youth Arts Board have supported the development of this project. www.fl eurelisenoble.com

Audience limited to 40 per show, running time 40 minutes

04 new territories British Premiere Thursday 4 March, 1930 Catherine Diverrès (France) Tramway 1 SAN (beyond) + STANCE II

A brilliant homage to Oskar Schlemmer, SAN is a work of pure beauty. Inspired and superbly danced, all the tools of the artist are used to create a truly transformative experience for the viewer.

‘Three dancers, all in black, execute a series of haïkus between two striking grey tulle screens. The shapes are more surrealist than expressionist, angular, geometrical, almost mechanical. Three male silhouettes are joined by two female visions, one of a man in drag evoking the Weimar Republic cabaret of the 1930s, the other of Diverrès herself in a long tight-fitting red dress lounging on a stairway and playing with a red fan, evoking exactly the shapes and colors of Schlemmer. All the movements are right, the weightless swimmer in between two kinds of water, the welder with a blowtorch from hell or the three boys exchanging flying volleys of rice.’ René Sirvin, Le Figaro

Originally performed by Diverrès, dancing alone with her shadow and the words from La Terra di lavoro by Pier Pasolini, she created Stance II as ‘the ultimate in grace and courage.’

It is rare to see this company in Britain, a not to be missed double-bill for all lovers of contemporary dance.

Commissioned by the Biennale Nationale de danse du Val-de-Marne, produced by Centre Chorégraphique National de Rennes et de Bretagne, Théâtre Romain Rolland de Villejuif, La Ville de Villejuif, Théâtre National de Bretagne, Rennes. Subsidy for artistic creation from the Conseil Général du Val-de-Marne.

With special thanks to CulturesFrance and the Alliance Française, Glasgow

www.catherine-diverres.com

new territories 05 British Premiere Friday 5 & Saturday 6 March, 1930 Via Negativa (Slovenia) CCA 5 Four Deaths

Four performers, four deaths. The performers project their envy onto four known names of the European performing arts world (Pina Bausch, Tim Etchells, La Ribot, Marina Abramović) and set up phantasms of their death and erasure from the stage of contemporary performing arts.

Much like Cain and Abel competing for God’s love, the performers compete for the love of the audience. The theatre space conceals rivalry and sharp comparisons on many levels, where fiction rubs up against reality. In theatre, the audience is God, and on stage, or behind it, we constantly switch the roles of Cain and Abel. In our story about envy we asked: Who is our Abel? who must we kill for the love of the audience?

‘Via Negativa is an international contemporary performing arts project based in Ljubljana. Our fields of work are theatre and performance, with a focus on the connections between the two. Our relationship with the audience is a complex flow of points of view, expectations, judgments, conclusions, recognitions, stereotypes, fallacies, prejudices, tolerance or intolerance, knowledge or lack thereof; all these trigger various emotional, rational or irrational responses. We are on stage to trigger this relationship and invent strategies with which to get the relationship dynamics running. We feel we are most real when we touch upon something that can no longer be rationalised, when we no longer have to pretend to understand something we do not. We work as a collective in which each individual fights with his reasons, imagination and skills for his own sense and position on stage.’

Via Negativa are fast becoming recognised as an important performance company in Europe but this is their first visit to the UK.

Produced by Via Negativa and co-production by Glej Theatre, Ljubljana Supported by the Ministry of Culture of the Republic of Slovenija and the City of Ljubljana www.vntheatre.com

06 new territories After the success of Vocal Sonics programmes 1 and 2 as part of the NRLA in 2009, we present: VOCAL SONICS, Programme 3 Tuesday 9 March, 1930 Simon Thorne Music (UK) Tramway 1 Neanderthal

In his book The Singing Neanderthals, Steven Mithin proposes that Roberts are four highly charismatic singers. Each one is a virtuoso there is a profound link between our impulse to structure sound and master in the styles and techniques of the songs of the world. They our capacity to formulate language. The voice is primary. So what are accompanied by haunting video projection created by Rhombus might singing be? Arts, who take us into the cave of our consciousness to illuminate the first spark of communication. Neanderthal is an imaginative recreation of the Palaeolithic soundscape through the medium of the voice. It is a search for origins. Simon Thorne is a composer and theatre artist living in Cardiff and Not in any historical sense. How could it be? But in the sense of was a founder director of Man Act theatre company. He is currently answering the question why did we ever come to make music in the founder director of Wales Jazz Composers. Recent works include The first place? A journey along the songlines of our ancestral past to a Prodigy of Love for the Welsh Baroque Orchestra. moment where language and song are joined in the same instinctive breath. Neanderthal was commissioned by National Museum Wales with funds from Arts Council Wales and G.C. Gibson Charitable Settlement Simon Thorne is an inspiring maverick whose work also has a rare,

Image by Michal Iwanowski visionary beauty. Jon Baker, Sianed Jones, Sean Palmer and Mary Anne www.simon.thornemusic.co.uk

new territories 07 Melanie Pappenheim VOCAL SONICS, Programme 3 Tuesday 9 March, 1930 & Rebecca Askew (UK) Tramway 1 FLAM

Entertaining and virtuosic, FLAM is a unique blend of voice theatre, with leading multi-media groups, Lumiere & Son, DV8 Physical Theatre composed by Orlando Gough and directed by Emma Bernard, exploring and The Shout, of which she is a founder member. the vocal, physical and comic skills of two extraordinary performers. Melanie Pappenheim (whose ethereal voice featured on Doctor Who) Rebecca Askew is a singer and songwriter. She performs regularly and jazz singer Rebecca Askew (Askew & Avis) are ‘quite brilliant. with singer Jeremy Avis, kora player, percussionist Surahata Susso and They gossip, compete, sympathise and conduct a hilarious singing bass-playing DJ Robin Whitnell (www.myspace.com/askewandavis) lesson in unison and counterpoint. Witty, touching and virtuosic, it’s using state of the art live-looping technology. In November 2007 they a little gem.‘ Sunday Telegraph. composed and performed Tongue-Tied, a mini-opera at the Linbury Theatre, Covent Garden as part of the FIRSTS festival. Melanie Pappenheim is a singer, performer and composer. Her versatility has allowed her to explore several different genres. As a Orlando Gough was a founder member of the bands The Lost Jockey singer she has worked with leading contemporary composers including and Man Jumping. He writes music mostly for the theatre - operas, Jocelyn Pook, Gavin Bryars, Graham Fitkin and Orlando Gough. Her plays, dance pieces, music-theatre, directs The Shout, and devises voice can be heard on soundtracks to Derek Jarman’s The Garden and and directs large-scale site-specific choral pieces. He is an associate Edward II, Martin Scorsese’s Gangs of New York and Stanley Kubrick’s artist of the Royal Opera House and is currently working on an opera Eyes Wide Shut. As a theatre performer, Melanie has devised work with libretto by Caryl Churchill.

08 new territories Wednesday 10 March — Friday 12 March, 1800 Saturday 13 March, 1400 Into The New (UK) The Arches

‘The Contemporary Performance Practice programme is of national and international significance and Into The New is the high point of the Royal excellence. I cannot think of a comparable learning Scottish Academy of Music and Drama’s annual situation across the UK where a student will fully cycle and is presented for the second time as develop in so many areas creatively, socially, collectively part of the new territories programme. We and intellectually.’ Richard Layzell are honoured and excited to be working in partnership with New Moves International (NMI) Into The New is a four-day event comprising to promote emerging, experimental performance performances, workshops, discussions and talks from makers in Scotland. a broad community of performance makers. It is an opportunity to invigorate your practice, share inspiration The inspirational Nikki Milican graciously and experience, and to promote growth in the field of accepted an Honorary Doctorate from RSAMD new work. Leading to a symposium on Saturday, the in 2009 in recognition of her outstanding festival aims to be a practice-based encounter that contribution to Performance Art and her long facilitates conversation, sharing and the opportunity to standing friendship with Glasgow and RSAMD. I consider how we might change performance and perform would like to congratulate the National Review change. of Live Art on reaching its 30th birthday in such fine fettle and continuing to produce The Symposium: Changing Performance/Performing an environment where inquisitive artists can Change will address the potential of experimental flourish. performance to affect social, personal, cultural and environmental change. How can performance catalyse I am really looking forward to seeing the conflict into understanding? Does radical performance work of this year’s exceptional generation of have the ability to heal? What are the implications performance makers at Into The New and to the of choosing to work in non-conventional even continued flourishing of RSAMD’s relationship dangerous contexts? How can the artist’s body affect with new territories. transformation in others? John Wallace, Principal RSAMD Featured Artists are: Nick Anderson, Joshua Armstrong, Ron Athey, Anne Bean, Stephanie Elaine Black, Ben Dunn, Lizzie Fenwick, Becki Gerrard, Glas(s) Performance, Nic Green, Amber Hickey, Sarah Hopfinger, Sigurđur Arent Jónsson, Sarah Hunter and Phil McCormack (Situate Performance), Thomas McCulloch, Alyson McKechnie, Johnny McKnight, Peter McMaster, and Naomi Shoba.

The work of Naomi Shoba and Peter McMaster is supported by The Athena Programme, New Moves International’s mentorship programme for young artists from the BA Contemporary Performance Practice programme. The first year after graduating can be challenging and NMI partners two CPP graduate artists with mentors most suited to their practice. Richard Layzell and Kira O’Reilly have worked with Peter and Naomi over the last year, in the lead up to Into The New.

new territories 09 British Premiere Saturday 13 March, 1930 Hiroaki Umeda (Japan) Tramway 1 Adapting for Distortion + Haptic

Living and working in Tokyo, during his studies of photography at Nihon University, Umeda became deeply interested in classical dance and hip-hop, interestingly rounded off by the Japanese infl uence of Butoh. Over time Umeda has created his own inimitable style that is clearly infl uenced by new technologies and visual art, he certainly made a big impact on the Glasgow audience when he made his festival debut in 2008.

Since the creation of his dance company, Umeda has choreographed many solos and has received invitations to create choreographies for other dancers. However, he is more than a choreographer, creating the sound, image and lighting for all his pieces as well as performing. He locates his dance at the heart of electronic and digital material; kinetic art, computer innovation and lighting all serve a work of minimalist and radical beauty. Haptic and Adapting for Distortion are perfect illustrations of this. His works are more about sensations, an increasing evidence of man fading away with the advent of technological supremacy. He is currently working on video installations as an extension of his solo projects.

‘Like a tin man with oil fl owing freely through his veins, Mr. Umeda mirrored the pulsating score with an accumulation of motion, starting with his feet and rising gradually to overtake his buckling legs and rubbery torso.’ New York Times

‘Hiroaki Umeda moved as if electric currents were rippling through his seemingly bone-less limbs. Speed, precision, minute infl ections of rhythm and angle - right down to his very fi ngertips, in a thrilling mix of styles that ranged from hip-hop to the equally impressive slow-motion and total stillness of Butoh.’ Mary Brennan, The Herald http://www.hiroakiumeda.com/

+ Thursday 11 March at 1800 Meet the Artist, at the Apple Store, 147 Buchanan Street, Glasgow G1 2JX, (Tel: 0141 300 4950). Hiroaki Umeda will talk about how he uses his MacBook to create the visuals, soundscapes and choreography for his shows.

10 new territories Jürgen Fritz Jürgen

Celebrating 30 Years of The National Review of Live Art

N R L A 11 NRLA Diary

Wednesday 17 March Artist/Event Page Space/Site Perf Time Elvira Santamaria Torres 27 Casbah 1500-2100

Early Bird with Alastair Snow 15 CCA cinema 1100-12noon Zoran Todorović 60 Arch 3 East 1500-1800

Stelarc (talk) 19 GFT 1300-1430 Fiona Wright 28 Studio Theatre 1600-1710

Julia Bardsley * (Capacity 125) 36 Tramway 1 1530-1700 Jamie McMurry 35 Arch 3 West 1700-1900

Julia Bardsley * (Capacity 125) 36 Tramway 1 1900-2030 Guillermo Gómez-Peña 32 G12, Glasgow University 1715-1830

Manuel Vason 44 various 1730- Geraldine Pilgrim 31 B3 1730, 1930, 2130

Kirsten Lavers 39 various 1730- Forkbeard Fantasy 29 Arch 2 1910-2030

Curious ** (Capacity 16) 25 Playroom 1800, 1915, 2035 Alastair MacLennan 23 Middle Bar 2000-0100

Holly Warburton (Installation) 33 Arch 2 1830-1930 David Richmond 26 Studio Theatre 2045-2125

Richard Dedomenici 51 Middle Bar 1830-1930 La Ribot 39 Arch 2 2130-2230

Holly Warburton (Performance) 33 Arch 2 1930-2030 Festival Club South Bar 2230-0100

Holly Warburton (Installation) 33 Arch 2 2030-2130 Robert Ayers 52 Casbah 2245-2330

Neil Butler 49 Studio Theatre 2040-2120 * Tickets are available to non-NRLA day ticket holders from the Tramway box office. ** Bookings will be taken in advance at the Arches box office from 12noon. Stephen Partridge 57 Arch 3 East 2130-2140

Jürgen Fritz 37 Arch 3 West 2150-2230 Friday 19 March Move to the CCA Artist/Event Page Space/Site Perf Time

Festival Club CCA café 2230-0100 Early Bird with PAVES project and guests 20 CCA Cinema 1000-1230

Ian Hinchliffe 33 CCA 5 2300-2350 Sylvia Ziranek (talk) 18 CCA Cinema 1330-1430

Miss Electric Gypsyland 47 CCA café 2300-0100 Manuel Vason 44 various 1200-

Catalogue Launch with Ian Smith CCA café midnight Kirsten Lavers 39 various 1200-

* Tickets are available to non-NRLA day ticket holders from the Tramway box office. Marcia Farquhar 44 Playroom 1200-Sat 1800 ** Bookings will be taken in advance at the Arches box office from 12noon. Michael Mayhew 47 Practice room 1200-Sat 1800 Thursday 18 March Sam Rose 54 various 1200-1700 Artist/Event Page Space/Site Perf Time Anne Seagrave 24 Arch 3 East 1200-2230

Early Bird with Rob La Frenais 17 CCA Cinema 1100-1230 Trace Collective 58 Casbah 1200-1900

Silvia Ziranek 56 CCA 5 1330-1415 Lei Cox 40 Dance Arch 1200-2400

Julia Bardsley * (Capacity 125) 36 Tramway 1 1530-1700 Qasim Riza Shaheen 50 B2 1200-2400

Julia Bardsley * (Capacity 125) 36 Tramway 1 1900-2030 Kate McIntosh/Eva Meyer Keller 37 B4 1200-2400

Manuel Vason 44 various 1200- Geraldine Pilgrim 31 B3 1500, 1700,

Kirsten Lavers 39 various 1200- 1900, 2100

PAVES 23 Practice room 1200-2400 Third Angel 57 Arch 2 1500-1610

Lei Cox 40 Dance Arch 1200-2400 Varsha Nair 59 Arch 3 West 1500-1800

Qasim Riza Shaheen 50 B2 1200-2400 Michelle Browne 61 Central Arch 1615-1715

Kate McIntosh/Eva Meyer Keller 37 B4 1200-2400 Marty St. James 46 Arch 2 1720-1740

Curious ** (Capacity 16) 25 Playroom 1500, 1615, 1730, Yann Marussich (Blessure) 60 Studio Theatre 1730-2030 1845, 2000 Sam Rose & Annette Foster 54 Arch 2 1800-1830

12 Diary Gillian Dyson 32 Arch 3 West 1900-2000 FrenchMottershead 31 Tramway Foyer 2100-2130

Claire MacDonald & Charlotte Vincent 44 Arch 2 2030-2130 Robyn Archer 14 Tramway Foyer 2130-

Ron Athey * 53 CCA 2030-2130 Miss Electric Gypsyland 47 Upper Foyer 2200-0100

Iona Kewney 34 Arch 3 West 2130-2200 MC – Neil Bartlett 48

Los Torreznos (The Desert) 43 Middle Bar 2210-2245 Festival Club Middle & South Bars 2230-0100 Sunday 21 March David Gale 26 Middle Bar 2245- Artist/Event Page Space/Site Perf Time

* Book in advance at the Arches only from 12noon Early Bird, Remembering Performance 20 Arch 2 1100-1300

Manuel Vason 44 various 1230- Saturday 20 March Kirsten Lavers 39 various 1230- Artist/Event Page Space/Site Perf Time Rosie Ward 53 Back Corridor 1230- Early Bird with Lois Keidan 16 CCA Cinema 1000-1130 Lisa Wesley & Andrew Blackwood 42 B3 1230-2230 La Pocha Nostra workshop * 16 G12, Glasgow University 1200-1600 Shaun Caton 55 B2 1230-2000 Marcia Farquhar 44 Playroom Fri 1200- Kate Stannard * 38 Practice Room 1230-1800 Sat 1800 Kira O’Reilly 38 Central Aisle to South Bar 1315-1355 Michael Mayhew 47 Practice Room Fri 1200- Sat 1800 Boris Nieslony 25 Casbah 1400-1430

Manuel Vason 44 various 1200-1830 Leibniz 41 Arch 3 West 1430-1630

Kirsten Lavers 39 various 1200-1830 NRLA Archive 20 B5 1430-1800

Rosie Ward 53 Back Corridor 1200-1830 Sheila Ghelani 55 Playroom 1440-1520

Trace Collective 58 Casbah 1200-1830 Francesca Steele ** 30 B4 1530-1730 1800-2000 Lei Cox 40 Dance Arch 1200-1830

Lisa Wesley & Andrew Blackwood 42 B3 1200-1830 Richard Layzell 51 Arch 2 1530-1615 Lee Wen 40 Arch 2 1645-1720 Clara García Fraile 60 B4 1200-1830 Yann Marussich (Brisures) 60 Arch 3 East 1730-1900 Oreet Ashery 49 B2 1230-1830 Roberta M Graham 52 Studio Theatre 1800-1840 Paul Hurley 50 Arch 3 West 1300-1345 Silke Mansholt 56 Playroom 1900-2000 Liz Aggiss 43 Arch 2 1400-1450 Akademia Ruchu 22 Arch 2 2030-2120 Sophia Yadong Hao 61 Studio Theatre 1400-1800 Party, in celebration of 30 years Middle Bar 2130-0100 Monali Meher 48 Arch 3 East 1500-1800 Los Torreznos (35 minutes) 43 Middle Bar 2140-2215 István Kovács 34 Arch 3 West 1515-1600 Miss Electric Gypsyland 47 Middle Bar 2215-0100 Esther Ferrer 27 Arch 2 1615-1645

Wladyslaw Kazmierczak & Ewa Rybska 59 Arch 3 West 1700-1745 * Kate will finish her 5-day, 860 mile bike ride in the Practice Room John Byrne 35 Arch 2 1800-1830 ** one audience member at a time (each performance = 7 mins)

Move to Tramway denotes choice of performance

Marie Cool & Fabio Balducci (films) 45 Tramway 4 1900-0000 Any late changes to schedule will be noted in the daily diaries and on our website blog

Forced Entertainment 28 Tramway 1 1930-2050

Sat 20 * La Pocha Nostra workshop is fully booked.

