Assembly > Full Program Abstracts Here

151002_booklet_cover_03.indd 1 >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>> www.fluidstates.org > a sequence of 15 different locations over 2015 > distributed performance research project taking place in >>>>>>> the Performance Studies international globally >> Fluid States > is the Australian program of PSi#21 > >> PERFORMING MOBILITIES >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>> twitter.com/PerfMob >>>>> >>>>> facebook.com/PerformingMobilities > >>> www.performingmobilities.net >>>>>> >>>>>>>>>>> full program > updates > bookings >>>>>>>>>>>>>>>>>>

ASSEMBLY >>> symposium >>>> Thurs 8 Oct – Sun 11 Oct >>>>>>> Oct 11 Sun – Oct 8 Thurs >>>> symposium >>> ASSEMBLY >>>>>>PERFORMING>>>MOBILITIES>>>>>

>>>>>>>>>>> ASSEMBLY > symposium >>>>> >>>>>>>>>>>>>>>> Thurs 8 Oct – Sun 11 Oct 2015 >>>>>>

>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>PERFORMING>>>MOBILITIES>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>PERFORMING>>>MOBILITIES>>>>>>>>>>>>>>>> >>>>>>>>>>>>>> TRACES >>>>>> PASSAGES >>>>>>>>>>> ASSEMBLY >>>>>>> >>>>>>>>>>>>> expositions >>>>>>>> mobile performances >>>>>>>>>> symposium >>>>>>>>>>>>>>>

>>>>>>>>> RMIT Gallery >>>>>>> 25 September – 24 October 2015 >>> >>>>> Margaret Lawrence Gallery VCA >>>>>> 9 October – 7 November 2015 >>>>>>>>

>>>>>>>>>>>>>4/10/2015 10:27 pm www.performingmobilities.net >>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

> > > PERFORMING MOBILITIES >

> > > > > > > > > > > > > > ASSEMBLY > 8 – 11 October 2015 >

> RMIT University > University of Melbourne Faculty of VCA & MCM

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

151002_booklet_template_10.indd 1 6/10/2015 11:14:51 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

PERFORMING MOBILITIES is supported by > > presenting partners RMIT Gallery and Margaret Lawrence Gallery VCA > The Victorian Government through Creative Victoria > RMIT University > Design Research Institute > Industrial Design Program > University of Melbourne > Faculty of VCA & MCM > Melbourne Social Equity Institute > Pflab > performative creative practice research lab

151002_booklet_template_10.indd 2 6/10/2015 11:14:53 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

PERFORMING MOBILITIES > a project of the Performing Mobilities Network > is the Australian program of PSi#21 > Fluid States: Performances of Unknowing > the Performance Studies international globally distributed performance research project taking place in a sequence of 15 different locations throughout 2015 > www.fluidstates.org

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

> TRACES > > > PASSAGES > > >

RMIT Gallery > > > 25 September – 24 October 2015 > > Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > tel 9925 1717

Margaret Lawrence Gallery VCA > > > 9 October – 7 November > > Tues-Sat 12noon-5pm > 40 Dodds Street Southbank > tel 9035 9400

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

ASSEMBLY ARTISTIC DIRECTION > TRACES & PASSAGES CURATOR > Mick Douglas

ASSEMBLY ORGANISING GROUP > TRACES & PASSAGES COMPANION CURATORS > David Cross > Paul Gazzola > Bianca Hester > James Oliver > Paul Rae > Laurene Vaughan > Meredith Rogers > Fiona Wilkie >

COMMUNICATION DESIGN > Neal Haslem WEBSITE MANAGEMENT > Robert Eales COORDINATOR > Kate Riggs PRODUCTION TEAM > Felipe Cervera > Amaara Raheem > Adva Weinstein > Margie Mackay EDITING > Din Heagney SCROLLING SCREEN TEXT SOFTWARE > Josh Batty PHOTO DOCUMENTATION > Loo Zihan, Marc Morel VISITING CORRESPONDENTS > Theron Schmidt > Felipe Cervera > Jacqueline Naismith >

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

CONTACT > [email protected] >

> > > > > > > > > > > > > performingmobilities.net > > > > > > > > > > > > >

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

151002_booklet_template_10.indd 3 6/10/2015 11:14:53 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > PERFORMING MOBILITIES is the Australian regional cluster contribution to PSi#21 Fluid States (www.fluidstates.org), a networked, year-long program initiated by Performance Studies international (PSi). Throughout 2015, fifteen regional performance gatherings are being staged in diverse global locations in order to rethink performance ideas and practices in terms of shifting geopolitical and sociopolitical realities.

> > PERFORMING MOBILITIES explores how contemporary life in Australia, the world’s largest island continent, is framed by borders whilst constantly being reconstructed through dynamic processes of mobility. The program seeks to creatively and critically explore forms, forces, dynamics, meanings and consequences of performing mobility. It proceeds through journey-based projects that manifest TRACES in gallery expositions, via PASSAGES of mobile performance, and into this ASSEMBLY symposium. Proposals were invited from artists, makers, writers and researchers for interdisciplinary creative projects and performances, temporary interventions, performative presentations and academic papers. The ASSEMBLY aims to bring together artistic research and critical reflection to investigate intersections of performance and mobility that are of Australasian regional relevance and global resonance.