Diary 13 Celebrating 30 Years of Robyn Archer

The National Review of Live Art The thirty years will be marked in many different ways over the fi ve Wednesday 17 – Sunday 21 March days, including a special guest appearance by Robyn Archer on NRLA Honorary Associates: Robert Ayers, Neil Bartlett, Mary Brennan, Forced Entertainment, Saturday 20 March at Tramway. Paul Hough, Lois Keidan, Richard Layzell, Alastair MacLennan, Michael Mayhew, Robyn is a singer, writer, director, Stephen Partridge, Geraldine Pilgrim, Anne Seagrave, Ian Smith. artistic director, and public advocate of the arts, mainly in Australia though her reach is global. Many fans remember her Thirty is a dangerous age, so they say. Browse through these pages that mark the from her stage successes such as passing years of the National Review of Live Art (NRLA) and the evolving presence A Star is Torn and Tonight Lola of new territories and you’ll see work — and an artistic mindset — that was never Blau; some know her only as one ever risk averse or inclined to play safe. Not from the earliest days when performers, of the world’s foremost exponents of German cabaret songs. She bent on pushing boundaries, needed a platform to present their ideas. Not when, in is known for her own writing, response to changing times — and changing venues — there was a need to adapt to including political songs in shows whatever spaces were available to host the festivals. If that meant going south, to like Pack of Women and Kold Komfort Kaffee and has been a Riverside or ICA, so be it. If it meant going underground, to the dark warrens of the highly successful artistic director Arches beneath Glasgow’s Central Station — bring on that new challenge. The bright, of arts festivals. Robyn Archer is white airy reaches of Tramway, across the River Clyde? Director Nikki Milican, her one very energetic woman who is small but resolute team and the artists she invited there, embraced the mantra of still doing all the above and more and has recently been appointed ‘adopt, adapt and improve’ — because, let’s be frank, most of the creative spirits who Creative Director of the Canberra have kept faith with NRLA and its developments across the years, are explorers not Centenary 2013. home-bodies. They make their pitch when and where they can.

Some of those who will appear during this 30th anniversary season have kept faith with the fl exibility and questing energies that have characterised these events from the beginning. Others are relative newcomers, but they too are signifi cant in the way they view change — in society at large or in their own particular process — as a stepping stone forward, not a stumbling block. Thirty is only a dangerous age if you dig yourself into a rut of nostalgia and tunnel-visioned complacency. That has never been a problem for Nikki Milican or the festivals she curates with such unstinting commitment and acumen. And if, sometimes, during this 30th anniversary programme it seems as if we’re inclined to look back, it’s only to refl ect on how far these radical initiatives have come... before the enterprise heads forward to new territories and exciting new directions in 2011. Please, do keep up — don’t you know it’s dangerous to get stuck in the mud? Mary Brennan

N.B. All artists involved in this 30th anniversary edition have played a part in its history.

14 N R L A Artist Early Bird Talks, Statements Panel Discussions and Workshop

Alastair Snow the public realm, with steel and Phantom which capsized in 2007 We have preferred silent stewardship via inheritance, fate after running aground in the River slipways to the riveters’ wit and intervention. He devised the Clyde. Guerrilla Squad as a remarkable The title of this event comes concept in concussed percussion Alastair Snow is an artist, writer from Glasgow Sonnets 5 by Edwin which performed at the National and specialist adviser in art and Morgan. Review of Live Art in London in design in the public realm. He 1987 and at the Glasgow Garden has performed at the Edinburgh Festival in 1988. Festival (Fringe First Award),

Collage by Bruno Gallagher Alastair Snow applies his work as an artist and activist across the Glasgow Garden Festival, Brighton cultural sector. The presentation is dedicated Festival, Hippodrome Night Club, Ian Smith to John Davidson Wishart, steel Serpentine Gallery and Modern (Master of Ceremonies) In this artist’s talk and smelter, born in Glasgow in 1893 Art Oxford. He is a trustee of performance, pitched somewhere and who worked with Tata Iron & Arnolfini, a director of AN the So, having spent 2009 creating between retrospection and Steel Co. Ltd. Bombay, India. It Artists Information Company and four new pieces of solo work to autobiographical review, he honours also three crewmen who a member of the Academy of celebrate my 50th year, I can now aims to complement works in died on the fire-tug The Flying Urbanism. officially play the ‘grand old lag’ www.snowart.co.uk card — delighted to MC the NRLA for what must be the 14th time. But this one is special, for there are even older lags in abundance, dancing and shuffling amongst the fresh young things. Suffice to say, aged 20, I was corrupted by exposure to the likes of Roger Ely, Jeff Nuttall and Ian Hinchliffe, who delighted and frustrated me in equal measure. These fully grown men seemed to avoid all the rigours of normal life by disrupting reality with poetry and spending the rest of the time in the pub. Sometimes this seemed heroic, other times just lazy. However, 30 years of watching the waves of maverick artists pushing ever onwards leads me to conclude that we should salute the lot of them. So let’s do that at the NRLA. Disrupting reality with poetry is serious work. And Hinchliffe still scares me. www.mischieflabas.co.uk

Talks 15 La Pocha Nostra presentation medium. Sifuentes performance workshop has exhibited work at several hundred venues throughout Guillermo Gómez-Peña and the United States, Europe, Roberto Sifuentes of the legendary Canada and Latin America. As a Pocha Nostra performance troupe performance pedagogue Sifuentes will conduct a one-day workshop has been Artistic Director of on performance art with a focus The Trinity College/La MaMa on the human body as a site for Performing Arts Program NYC creation, reinvention, memory at LaMaMa ETC, and recently and activism. The interdisciplinary the 2008 Elena Diaz-Verson Pocha workshops are an amazing Amos Eminent Scholar in Latin artistic and anthropological American Studies at Columbus experiment in which artists from State University, Georgia. He is every imaginable artistic, ethnic currently Assistant Professor of and sub-cultural background Performance at the School of the begin to negotiate common Art Institute of Chicago. ground. Performance becomes www.pochanostra.com the connective tissue and lingua franca for a temporary community of rebel artists.

Gómez-Peña has spent many years Lois Keidan developing his unique style, ‘a Partial Recall combination of performance- activism and theatricalizations of Lois Keidan has been attending postcolonial theory.’ In his eight NRLA every year (with one or books, as in his live performances, two exceptions) since 1986. For he pushes the boundaries still the final Early Bird of the 30th further, exploring what’s left anniversary the NRLA she invites for artists to do in a repressive folk to join her to pool memories global culture of censorship, of 30 highlights from 30 years paranoid nationalism and what he of the NRLA and create a totally terms ‘the mainstream bizarre.’ partial and anecdotal history of Gómez-Peña examines where this the NRLA. leaves the critical practice of Lois Keidan is co-founder and artists who aim to make tactical, Director of Live Art Development performative interventions into Agency. our notions of race, culture and sexuality. www.thisisLiveArt.co.uk

Roberto Sifuentes is an interdisciplinary performance artist and founding member of the performance collective La Pocha Nostra. His work fuses highly charged cultural issues with a wild pop culture aesthetic, combining live performance with interactive technologies and video as a

16 Talks that was soon to become the joined the team, there would stated, ‘They wanted to know magazine’s hallmark. always be a feature on events I wasn’t just going to just stay such as Crufts Dog show, the Ideal a few months and write a book The gauntlet was thrown down Home exhibition and the Earls about it’. An everyday experience early by the director of the Court Boat Show. There would of the great show that occurs theatre group The Phantom sometimes be a more serious when a fire engine comes tearing Captain (1970), Neil Hornick, thematic to this, and the idea of round the streets with firemen in his cover interview with the performance as a fluid gesture hanging off the sides suggests that iconic comedian Charlie Drake. started to emerge as we engaged in their own way, fire fighters are It continued with a ‘refocusing’ more and more in performance as no strangers to performance. of West End theatre, reaching process, proceeding to land art its ultimate provocation in an and journeys by horse and cart. Writing in 1983, I go on to ask, interview with Fiona Richmond A special issue on performance ‘what is the actual difference who was at that time appearing in journeys for example, was between an artist who becomes a the bedroom farce of the period: inspired by a project by artist fireman and a fireman who, say, Wot, No Pyjamas? Johannes Cornellison in which potters round a bit with paints in he circumnavigated the world, his spare time?’ A question which In State Performance, the documenting points at which the could be posed about the artists ‘fairytale’ Royal Wedding for equator was marked. ‘Art on the who want to become astronauts Rob La Frenais Prince Charles and Lady Diana Run’ was another issue where to or nuclear engineers and the Interrogating Reality - 80s Spencer was given the full review a single performance by astronauts and nuclear engineers style Performance treatment with Bath’s Natural Theatre company who want to become artists. For articles by Lynn MacRitchie over a period of three weeks Cripps, his life as an artist had When I founded Performance comparing the wedding to that during the Lands End to John already changed: At first he “just Magazine in 1979, it was of the Yorkshire Ripper, by myself O’ Groats bike ride, I, as editor, wanted to know if you could clear there was a gap in the on the performative power of rode a bicycle all the way, taking do it” but now the practice of documentation of new forms of heraldry, and with a specially notes. stretching himself to the limits, art that veered away from the commissioned performance fighting fires and actually saving object and away from theatre. for the cover by performance Art interrogating reality became lives seems to have become more The magazine regularly featured duo Marty St James and Anne seriously analysed in a special important. And the future? “I’m profiles of ‘classical’ performance Wilson, who conducted a mock issue we did on artists becoming waiting to be called out to an art art figures like the British wedding on the steps of St totally immersed in other gallery.” performance art duo The Kipper Paul’s Cathedral. Of course life professions or activities such as Kids, who appeared in its first always out-performs art, so had ballroom dancing and deep sea From: Ubiquity and Fluidity issue, whilst going on to feature we known when planning our diving. The late Steve Cripps, who Chapter 3 Interrogating reality interviews with artists such as special issue that the Prince and took performance pyrotechnics Rob La Frenais 2007 John Cage and Joseph Beuys. We his long-time mistress had been to their ultimate conclusion, was were also inspired by the Nicolas part of a larger, cynical plot to interviewed about his membership Roeg/Donald Cammell movie by find a nineteen year old virgin of the Fire Brigade. After having the same name, Performance commoner to renew a flagging the Fire Brigade called out to and continued to reflect themes inbred monarchy (and then, several of his performances, from that movie throughout the according to popular myth, to this was the ultimate ironic magazine’s 13-year life. That assassinate), we might have choice. For Cripps it was also a film, in its interaction and reality revised our analysis more along chance to learn more – to pick exchange between the rock star the lines of conspiracy theory. up something about the field he fop, Jagger and the gangster worked in: smoke, fire, bangs and Turner, based on the Borges theme Long before Tracey Emin started flashes. But something like the of the doppelganger from the her artistic practice, we were Fire Brigade is bound to change story Tlon Iqbar, Orbis Tertius, set re-interpreting bedding as art, you; it is not something you could a theme of interrogating reality and when the late Steve Rogers just slip in and out of, as Cripps

Talks 17 Silvia Ziranek M(OR)E

A TALK WITH SLIDES

ARE WE ALL? THEN I’LL. MY NAME IS. I, A FEMALE, WAS BORN IN, STUDIED AT, TRAVELLED IN AND. AND AS FOR WORK: THROUGH WORD AND WARDROBE, MOT – WORT – AND GARDE-ROBE – KLEIDERSCHRANK NICHT KUEHLSCHRANK, HAVE INVESTIGATED ATMOSPHERE, ATTITUDE, IMAGE, IN/EQUALITY, SCALE, PURPOSE, CATEGORISATIONALISM, ISHNESS, FEMINISMUS, THOUGHTHOOD, BEING, BUYING, BREWING, BAKING, BURNING BOAT AND BUILDING BRIDGE, COLOUR, AND COCKTAILS, TEXT, AND TEXTILE, EMOTION, AND MILLINERY, AND, MAYBE, M(OR)E. I TEND TO AND SO ON – I ARE OR (DECLINING SILENCE), RARELY DOWN TO MY LAST TEN TIARAS: ICI VILLA MOI. VERY MOI. VERY FOOD, INTERNATIONALISING WITH LIPSTICK WHILST CHASING SPACE, WHEN ANYONE CAN APRON, WHERE I DO SHOE, Z IN WHATEVER, SOON UPON AGO.

© SCZ 2009

With thanks to Hype Hair, Betterbadges and Osborne & Little.

18 Talks Photo byYma Ziranek Wilson STELARC EXCESS & INDIFFERENCE

The Cadaver, the Comatose & the Chimera

1. FRACTAL FLESH / PHANTOM BODIES By FRACTAL FLESH is meant bodies and bit of bodies spatially separated but electronically connected, generating recurring patterns of interactivity. By PHANTOM FLESH is meant a potent presence of remote bodies, generated by the increasing proliferation of haptic technologies.

2. CIRCULATING FLESH Blood flowing in my body today might be circulating in your body tomorrow. Organs are extracted and exchanged. The face of a donor body becomes a THIRD 3. THE CADAVER, COMATOSE 4. REDESIGNING THE 5. INDIFFERENCE, ITERATION FACE on the recipient. Amputated & CHIMERA BODY- INTERNET ORGANS & UNFOLDING limbs from a dead body can be Cadavers can be preserved An EAR ON ARM is presently The body acts with indifference. reanimated on a living body. And forever with plastination. being surgically constructed An indifference that allows an with ORGAN PRINTING of body Comatose bodies can be sustained and cell grown on my forearm. iteration and unfolding- in its own parts there will be an abundance indefinitely on life-support The ear now has tissue ingrowth time and with its own rhythm. of organs. An age no longer of systems. Female eggs are and vascularisation. It will be An indifference that allows an Bodies Without Organs but of fertilized by sperm that has been electronically augmented to obsolete, absent, empty and organs awaiting bodies. unfrozen. The dead, the un-dead wirelessly connect it to the involuntary body perform best as and the yet to be born exist internet. It will be a publicly its avatar on the internet. Bodies simultaneously. The chimera is the accessible, mobile and remote and machines are ponderous. body of alternate anatomies that listening organ for people in other Avatars have no organs. performs with mixed realities. places.

Talks 19 Crossing Zones Vlasta Delimar from Croatia, Efi National Review of A panel discussion with Anne Ben-David from Israel and Sinead Live Art Archive Bean, Sinead O’Donnell, Varsha O’Donnell from Northern Ireland. In tandem with the panel Nair, Roberto Sifuentes and The women have come together discussion earlier in the day, Qasim Riza Shaheen, chaired by in each of their countries to there will be an opportunity Mary Brennan. exchange ideas and make work to access the first Case Study together. Anne and Sinead will undertaken by the Archive at Artists who make collaborative talk about this process with the University of Bristol and artist work will talk about the insights other artists on the panel as they Richard Layzell. and challenges of international all share their experiences about creative exchange. In the past finding a space to work without I Never Done Enough Weird Stuff, year, Anne Bean has been working frontiers, borders, demarcations, a Case Study on the Preservation on a British Council Creative boundaries, barriers, bureaucracy, of Performance. Collaboration project PAVES with officialdom, laws, regulations and The Performance Art Poshya Kakl from Kurdistan-Iraq, rules. Documentation Structure record for Richard Layzell’s I Never Done Enough Weird Stuff (NRLA, 1996), will be available Remembering in the video archive and published to browse online. This archival Performance catalogue, or kept alive in the resource places the artist in a central role in preserving a live A panel discussion with Claire memories of those who were work, employing interviews to MacDonald, Geraldine Pilgrim, there, performing and spectating? enhance the usefulness of video Richard Layzell and Heike Roms, documentation. Out of this chaired by Paul Clarke Presentations of projects and different approaches will touch process, Layzell was inspired to return to the video works he This discussion, on the final day on the role of: collective memory, screened in I Never Done Enough of the 30th anniversary National personal recollections and Weird Stuff, re-using them in the Review of Live Art, considers oral histories; critical writing, collaboration with Tania Koswycz the legacy of the festival and reviews and publications; archival shown elsewhere in the Festival. the live artists it has supported. documents, video recordings and Performance tends to be photography; objects, residues Audio-visual conservator Stephen defined by ephemerality and and remains; re-enactment, Gray and Clare Thornton from disappearance. Remembering re-use and recreation. The 30- Capturing the Past, Preserving Performance brings together year history of NRLA is different the Future: Digitising the NRLA artists and academics to discuss for every one of us, we recall Video Archive and Paul Clarke, ways in which performance different works and remember the GWR Fellow on Performing remains present, how live works the same works differently. the Archive: the Future of the are remembered and continue to What is the future of past Past, collaborated with the circulate in culture. Conversation performances and how are our artist Richard Layzell on this will question how events are memories coloured by encounters performance score. conserved, passed-on between with documentation and texts generations of artists and produced after the event? The viewing station for the NRLA audiences and where the traces Archive will be available for they leave are held. What is the public access throughout the 5 difference between our memories days. of performance events that moved us and the documents that record them, between memory and the archive? Is the legacy of the NRLA preserved for the future 20 Talks Julia Bardsley Julia

Invited Artists

Invited Artists 21 Akademia Ruchu Chinese Lesson

The entire piece is composed of radicalism and social message are a series of performances: short not mutually exclusive. five to ten minute pieces involving Through its work in open five members of the group, Janusz city spaces (approximately 600 Bałdyga, Jolanta Krukowska, spectacles, events and street Cezary Marczak, Zbigniew happening), Akademia Ruchu has Olkiewicz, Krzysztof Żwirbli and become Poland’s premier example originating out of thirty years of a creative group that functions of the company’s experience in outside the official reality of the building their own visual theatre arts cult, in ‘non-artistic’ space: language. the streets, residential homes, The group’s uninhibited industrial zones. In turn, the actions move between private elements of everyday life which moments and those concentrated Akademia Ruchu transfers into ones which require exceptional the ‘hallowed’ realm of art (the physical theatre skills — one stage, the gallery) have enriched feature that’s closely associated its anthropological vision without to Akademia Ruchu’s definition of compromising its aesthetic vision. their own creative practices. Akademia Ruchu has presented work at theatre festivals in Akademia Ruchu was created Caracas and Nancy World in Warsaw in 1973. Wojciech Theater Festivals in Caracas and Krukowski was a founder of the Nancy, the Festival Kaaitheater group and remains its artistic in Brussels, the Chicago director. Since its beginning International Theater Festival, Akademia Ruchu has been known and the National Review of as the ‘theatre of behaviour’ and Live Art. The company has also visual narration. Akademia Ruchu presented at visual art shows is a creative group that works like DOCUMENTA 8 in Kassel and at the edge of variety of artistic the Museum of Modern Art in disciplines — theatre, the visual Yokohama. arts, performance art and film. Movement, space and the This performance in Glasgow is social message are characteristic presented with the support of the of all creative process undertaken Polish Cultural Institute by Akademia Ruchu. This derives www.akademiaruchu.com from the conviction that artistic

22 Invited Artists Anne Bean with Vlasta Delimar, Efi Ben-David, Alastair MacLennan Sinead O’Donnell and Poshya Kakl Ink Ash PAVES

A dynamically contained performance, the action will be rhythmic PAVES is the culmination of a studied Fine Art at Cape Town and and ritualistic, building intensity over a five-hour period. It will be year-long creative collaboration Reading universities and started unexpectedly sited, acting as a contextual referent or foil. between five female artists making work in the early 1970s.

working in the UK, Croatia, Israel, Directly and indirectly the work alludes to: poising understanding ‘Reading Anne Bean’s CV is Northern Ireland and Kurdistan- complying raiding disarming looking saying serving installing bedding like following a continuous Iraq. The artists all share the preserving climbing raising complaining declining removing replying performance, a continuous experience of creating powerful blurring marking signing visiting asking giving revealing clarifying saying response to the world..... a and passionate performances abusing starting telling raping issuing spending increasing claiming “magnification” of the world. within the context of recent referring arresting defrauding holding beginning posting bringing buying The panoply of places she war or conflict and have spent becoming fuelling holding explaining telling driving rioting emulating has worked, times of the day time together in each country hoping counting stealing reversing pondering emerging flying backing or night, interiors, exteriors responding to each other’s work liking suggesting reversing talking believing counting wearing appointing seasons, publics, materials, and experiences and the very crushing failing accusing giving putting preparing undergoing continuing concepts, tools, is astonishing: all different environments within revealing attacking forming coming gathering discovering throwing shifting but all attuned to unique which they function. designing setting purchasing spitting closing prohibiting wanting situations.’ Guy Brett Over the year, they have approving announcing getting ignoring making taking condemning made and shown work in London, PAVES has been commissioned by accepting beaming buying flouncing taking blaming doing offering buying Zagreb, Staglinec, Belfast, Tel New Moves International for the holding boycotting seeing locking meaning beginning posting putting National Review of Live Art 2010 and Aviv and Erbil and have negotiated announcing holding telling securing expecting wielding calling merging is supported by the British Council visas, border crossings, absence challenging using hauling gripping planting exposing dropping amending Creative Collaboration programme and presence in time, space and doing wishing looking expecting treating ordering claiming taking and Grants for the Arts through Arts alternative dimensions. This making fleeing going arresting running conducting appearing happening Council England. performance installation, made realising believing basing reporting starting having adding visiting especially for NRLA, seeks to bring www.annebean.net finishing believing giving building fitting depending promising seeming together all the component parts showing advising announcing attending becoming bringing flocking of the year and to explore who wearing backing cheating becoming tearing feeling abstaining telling we are, where we come from, detaining shouting dispersing including making using reshaping calling responses to painful situations supporting finding preventing distancing noting conflicting decamping and what it means to be free in a shooting trying giving banning giving... non-negotiable world. MacLennan’s works reflect political, social and cultural ‘conditions’ and Anne Bean has undertaken seek to fuse interrelations. He has presented work globally both as an numerous solo and collaborative independent artist and as part of Black Market International. projects worldwide in a range He represented Ireland at the Venice Biennale in 1997 and is currently of media from light and sound an Emeritus Professor at the University of Ulster. to performance, sculpture and drawing. Born in Zambia she

Invited Artists 23 Anne Seagrave Do Góry Nogami (Upside Down)

A durational presentation Anne Seagrave (UK, Ireland/ exploring self-portraiture Spain/Poland) presented her through a variety of media; distinctive movement based painted images, video and live performance/video/installation participation. Initially devised work internationally between during the artist’s residency at 1983-2008. For many years she the Irish Museum of Modern Art in was a regular visiting lecturer 2006, the piece was subsequently at NCAD in Dublin, freelance presented in Poland, Finland organiser of live art events in and Israel. It has been adapted Ireland and for 10 years was based and recreated specifically for part of the time in Spain. From presentation at the NRLA’s 30th 2004-2007 she was an Arts and anniversary. Humanities Research Fellow at the University of Ulster in Belfast, ‘Attaching the terms self-portrait, focusing upon the artist’s use of self-image, auto depiction, or self-image. In 2008 she retired self-representation to Live Art from performing live and is practice is problematic and currently based in Krakow working complex. How much personal solely on paper. identity should be recognisable to be called a self-image and what elements of the artist’s psychological self remain? This exhibit aims to engage, articulate and question what motivates the artist to allow the physical presence to act within and animate a presented art work.’ Anne Seagrave 2009

24 Invited Artists Photo by Hugo Glendinning Hugo by Photo

Boris Nieslony Curious A Feather fell down on United Kingdom of Great Britain the moment I saw you I knew I could love you

This performance is dedicated 1990 ~ The new performance and film Helen Paris and Leslie Hill have to people killed by other • THE CURRENT AFFAIRS / RENT installation by Leslie Hill and been working together as Curious people; people killed by capital an ARTIST + Die GABE Helen Paris, has been made in for the past twelve years. punishment and human rights • THE Permanent PERFORMANCE collaboration with film-maker They make work in a range of injuries incurred by the State; by ART CONFERENCES Andrew Kötting and composer disciplines including performance, mass-murder, by ethnic cleansing, • The yearly Internet Graeme Miller and features a cast installation, publication and film. by crimes against humanity, Performance Art Magazine of six performers The work is global and domestic: by global wars, by civil war, by • slaps - banks - plots sometimes large, sometimes massacre, by genocide! the moment I saw you I knew I small in scale. Intimacy and 2002 ~ could love you is about instincts a shared sense of encounter Boris Nieslony born 02.10.1945 E.P.I. Zentrum, European we feel rather than facts we know with an audience is always an Political Action since 1966 Performance Institute — when the body demands to be important element. They called Painting since 1970 Performance Art Research, heard and tells us to fight, flee or their company Curious because Performances since 1974 Context in Performance Art freeze. It is about fear, impulse, what drives them as artists is an Intermedia since 1975 www.epi-zentrum.org love and undefended moments. intense curiosity about the world 1981 ~ www.asa.de Designed for life-raft sized groups in which they live. • The Council - an intermedia 30 This performance has been of audience members at a time. Commissioned by New Moves day project supported by the Goethe Institute, Set in the belly of a whale. International for The National • The Black Kit - The Glasgow. Installational and filmic, the Review of Live Art 2010, Chelsea Performance Art Archive piece is an hour long, performed Theatre for SACRED 2009 and • Performance Art Network to sixteen audience members at Colchester Arts Centre. Made with Long duration works a time, several times a day, over the support of a Wellcome Trust • THE PARADISE, a sculpture two days. Arts Award, the National Lottery in moving, laboratory of through Arts Council England, Brunel University and a residency at the perception Royal Shakespeare Company and the • ANTHROPOGNOSTICAL DISHES Hosking Houses Trust. an archive and encyclopedical moving sculpture, 1975 till now www.placelessness.com • BLACK MARKET INTERNATIONAL

an international performances Glendinning Hugo by Photo art association, 1985 till now • ASA, Art Service Association, curating, organising performance art

Invited Artists 25 Pants presents David Gale David Richmond David Gale’s Peachy Coochy Nites slipping away

Just a projector and 20 images. David Gale is a writer and director ‘A return, a constant iteration Just 20 seconds per image. During of theatre, also a journalist. of endless returns — a return those 20 seconds the Presenter For 20 years he wrote shows to the beach, to childhood, to talks about the image. So simple. for Lumiere & Son. He has been understanding the world through So precise. So demanding. This presenting Peachy Coochy Nites at doing, being, to the beginning. is the Peachy Coochy Way. David Toynbee Studios in London for the Slipping Away is inspired by a lost Gale, ever keen to maintain the last year. photograph of me, aged seven, captaincy of this nationwide www.strengthweekly.com standing on a beach with my performance must-have, is Tarzan trunks pulled down around curating, for the second year my ankles, a re-enactment is running, a Peachy Coochy event at attempted. the NRLA. Each event features six Now the photograph is lost the Coocheurs, or Presenters, drawn event itself seems doubly mislaid, from the ranks of artists working all I have is words, litanies, on the Festival. Each Coocheur repetitions, agonies of words. will compose a verbal response Words with me, as I am now, to 20 images of their choice. The taking the place of me as I was images need not be narratively then. Or as I remember I was linked but randomness is frowned then. upon. Thematic associations are On a beach on the west coast embraced. Each presentation of Scotland nearly 80 years ago lasts 6 minutes and 40 seconds. today my uncle washed up dead. There will be gaps between presentations for drinking and In a hospital in London nearly 30 light conversation. years ago today my dad took his For 2010, the 30th Anniversary last breath. of the NRLA, the Coocheurs slipping away is a performance have been asked to devise as an event that calls upon presentations that reflect their witnesses, seeks to bare participation in the NRLA over its testimony and itself constructs three decades. memories. A middle aged man is slipping away struggling to re-member, is this how it is, is this how it is slipping away is fucking funny.’

26 Invited Artists Photo by Jennifer Todman

Elvira Santamaria Torres Esther Ferrer Performance Art: Theory and Practice Against Gravity

The creator of over 50 original This is a performance installation A performance that is a Esther Ferrer was born San performance works David has that deals with physical time, lecture, or a lecture that is Sebastián, Spain 1937. Since been collaborating with Jules space, lightness and which a performance, a theory that 1966 she has been best known Dorey Richmond for 17 years, minimal poetics is in the motion. becomes practice, or a practice for her performances as a soloist pulling together their respective that becomes theory. The real, and as member of ZAJ group. Elvira’s works are a personal disciplines of visual art and the imaginary, the logical, the She has also been quite active search by means of many forms of theatre. Since 1996 they have absurd, the obvious and the not in the plastic arts: reworked action art (performance, public been engaged in a Theatre of so obvious, a particular way to photographs, installations, interventions, process installation Witness series of works with World perform when speaking about canvases, constructions based etc). Nowadays she is realising War Two Veterans, Survivors and performance. on the prime number series, urban interventions, process art Witnesses. As an ongoing project, ‘Some may think she says nothing, and so forth. She has performed and in-situ installations. For her it also led to a 1998 secular others may think she says too throughout Europe as well as ‘Action art is a formless form pilgrimage to Auschwitz. much, in the United States, Mexico, of art and practical existential may think she says enough and Japan, Cuba, Korea and Thailand. David is also the founding member knowledge, its poetics postulate may think she says not enough, Performance continues to be her of Pants Performance Association, the self-creation through the may think she says just what is principal activity, although she Pants performed at the NRLA in acts as an endless process of necessary. often does exhibitions as well. 1989 and 1996. He is currently artwork. The symbolic act creates Some may think she does nothing, In 1999 she was one of the two a senior lecturer in theatre important reference points in the others may think she does too artist representing Spain in the and performance and Head of evolution of consciousness of the much, Venice Biennale, and this year she Programme BA (Hons) Theatre at artist.’ may think she does enough, received the Spanish National Fine York St John University. www.elvirasantamaria.org may think she does not enough Arts prize. slipping away has been made may think she does just what is www.arteleku.net/estherferrer/ possible by the Faculty of Arts necessary.’ Research Capability Funding Actually, she speaks and she does, Sabbatical, York St John University. and that’s it. C4C Cetl, York St John University. Guy Dartnell’s Pen Pynfarch mentoring programme

Invited Artists 27 Fiona Wright Forced Entertainment On Lying Void Story

‘What’s on her mind so far? War imagines writing a blog might be Void Story follows a beleaguered Since forming the company on poetry and rock stars; philosophy, if she could only bear the thought pair of protagonists on a graduation from Exeter University adrenaline, history and not of turning up in so many other roller-coaster ride through in 1984, the six core members playing the tambourine; skin that people’s lives at once... the decimated remains of of the group have sustained a hangs on bones differently than contemporary culture. Navigating unique artistic partnership for Currently based in Newcastle upon it used to, not really having a life one terrible cityscape after quarter of a century, confirming Tyne, Fiona is often described story to tell, the lungs of men, another, mugged, shot at and time and again their position as ‘rare’ and flickering between the weight of the microphone bitten by insects, pursued through as trailblazers in contemporary strength and fragility whose subterranean tunnel systems, theatre. The company’s stand and singing so low that her work defies categorisation. Her stowed away in refrigerated substantial canon of work reflects voice disappears.’ personalised explorations include transport, shacked up in haunted an interest in the mechanics of This one-woman performance close-up performance encounters hotels and lost in wildernesses, performance, the role of the arrives with a desire to tell it like designed for one person at a time backstreets and bewildering fun audience and the machinations it is, in a set list which includes such as salt drawing, 2004 and the fairs, they travel to the centre of of contemporary urban life. The a speech inspired by Siegfried performance lecture series Other a night so intense that there are work — framed and focused by Sassoon’s 1917 letter, Finished Versions of an Uncertain Body. no stars to be seen. Artistic Director Tim Etchells — is distinctive and provocative, with the War, unaccompanied She is also currently collaborating Forced Entertainment perform the delighting in disrupting the covers of rock songs and a long, as a performer and dramaturg bleak and comical contemporary conventions of theatre and the long letter home. with Simone Aughterlony (Zurich) fable of Void Story as if it were expectations of audiences. Forced and in the duet collaboration girl a radio play, sitting at tables, Fascinations with fictions open Entertainment’s trademark jonah with Caroline Bowditch in turning the pages of the script, up as a body is moved to confess collaborative process — devising the UK. ‘doing’ the requisite voices or at least commit to making it work as a group through and adding in sound effects all up; but how many ways does Supported by Arts Council England. improvisation, experimentation for gunshots, rain and bad a body tell its story? How did it Early development at OPENPORT and debate — has made them phone-lines. Simultaneously come to this? Festival Chicago. pioneers of British avant-garde the otherwise empty stage theatre and earned them an Stylised choreography combines www.fionawright.org is dominated by a series of unparalleled international with a personalised vein of writing projected images, a storyboard reputation. from a truly individual artist, for an impossible movie-version of a couple more decades down Tim Etchells’ uniquely unsettling Production, Ray Rennie and Elb Hall. the line, drenched in memory, text. Somewhere between the Forced Entertainment is regularly resisting biography and learning live dialogue, the recorded funded by Arts Council England and Sheffield City Council. Void to sing for you, to sing like she sound effects and the collaged Story was made with the support of means it. images attempting to visualise the narrative, is where Void Story Tanzquartier, Vienna and Tate Media. This thing is indeed becoming actually takes place. www.forcedentertainment.com something like a sketch for a 2009 marks Forced rock opera or perhaps how she Entertainment’s 25th Anniversary.