151002_booklet_template_10.indd 4 6/10/2015 11:14:53 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> CONTENTS

> SCHEDULE > > > p 6 - 13

> MOVING AROUND >

> > > > > THE CITY > > > p 14

> > > > > VCA > > > p 15

> > > > > RMIT > > > p 16

> ASSEMBLY ABSTRACTS > > > p 17 - 79

> > > > > ADVICE TO PRESENTERS > > > p 80

> TRACES expositions > > > p 81 - 95

> PASSAGES mobile performances > > > p 96 - 110

> NOTES > > > p 111 - 115

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> > > > PERFORMING MOBILITIES ASSEMBLY > > > >

THURSDAY 8 Oct > MOBILE assembly

8.30-11.30am SETTING FOR RESETTING (1) > Helen Grogan RMIT Design Hub Level 10 longroom

8.45am Briefing for Artists Resident in Mobility RMIT Design Hub Level 10 Pavilion 4 RMIT DESIGN HUB Level 9.00-10.00am > assemble for REGISTRATION > INTERVENTIONS 10 longroom

9.00-10.00am PETITION > beta common RMIT DESIGN HUB Level 10 longroom

REPEATING SILENCE > Chris Braddock << PASSAGES >> RMIT DESIGN HUB Level 9.00-10.00am 10 longroom

10.30am- THE CITY + RMIT 12.30pm > disassemble for MOBILE PERFORMANCES GALLERY

10.30-11.30am NOW AGAIN > Shaun McLeod, Peter Fraser, Olivia Millard, Departing RMIT Gallery Sophia Cowen & Victor Renolds << PASSAGES >>

10.30-11.30am EVERY/NOWHERE > Serena Chalker RMIT Design Hub Lv 10 Pavillion 1

11.00am-12.00 iC2 Walk: the blind leading the sighted > Geoffrey Munck Departing RMIT Gallery & Din Heagney

11am-12.15pm WALK ON FALLOW LANDS #2 > Angela Kilfords << PASSAGES >> Departing RMIT Gallery

11am-12.15pm TECHNOPIA TOURS > Kim Donaldson << PASSAGES >> Departing RMIT Gallery

11am-12.30pm THE TOUR OF ALL TOURS > Bill Aitchison << PASSAGES >> Departing RMIT Gallery

11am-12.00pm PAN & ZOOM > Jondi Keane and Kaya Barry << TRACES >> at RMIT Gallery

Etihad Stadium tramstop D3 > near 11.00am-1.00pm CROSSINGS > Benjamin Cittadini, Ceri Hann, Fiona Hillary and Shanti intersection of Harbour Sumartojo << PASSAGES >> Esplanade & Bourke St > move to DOCKLANDS > VICTORIA HARBOUR PROMENADE (WHARF) > 12.00-12.30pm walk or catch the free City Circle Tram from Latrobe St or Flinders St to Harbour Esplanade. Get off at Etihad Stadium Stop D3

151002_booklet_template_10.indd 6 6/10/2015 11:14:54 AM > assemble for LUNCH ON VICTORIA HARBOUR PROMENADE END OF PROMENADE 12.30-1.15pm DOCKLANDS LIBRARY WHARF NEAR LIBRARY Victoria Harbour PORTABLE KOMUSO TEMPLE COMPOSITIONS > Brian Ritchie Promenade (wharf) 12.30-1.00pm and Stuart Tanner opposite Docklands << PASSAGES >> Library

12.45-1.15pm WELCOME MAT > Mark Harvey Docklands Library

1.15-4.15pm > assemble for PLENARY PRESENTATIONS DOCKLANDS LIBRARY PERFORMANCE SPACE

INTRODUCTION > Mick Douglas

1.15-2.00pm WELCOME TO COUNTRY > Aunty Joy Murphy

VESSELS FROM PSi#21 FLUID STATES CLUSTERS >

PLENARY PANEL PRESENTATIONS > Chair: Paul Rae

> FROM MOVEMENT TO MOBILITY: SUGGESTED ITINERARIES

Rachel Fensham: Dance, Sleeping and Surrender: Lost in Translation 2.00–3.30pm Dee Heddon: Walking Interconnections: Performing Conversations of Sustainability Fiona Wilkie: ‘What our mobility makes us’: Resisting, Registering and Making

PRESENTATION > Bruce Pascoe > 3.30-4.15pm Hunters and Gatherers or communist share croppers? An analysis of the real Aboriginal economy in 1778

4.30-6.00pm > disassemble for << COLLECTIVE PASSAGE >> DEPARTING DOCKLANDS

4.30-5.15pm BOAT > Victoria Harbour to Federation Square Assemble Victoria Harbour >

Assemble Birrarung 5.15–6.00pm WALK > Federation Square to Margaret Lawrence Gallery Marr Princes Bridge >