28 Invited Artists Photo by Forkbeard Fantasy

Forkbeard Fantasy The Colour of Nonsense

The Colour of Nonsense is a With nods at Edward Lear and comedy thriller about the making The Emperor’s New Clothes The of a priceless Invisible Artwork Colour of Nonsense, created in and the global chaos that follows Forkbeard’s own 35th year, is a its theft. humorously semi-autobiographical At the studios of Splash, piece about the highs and lows Line & Scuro, Cutting Edge of creativity and the paralysis of Conceptualists, things have been indecision. sliding dangerously down hill of ‘Forkbeard has enjoyed a long late. Then out of the blue comes friendship with the NRLA and, a salivatingly remunerative with Nikki Milican, go back even commission for the first ever further to her days at The Brillig completely genuine INVISIBLE in Bath. FF in the 1970s were ARTWORK. very much associated with what With Forkbeard’s famed was then called Performance mix of visual trickery, film and Art but we drifted away as laws outlandish story-lines The Colour got laid down defining what of Nonsense explores the never- was and was not allowed to be ending puzzle of how and why called Performance Art. FF’s people see the way they see, as it good humour, wild invention and takes us on a journey through the (god forbid) accessibility was wild and ever-shifting borderlands looked upon with horror by some! between Sense and Non Sense. Then, in 1983, at The Midland As mutinous cartoons throw the Group in Nottingham, Nikki and Studio into animated confusion, the Forkbeards presented The only the Dong with a Luminous Brittonionis ...the Forkbeard Nose seems able to shed light into identity under wraps. Suddenly this chiaroscuro of chaos. we were back in vogue...for a

couple of years...’ Tim Britton

Funded by Arts Council England www.forkbeardfantasy.co.uk

Photo by Forkbeard Fantasy Invited Artists 29 Manuel Vason Photo by

Francesca Steele Routine

‘I am a live and video artist residence in various research who has used my own body and and medical settings including presence in numerous works The Centre for Life and PEALS over the last seven years. in Newcastle, Derriford Hospital Throughout this time, my body Histopathology Department in has changed notably, and so has Plymouth and most recently my relationship to it. Since the working with Horticultural Healing beginning of 2009 I have been for Groundwork South West, an training as, and becoming, a ecotherapy initiative working bodybuilder as part of my artistic with individuals with acquired practice. I follow a typical brain injury. As well as the NRLA bodybuilder’s training regime Francesca Steele has performed and diet as art practice — firstly, at the Baltic, Gateshead and the aiming to redefine and test what Arnolfini, Bristol. She has featured we consider the boundaries of art in a range of publications, practice to be, and secondly, to including The Live Art Almanac use the practice of bodybuilding (Live Art Development Agency, to change my own physical form, 2008) and Manuel Vason’s taking it further away from the Encounters — performance more conventional female figure photography collaboration — to a modified one. A figure that (Arnolfini 2007). begins to invade the territory The first of these works Routine, established as masculine beauty. is for an audience of one. Throughout this process it is my body that will become the Special thanks to Arts Council document of my practice. Through England, South West, Stuart Core & Lewis Breed. performance I aim to question how all these considerations and www.francescasteele.co.uk revisions of the body impact on its presence.’ Francesca Steele is a video and performance artist based in the South West of England. She was awarded the Belsay Hall Fellowship in 2006 and has spent time as artist in

30 Invited Artists Photo by Simon Keitch Courtesy of FrenchMottershead; photo by Nielson Photography

FrenchMottershead Geraldine Pilgrim Were You Here The Last Time Not Waving But Drowning

This performance for camera Rebecca French and Andrew A performance/installation Recent projects have included: is a reworking of A Daily Ritual Mottershead have been making created especially for the Hotel (2000), Spa (2003), Deep to Capture the Presence of art work using performance, National Review of Live Art 2010. End (2005), Enchanted Parks Everybody, a previous piece that photography, video, installation (2007), Dreams of a Winter Night Geraldine Pilgrim, was originally was created especially for the and intervention since 1999. (2009). Artistic Director of Hesitate and National Review of Live Art in They’ve developed a reputation Demonstrate, a touring visual Assistant Artist 2006. for tricky, engaging explorations theatre company funded by Arts Kasper Svenstrup Hansen On Saturday evening, 20 March around the conventions of social Council England and the British 2010, after the performance by exchange, work that has been Lighting Council. She has extensive Forced Entertainment at Tramway, said to achieve the popular Chahine Yavroyan experience in managing and all people attending or working at ideal of raising your awareness directing, devising and designing Sound the NRLA are invited to gather for of everyday life. As well as Nik Kennedy large-scale site-specific projects a large group photograph. Once intervening with the National and theatre-based productions Production management everyone is in position, they will Review of Live Art, they’ve liaising with producers and Steve Wald be asked to face the camera and presented work in the UK at funders, local councils and look their best. A photographer Tate Modern, Tate Liverpool, the Geraldine Pilgrim is an ArtsAdmin businesses and working with will record this moment with just ICA, Arnolfini, East International supported artist. artists and young people as one shot, which will be projected and internationally, including placements and performing www.corridorperformance.org for the remainder of the NRLA. Sao Paulo, Beijing and Istanbul. participants. Geraldine set up the It’s a last moment, when the Their international photo/video performance company Corridor NRLA reaches its critical mass, project SHOPs is the subject of in 2000 to create site-specific for all to represent themselves a solo exhibition and publication performances and installations in a wider community of others. (2010) produced by Site Gallery, in unusual buildings often with It’s for all who recognise the Sheffield. young people, older people importance of the different www.frenchmottershead.com and arts and community groups participants (artists, audience, working alongside professional technical crews, programmers practitioners. Through this and our international guests) method the participants are that make an event like the enabled to learn-by-doing within a NRLA possible, and acknowledge supportive environment. the collective nature of artistic production. Please note that a high- resolution download will be made available to all participants, details of which will be released on the night.

Invited Artists 31 Gillian Dyson Guillermo Gómez-Peña Site Unseen Strange Democracy, a short spoken word performance

A solo performance in which the In his new solo performance, and symbolic zone lined with artist addresses everyday and post-Mexican writer and Minute Men, rising nativism, familiar materials with action and performance artist Gómez-Peña three-ply fences, globalisation voice. These actions and objects deals with the end of the Bush era and transnational identities. express different meaning at and articulates the formidable For Guillermo’s biography, please different moments to different challenges facing Obama. He also see talks and workshops section of individuals. denounces the anti-immigration this brochure (page 16). hysteria and assaults the Gillian Dyson works with response demonised construction of the www.pochanostra.com and suggestion, refl ecting on a US/ Mexican border — a literal given site, context or audience. Gillian works with history, imagination, the playful and the violent. Her texts and images abstract the viewer’s reality to suggest slippages in place, time and action.

Supported by Leeds Metropolitan University. gilliandyson.co.uk

32 Invited Artists Holly Warburton Ian Hinchliffe The Fall Chubbin’ Mondays (or how to nearly escape from senility)

Holly Warburton collaborates with Holly Warburton studied both ‘When you get older you tend Rosie Macguire. Other members Flamenco dancer Carmen Alvarez at St Martins School of Art and to act older, even though you of Matchbox Purveyors included in this multi-media installation The Royal College of Art, where aren’t older in your heart. People Lol Coxhill, Gerry Fitzgerald, with live performance. A rotating she began creating multi-screen seem to reminisce more when Patti Bee, Dave Stephens, Kevin video projection evokes a installations, incorporating tape they’re older.... “I remember O’Connor and Jude Morris. Ian planetary eclipse as it moves slide projections and Super-8 film. the time that”.... “It sees like has performed and taught all over through a landscape of painted She has exhibited her installations only yesterday”...It drives me Europe and North America. His and animated images and around and photography around the up the wall. Day after day, the last major event was at Chapter the central dance performance. UK and abroad, particularly in same people, the same bus route, Arts Centre where he presented The rotation mirrors the natural Japan, and completed commercial the same pub, the same pub dog a retrospective of his huge cycles of the moon, earth and commissions with clients including that has aged even more than collection of ephemera. sun and the microscopic orbit of The Royal Opera House, English the assembled quaffers. Yes, and ‘Peace has little part in the electron around the nucleus. National Ballet and The Royal I have become one of them. My Hinchliffe’s art. When it arrives These natural cycles, to which Shakespeare Company. only escape is to disappear up it takes the form of pieces of we are bound and are a part of the river with my tackle and tin Carmen Alvarez began dancing lyric writing and painting in rise and fall, day and night, light of maggots and go fishing. I let at the age of four at The Dance which birds and fish fly and swim and darkness, death and birth, my mind wander and well, you’ve Academy Conservatory in Malaga. free of sordid boundaries. There all of these qualities are part of guessed it, I reminisce and moan Carmen has taught in Seville is a yearning for the isolated ourselves. to myself...Help!’ and Zurich and she has her own contentment of the canal-bank The Fall is made up of two Flamenco school in a cave above a Born 1942, Ian has lived in London angler, the pigeon fancier, or the cycles The first cycle entitled mountain village near Granada. since 1961. The early days saw long-distance cyclist, implying Edda was first shown at Le Cube him working with several jazz that when events have been in Paris and is inspired by the Garrard Martin (Technical bands and subsidised himself snatched from decorum, from Nordic Edda saga of the myth Designer) first studied Medicine working as a laminator in the East polite expectation, thrown back of creation, the four elements and then Photography and Fine Art End. In 1971 he formed Matchbox in their true determinants, and the Greek myth Persephone at St Martins School of Art. He has Purveyors with Mark Long. The chance and human discord, where within the shadow of the worked as a photographer, graphic name Matchbox Purveyors came disparate elements will settle and eclipse the darkness of the self is designer and lighting cameraman, from an event they performed the garden of innocence will be illuminated. and co-founded art magazine ZG. selling matches on London’s restored. This is the basic dream The second cycle continues www.hollywarburton.com Oxford Street. He has worked of true anarchism, which doesn’t a descent into The Fall. Within with several other legendary carry much credibility these days. the continual cycle of death and UK groups, People Show, John In Ian Hinchliffe it is not yet birth a flight into hubris of illusory Bull Puncture Repair Kit and dead.’ Jeff Nuttall ego structures are shattered with other performance artists into a psychic breakdown. such as Rob Con, Bruce Lacey, The only permanent thing is Roland Miller, Laura Gilbert and impermanence, the only certain Derek Wilson, Jeff Nuttall and thing is uncertainty and change. Invited Artists 33 Photo by Paul Feichter Paul by Photo Photo by Imre Dénes Imre by Photo Photo by Bruno Clement

Iona Kewney István Kovács FauX paS Happy Birth Day

‘My work is balanced between Iona was initially trained in fine ‘Awakening to strife — I find I’m in a cage. dance, madness and performance art (painting & printmaking), Oh, free and happy life! Oh, birds, flying art; the mentality of taking things then in improvisation at dance Anywhere they like! beyond the limits of exertion, school in Europe. She has been Colours, movement, reason lost — they rebound testing human will and physical performing solos for over 15 Off walls that close them all around. endurance, bordering on the years with live musicians and/or My desires rot my bones from deep inside me. compulsions of madness. Methods objects/artworks and improvised Time is a torturer who, spying me suffering, of movement are drawn from texts of her own and later trained Slows deliberately down, the imagination of an obsessive at Cirkus School in Sweden. But sprints past, if at last, compulsive driven state.’ She has performed for many Just once I — taste the fruits of glory. international choreographers like Resignation is a mouthful of the future The detailed space in between is Alain Platel, Wim Vandekeybus, Bordering on madness. hungry with Martin Butler and Mark Bruce. Alive, I gradually die, and now there is no hope, imagery, Her many solos include those But only — to be reborn — in another life. searchings, performed at the National Review That — will be the Day of Birth - power and fragility - controls and of Live Art and new territories, Of Re-Genesis — chaos. including SCARglitter RETINA and For all the Earth. Collected echoes of the mind, INFECTED, a digital hybrid film by Oh, Happy Birth Day! sound, thrust forth movement Gina Czarnecki. A world premiere for the NRLA.’ strategy in shapes. The music is a dark turbulent breeding force of István Kovács, b. 1964. Papier undulating layers and loops in live maché statues/installations since creation. 1986. Performance Art since 1989. Thoughts and disorder are Selected Recent Credits patterned through 2005 Vazdin, Croatia. The Synagogue - dani hrvatskog performancea Hand-balancing and Contortion festival. 2006 Broellin, Germany - Schloss Broellin & Szczecin, and Hysteria Poland. Galeria OFFicyna. 14th Castle of Imagination, International in Performance Art Festival. Curator Wladislaw Kazimierczak. 2008 line Szentendre, Hungary. The Mill of Art. 8th International Performance in & Heavy Music Festival. Curator: István Zámbó. Visegrád, Hungary. wired King Matthew Museum. XX. Ekszpanzió. Curator: Peter Mikola Németh. To make magic out of improvised Budapest, Hungary. Hungarian Workshop Gallery. Sail Running. 2009 movement and contents of the Budapest, Hungary. The Ditch Club. 6th Dance & Performance Festival head. of Budapest, Határvonal. Curator: Zsófia Jávor. Baja, Hungary. Petőfi Island. Performance In Memory of G. A. Koprovnica, Croatia. My Land, To perform the inner out-state Staglinec. Curator: Vlasta Delimar My Land Is Your Land. Zsámbék, reshaping visions of thought in the Hungary. Ex-Rocket Base. Back Into Myself. Curator: Bálint Szombathy. physical.

34 Invited Artists Jamie McMurry John Byrne Ego 3

The cacophonous actions and John has recently begun a Belfast-born Byrne first practiced objects that one encounters in process, a kind of return to his as a performer while attending everyday life are not only often performance roots, in which he the Slade in London in the absurd but also are the unseen explores the idea of investing mid-eighties, appearing at his details that define our characters belief in High Culture. That Art first National Review of Live Art and separate us from all others as is somehow a route to Salvation. in 1986. He subsequently went individual beings. McMurry’s work A substitute religion. He recently on to work with Irish comedian as part of the ‘Ego’ series seeks made two video / performance Kevin McAleer. Returning to to make manifest these day-to- pieces, the first uses ‘art Ireland in 1996 he performed day actions and interactions with language’ in a prayer-like mantra A Border Worrier for the 1997 objects to illustrate a vocabulary in conversation with a reclining Dublin Theatre Festival. This with the outside world that has nude model. The latter, a apparent obsession with the Irish been developed over the span of performance in which he takes on Border culminated in his Border his life. the role of megaphone wielding, Interpretative Centre (2000) a placard wearing preacher. The week-long visitor centre project Jamie McMurry has been evangelising Christian message right on the Irish border. He has working as an artist, organiser replaced with a convert’s call to since gone on to make a number and educator in the fields of the public to be ‘saved’ by an of video and public artworks, performance, video, installation engagement with art criticism notably his Dublin’s Last Supper and conceptual art since 1995. He and theory. John will present (2004) and Would you die for currently lives in Los Angeles. these works and also deliver a Ireland? (2003). www.mcmurryperformance.com monologue which will draw on faith-related stories from previous performances.

Invited Artists 35 Julia Bardsley AFTERMATHS: a tear in the meat of vision

‘From the dazzling heights of the ‘Bardsley is a really fascinating apocalyptic catwalk, from amongst artist...She could have been running the glorious atrocities of the the National Theatre by now, but plagues, from the sumptuousness instead quite deliberately chose of the furniture of dis-ease, from a different career path. In recent within the abandoned mourning years she has been making inspired mass — the spectacular fe/male and unsettling work on the cusp host/ess emerges, preaching The between the theatre and the Doctrine of Last Things. gallery.’ Lyn Gardner, The Guardian Witness a display of secreting In 2005, Julia set in motion surfaces, wounded landscapes, The Divine Trilogy – Trans-Acts, curtains of skin and hair, mutating Almost The Same (feral rehearsals bodies, fragments of meat, for violent acts of culture) and merchandise and money. AFTERMATHS: a tear in the meat of A bacchanalian reading of vision. Parts of the trilogy have been Revelations, played out in a dark presented at the NRLA 2005/08/10. arena for ritual and rapture, www.juliabardsley.net AFTERMATHS licks the pulse of the congregations flesh and glories A student of Goldsmith College in the catastrophe of End Time. and John Cage, Andrew Poppy has AFTERMATHS is the final part of an Eclectic body of work including The Divine Trilogy, a promenade piano, orchestral and electronic performance exploring notions of music. Most recently Andrew has prophecy, excess, capitalism and been performing And the Shuffle of ecstasy. Things. www.myspace.com/andrewpoppy Audience members are requested to wear black and become part of Music & live sound mix by Andrew this congregation of carnivalesque Poppy. mourning and bring a small black A co-commission by SPILL 09 and New object (no bigger than 4cm) with Moves International for New Territories which you are willing to part. Let 2010, Les Halles/Trouble #5 Festival the happy endings commence!’ and La Bellone - in the framework of the European project ‘A Space for Live Art’ with the support of the Culture Programme of the European Commission.

Supported by the National Lottery through Arts Council England

36 Invited Artists Photo by McIntosh+Meyer-Keller by Photo

Jürgen Fritz Kate McIntosh and Eva Meyer-Keller Ringing a bell in dialogue with 10 bagpipe players De-Placed

‘The challenge of this and since 1984 as performance Over one summer meeting Kate together, and cigarettes grow performance is to develop a artist, lecturing in Performance and Eva came up with a game: from a keyhole. Everything is performative image from the Art at different Universities shifting through the city, from slightly amiss, and yet has its simple physical action of ringing in Germany. He is co-founder inside to out, they constructed own poetic logic.’ Frankfürter a bell with increasing intensity. of Black Market and has been small installations in the locations Rundschau I have performed this action as working with this international they found. They played a Kate McIntosh is a Brussels- a solo, but also as a dialogue Cooperation of Performance ping-pong of images between based artist working in theatre, with traditional musicians, as for Artists since 1985. He has shown them, each action challenging performance and video example in 2008 in Bali with two his performances across Europe, the other to a reply. The result (including collaborations with gamelan players. Such a dialogue the USA, Canada, Mexico, Japan, is a collection of short actions Wendy Houstoun, Meryl Tankard gives a new quality and dimension Asia and Australia. Since 2005 he and unlikely installations — a Australian Dance Theatre, and to this performance, as traditional has lived as freelance artist in constantly expanding inventory of Simone Aughterlony). She now music and performative actions Hildesheim, where he co-founded the world, through mischievous directs and performs live work meet and creates a space of the International Performance de-placements of the things in it. including: All Natural (2004), physical and musical exchange.’ Association (IPAH, registered There is a persistence and Loose Promise (2007) and group association) and is artistic inquisitiveness about this ‘With only a single prop performances Hair From the director of the annual Festival of catalogue of small crushings, (what looked like a town Throat (2006) + Dark Matter Performance Art ZOOM! traps, decorations, and repairs. crier’s bell) Fritz created an (2009). There is an internal logic that incredibly controlled, physically This performance has been can only be read as ‘putting Eva Meyer-Keller has performed extreme performance, which supported by the Goethe Institute, things in the wrong place’ throughout Europe and America. emblematised the BMI’s collective Glasgow. and yet which satisfies some She graduated from the School interest in the investigation of www.fritz-performance.de curiosity, some desire, before for New Dance Development forms of attention. The simple passing quickly to the next. The (SNDO) Amsterdam and studied gesture of ringing the bell with rearrangements are subversive, photography/visual art in Berlin increasing vigour provoked an cryptic, and at times mysterious and London. She has worked with avalanche of possibilities for relocations of banal materials Baktruppen, Jerome Bel and reflection on themes ranging from in everyday environments. Each Christine De Smedt/les Ballets C self-expression, futility, isolation image is a fragment in a rolling, de la B. and, given the intensity of the compiling world-view; a hands-on artist’s action, embodiment.’ Supported by Vlaamse investigation of what-might-go- RealTime issue #88 Gemeenschapscommissie where, and what might happen www.margaritaproduction.be/_ Jürgen Fritz was born 1958 in the when one ‘thing’ meets another. Black Forest, Germany. He studied ENG/KATE_McINTOSH/INTRO.html ‘The young shoot of a tree is theatre and the science of music. folded into a glass, a dandelion 1982-1990 he worked as a theatre clock is beaten with a stone, director, curator and actor spray cream is used to glue leaves

Invited Artists 37 Kate Stannard Kira O’Reilly RAW (body as machine) Untitled (syncope)

‘Physical self-development Kate is a Glasgow-based artist Over the last while she has begun Works quoted, embedded, through ‘body based’ activities and lecturer in Contemporary to make ‘dances’ with her 43 digested, sequestered, cited has become a hallmark of current Performance at the RSAMD. Since year old non-dance trained body, implicitly or explicitly: western culture. Such obsession graduating in 2003 she has worked attempting to totter at the edge Various dances by Fiona Wright & over- achievement is addictive nationally and internationally as of some kind of capacity and and Mark Jeffery. Lettere and too often seen as a route to an artist, educator, performer, some unnamed ground. Untitled amorose, Sacre, Raimund Hoghe. salvation in today’s materialistic director. She has performed solo (Syncope) is about a body of sorts, When will the September roses society. work at the NRLA in 2003, 2004 a moving, gasping, swooning body, bloom? Last night was only a R.A.W (Race across the West) and 2006. that is unravelling and moving in comedy, Goat Island. Heart of is an 860 mile ultra-endurance Kate’s arts practice is tandem with audience (you) and Glass, Werner Herzog. Beau cycle event, commonly referred influenced by her work as a space. Travail, dir Claire Dennis. Blue to as racing against the clock, qualified yoga instructor and The piece exists in four Velvet, dir. David Lynch. The or The Race of Truth. Spanning personal trainer. She aims sections of movement identified Drift, Scott Walker. Syncope: The across North America, soloists ride to explore psycho-physical by tempo changes: Philosophy of Rapture, Catherine non-stop until they must sleep. connections, the transgression of 1. Reflective walk to you. Clément, University of Minnesota They sleep for less than two hours physical limits and the functions/ 2. Opening action/Breath action Press, 1994. a day. They stay fuelled by liquid understandings of our bodies 3. Tip Toes/Never ending actions Thanks to Robert Pacitti, Doran carbohydrate strapped to their within western society. 4. Clarity/Doubt George and Fiona Wright. backs. www.katestannard.co.uk ‘It could be thought of as a dance Many don’t complete it, many Kira O’Reilly is a UK based artist, of sorts, not a real one, not a real are injured, many refuse to stop. her practice whilst both wilfully body to dance with. But a sense RAW (body as machine) is interdisciplinary and entirely of sway. A loss of posture. In and a simulation of this race and undisciplined, stems from a out of breath. In and out of you. a grappling with the complex fine art background; it employs I’ll do it once. And then once disorder known as compulsive performance, biotechnical again. For each one of you. athleticism. Throughout the NRLA practices and writing with which Together. 2010, I will attempt to cycle to consider her body, The Body I may find myself falling out 860 miles. RAW is a durational and other bodies as material of a hypnagogic spasm into your performance that ends as part of and site; bodies that matter and arms, undone and altogether a larger performance installation.’ the matter of bodies. Untitled another.’ (Syncope) was commissioned by ‘when you fall into syncope, SPILL Festival of Performance, you never know in what shape London, 2007. you might return: with wolf’s www.kiraoreilly.com/blog paws, the tail of a serpent, a bark at your lips, a pelt or fur... One never knows’ Syncope, the Philosophy of Rapture, Catherine Clément 38 Invited Artists Photos by Gilles Jobin Gilles by Photos Photo by Kirsten Lavers

Kirsten Lavers La Ribot Safe mariachi no 17

Nineteen years ago Kirsten Lavers ‘The video (25’’) was created Born in Madrid La Ribot presented A Safe Place at the in 2009 for the performance created her first choreographic NRLA ...a block of ice melting on llámame mariachi, by La Ribot. work in 1985. Between 1993 and the roof of the Third Eye Centre In mariachi no 17 the moving 2003, she developed her signature ... to reveal a house of mirrors body, the dancing body, is project Piezas Distinguidas and in and body fluids. filmed by a camera that not 2000, she received the National only captures images, but that Prize for Dance of the Spanish For the NRLA 2010, Kirsten risks also conveys the experience of Ministry of Culture. In 2003, she an assessment of the health of dancing. The camera’s point integrated all the distinguished safety now. Visit the SAFE display, of view provides an insider’s pieces in one performance lasting collect your badges and stickers perspective on this experience 3 hours called Panoramix. It and WATCH OUT! for SAFE actions, and places it in other realities. was presented at Tate Modern in conversations and interventions in It is not an innocent, lifeless London a part of Live Culture. and around the Arches throughout camera that might move by In 2002 she began the project the five days of the festival. accident because attached to the 40 espontáneos, for which she Kirsten Lavers makes art that body, it is a camera that watches, recruited more than 400 amateur infiltrates everyday life, provokes that breathes; it is a camera that ‘espontáneos’ to participate in it. curiosity, inspires engagement is... In 2006, she presented Laughing and challenges preconceptions Hole, at Art Unlimited | Art Basel. The camera is not a tool, an about what an ‘art experience’ In 2007, she directed a film Treint instrument, a fixed object, an might be or might mean. She aycuatropiècesdistinguées&onest invention. On the other hand, the trained at Dartington College of riptease. Between 2004-2008 she body is used as an instrument and Art, formed The Zwillinge Project taught at the Geneva University the camera becomes eye, brain, 1992-96 with Melanie Thompson of arts and design. In 2008 she gaze, intention.’ La Ribot (March and subsequently collaborating created Gustavia a collaboration 2009) with cris cheek in TNWK 1997- with french choreographer 2007. Solo works include the WiLb La Ribot’s new creation is the Mathilde Monnier. In 2009 she series, Taxi Gallery 2002-2005 and conclusion of a series of research produced llámame mariachi. extended public art projects. projects inspired by the last of www.laribot.com the distinguished pieces, Pa amb www.kirstenlavers.net tomáquet (2000). During her talk, La Ribot will explain her approach through the presentation of various videos created between 2000 and 2009.

Invited Artists 39 Photo by Jason Lim

Lee Wen Lei Cox Le Sacre du Printemps Catching Sight of Sputnik, Race and Flight Plan of Flyer 1

Stricken with early stages of and repressive fates, seeking ‘Right here and right now I Bonneville Speedway on the vast Parkinson’s disease, Lee continues resolution of conflicts to mollify contemplate the new strands salt lake flats of Utah. There is a to explore ways of expanding the inconsistencies for the that are evolving inside my ideas, sense of pointlessness to the trial, performance art strategies. reconciliation of contradictions research and artistic practice. In it is unclear if the aim is to win Making a courageous new that is yet to be.’ doing so I can identify substantial or lose. Will the monkey on the direction Lee reinterprets Igor links that arc back to an older tricycle beat the jet car, will the Lee Wen lives between Singapore Stravinsky’s once controversial work The Size of Things which I skier beat the golden robot or will and Tokyo. He has been exploring ballet Rite of Spring first made twenty years ago.’ the helicopter beat the rowing different strategies of time- conceived a century ago. The three video performance boat? based and performance art since works have been inspired by a life Flight Plan of Flyer One has ‘Spring begets expectations 1989. His work has been strongly long obsession with flight, space been filmed in Kitty Hawk in North of changes. It is in the air, the motivated by social investigations travel and human desire to push Carolina. It is a recreation of one oceans, terra firma and life as well as inner psychological the envelope. of the Wright brother’s first flights organisms; in creatures like us. I directions using art to interrogate Catching Sight of Sputnik has shot with a helmet camera by the languidly brazen out that I have stereotypical perceptions of been shot day for night by the performer. The film is aged with a sick body. And so does the culture and society. He seeks roadside in the Moab Desert. dust and scratches like a 1903 film earth, the society, and the world. possibilities of collaborations, A digitally enhanced star filled and eventually transforms to 2009 The discoveries of remedies for networks and dialogical illusion of what appears to be the colour on landing. incurable diseases are confronted discourses. He has made a strong surface of the moon is dispelled with unheard ailments, bugs contribution to The Artists Village Lei Cox works with video when a distant figure emerges and viruses, endless conflicts alternative in Singapore and installation, video art and in the frame. He appears to be that seem to escalate just when had been participating in Black photography and exhibited performing an Indian tribal dance resolution is close at hand, Market International performance worldwide since 1985. Major Solo but is in fact taking ‘one small the backlash of rigid bigoted collective. He initiated and Shows include: the Experimental step’ and then ‘one gigantic leap’ fundamentals recall and stunt the organised The Future of Art Foundation, Adelaide, CCA, over and over again until finally growth of our liberated spirits, Imagination, an international Glasgow, Laing Gallery, Newcastle he collides with the camera. relieves us not the Sisyphean task performance art event in and Gallery Rene Coelho, During this passage of time the this human existence. I accept it Singapore. He has never been to Amsterdam. stars fade to reveal a bright blue and reject it. I ignore it and deal Mongolia. sky, the moonscape reveals itself His single screen work has been with it. For changes will not come Supported by the National Arts as the Desert and as the camera shown at over 70 international without challenge and resistance. Council, Singapore. sits on its side and randomly festivals and is working with So I have the will to dance, records a car passing by. Mel Woods on an interactive to activate, to perform the Race is an ironic work derived camera obscurae public work on body in sickness, in its primitive by the chaotic state of the earths Cairngorm Mountain in Scotland. urgings, in perennial refutation eco system where 82 clockwork of tyrannical status quos world premiere toys are raced against one another in a time trial on the

40 Invited Artists Photo by by Photo Manuel Vason Manuel

Leibniz Ghost Letters

An installation of miniature for instant exhibition. Meanwhile, landscapes/scenarios, a third performer removes and restaging memories of previous clears the trays, preparing them performances and personal to be used again. experiences, which moves across At the end of a pre-determined the room on free-standing butler time period the activity seizes, trays, constantly making and the installation has disappeared unmaking itself, tracing the and all that is left are the imaginary history of LEIBNIZ photographs and a ‘dusting’ of performance collective. materials, which have escaped Ghost Letters might be read the constraints of the trays and as a simultaneously decadent now mark out new territories on and generative testament to the floor. the concept of performance-as- LEIBNIZ is a fluid collective of documentation-in-process, that international performers formed both recalls and erases the matter in 2005 by Ernst Fischer and Helen of its previous manifestations in Spackman in order to present order to construct ‘new’ narrative large-scale, socially engaged traces and combinations. The work, generate new audiences underlying aim of such spectral and assist emerging artists. Having writings is to build a portfolio of worked together since 1995, their performances — an assembly of initial focus on gender issues has ghosts — that speak intimately to shifted to wider body-political each other and to their spectators concerns of human rights, of friendship, community and migration and urban alienation remembrance. while both directors continue to Two performers construct pursue individual performance three-dimensional images on and directing projects, LEIBNIZ the trays, using sand, flour and has so far produced three distinct other small-grained detritus, pieces of work: The Book of Dust model figures, domestic utensils, (2005), The Ship of Fools (2005) comestibles, souvenirs and and The Book of Blood (2007). gift items, while linking each Ghost Letters (2009) is the forth tray/scenario — with a gesture, LEIBNIZ project to date. an object, a thematic reference — to its neighbours on either LEIBNIZ gratefully acknowledge side. Already constructed images financial support from Arts Council are digitally captured by a England.

Manuel Vason professional photographer, who www.leibnizlab.co.uk then produces one print (per tray) Invited Artists 41 Photo by Photo Andyby Planet Photo by Lisa Wesley

Lisa Wesley & Andrew Blackwood The Project: 2040 AD

Given the opportunity to the sheer oddity of growth and embellish and develop their NRLA decay in contemporary urban 2006 model further, Lisa and landscape...’ Keith Gallasch, Andrew will use the 30th year of Realtime Arts magazine

the festival to create a landscape Lisa Wesley works across the set 30 years hence that is even disciplines of performance, more at odds with the present day installation and text. She qualified one originally depicted. Inspired from Valley Comprehensive School by the architectural illustrations in Worksop with one ‘O’ level of Hugh Ferriss from the 1920s, (Grade C) in Religious Education. the fantastical landscapes of Since then she has tried a bit science fiction, predictions of harder and become more focused. climate change, sustainability, Andrew Blackwood trained in recycled materials and smart Architecture at Glasgow School building technology, they will of Art. He has performed with mix in their own absurdist Lisa Wesley for over a decade. In imaginings and an obsession with his spare time, he collects 1970s detailed train and matchstick Airfix kits in the hope that one modelling to create a vision of a day he’ll accumulate enough of Futurist ‘new town’. The diorama them to recreate the interior of a will synthesise the artists’ model shop in his house. backgrounds in visual, live art and architecture to produce, in their The Project was originally Lilliputian city, a darkly comic and commissioned by New Moves International for the National poignant mix of storytelling and Review of Live Art in 2006. town planning.

‘One of my favourite pastimes was to visit Lisa Wesley’s and Andrew Blackwood’s growing maquette creation in a glass house in Tramway’s backyard. The all white modeling of buildings and objects and the artist’s play with perspective, revealed

42 Invited Artists Photo by MatthewAndrews Professor Liz Aggiss Los Torreznos Survival Tactics Desert + 35 Minutes

‘Liz Aggiss is an un-disciplined sunset, as soon as was decently Desert Rafael Lamata have been working artist with an un-disciplined possible, she accidentally This is a new work by Los together since 1993. Action works body of work. My My. Dodging stumbled into the arts and started Torreznos, in simple English. from Los Torreznos include: categorisation and being classified moving in a mysterious manner It develops the metaphor of Energy Spanish Normal, Election as unclassifiable, has been a full and shouting...rather a lot. You travelling across the desert, Night, The Passion according time job. She’s had a finger in are cordially invited to witness but we work with our present to Torreznos, 35 minutes, many pies, not all of them good, her un-disciplined journey and presence in a very normal way. My suitcases, where are my not all of them interesting. She survival tactics.’ (It’s a work that we are suitcases?, Perejil to Diwanija, has been a Guerrilla Dancer, a developing now and we have to Trusting in Shakespeare, Language Liz Aggiss is a Professor at the Diva, Wild Wiggler, Grotesque finish by March 2010!) Research, Treaty on some University of Brighton. Awards Dancer, Trout, Martyr and herself. emotions, The reality officer, heaped in her general direction With the support of F.A.R. (Future My My My. Liz Aggiss considers Culture, Money and Power and are un-disciplined, fabulous and Arts Research), Arizona State her un-disciplined journey from they have shown their work at include some corkers: Bonnie University. stage to screen and back again Arctic Hot Festival, Kirkeness Bird Choreography Award, Arts 35 minutes in this performance lecture, and (Norway) / Nikel (Russia), Im- Council Dance Fellowship Award, A work about time. Created in asks the question, ‘how does a presentable Festival 08 (Madrid), Czech Crystal Prague Golden 2004 it has been performed in mature post-modern solo female Museum Moma (Shanghai), 2007 Film, Honourable Mention Paula Shangai, Quebec, Venice Biennial performer originally from a bleak Venice Biennale, Spanish Pavilion, Citron Toronto, Special Jury 2007 and Madrid. It’s a kind of post-war suburb in Essex, with 2006, NRLA 09, Fringe Festival Golden Houston, Best Woman conceptual performance but done a feverish commitment to the Phoenix. Film Media Waves Hungary, at the beginning of 21st Century lost performances of Central Romanian National Office of with a different sense of humour. www.lostorreznos.es Europe, a deep fascination with Cinematography, Naples Special a moving past, an ad hoc and Los Torreznos was created in Jury Mention Il Coreografo irregular education, seek out 2000 but Jaime Vallaure and Elettronico, Dance Camera West the shadows from the past, stalk Los Angeles for Innovation in them relentlessly and embed and Dance Media, Hong Kong Jumping sustain herself within the British Frames. In 2006 Anarchic Dance culture for the past 30 years?’ was published by Routledge as a Born on Nanny Goats Common, visual and textual record of her Dagenham, Essex, a post war work. baby in a repressive era in the suburbs, where parents were truly ‘Liz Aggiss is indeed the Vivienne in charge and children were seen Westwood of dance film world: and not heard, Liz Aggiss never anarchic, strawberry blonde, had a clue who she was or what fearless and satirical. Aggiss she wanted to do, she just knew has an incredible charisma.’ she would like to be seen and londondance.com heard. After cantering into the www.lizaggiss.com Invited Artists 43 Photo by Jem Finer Jem by Photo

Photo by Manuel Vason

MacDonald Vincent Manuel Vason Marcia Farquhar Traces of Her: picking up where she left off I BELIEVE IN The Omnibus