CROSSINGS > Benjamin Cittadini, Ceri Hann, Fiona Hillary intersection St Kilda 5.00-7.00pm and Shanti Sumartojo << PASSAGES >> Rd & Southbank Boulevard

> assemble for TRACES > EXPOSITIONS OPENING > Margaret Lawrence 6.00-7.30pm > PERFORMANCES Gallery VCA

BIT-U-MEN-AT-WORK > Julieanna Preston & Jen Archer-Martin environs around 6.30-9.30pm << PASSAGES >> Margaret Lawrence Gallery VCA

151002_booklet_template_10.indd 7 6/10/2015 11:14:54 AM > > > > PERFORMING MOBILITIES ASSEMBLY > > > > FRIDAY 9 Oct > RMIT assembly

RMIT Design Hub Level 1 9.00am-7pm SETTING FOR RESETTING (2) > Helen Grogan Multi-Purpose Room

9.00am-6pm SPANE: Theshold > Screening of Performance Art in the Natural RMIT Design Hub Level Environment > Tomas Jonsson 10 Longroom 9.00-9.30am > assemble for TEA & COFFEE RMIT DESIGN HUB lv 10

9.30-11.00am > disassemble for MOBILE PERFORMANCES > RMIT Design Hub > PAPER PRESENTATIONS

PAPERS 1 > THE AESTHETICS OF MOBILITY > Chair: Paul Rae

Chris Braddock: Layne Waerea as itinerant Female-Mãaori-Artist- Activist (of sorts) RMIT Design Hub 9.30-11.00am Level 3 Erin Brannigan: Mobile Strategies: Cage, Rauschenberg, Paxton and the ‘Body’ in Mid-Century Minimalism Lecture Theatre Ed Scheer: Stills in Fast Forward: Kris Verdonck’s Austerity Projections

9.30-11.00am Meet at Coburg (allow 40mins WALKING UPSTREAM: Wandering Edgars Creek Basketball Stadiums travel time > Brogan Bunt, Lucas Ihlein, Kim Williams with Karina Quinn 25 Outlook Road to/from city) Coburg North

RMIT Design Hub 9.30-11.00am DISC-COURSE: A silent creative practice research situation > Pflab Level 10 Pavilion 4

RMIT Design Hub Level 1 9.30-11.00am DARK TELEPHONY > Jason Maling & Robert Walton Multi-Purpose Room

RMIT Design Hub 9.30-11.00am UNFAMILIAR DESTINATIONS > Bree Hadley Level 10 Pavilion 1

9.30-11.00am JAMMING GRAVITY #2 (interactive) > Lian Loke, Frank Feltham RMIT Design Hub & Jodie McNeilly Level 10 Pavilion 2

11.00-11.30am > assemble for TEA & COFFEE RMIT DESIGN HUB lv 10

> disassemble for MOBILE PERFORMANCES > 11am-1.00pm > PAPER PRESENTATIONS > RMIT DESIGN HUB > GALLERY PRESENTATION

11.00am-1.00pm WALK ON FALLOW LANDS #2 > Angela Kilford << PASSAGES >> RMIT Gallery

PAPERS 2 > DELEGATIONS > Chair: Fiona Wilkie

Bill Aitchison: The Tour of All Tours RMIT Design Hub 11.30am-1.00pm Eddie Paterson: Collective Body Melbourne Level 10 Pavilion 1 Sarah Rodigari: Where is the Artist: Affective Labour in live Performance

<< TRACES >> Gallery Floor Talk > Chair: Mick Douglas

TAKE A LINE > David Thomas & Laurene Vaughan 11.30am-1.00pm INTO THE FIELD > Open Spatial Workshop RMIT Gallery ROBE/S > Punctum / Jude Anderson REPEATING SILENCE > Chris Braddock

11.30-1.00pm DARK TELEPHONY > Jason Maling & Robert Walton RMIT Design Hub Level 1 Multi-Purpose Room

11.30am-1.00pm JAMMING GRAVITY #2 (interactive) > RMIT Design Hub Lian Loke, Frank Feltham & Jodie McNeilly Level 10 Pavilion 2

RMIT Design Hub Level 11.30am-1.00pm DISC-COURSE: A silent creative practice research situation > Pflab 10 Pavilion 4 8

151002_booklet_template_10.indd 8 6/10/2015 11:14:55 AM

1.00-2.00pm > disassemble for LUNCH IN THE CITY Swanston St

1.00-2.00pm > PERFORMANCES RMIT GALLERY

PORTABLE KOMUSO TEMPLE COMPOSITIONS > Brian Ritchie Btwn RMIT Gallery & 1.00-2.00pm and Stuart Tanner Blg 8 << PASSAGES >>

1.00-2.00pm REPEATING SILENCE > Chris Braddock << PASSAGES >> RMIT Gallery

2.00-3.30pm > assemble for PAPER PRESENTATIONS RMIT DESIGN HUB

PAPERS 3 > MOBILITY AND THE INVISIBLE: PERFORMING (THE) UNSEEN IN THE PUBLIC SPHERE > Chair: Paul Gazzola

2.00-3.30pm Julie-Anne Long: Val, The Invisible: Walking Whilst Working and Other RMIT Design Hub Level Invisible Mobilities 10 Pavillion 1 Justine Shih Pearson: Unsteady Belongings: Failures to Mob Caroline Wake: Seeking Asylum, Staging Withdrawal