‘We met a year ago. that winds on through letters, ‘I’ve always being interested An hour for a year is a long time She said to me, “I know your 28- calls, emails and days spent in investigating the notion of in performance. In homage to the year-old body so very well.” exchanging performance ideas, “Representation”. long-durational performances of I am 55. She is 41. making short films of one another, The human body has an earlier generation, and with a This is how it began for us, with kicking over the traces of what always been my main subject nod to those great indefatigable the sharing of a body in we share and what we don’t. We and photography my dearest heroes of past actions, Marcia performance, caught on video, a don’t yet know what form this will instrument. Farquhar will be hosting a performing body whose every take, except that it will be based For several years I have been marathon, live-in, 30-hour gesture she learned, and then in time, in space, and that we will collaborating with the most rumination on the subject of the repeated, my 28-year old body.’ be there. inspiring artists and I witness last 30 years. All happenings, desire and commitment. I want histories and goings-on since the A project in process, shared MacDonald & Vincent have 30 to feel close to the artists I late 1970s will be considered fair and initiated by two performers years of performance making admire... I want to become an game. who themselves shared a part, between them, both come from image.’ Personal, political and Claire MacDonald’s part in Impact the physical, visual theatre and punkish by nature, this open- Theatre’s The Carrier Frequency. dance traditions. Vincent has Manuel Vason’s fascination plan seminar will see the For performance makers who led her own company, Vincent for the human body found performer reconfiguring and/or have both made and performed Dance Theatre, as artistic director its best manifestation when reconsidering old works of her our own work, the restaging of and performer for more than associated with the notion of own and of others, screening work by others raises complex a decade and is now making Performance. His work could be videos, giving readings, playing ethical and artistic questions of work addressing the exhaustion viewed as a series of studies on records, conversing, cooking and authorship and authority — but of language and meaning in a the possibilities of the human catnapping. The Omnibus is both on a personal level it also offers new ensemble work called If We body’s expression. Since 1999 his a reflection on the experience the opportunity to begin to unpick Go On. Claire MacDonald was work has been published in Art of history and an experiment the archive of our performance a founder member of Impact Forum, ID, Dazed and Confused, with duration and endurance, as experience, sharing as we do Theatre and is now and a critic, Flash Art, Art Review, Frieze, Farquhar will be staying with her the memory of a performance editor and writer working at the Contemporary and Tate Magazine audience whether, or not, it stays captured on video in 1985 and intersection of art, writing and and exhibited at Tramway with her. learned and re-performed much performance. Glasgow for the National Review Formal and informal seating later, out of context, out of time, of Live Art, Tate Liverpool, ICA will be arranged around the room, in a new time and through a London, Whitechapel Gallery with come-and-go attendance different body. London, Arnolfini Gallery Bristol, encouraged through daytime Traces of Her will ask viewers A Foundation Liverpool, Centre hours and advance-bookable to witness, take part in and d’Art Contemporain Geneva, VB places available for the overnight respond to, the traces of a shared Museum (Finland), Museo delle shift. The public will be able to conversation that we began last Papesse (Italy). gain access until 3am and then year, and continue to have, one www.artcollaboration.co.uk again from 9am.

44 Invited Artists Marie Cool & Fabio Balducci Untitled 2007 video duration 2’ Untitled 2008 video duration 1’

Marcia Farquhar is an artist ‘Above all what distinguishes paper, the table, the thread, the working in performance, the work of Marie Cool & doorframe, the borders of a room photography, video and Fabio Balducci from a previous and, at times, the edges of a object making. Her practice generation, and thus what links window delimit Marie Cool’s body revolves around the stories and them to their contemporaries, in action.’ interactions of everyday life, is the way in which they undo Taken from an essay by Pierre Bal particularly in relation to the the illusion of a delimited and Blanc, April 2009 meaning and histories of objects. accessible body as a totality: the Engineering unexpected social way in which they underscore a The company also previously interactions in which the distance dependency that is both mental presented work at the NRLA between audience and performer and physical and, again, the Untitled (2003) and Untitled is frequently breached, Farquhar way in which they reveal the (prayers), 1996 – 2004 (2004). probes the nature of biographical reciprocity between the human These films are presented by and autobiographical storytelling body and matter. The sheet of courtesy of the artists. as a strategy that is forever renegotiating its relationship with truth. Her site-specific events have been staged and exhibited internationally in museums and galleries, as well as in lecture theatres, kitchen showrooms, pubs, parks and leisure centres. ‘Farquhar’s stage presence is difficult to pin down. Her performances aren’t about stories or props, but a magical charisma that radiates between the past she describes and the audience in the here and now’ Mary Patterson

www.marciafarquhar.com Balducci Fabio & Cool Marie by Photo

Invited Artists 45 1 ‘In 1979 I attended a Marty St James Performance Platform Homage session in Nottingham. This was to become the forerunner of the National Homage is a homage to work uses the simple object of Marty St James has worked Review of Live Art and it was a hat to engage the person, the primarily as a performance here that I met, for the first . all fedora hats, including my hat representing community. It artist using video, photography, time, Steve Rogers who was own attempts to address the viewer in installation and drawing. His chairing a panel discussion. . my hat maker in the East End a direct but purposeful manner, work locates itself between the He later became our close of London whom I have been locating values of being via image, moving and the static. St James friend and tour manager visiting for twenty-five years movement and sound, reaching has exhibited in leading museums and indeed was the editor . my step-grandfather, who for a sense of consciousness. in London, New York, Moscow, of Performance Magazine stepped out of his First World People have a high intelligence Paris, Buenos Aires and Tokyo. some time after (1987). War helmet into his Fedora that is often discredited by The Video Portraits are some of Having toured as a student/ . Rembrandt and his hat in his systems, institutions and his best-known works including performance artist in the self-portraits, which I visit as mainstream politics — creativity The Swimmer an 11-monitor mid 1970s, encountering a often as I can in North London can release this via technology, installation in the collection of whole array of performance . Beuys, whose hat met mine on tapping into individuality within the National Portrait Gallery, art characters on the circuit, a number of occasions a sense of place and global London. These works range from the Platform/NRLA gradually . existing, ‘somewhere between community. ‘Communitas’ miniature single monitor video formed a sense of focus for the moving and the static’ means ‘the same’ but at the objects to large multi-monitor the medium, not in all its . in this context this centre of the same must exist installations. Other works have forms but in many. Much of performance is a Homage to the individual. In a world where included, Picture Yourself, a the debate featured around friend, former manager and global connection can potentially year-long inter-active digital disagreement rather than part founder of the NRLA, come to demonstrate a sense of installation at the Scottish a sense of one purpose or 1Steve Rogers ‘flesh isolation’ Homage relates National Galleries; Boy/Girl video definition. During the 1980s I Marty St James will present to a sense of personal history diptych in Portrait Masterpieces presented performances and his rendition of Homage a (Grandfather), creativity (Beuys) of the Twentieth Century with gave talks on performance performance video vocal sculpture and community in place and time. Picasso, Warhol, Bacon, etc. at the NRLA. I therefore in time and space...a sense St James’s last public (NPG London) (both 2000); The dedicate this performance and senseless exploration into performance art work was the Invisible Man (2007) an ‘upside work to those moments and language, meaninglessness and Civic Monument, an Artangel/ down road movie video triptych’ people in time especially the meaningful. Gulbenkian touring project in — The Chelsea Art Museum, New Steve Rogers and the NRLA.’ Homage is a video portrait and 1990. Last year he presented York. 40 of his videos form part of (Marty St James) live performance taking its cues Homage, a seven-minute the National Film and Television from ‘other’ less popular, often performance, his first public work Archive at the British Film forgotten cultural communities. for some 18 years at his solo Institute. Based on the notion of exhibition The Invisible Man a www.martystjames.com connectivity, it is a transmission video triptych installation in New from one time and space to York City. another with no limitations. The

46 Invited Artists Photo by D.Laing by Photo

Michael Mayhew Miss Electric Gypsyland XXX (festival DJ)

‘@ the time of writing - with something that could move ‘I am miserable and he is ‘Laying myself open on stage @ the time of imagining future people and change them, as well miserable — we are miserable. We allows the audience to enter forward thinking - as altering how we see things. He want to have a party, why can’t a space of joint reminiscence, is considered to be ‘a conduit for we have a party...’ providing an equal platform to About the passing of thirty - other people’s stories, a vessel say — ‘Your own versions of this About what matters - Regular contributor to the festival others pass through’ as well as are as valid’. I can trace similar About what seems hopeful - Donna Rutherford mentioned being ‘one of the most original behaviour in all my pursuits (work in recent performance Ochone Is an idea of passing through the and searching artists in the UK’. and leisure). Something about Ochone that she enjoys dancing colours of passing time - He attacks complacency and it being the first person on the and enjoys watching other people has been said that his work is dance-floor allowing others to Existing within a series of dance, especially when caught ‘difficult, provocative, challenging quickly join in and joyfully shake liminal transitions that will lost in the moment. and winds people up’ but that it their booty!’ cross thresholds, boundaries and This year she deviates as DJ is also ‘important, significant and transformations. ‘Miss Electric Gypsyland’ inviting www.donnarutherford.org influential’. Oh yeah, it’s a party - frock up.’ you to take the floor where a www.michaelmayhew.com series of Mediterranean winds will Based in Manchester, Mayhew whip you into a dancing frenzy. makes art from his studio - ‘art’. A thirty-hour work that can be Wednesday, Saturday and Sunday Mayhew is known for taking a step accessed by the public until 3am nights will see the Bora coming off into the unknown and returning and then again from 9am. the Black Sea, the Etesian flying over Macedonia, while the Mistral meets the Sirocco coming up from Algiers. All in all we will be saying goodbye to the Doldrums... For 20 years Donna Rutherford has worked in the realm of art performance as a writer, performer, director and video maker. Examining how people deal with and don’t deal with things in their life — issues around avoidance and what happens when one is close to the edge.

Invited Artists 47 Photos by Sharmeen Syed

Monali Meher Neil Bartlett In Determination

‘The recent horrifying incident ‘God exists. We don’t have to NEIL BARTLETT performed as in my home city forced me invent Him. Our mouth at least the Mistress Of Ceremonies at to manifest the action of dares to prove God’s existence. the National Review of Live Art determination. The action of But alas, peace does not exist on in its Nottingham, London and determination is the action of earth. Let as try to invent peace.’ Glasgow incarnations, from 1986 Cleaning, an action of Peace. In Sri Chinmoy to 1990. His live work since then this action of cleaning violence, has included controversial solo Born in 1969 Pune, India, Monali I keep cleaning the bloodstains performance, large scale site- graduated from Sir J.J. School in the strong determination. I specific work in venues ranging of Arts, Mumbai in 1990. In 1998 forge this performance not just from derelict warehouses to her first performance, Reflect, A specifically related to the recent Southwark Cathedral, thirteen personal window display, Mumbai incidence of Mumbai but the original pieces of performance with the statement ‘Nothing is violence and war in the whole and music theatre with GLORIA permanent & it’s a nature’s law’. world. I use the metaphor of (1988-1998), thirty-one theatre In 2000 — 01, she was resident cleaning the blood towards the shows at the Lyric Hammersmith at Rijksakademie Van Beeldende action to wipe out those stains (where he was Artistic Director Kunsten, Amsterdam. In 2006 of violence and bloodshed. This from 1994 to 2005), and (more she performed at Tate Modern, performance and installation have recently) productions for The London in Mapping Mumbai event. a poignant quality of change and American Repertory Theatre in In 2001 & 2007 Monali performed transformation. The world which Boston, the Brighton Festival, at the National Review of Live is created by us to live in, have the RSC, The Snape Maltings in Art, Glasgow, and in 2008 at responsibility to keep it, clean it Aldeburgh, The Abbey in Dublin Khoj Live, New Delhi; in 2009 and make harmony and peace in and the Manchester International she was invited to FEM Gresol the determination!’ Festival — where he recently Spain & in Art Dubai, supported turned the Manchester Royal by Mondriaan Foundation & Show Exchange into a working Bingo Rebelle, (Art & Feminism) at Hall for his piece Everybody Loves MMKA Arnhem, Netherlands. A Winner, created with Simon www.monalimeher.com Deacon and Struan Leslie. He still performs — most recently at the Vauxhall Tavern, for World AIDS Day, and at the National Portrait Gallery as part of their Iconic series. His next original piece will be a collaboration with the South African Handspring Puppet Company and designer

48 Invited Artists Photo by Guyan Porter

Neil Butler Oreet Ashery Where is the Art? – Hairoism (this is not a chair) and visual artist Rae Smith (the With a nod to Duchamps, Beuys Ashery has been working with treason. Yassar Arafat/Ringo Starr. creators of Warhorse) for the and the Situationists, Butler hair as a physical and a cultural The internet is currently flooded National Theatre in London in discusses our shared reality, material over many years. with pictures of Ringo Starr next the autumn of 2010. Despite all carpentry and the times of our Hairosim takes Eleanor Antin’s to Yasar Arafat, highlighting their that (and three novels, including lives. He remembers what were The King, 1972, as a departure apparent outward similarities the 2007 Costa Award-nominated for him seminal moments in the point. including hair styles. Skin Lane), the heels he will be history of the NRLA. He draws The King is a silent, 52-minute, Oreet Ashery is a London based, wearing at the 2010 National upon his experience as an artist, black and white film where Antin interdisciplinary visual-artist. Review will be the same ones he director and producer as he slowly applies hair to her face Ashery’s practice engages wore in 1986. pursues his search for art. It is to become her male alter ego. with socio-political paradigms just possible that by the time you Significantly, Antin has referred Documentation of Neil’s current and interested in notions of leave his performance someone to The King as her political self. and past work can be found at subjectivity and authenticity, somewhere in the room will have Two assistants will then apply hair www.neil-bartlett.com Ashery will frequently produce found what he’s been looking for. kindly donated from the audience work as a male character. Those to Ashery’s head and face to Neil Butler is interested in have included; an orthodox Jewish imitate four male public figures. the process of creating art, man, an Arab man, a black man, The hair patterns of the festivals and events. In the a Norwegian postman, a large following men will be recreated: ’80s he founded Brighton’s Zap farmer and most recently a false Moshe Dayan, the general of the Club, curated programmes at messiah. Ashery had published Israel Defence Forces during the London’s ICA and South Bank. His three books in 2009: The Novel 1950s, is a national symbol of the 1999 art-work Wrap the World of Nonel and Vovel, a joint Israeli military. Mousa Mohammed involved simultaneous events graphic novel and an expanded Abu Marzouk is a senior member in Johannesburg, Delhi, Sydney. project with the artist Larissa of the Palestinian organisation New York, Porto and Glasgow and Sansour (Charta), Dancing with Hamas. Since 1997, he has served broadcast worldwide by the BBC. Men; interactive performances, as the Deputy Chairman of He is the British representative interactions and other artworks Hamas Political Bureau. Avigdor of Insitu, a pan-European (Live Art Development Agency), Lieberman is the current Israeli commissioning network and the and Staying; Dream, Bin, Soft Minister of Foreign Affairs and the Director of the Chandrasevana Stud and Other Stories (Artangel), Deputy Prime Minister of Israel. Arts Centre in Sri Lanka. In 2009 Ashery is an AHRC fellow in the He believes that Israel’s citizens he directed the launch event of drama department at Queen Mary should sign a loyalty oath or lose Scotland’s Homecoming. He has University. their right to vote. In November been a collaborator with the 2006, Lieberman called for those Supported by Arts Council England NRLA (Eight Days 1986) and Board Arab members of the Knesset and Arts & Humanities Research Member and Chair of New Moves (Israeli legislature assembly) Council. International. that met with Hamas be tried for http://oreetashery.net www.uzevents.com

Invited Artists 49 Paul Hurley Qasim Riza Shaheen Untitled Actuation, March 2010 (THEY WERE ALREADY DEAD)

Paul Hurley will be performing Paul Hurley has been making ‘There is something I need to tell one of a new series of untitled performance since 2000 you. I am sharing a selection of actions that he has been making and has shown his work in short video works of confessions, since 2008. A departure from galleries, theatres and festivals love letters & performances - man his previous Becoming-animal internationally, including the to man. (I hate you I hate you I performances, these works are NRLA (2004), Experimentica, hate you I hate you I have you I created as looser ‘actuations’ Inbetween Time, CAT Show, have you I have you I have you exploring philosophical notions Art Nomade, BONE Festival I love you I love you I love you I of becoming, presence and and Queer City Cinema. He is love you I hate you I hate you I embodiment, through ritualised currently completing his PhD hate you I hate you).’

physical actions and visual ‘Reconfiguring the Human: On the ‘Manchester-based artist tableaux. Hurley’s aesthetic Becoming-other of Performance’ Qasim Riza Shaheen presents undoubtedly draws on elements at the University of Bristol, in a photo and video installation of classic action art (using collaboration with Arnolfini and resulting from his empathetic metal buckets, paint and acts supported by the AHRC. engagement with Lahore’s of physical endurance) as well The action, Untitled, March 2010 khusra communities. To avoid as what he has elsewhere called is a version of a piece originally a voyeuristic documentary ‘the shamanoid’ — a mode of made for Arnolfini, Bristol, in prurience, Shaheen often ended performance that draws from early 2009. up by giving over his camera to shamanism and ritual but does so his subjects, the work becoming with a reflexive nod that is at the www.paulhurley.wordpress.com something of a collaborative same time affirmative and self- celebration of social difference ridiculing, an earnest gesture and and sartorial inversion, and a blasphemy. revealing the fascinating mix of transvestitism and almost religious attention to proper ceremony.’ Guardian Unlimited, 2007 Photos by Simon Humphreys

50 Invited Artists Photo by P. Barr

Qasim Riza Shaheen Richard DeDomenici Richard Layzell (THEY WERE ALREADY DEAD) DeDomeNRLArchive Assisted Power