PAPERS 4 > WAYS OF KNOWING > Chair: Meredith Rogers

2.00-3.30pm Jock Gilbert and Campbell Drake: Interpretative Wonderings RMIT Design Hub Level Lynne Kent: Moving Screens: gateways between the material and 10 Pavillion 4 immaterial Geoffrey Munck: The Blind Teach the Sighted To See

RMIT Design Hub Level 3.30-4.00pm > PERFORMANCE > THE DESIGN PLOT > Shelley Lasica 10 Long Room

4.00-5.30pm > assemble for PLENARY ASSEMBLY > ROUNDTABLE RMIT DESIGN HUB Level 1 Multi-Purpose Room

THE LAST AVANT-GARDE?: Disability arts and (rethinking) mobility > 4.00-5.30pm RMIT Design Hub Level 1 Multi-Purpose Room Eddie Paterson, Bree Hadley, Janice Florence, Yumi Yumimare, Lachlan MacDowall

RMIT DESIGN HUB Lv 1 6.00-7.00pm > assemble for PERFORMATIVE LECTURES Multi-Purpose Room

RMIT Design Hub Level 1 6.00-.6.30pm THE ART OF FREE TRAVEL > Artist as Family Multi-Purpose Room

6.30-7.00pm MIGRANT MOBILITIES: CRUEL OPTIMISM AND THE CASE OF AJ D’CRUZ > RMIT Design Hub Level 1 Glenn D’Cruz > Multi-Purpose Room

7.00-8.45pm > ASSEMBLE FOR DINNER > by TAMIL FEASTS RMIT DESIGN HUB Lv 10 longroom

> disassemble for PERFORMANCE > > NOW AGAIN > Shaun McLeod, Peter Fraser, Meet RMIT GALLERY 9.00–10.00pm Olivia Millard, Sophia Cowen & Victor Renolds entrance << PASSAGES >>

151002_booklet_template_10.indd 9 6/10/2015 11:14:55 AM > > > > PERFORMING MOBILITIES ASSEMBLY > > > > SATURDAY 10 Oct > VCA assembly

12noon-5pm SETTING FOR RESETTING (3) > Helen Grogan Margaret Lawrence Gallery VCA foyer

Corner Dodds St & 7am–7pm MALAYSIA AUSTRALIA RAFT PROJECT (MARP) > Grant St ALL DAY PERFORMANCE > Anthony Pelchen & friends << PASSAGES >> (ACCA Forecourt) 9.00-9.30am > COFFEE & TEA AVAILABLE AT LIONELS Lionels in Grant St Theatre foyer

9.30–11.00 am > assemble for PAPER PRESENTATIONS VCA venues

PAPERS 5 > RESEARCH ON THE MOVE > Chair: Ed Sheer

Sarah Balkin: An Anecdotal Account of Transnational Performance 9.30-11.00am Scholarship Grant St Theatre Jazmin Llana: Journeys across the Philippine archipelago: Co- performative accounts of disaster and resilience Paul Rae: Watching Hamlet in the Pacific

PAPERS 6 > MOBILE DRAMATURGIES > Chair: James Oliver

9.30-11.00am Lyndal Jones: On Mobility and Context Federation Hall Bagryana Popov: Retracing steps: mobility and the debris of history Kim Sargent-Wishart: Cycles of dispersal and coherence

FEDERATION HALL 11–11.30am > assemble for SMOKO > Public Share collective FOYER 1 1.30am–1.00pm > assemble for PAPER PRESENTATIONS VCA venues

PAPERS 7 > IMMOBILISATIONS > Chair: David Cross

Bree Hadley: Performing Immobility / Protesting Immobility 11.30am-1.00pm Suzanne Little: Mobility, Immobility and 'The Disappearances Project' Grant St Theatre Felipe Cervera: In-mobility: on Limens, Free Falling, and Our Escape from Earth

PAPERS 8 > DISPOSESSION AND BELONGING>Chair: Mick Douglas

Mammad Aidani, Omid Movafagh, Mike Fard, Mohsen Panahi & Hoda Kazemi: Finding my City in Your City 11.30am-1.00pm Sally Sussman & Annemaree Dalziel: Forced Mobility within a Mobile Federation Hall Performance Structure: Australian Performance Exchange’s ‘Origin- Transit-Destination’

151002_booklet_template_10.indd 10 6/10/2015 11:14:55 AM 1.00pm > assemble to collect MOBILE LUNCH Lionels in Grant St Theatre foyer

1.00–2.00pm > disassemble for PERFORMANCES > INTERVENTIONS VCA area Corner Dodds St & 1.00-2.00pm PERFORMANCE > MALAYSIA AUSTRALIA RAFT PROJECT (MARP) > Grant St Anthony Pelchen & friends << PASSAGES >> (ACCA Forecourt)

1.00-2.00pm THINGS THAT MOVE . . . …(event 1) > Saskia Schut & Louisa King VCA Lionels courtyard

2.00–3.30pm > disassemble for PAPER PRESEANTIONS > VCA / Arts centre > GALLERY TALKS > INTERVENTIONS area

PAPERS 9 > MOBILE MATERIALS > Chair: Bianca Hester

Lara Stevens: Craftivism and the Menstrual Fluid States of Casey 2.00-3.30pm Jenkins Grant St Theatre Hartmut Veit: Mobility of Carbon Maaike Bleeker: Epistemologies of Cargo, Part 2

<< TRACES >> Gallery Floor Talk > Chair: Mick Douglas

WALKING UPSTREAM > Brogan Bunt, Lucas Ihlein & Kim Williams Margaret Lawrence 2.00-3.30pm HOUSE OF WISDOM > David Cross & Jem Noble Gallery VCA BIT-U-MEN AT WORK: A DESIRING MACHINE > Julieanna Preston & Jen Archer-Martin TOWN CROSSINGS > Paul Gazzola & Nadia Cusimano

PORTABLE KOMUSO TEMPLE COMPOSITIONS > Brian Ritchie 2.30-3.30pm and Stuart Tanner M-Pavilion << PASSAGES >>

Lionels in Grant St 3.30—4.00pm > COFFEE, TEA, SNACKS AVAILABLE AT LIONELS Theatre foyer

4.00–5.30pm > assemble for WORKSHOP > PAPER PRESENTATIONS VCA venues

PAPERS 10 > URBAN INTERVENTIONS > Chair: Laurene Vaughan

4.00-5.30pm Dorita Hannah: In Freedom's Name… Federation Hall Paolo Patelli: Critical Interventions in the Legible City Asher Warren: Roots and Leaves: Mobilising Community Gardens

4.00-5.30pm WORKSHOP > STORYTELLING FOR PERFORMANCE > Grant St Theatre > Ranters Theatre: Beth Buchanan & Raimondo Cortese

5.30–6.30pm > assemble for DRINKS > PERFORMANCES Lionels courtyard

VCA Flat (near Dodds 5.30-6.30pm LECTURE, THIS WAY > Zihan Loo St / Southbank Boulevard intersection)

FLUX AETERNUS > Gilbert Douglas and project participants 5.45-6.15pm Lionels lounge front of Grant Street Theatre

151002_booklet_template_10.indd 11 6/10/2015 11:14:56 AM

> > > > PERFORMING MOBILITIES ASSEMBLY > > > >

SUNDAY 11 Oct > RMIT assembly

RMIT Design Hub Lv 1 9.00am-5pm SETTING FOR RESETTING (4) > Helen Grogan Lift lobby 9.00-9.30am > assemble for TEA & COFFEE RMIT DESIGN HUB lv 10

9.30-11.00am > disassemble for PERFORMANCE INSTALLATIONS RMIT DESIGN HUB > PAPER PRESENTATIONS

PAPERS 11 > MOBILE TECHNOLOGIES > Chair: Maaike Bleeker

Sasha Grbich: Very Local Radio: amplifying ephemeral sound RMIT Design Hub Lv 1 9.30-11.00am communities Multipurpose Room Robert Walton: Performing Mobiles: Smartphones and Theatre Jondi Keane & Kaya Barry: Pan and Zoom

9.30-11.00am PLOTTING AND GLEANING A RESTLESS SITE > Kate Church RMIT Design Hub Lv 10 Pavillion 4

9.30-11.00am JAMMING GRAVITY #2 (interactive) > Lian Loke, Frank Feltham RMIT Design Hub Lv 10 & Jodie McNeilly Pavillion 2

9.30-11.00am THINGS THAT MOVE. . . …(event 2) > Saskia Schut & Louisa King Departing RMIT Gallery

11.00-11.30am > assemble for TEA & COFFEE RMIT DESIGN HUB lv 10

11am-1.00pm > disassemble for PERFORMANCE INSTALLATIONS RMIT DESIGN HUB > PAPER PRESENTATIONS PORTABLE KOMUSO TEMPLE COMPOSITIONS > Brian Ritchie 11am-12noon and Stuart Tanner M-Pavilion << PASSAGES >> PAPERS 12 > TRANSPORTS > Chair: Ed Sheer

11.30am-1.00pm Meredith Rogers: Take A Long Line RMIT Design Hub Lv 1 Elin Nicholson: Mobilizing Cultural Resistance: Palestinian Theatre Multipurpose Room Practices in Sites of Extreme Contention in the West Bank Peta Tait: Environmental Walking to Sensuous Performance (skype)

11.30am-1.00pm EVERY/NOWHERE > Serena Chalker RMIT Design Hub Lv 10 Pavillion 1

11.30am-1.00pm PLOTTING AND GLEANING A RESTLESS SITE > Kate Church RMIT Design Hub Lv 10 Pavillion 4

11.30am-1.00pm JAMMING GRAVITY #2 (PEFORMANCE) > RMIT Design Hub Lv 10 Lian Loke, Frank Feltham & Jodie McNeilly Pavillion 2