Based in Manchester, Qasim’s work Join Richard as he celebrates ‘My ability to dialogue with ‘A hard man’ The Guardian 09 has been programmed widely the launch of his own National Layzell’s early oeuvre is without With thanks to ResCen, Middlesex including at The National Review Review of Live Art documentation question. This has been a process University and the NRLA Archive, of Live Art, Glasgow; Liverpool bank, based on notebook entries, of Restart not Refresh. Now Theatre Collection, Bristol Biennial; Port City & Breathing photographs and other ephemera you’ll see it. And thank me for University. Space at Arnolfini in Bristol; amassed during his nine years it. If he’d known then what I see Castlefield Gallery in Manchester; in attendance. Absolutely no now the view would be altogether www.rescen.net/routeplanner

Photo by Qasim Riza Shaheen Shaheen Riza Qasim by Photo Alhamra National Gallery and photography allowed. sharper. Thank fuck I got the Rohtas Gallery in Lahore, Pakistan chance after 30 years. I am Richard DeDomenici where he has recently taught and beyond reproach.’ Tania Koswycz Gadfly | Trimtab | Quipnunc: completed an artist residency Some of this material has been with the National College of Arts. Gadfly seen before. Some of it hasn’t. He was most recently Artist in Person who upset the status quo Residence at CityArts in Dublin, by posing upsetting or novel Richard Layzell has performed Ireland. He continues being questions, or attempt to stimulate and exhibited globally, He is Associate Artist at the Greenroom innovation by proving an irritant. based in north London with Guenot Sylvain by Photo strong links to Colchester and in Manchester since 2004 and is Trimtab Glasgow. His collaboration with the founder/artistic director of System specifically designed and Tania Koswycz dates back to Anokha Laadla, a live art company placed in the environment at such 2002 and their installation The based in the UK. a time, in such a place, where Manifestation premiered at the Supported by Arts Council England its effects would be maximised, NRLA 08 before touring nationally. thereby effecting the most www.qasimrizashaheen.com Bruno’s Leg was commissioned advantageous change with the by the Tate Gallery in 1987, The least resources, time and energy. Revolution-You’re In It! by Kettles Bringing about the most change Yard in 1989. Richard’s sensory with minimum effort. Doing more installation Tap Ruffle and Shave with less. was seen by 100,000 people Quipnunc across the UK from 1995. He is an Person who responds to current Honorary Associate of the NRLA, events, especially tragic ones, a ResCen Associate Artist and the with quickly devised, sometimes author of The Artists’ Directory, callous jokes. Enhanced Performance and Cream Richard DeDomenici is an Artsadmin Pages. Associate Artist. www.dedomenici.co.uk

Invited Artists 51 Robert Ayers Roberta M Graham All at Sea – new poems, songs, The Trackless Way and monologues

Always a traditionalist at heart, ‘I am presently working on a The second technique will Robert Ayers has fallen back on new installation. The nature of make use of the method of ‘glass two of his favourite media for the subject is that of physical painting’, particularly as it was his nostalgic return to the NRLA: frailty and mortality. This is partly used in early movie making. collage and cabaret. Since he first inspired by my own relatively Here, detailed and fantastical moved to New York City he has recent personal experiences, but landscapes will be painted onto honoured the long-established also by a desire to explore the selected areas of large sheets modernist ritual of scavenging wider field of universal fears and of glass. The camera will then for art materials in the street, phobias. film sequences through the and from these he makes tiny but The proposed piece describes clear sections of the glass, rather beautiful collages that he the visionary journey of an merging them with the painted gives to his friends. Latterly the abstract body, threatened, landscapes. The installation fragments of language that he has invaded and traumatised, finding will be the combination of the discovered in these collages have itself within a Bosch-inspired, products of both these processes, provided him with the starting modern world of medical and where the deliberately ethereal points for brief poetic monologues technological nightmares, illusions and vagaries of the glass and songs. He will be presenting a within imagined landscapes and painted screens will contrast handful of these this evening. inhabited by predatory fauna. with the visceral nature of bodies In producing the images filmed in close-up detail.’ Robert Ayers has made required, I intend using a performance art since 1972, and Roberta Graham was born in combination of two techniques. has established himself as a key Derry, Northern Ireland in 1954. The first will be a camera fixed figure in the development of Since her earliest work, she has underneath a heavy glass platform live art in Britain. He attended been involved in exploring the pointing upwards. A series of the very first Performance Art violent relationship between the standing, bent and crouching Platform in Nottingham in 1979, human body and the world. bodies will be filmed, in a wide and first appeared as an artist She has exhibited extensively, range of gestures, movements with Falling at Four Days of including: Institute of and actions. Using varying Performance Art in 1984. In 1998 Contemporary Arts, Serpentine lighting, and manipulating both he acted as the first guest curator Gallery, Victoria & Albert Museum, focal length and depth of field, of the NRLA Platform and in 2001 Berlin Film Festival, Hayward the images will be distorted and he was installed as one of the Gallery, Liverpool Tate Gallery, foreshortened. The resulting NRLA’s first Honorary Associates. Barbican, Manchester City Art images will then be densely He now lives in Manhattan but Gallery, Arnolfini, Bristol, Museum overlaid with further images in he returns to the NRLA whenever of Modern Art, Oxford and the order to create grotesque and he can. Midland Group (4 Days...1984), hybrid identities. Nottingham. www.askyfilledwithshootingstars.com www.ravenslea.com

52 Invited Artists Ron Athey Rosie Ward Self Obliterations I, II & III: Ecstatic, Sustained Rapture, Breathing Space Mortification

‘In the Obliteration actions, I All this inspiration and intention, A video projection and directional the Arches — which I do often, restricted myself to using only a to be expressed with no words sound installation sited within a to review productions — I find few props: wig, brush, needles, but two long blonde wigs and a corridor running the length of the myself squinting sideways along and a few sheets of glass. The hair brush, ten pins or needles, 16th century vaults, underneath that corridor, as if expecting the action in I & II starts with hair four rectangular sheets of plate Glasgow Railway Station. A young bricks to surrender some other brushing and ends in a bloody glass, 750 ml veterinarian’s girl inhabits the environment, visions of what lurks between viscous mess. Self-Obliteration birthing lubrication, served up on her energy shifting dynamically the mortising and fabric of the III will be the closing action: a platform set at eye level. throughout the length of the building’. Mary Brennan (2004) mortification of the flesh, the lid Self Obliteration 1: Ecstatic, corridor — at times sprinting Breathing Space was created on the display coffin, so to speak. was first presented at Arnolfini past the viewer, at other times specifically for the NRLA 2004 and Obliteration of the self, non- Gallery in 2007. Since then suspended in mid-air, looking funded by Arts Council England. reproductive futurity, death drive. Self Obliteration 2: Sustained straight ahead with the sound of Lacanian jouissance. I feel guilty Rapture and has shown at HAU2 her breath, engulfing the space Since showing work within the for my darkness. The changing and House of World Cultures, and her presence immersing the NRLA 2004, Rosie has completed polemics of blood, the challenge Berlin, Arte es Accion II in Madrid, audience. a Masters in Sceneography at of contextualizing a solo live sex Museo MADRE Naples, Visions Central St Martins in 2005 and ‘What Ward does with insight show into ecstasis. The underlying of Excess/Spill Festival London, an Arts Council International and flair, is play on our tendency drive is in my history, of testing Teatr Dramatyczny Warsaw, Live Art Residency in Helsinki. towards ‘collusion with the HIV+ in 1986, an obsession Gallerie SAW Ottawa, Centre Clark In 2008 Rosie completed a illusion’... Breathing Space which preceded the time when Montreal, Donau Festival Austria, commission for First Movement, hinted at parallel universes that everyone died around me. And Open Space Victoria Canada, a company working creatively we don’t normally see in the survivors guilt, and three-therapy Souterrain Porte IV festival Nancy with adults with learning everyday light/life. It reminded nonchalance. And finally as France, La Demeure du Chaos disabilities. Rosie created an us that the Arches — a dank boring to talk about as cancer, an Lyon France. This is the premiere installation performance for the warren of brick-built 16th century updated and raggedy post-AIDS of phase 111. launch of First Movements new vaults under Glasgow’s Central state to be mindful of.’ and pioneering arts venue, the Station — had previous lives that Level Centre, in which Spiral we “brushed past” without ever (First Movements in house dance knowing anything about them... company) performed live. Whatever story came to mind — and people instinctively try Rosie is a lecturer and an AA2A to make sense of story — lines artist at the University of Lincoln. — it was a moment of on-looker www.rosieward.co.uk creativity triggered by Ward’s exceptional meshing of film, light, sound and shadow. I’m not exactly sure, now, what I saw. I do know that when I return to

Invited Artists 53 Sam Rose Melting Point

Since her last appearance at the experience of Melting Point the National Review of Live Art, from the point of view of both Sam Rose has embarked upon a performer and audience members. two-year research project that Re-create, Re-member, Re-collect. investigates intimacy and the senses in one to one performance. Melting Point: A shared encounter, She has also developed and a shared exchange, a shared extensively toured two new account is part of ongoing works: Melting Point and A Bed research that explores new of Roses. strategies for the documentation For the National Review of Live and archiving of one to one Art 2010, Melting Point promises performance. to be a sensual and seductive one- Textual documentation, to-one performance that offers a performative actions, and visual series of whispers, gentle caresses materials for performance lecture and sumptuous flavours. were created in collaboration Exploring remembrance, the with Annette Foster. transient nature of experience, Sam is currently a part and the moment, Melting Point time lecturer at New College will combine autobiography with Nottingham, and has recently universal themes of memory, loss, finished a part time MRes Theatre and the passing of time. and Performance at Plymouth Sam will wander throughout University (practice as research). the Arches, looking for somebody Melting Point was supported by to join her. She may ask you to sit Method Lab 2008, The Green Room, with her for a while and to ‘taste Manchester. the experience’. www.samrose.net Will you accept her invitation? To accompany her performance, Sam will also deliver Melting Point: A shared encounter, a shared exchange, a shared account — a collaborative performance lecture between Sam Rose and Annette Foster that attempts to communicate and document a shared account of

54 Invited Artists Photo by Manuel Vason Manuel by Photo Photo by Faye by Photo

Shaun Caton Sheila Ghelani The Wunderkammer Sugar Sugar White

Taking the 17th century Shaun Caton has presented some ‘Sugar Sugar White: A sticky sweet a colour, ‘idea’, cultural signifier, phenomenon of the 220 performances worldwide since sickly punch. Slow-mo. Loud. A surface, veneer and ultimate Wunderkammer, or Cabinet of the early 1980s and performed hit. A dissolving. A deconstruction. symbol of horror. Sugar Sugar Curiosities, Shaun Caton creates at the NRLA in 1986, 1988 and A destruction. KABOOM. A sugar- White revisits the territory again, a private museum in miniature 2009. He makes no more than caked lip sequence. A dirty-pure asks the same questions, explores in which the mysterious and four performances a year and pose in white heels, white lace the same materials, walks the arcane objects on display take focuses on painting, drawing and (Britney style). A disappearance. same ground... but does it louder, on a metamorphic life of their book making outside of this. His Now you see me, now you don’t. faster, stronger. I’m getting my own (Caton uses real fossils, work has recently been described I’m over here. No. Now I’m saw out, I’m going to carve this prehistoric artefacts, deities, as ‘epic primordial performance over here. Can you see me? I’m up. quartz crystal beads etc...) stepping into and out of the and shamanic scribbles...’ ‘My practice literally stems from through trance induced ink/ White. Over here. Stepping into (tactileBOSCH November 2008) my own experience of being light drawings and hypnagogic and out of the White. I’m getting and ‘genuinely terrifying...’ mixed heritage and addresses (hallucinatory) projections. my saw out. I’m going to carve The Scotsman ideas that emerge from notions of Caton works in the curious this up. www.shauncaton.com ‘mixing’ or being mixed. I attempt tradition of the 19th century White chalk, white board, to engage playfully with words preoccupation and interest in white paper, white pants, white and ideas that I find difficult. mesmerism, tableaux-vivant and socks, white boxers, white collar, I am interested in hybridity, psychic automatism, to execute white lie, white gown, white ‘crossings’, blood, skins, skinning, miniscule drawings that can suit, white wedding, white wine, carefully controlled experiments, only be viewed with hand-held white milk, white bread, white well-oiled machinery, colour, magnifying glasses on loan in his flour, white sugar, white ice, genetics, joining and love. My Cabinet. This 7½ hour durational white snow, white space, white work often includes ‘live-ness’ or performance jumps from one wall, white paint, white line, engagement with an audience, reality to another, criss-crossing white wand, white witch, white and usually employs materials and many historical reference points light, white rabbit, white dove, objects in unfamiliar ways (often and merging them to form a white whale, white sea, white leaving a carefully choreographed unique and disquieting journey. squall, white noise, white heat, strategic mess behind). As an The performance interweaves the white ash, white land, white hair, artist I actively seek to contribute ancient with the modern in an white hands, white skin, white to the contemporary debate alternating cycle of seen/unseen flag.... white flag.... white flag.... surrounding race, terminology and connections. Time and memory KABOOM.’ its signifiers.’ become a blurred hinterland of In 2006 Sheila Ghelani was densely layered imagery hinting www.sheilaghelani.co.uk commissioned by Chelsea Theatre at the broken fragments of a to make White Squall, an constantly morphing stratum investigation into ‘whiteness’ — as within a story.

Invited Artists 55 Photo by Silvia Ziranek Silvia by Photo Photo by Silke Mansholt

Silke Mansholt Silvia Ziranek Wolfstunde (Hour of the Wolf or Wolflesson) FOOT, FOOD, AGO

‘..., since for him it was all the Pfeiffer, and it’s also not about HISTORY (CHANGES WITH HATS/POLITICS/HINDSIGHT), RECIPES same whether the wolf had been Hitler who apparently, for crying (CHANGE WITH TASTE/AVAILABILITY/HEARSAY), AND MY (2) FEET bewitched or beaten into him, out loud, called himself Wolf. (CHANGE WITH THE SCALE OF THE SHOE AND THE SCOPE OF THE BUDGET or whether it was merely an idea Silke Mansholt is a German artist (AND PROGENY)). BEING (CHANGES MEMORIES) AND WHAT WE SEE AND of his own. What others chose to working in performance, visual (THOUGHT WE ) SAW/WERE/HAD/THOUGHT. HOPE CHANGES, CASH think about it, or what he chose art, writing and film-making. CHANGES, STYLE PASSION ROOF CHANGES. WEATHER. OCCUPATION. to think himself was no good to She has been based in Brighton ETHICS. ACCENT. APPEARANCE. DEVOTION... him at all. It left the wolf inside for the past ten years. Her live Possibly a simple work, describing visually and verbally how one does, to him just the same.’ Steppenwolf, performance works Homage to whom, why, when/where/what (one does), initially demonstrated in a Hermann Hesse the Heart, Orphan, Die Gehängte decisive, simple way, then re-presented: same text plus — and layers of When reading Hesse’s and In Memoriam Nature and her wardrobe. Plus ça... Steppenwolf about twenty films, which include A German This double working is a common theme in my work for some long years ago things became clear Grandchild’s Funeral have been time. I therefore felt it appropriate to display, and extend, its example to Mansholt i.e. that she lived shown throughout Europe. She during such a celebration of occasions. now as a human and now as a is currently the solo performer The deceptively playful installation shall recall — and create — new wolf. These two have fought in a production of La chèvre de moments when thoughts/speech/actions collide/are created/altered. each other inside her all those monsieur Seguin directed by Jean Clothing/grammar/edibles will build up in layers. years but have recently made Lambert-wild for the Comédie de Objets de fabulousness will be delicately distributed. peace and now work together. Caen, Centre Dramatique National This might be a relief for other de Normandie which will tour 1979 CHILI CON CARDBOARD Hayward Annual 1980 RUBBERGLOVERAMA DRAMA ICA London human beings encountering her France during 2010. 1982 ACH OUI, GOLDFISH ZUPPA Venice Biennale presence but this collaboration is The production of Wolfstunde is 1983 A DELIBERATE CASE OF PARTICULARS Franklyn Furnace NYC perhaps more dangerous, not less. supported by Comédie de Caen, 1984 FOUR DAYS PERFORMANCE ART PLATFORM Nottingham In fact, the wolf is not tamed Centre Dramatique National de 1987 ANYONE CAN APRON Kettles Yard Cambridge as such, it just looks like it. The Normandie and by Arts Council 1987 MOUTH AHOY Plug In Winnipeg animal can finally stalk and kill England, South East. 1988 OH BONJOUR SAUCEPAN Brighton Pavilion invisibly and purposefully because 1989 ARTOCRACY S.P. Sao Paolo Bienal www.silkemansholt.com 1989 ICI VILLA MOI touring her human part can now deal 1990 LOGO LINGO Serpentine Wolfstunde with the outcome. 1992 SOON UPON AGO Saatchi Gallery is a threefold performance with 1992 GA GA BONGO Podewil, Berlin beginning, middle bit and end. It 2002 MOST/LY MOTIF/LY Crafts Council is about wolf and his friends. It’s 2004 DRESS MESSAGES touring not about Little Red Riding Hood 2005 A FEW BIG FROCKS Tate Modern (at least not as you might know 2006 I DO SHOE touring her), it’s not about Nicholson and 2007 NOT BRICK BUT BEING De La Warr Pavilion 2008 WALLWALK The Photographers Gallery London 2009 THE POMPOM YEARS V&A Museum of Childhood London With thanks to Hype Hair, Betterbadges and Osborne + Little. 56 Invited Artists Photo by Alexander Kelly

Stephen Partridge Third Angel Monitor Live Words & Pictures

Monitor was made in 1975 and ‘A collection of short stories: 1995, and working from a base in exploits the visual feedback Chapters from the Unfinished Sheffield, the company is led by phenomenon when a video Books of our Life Stories. Texts artistic directors Alexander Kelly camera is pointed at its own to explain our obsessions and and Rachael Walton. Starting with monitor. However in this work our passions. Writings that try the interests and obsessions of the feedback is simulated and the to understand why it is we the collaborating artists, Third image actually a replay of the are fascinated by those empty Angel makes work that attempts visual space within the monitor. benches we see by the side of to address the emotional, An active diagonal line across the road. That try to remember physiological and rational realities the framed space, repeated in what it felt like to stand on the of living in Britain [and to varying the chain of monitors, is now highest diving board as a kid. That degrees Europe and the world] dynamic rather than assertively try to explain why we hated that in the 20th and 21st centuries. flat. The logic of tautology or job. Notes that try to understand Inquisitive, exploratory, emotional self-embedded system us at the games and songs. Words to and entertaining, the work tours core of the piece. In this version, accompany pictures. Readings to to theatres, galleries, art centres, first performed at TATE Modern be heard in the dark. festivals throughout the UK, in 2009, the work is performed There comes a time in your life mainland Europe and beyond. live with a live relay to a by which point you should have Third Angel is regularly funded by projector and another layer of the written a book. If you were going Arts Council England, Yorkshire and ‘feedback’ is added. to. Well, we’re at that time, but supported by Site Gallery, Sheffield. we just haven’t got round to it; Stephen Partridge is an artist Words & Pictures is commissioned by we’ve been busy. Really busy. and academic researcher. He the Off The Shelf Festival of Writing There’s a book’s worth of stuff and Reading and Leeds Met Gallery is the principal investigator on there, but, well, there’s been too and Studio Theatre. the four-year research project much else to do. But we do like REWIND funded by the Arts & www.thirdangel.co.uk the idea of a book tour. Touring, Humanities Research Council. thirdangeluk.blogspot.com we’ve done a lot of that. So we’re He was in the ‘landmark’ video cutting straight to that bit: The shows of the 1970s including the Book Tour. Words & Pictures is Video Show at the Serpentine a book reading for a book that in 1975, the Installation Show hasn’t been written yet, let alone at the Tate gallery in 1976, The published.’ Paris Biennalle in 1977 and The Kitchen in New York in 1979. He Third Angel is a company making is Dean of Research at Duncan projects in theatre, live art, of Jordanstone College of Art & video, photography, visual art and Design. on the internet. Established in www.rewind.ac.uk

Invited Artists 57 Trace Collective Post-Historical-Cluster-Fuck

Through durational performance bags for redistribution. A resource the Trace Collective propose to and archival hub including text/ review the history of the National reports and an information table Review of Live Art as post- will be available throughout. historical-cluster-fuck. As in their The public will have full access previous work at the NRLA in 2008 throughout to experience the the Collective’s performance will ‘live’ activity and the resulting be simultaneously archived as a installation/evidence and residual live event. traces. For the 30th anniversary of TRACE: is dedicated to the the NRLA this instantaneous research, investigation, documenting of live work will dissemination and discourse of take the form of collating and performance art. recycling past events through The group’s aim is to focus on existing historical documents over the investigation and exploration a two-day period. of living performance activity and Through access to the archives it’s discourse and dissemination of the NRLA, Trace Collective through process, documentation will photocopy all existing and archiving. performance photo documents, The group’s work reflects catalogues, posters, flyers, and the theory and discourse of programmes of past performances performance art cultivated by the and events produced by the NRLA activities of TRACE Installaction since 1979. Artspace & Collective based in During the live performances Cardiff, Wales. Recent large-scale the artists will process this site installation performance documentation by continuously residencies by Trace Collective photocopying images of past include, the National Eisteddfod performances on a series of of Wales 2008 and Artspace, photocopy machines. They will Sydney, Australia, 2009. further insinuate their own physical presence into the archive Trace Collective are: by photocopying their own bodies. André Stitt, Eddie Ladd, Holly The photocopies will then be Davey, Philip Babot and Tim shredded with the shredded Freeman. material being placed in recycled www.tracegallery.org

58 Invited Artists Photo by Karla Sachse Photo by Samuel Herzog

Varsha Nair & Lena Eriksson Wladyslaw Kazmierczak & Ewa Rybska LOOC: Line Out Of Control Beautiful Losers, or Almost Saint People

A piece about imaginary and real Review of Live Art, Glasgow in ‘The idea of this performance Paul’s email impressed us for borders, crossing/not crossing 2006 and 2004; and at National appeared when we received an several reason: boundaries, communication/ Review of Live Art Midland, Perth, e-mail message from Canadian - We observe and attend as well lack of it, about our different 2005. Nair is co-organiser of performer Paul Couillard: in the process of analysing perspectives of the same or Womanifesto in Thailand (www. of the some aspects of art “This is the seventh edition in a similar situations. Varsha Nair womanifesto.com), and editorial located inside/outside of the cycle of 24-hour “silent” actions (Bangkok) and Lena Eriksson board member of the web art historical descriptions and scheduled to finish in June 2011. (Basel) sit at either ends of the journal Ctrl+P collections, Each instalment in this series is space drawing on a roll of paper (www.ctrlp-artjournal.org). Born - We observe lately that title constructed to sit in dialogue that connects them, with pens in Kampala, Uganda, Nair has a Beautiful Losers is used very with a work or works of specific that are connected by a string, BFA from Faculty of Fine Arts, often as a title of works or performance artists from around whilst manipulating two sound Maharaja Sayaji Rao University, exhibitions, the world. boxes that provide a beat. At Baroda, India. - In Polish language the For Beautiful Losers, I will times interrupting and disturbing meaning of Beautiful Losers Lena Eriksson (born 1971, attempt to maintain “silence” each others’ process and hand is located close to the sense: Switzerland) studied Visual Arts at (refraining from speaking or movements, the drawing includes Almost saint people, but not the Ecole des Beaux Arts in Sierre. utterance) for a period of perspective drawing of the space dependent on any religion or Calling her practice 24 hours leading up to my itself and of people visiting the ideology. ‘polymorphic’, which includes appearance in the cabaret. During space, as perceived from the developing works in close this time I will undertake small The performance will be a two opposite sides the artists are collaboration, she works with formal actions intended to bring continuation of our work seated in. drawing, video, installation, to the surface the texture of this concentrated on consideration They first presented the performance and concepts. From psychologically private space. of significant live art aspects. work in a public space for the 2004 — 2009 she established (...... ) We want to use some short video Performance Saga festival (April and managed Lodypop - an In keeping with the title of citations from the art context 09), in the passenger waiting independent art space in the performance, some of the suggesting that beautiful losers room located between the Swiss Basel (www.lodypop.ch). She actions will make reference to are still energetic, interesting and and French sides of the main presented LOOC with Varsha Nair, Leonard Cohen’s famous book, disinterested.’ railway station in Basel. Performance Saga Festival, Basel Beautiful Losers while also sitting www.rybska-kazmierczak. Varsha Nair has exhibited her (2009) and between 2002 – 2009 in dialogue with the ironic, wizytowka.pl solo and collaborative works performed in Europe, Thailand politically charged tableaux www.kazmierczak.artist.pl internationally and in Thailand and China. of Polish performance artists where she lives. She presented Wladyslaw Kazmierczak and www.varshashavar.com performances at Performance Ewa Rybska, currently living in Saga, Basel, in collaboration with England. Regards, Paul Couillard” Lena Eriksson (2009); at Khoj Live, New Delhi (2008); On the Move, Hong Kong (2008); National

Invited Artists 59 One Year On Tracking the artistic progress of three Elevator artists from NRLA 2009. Photo by Emilie Salquere Photo by Zoran Todorović

Clara García Fraile Yann Marussich Zoran Todorović & Sam Pearson Blessure + Brisures Assimilation7 When We Meet Again (Introduced as friends) In Blessure the nude artist is laid This journey into the A series of interactions that on a bed of white feathers; an infinitesimal, means also to in their own way question the The invisible woman recounts: arrow pierces through his flank. open to the viewer a special idea of beauty illustrated in a ‘When I first met you, you could For four hours Yann Marussich time-space. The present meal made of human tissues see me but I couldn’t see you...’ executes just one movement. time, forgetting time. The left over after aesthetic surgery When We Meet Again is an In an intense concentration, an viewer becomes the actor of interventions. The installation immersive ‘wearable’ video extreme slowness, a soft and a common present, part of a itself involves exhibiting photo installation and live performance imperceptible movement, he loses common experience. More than and video documentation that featuring 19th Century dance hits, himself between holding back a performance, it is a shared retraces the origin and the an ocean, a 3D soundtrack and a and letting go. With Blessure, he experience. process of preparation of the food semi-naked very hairy man. opens spaces and gives time to offered to spectators. Yann Marussich has performed A pair of video goggles replaces the spectator to take a journey throughout Europe since 1989. 1965 — Born in Belgrade, RS; 1992 your point of view by that of the into the depths of their being. From 1993 to 2000, he was the - BA degree, Painting, Faculty of performer in the screen. When ‘What I am looking for now is artistic director of Théâtre de Fine Arts, Belgrade, RS; you are prompted to look down precisely what we don’t see l’Usine (Geneva) and founder of 1995 — MA degree, Faculty of upon your body, what you see walking down the street. In other the ADC Studio. Fine Arts, Belgrade, RS; 1998 is... someone else’s, a new body words, immobility. The only In 2001, Bleu Provisoire, was — Teaching assistant at the through which you will move and stillness that we could see, is in his first completely immobile Faculty of Fine Arts, Belgrade, RS; encounter mysterious presences. the dead, but most often they are piece, he continues to investigate 2006 - Docent at the Faculty of When We Meet Again revolves hidden from us. Death is hidden. introspection and the control of Fine Arts, Belgrade, RS around meetings mediated by As Léo Ferré said : stillness immobility exposing his body to technology, blinded by vision, disturbs our century.’ Y.M. diverse challenges or aggressions. Solo exhibitions: displaced by what you hear Recent works include: 2009 — Serbian pavilion, 53rd Brisures is the continuation of around you while you know it is Autoportrait dans une fourmilière Venice Biennial; 2009 — Museum this work on stillness, because not really there. (2003), Morsure (2004) (Bite), for contemporary arts, Novi Sad, stillness is the source of all Traversée (2004), Blessure (2005) RS; 2006 — SC Gallery, Zagreb, Clara García Fraile’s work draws movement. Here, the challenge and Soif (2006). In 2008, he HR; 2005 — Artspace, Sydney, on film, performance and text to is the research of minimal received the Ars Electronica prize Australia; 2004 — Museum for materialize imaginary, breezy and movement, the more organic, for Hybrid Art. contemporary arts, Zagreb, HR often bizarre situations in which the more natural possible and between 2000—2008 many you are invited to participate and through extreme slowness and Supported by: Ville de Genève, group exhibitions, including the play. Sam Pearson’s media artwork improvisation ... The aim is to département municipal de NRLA in 2004. harnesses his mixed background trace a path not determined in la culture; Etat de Genève, on illustration, music, sound advance. No premeditation, no Département de l’instruction www.zorantodorovic.com and fine art to create singular choreography, but rather a state publique; Pro Helvetia; Loterie Romande; SSA Société Suisse des and inventive involving sensorial of choreography. Here, the body auteurs. experiences. precedes the mind. www.yannmarussich.ch

60 Invited Artists Sophia Yadong Hao Michelle Browne Sophia Yadong Hao Untitled Heavy Water

A lone figure drags herself ‘Thoughts loose their purpose, across the floor to an unknown their meaning, their importance, destination, to an unknown thoughts become surplus, future. Her face meets every redundant, unwanted, thoughts contour and crack along the way. become implausible, impractical, Michelle Browne’s work looks thoughts become unrealistic and at sexuality and vulnerability, wrong. vanity and beauty, in the female There are some thoughts that body. The body acts as a site need to be dropped, deliberately to find meaning in the actions lost, put beyond reach. The artist that visit us in our everyday will work on the mothballing of lives. Looking back to Greek Michelle Browne these thoughts.’ tragic female figures such as Sophia Yadong Hao is a UK- Cassandra, Pandora, Medea, based Chinese artist working her work explores the roles of with processes of erasing and women in contemporary society. preserving. She studied in MMU Working with milk, earth and and obtained her MA in Visual high heals the work sees the Culture with distinction in 2005. body as a site of difference, a Hao exhibits works both in space that harbours natural and the UK and internationally. She cultural forces, that is challenged was twice an invited artist for by biological and social needs. Vital: International Live Art Performed by Áine O’Dwyer. Festival. She was also one of Michelle Browne is an artist based the collaborative performers of in Dublin. She has exhibited both Ornamental Happiness, directed nationally and internationally, by Rose English and commissioned taking part in Interakcje by Liverpool Biennial 2006. In Performance Fesitval Poland 2009, 2008, Hao lived in a remote The National Review of Live Art Chinese village and made I am 2009, Urban Wasanii Public Art not a Fairytale, an addendum to Project, Kenya 2008; Documenta Chinese artist Ai Wei-wei’s work The two met while studying Urbana, Germany 2007. She is the for documenta 12. Performance and Visual Art at recipient of the NCAD Student As well as being an artist, Hao the University of Brighton and Prize, The RDS James White Art is a curator, writer and lecturer. have since worked together in the Award 2006 and a 2008 artist She recently curated NOTES on a production of diverse installation, bursary from the Arts Council of return, a large-scale exhibition performance and video projects. Ireland. Michelle is the founder revisiting seminal performance Funded by Arts Council England and and curator of OUT OF SITE, a works made in the 1980s. This the National Lottery. Supported by festival of live art in public space project explored the documenting The Basement, Blast Theory and in Dublin. and archiving of ephemeral Lighthouse. practices to critically question the www.michellebrowne.net www.parachutesandpuzzles.com efficacy of re-enactment.

One Year On 61 Winter School 2010 Tickets

Continuing the ever-popular international winter school New Moves NRLA Day Ticket £15 (Advance booking strongly advised). International has sought to provide the best quality courses for artists The Day Ticket allows access to all events throughout the day and to seeking a period of professional development and research. Once the Festival Club, there will be limited capacity on some shows. NRLA again excellent teachers are being brought in to run the courses, all Day Ticket holders only admitted for Guillermo Gómez-Peña at Glasgow of whom are respected artists in their individual fields of practice University (G12) and Ron Athey (CCA), both events to be reserved from and includes: Peter Boneham, Ron Athey, Jürgen Fritz and Jamie the Arches box office. Party bookings limited to 12 people. McMurry, Michael Mayhew. For full detailed information on these courses and application forms please go to www.newmoves.co.uk. Saturday 20 March Tramway programme from 1900hrs. No additional charge to NRLA Saturday Day Ticket holders purchased at the Arches (please wear the wrist band); non-NRLA ticket holders Space For Live Art £9/£6.

Live art, an artistic discipline that ‘defies all definition’, is NB in the likelihood of the Day Tickets selling out we will operate a experiencing a remarkable renewal, it is, however, still little known one-in-one-out system. to the world at large. To bridge this gap and strengthen the position of new forms of live art in Europe, eight cultural structures have Tickets for all new territories main stage events at Tramway come together as partners in a five-year European project entitled and CCA, £9 (£6) ‘A space for live art.’ Into The New, performance programme £9 (£6) Through each partner’s programming and the different forms of exchange — co-productions, dissemination, residences, international symposia — the diversity of the artistic approaches will be Venues highlighted.

Meetings on theory and practice, the constitution of a critical corpus written by professionals and documentation of projects in sound The Arches 253 Argyle Street, Glasgow G2 8DL and/or images will strengthen the reflexive and documentary aspect www.thearches.co.uk of live art. There will also be room for mediation and transmission, Box Office: +44 (0)141 565 1000 through an infiltration of the public area and a teaching strand, in Booking hours: Mon to Sat, 0900—2000, Sun 12noon—1800 particular in art schools where young talent will be encouraged.

Acción!08MAD - Madrid, Spain, www.accionmad.org ANTIFESTIVAL - Kuopio, Finland, www.antifestival.com CCA 350 Sauchiehall Street, Glasgow G2 3JD www.cca-glasgow.com City of Women - Ljubljana, Slovenia, www.cityofwomen.org Box Office: +44 (0)141 352 4900 Interakcje - Piotrkow Trybunalski, Poland, www.galeriaoff.pl Booking hours: Tue to Fri, 0900—1900, Sat: 1000—1900 Les Subsistances – Lyon, France, www.les-subs.com new territories – Glasgow, UK, www.newmoves.co.uk PANORAMA – Hamburg, Germany, www.kampnagel.de Tramway 25 Albert Drive, Glasgow G41 2PE TROUBLE – Brussels, Belgium, www.halles.be www.tramway.org Box Office: 0845 330 3501 (From outside the UK: + 44 (0)141 276 0950) Booking Hours: Mon to Sat, 1000—2000, Sun 12noon—1800 Cheques With the support of the Cultural Programme payable to: Culture and Sport Glasgow 2007-2013 of the European Commission. Credit Cards: Visa, Mastercard, Delta and Maestro

62 Winter School Live Art Development Agency

The Agency publishes Live Art books and dvds, including works on-demand.

Recent books include: The Many Headed Monster, Joshua Sofaer (2010) Out of Now, Adrian Heathfield and Tehching Hsieh (a co-publication with The MIT Press, 2009) Marcia Farquhar’s 12 Shooters (2009) Dancing with Men, Oreet Ashery (2009)

Recent dvds include: Everything You Still Wanted to Know About Live Art But Were Afraid To Ask, various artists (2009) Farafin a ni Toubabou - black and white ethical projects, Adrien Sina (2009) unSeen, George Chakravarthi (2009) www.thisisLiveArt.co.uk

www.thisisUnbound.co.uk

An online shop for Live Art books, dvds and limited editions.

Unbound specialises in publications and artefacts related to groundbreaking and risk-taking contemporary art practices and is the place to find essential materials on all things live.

The BA Contemporary Performance Practice programme would like to wish New Moves International ‘Happy 30th Birthday NRLA’! CPP BA Contemporary Performance Practice We are delighted that the For further details contact annual graduate festival Robert Walton ‘Into The New’ is part of New on 0141 270 8251 or email Territories once again this year. [email protected]