151002_booklet_template_10.indd 12 6/10/2015 11:14:56 AM 1.00pm > assemble for LUNCH RMIT DESIGN HUB Lv 10

> CLOSING PLENARY ASSEMBLY > PERFORMANCES > ROUNDTABLE > RMIT DESIGN HUB Lv 1 1.45-4.00pm CORRESPONDENTS PRESENTATIONS Multi-Purpose Room

PORTABLE KOMUSO TEMPLE COMPOSITIONS > Brian Ritchie 1.30-2.00pm and Stuart Tanner RMIT Design Hub Lv 1 << PASSAGES >> Multi-Purpose Room

RMIT Design Hub Lv 1 1.30-2.00pm REPEATING SILENCE > Chris Braddock << PASSAGES >> Multi-Purpose Room

PLENARY ROUNDTABLE RMIT Design Hub Lv 1 2.00-3.30pm > TRAVELLING ARTIST AS RESPONSIBLE TOURIST Multi-Purpose Room > chair: Fiona Wilkie > with invited artists panel

CLOSING COMMENTS > chair: Mick Douglas

3.30-4pm RMIT Design Hub Lv 1 VISITING AND LOCAL CORRESPONDENTS PRESENTATIONS > Multi-Purpose Room > Theron Schmidt > Felipe Cervera > Jacqueline Naismith >

4.00-4.30pm > CLOSING DRINKS RMIT DESIGN HUB lv 1

151002_booklet_template_10.indd 13 6/10/2015 11:14:56 AM > MOVING AROUND > > > > > > THE CITY > > >

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Locations 1 RMIT Gallery 2 Margaret Lawrence Gallery VCA 3 MPavilion Queen Victoria Gardens 6 opp. Arts Centre 4 Docklands Library Victoria Harbour Docklands 5 RMIT Design Hub 6 > A TRUE GARDEN > System Garden at the University 5 MALAYSIA AUSTRALIA RAFT PROJECT (MARP) > corner Dodds and Grant Sts 1

8 8 4 3 8 2

8 > CROSSINGS > > intersection Elizabeth & Flinders Sts > intersection Harbour Esplanade & Bourke Sts Docklands > intersection St Kilda Rd & Southbank Boulevard

151002_booklet_template_10.indd 14 6/10/2015 11:14:57 AM > MOVING AROUND > > > > > > VCA > > >

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

MPavilion

SOUTHBANK BOULEVARD

ST. KILDA ROAD DODDS STREET

Margaret Grant St Federation Lionels Lawrence Theatre Hall

GRANT STREET

ACCA Forecourt

151002_booklet_template_10.indd 15 6/10/2015 11:14:58 AM > MOVING AROUND > > > > > > RMIT > > >

RMIT Design Hub

VICTORIA STREET

FRANKLIN STREET

SWANSTON STREET

RMIT Gallery Pavilions Long LEVEL 10 1,2,3 & 4 Room ROOFTOP

LA TROBE ST

LEVEL 3 Lecture LIFT STREET Theatre ENTRANCE

Multi-purpose Room LEVEL 1

151002_booklet_template_10.indd 16 6/10/2015 11:14:58 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

THURSDAY - ASSEMBLY

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

151002_booklet_template_10.indd 17 6/10/2015 11:14:58 AM SETTING FOR RESETTING (installing gaps) Helen Grogan A sculptural overlay punctuating motion pathways built into the interiors of cultural institutions.

WHERE > environs between RMIT Gallery and Margaret Lawrence Gallery VCA WHEN > Thu, 08-10-2015 > Sun, 11-10-2015 > Thur 8 Oct 8.30–11.30am, RMIT Design Hub, Level 10 Longroom > Fri 9 Oct, 9.30am–7pm, RMIT Design Hub, Level 1, Multipurpose Room > Sat 10 Oct 12noon–5pm, Margaret Lawrence Gallery VCA, Foyer > Sun 11 Oct 9am-5pm, RMIT Design Hub, Level 1 Lift Lobby

untitled collage (SETTING for ACCA with gray card space)

Keywords: expanded choreography. space. architecture

SETTING FOR RESETTING (installing gaps) uses a process of sculptural overlay to investigate the performative forces already operating within built architecture. Up to 120 adjoining laminate flooring lengths are installed in temporary, reconfigurable constellations that overlay the interior spaces of public buildings. This procedure is a means for analysing, disclosing, and redistributing architectural scores for organising movement, attention and visibility within sites. The project can also be considered a sculptural choreography: a situation that prompts an attentiveness to the shifting relationship between oneself and one’s present surroundings.

For Performing Mobilities, SETTING FOR RESETTING (installing gaps) focuses on buildings designed for the presentation and exchange of art and knowledge. Manifesting over the symposium’s 4-day structure, the project shifts between multiple concurrent Performing Mobilities sites including Design Hub, RMIT University and Margaret Lawrence Gallery, Victorian College of the Arts.

SETTING FOR RESETTING (installing gaps) is informed by Performing Mobilities’ programme structure and developed in consultation with the Performing Mobilities Organising Team and curators.

>> http://www.performingmobilities.net/symposium/assembly_symposium/setting-for-resetting-installing-gaps/

151002_booklet_template_10.indd 18 6/10/2015 11:14:59 AM Petition beta common an alternative register, a record of language, an account of names.

WHERE > RMIT Design Hub, level 10, long room WHEN > Thu, 08-10-2015 TIME > 9:00 am DURATION > 1 hour

Keywords: Registration; Participation; Naming; Signatures

PETITION

an alternative register

a record of language, an account of names.

please sign

Petition is presented as a parallel registration at the opening of Assembly. For the registering participant, the invitation is to sign-in with a language of your choice and with an alternative name or word of your choice. This can be your own preferred name, another’s, or that of a place or thing, a knowing or unknowing.

The work provides the ink, pen and parchment.

You will receive a parchment gift in return, as a token of your participation.

logos can variously mean word, speech, account, discourse or reasoned argument, a plea, an expectation, one might add hope;

to be moved by words is an act of association, the language of ideas and experiences, of memories and bodies.

beta common, 2015

>> http://www.performingmobilities.net/symposium/assembly_symposium/petition/

151002_booklet_template_10.indd 19 6/10/2015 11:14:59 AM every/nowhere Serena Chalker Performance for an audience of 10 forging a path between identities, places and states of awareness

WHERE > RMIT Design Hub, level 10, pavilion 1 DURATION > 1 hour WHEN > Thursday 8 October 10.30am > Sunday 11 October 11.30am Limited to 10 audience per performance MORE > http://serenachalker.com/solo-works/everynowhere/

performance by Serena Chalker, Photo by Ludovic des Cognets

Keywords: dance, mapping, displacement, nomad, improvisation

every/nowhere is an immersive, improvised performance for an intimate audience of 10, presented in a white gallery space or studio which attempts to frame and present a narrative of in-between places: between here and elsewhere, past and present. Derived from the practices of mapping and walking, the performance blends improvisation, poetry, audio-described soundscore, and guided interactions. The work embraces displacement of the self and site, and examines the nomadic subject in the formulation of identity. The performance is an immersive experience for the audience, who are guided into the space one at a time at 2 minute intervals via an MP3 player that delivers a mixture of audio description, autobiographical reflections and guided participation which aims to destabilise the notion of space and time. The experience of the audience is unresolved; they encounter a performance already in progress, with no start and no end, an ongoing improvisation that incorporates the movements of other bodies in spaces.

every/nowhere attempts to weave an unstable narrative that has at its heart the question of what it means to create a sited”“ (rather than site-specific) work. Drawing from theories of space and place, mapping, displacement and nomadism, a central concern of the performance is the process of continual negotiation of self to surroundings, and the pull between the known and the unknown. The work creates a fluidity of spatio-temporal relations in order to draw greater attention to the productivity of the in-between. As the reflection of a personal narrative, every/nowhere embraces shifts in consciousness, and in particular an attention to these attentional shifts. Displacement is reformulated as an ongoing creative process, which recognises the continual fluctuation between past and present. The in-between place is therefore able to serve as a source of renewal, forging a path between identities, places and states of awareness.

>> http://www.performingmobilities.net/symposium/assembly_symposium/everynowhere/

151002_booklet_template_10.indd 20 6/10/2015 11:15:00 AM Welcome Mat Mark Harvey Performance Series.

WHERE > Docklands Library Performance Space WHEN > Thu, 08-10-2015 TIME > 1:00 pm DURATION > 1/2 hour

Mark Harvey (2015), ‘Group Climate’ (performance), Gallery Laznia, Poland, The Maldives Exodus Caravan Show (Exhibition, Curated by Soren Dahlgaard).

Keywords: performance, climate, endurance, conversations

Welcome Mat will be a series of four situated performance events conceived performed by Mark Harvey reflecting on the spectator/performer climate, climate change, and bodily movements. The actions will be situated at transitory points at different times throughout the symposium. The artist will perform physical actions that at times invoke notions of physical endurance, with guided conversations inviting participation from spectators as they travel between spaces.

The series of actions will be responding to Harvey’s ongoing concerns with spectator engagement, falling/failing, reviving/rescuing, thresholds of agreement, climate change discourse, notions of mobility/movement, and physical endurance/heroics. Amongst a range of other concepts embedded within this project are his responses to notions of productive idiocy (for instance in relation to Freidrich Nietzsche, 2001), visual arts public situational and participatory discourses (such as Miwon Kwon, 2004; Claire Bishop, 2012; and Grant Kester, 2012), and a nod to current debates around climate change action/inaction.

The actions take as long as they are required to engage with all spectators in each site.

>> http://www.performingmobilities.net/symposium/assembly_symposium/welcome-mat/

151002_booklet_template_10.indd 21 6/10/2015 11:15:00 AM Dance, Sleeping and Surrender: Lost in Translation Rachel Fensham A presentation discussing the non-translatable in relation to choreographic practice.

WHERE > Docklands Library Performance Space WHEN > Thu, 08-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

Keywords: dance, sleep, translation

Most forms of translation, according to Gayatri Spivak, depend upon the idea that any text can be rendered in any other language, particularly where there seems to be a reasonable or moral imperative to do so. Much contemporary dance, however, confounds this proposition. Choreographic works will animate physical states, even fluid states, that do not easily translate into other languages, forms or bodies, in spite of the claims from objective research or symbolic interpretation.

In recent writings, I’ve been thinking about how sleeping and dancing are non-translatable. The time-lapse photographs of German artist Paul Schneggenburger, for instance, depict the unique and blurred movements of sleeping couples, with commentators describing these entwined limbs and torsos as a form of dancing without knowing (Caridad, 2013). For the attentive observer, this abstract gesturing produces a critical awareness of the estranged multiplicity of sleeping as a solitary, yet also intensely active, corporeal condition of the contemporary subject. On this topic, Lucy Guerin’s 1998 work Heavy playfully examined the resistance of sleeping to the scientific study of corporeal experience, while other more recent pieces, such as Chunky Move’s 2015 Depth of Field, or Guerin’s 2012 Conversation Piece, provide other challenges to translation of the contemporary. In his recent book 24/7, on ‘late capitalism and the ends of sleep’, Jonathan Crary has argued that sleeping is the last refuge of the individual in an era of networked and commodified experience. This paper will invite consideration of some of these ideas in relation to choreographic practice.

>> http://www.performingmobilities.net/symposium/assembly_symposium/dance-sleeping-and-surrender-lost-in-trans lation/

151002_booklet_template_10.indd 22 6/10/2015 11:15:00 AM Walking Interconnections: Performing conversations of sustainability Deirdre Heddon A summary of a recent research project exploring disability, sustainability and resilience.

WHERE > Docklands Library Performance Space WHEN > Thu, 08-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

Walking Interconnections

Keywords: Disability, walking, sustainability, resilience

Walking Interconnections: Performing Conversations of Sustainability

Walking Interconnections is a research project that recognises and responds to the fact that disabled people’s voices have been largely absent from the sustainability debate. Representing one-fifth of the world’s population, disabled people have unique contributions, often overlooked, to help build resilient societies and communities. Setting as its foundational tenet the fact that disability does not mean inability, Walking Interconnections uses ‘walking with’ as a way to identify and make visible the everyday, embodied knowledges of disabled people – their habitual experiences of their environments and their persistent enactments of resilience within these.

In this short paper, Dee Heddon shares some of the findings from the project, revealing frequent performances of preparation, creativity, persistence and, especially significant to the context of environmental sustainability, interdependency.

>> http://www.performingmobilities.net/symposium/assembly_symposium/walking-interconnections-performing-conver sations-of-sustainability/

151002_booklet_template_10.indd 23 6/10/2015 11:15:01 AM ‘What our mobility makes us’: resisting, registering and making passage through performance Fiona Wilkie Means of shaping experiences of transit and making passage.

WHERE > Docklands Library Performance Space WHEN > Thu, 08-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

Keywords: transport, mobile practice, performance

This paper begins by noting performance works that offer a critique of pervasive global mobilities. One example, Phil Smith’s In Search of Pontiflunk (2008), is a theatre project based on two walks: engineer Charles Hurst’s early-twentieth-century meander through the English midlands, planting acorns as he went, and Smith’s own journey along the same route a hundred years later. For Smith, as for many walking artists, his project is conceived absolutely in defiance of other modes of transport: he describes his quest as ‘two weeks of meditating on walking, on cars, on what our mobility makes us, on how transport no longer moves us, but misplaces us’. To walk, in this version, is to resist what Rebecca Solnit has referred to as the ‘postindustrial, postmodern loss of space, time and embodiment’ perpetuated in part through transport systems.

But transport need not always misplace us, and performance might do other than resist its momentum. The main section of this paper, then, considers works that engage with transport in order to harness its various possibilities.

I will discuss the intervention into railway travel staged in Don’t Fret by These Horses at the Five-Second Theatre (2005), Kutluğ Ataman’s mobilisation of a riverboat along the Danube in Küba: Journey Against the Current (2006), the collective shaping of a yacht from donated wood in Lone Twin’s The Boat Project (2012), and Marc Rees’s creation of a community venue out of a disused aeroplane fuselage in Adain Avion (2012).

Performance might usefully, I suggest, work against the design philosophy embedded in transit architecture that encourages the subject to ‘flow through the terminal, always on the way to some other destination, and simply passing through without registering passage’ (Pascoe 2001). In this approach, spectators are encouraged to register their passage not as uninterrupted flow but as a complex activity,

>> http://www.performingmobilities.net/symposium/assembly_symposium/what-our-mobility-makes-us-resisting-regis tering-and-making-passage-through-performance/

151002_booklet_template_10.indd 24 6/10/2015 11:15:01 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

FRIDAY - ASSEMBLY

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151002_booklet_template_10.indd 25 6/10/2015 11:15:01 AM SPANE: Threshold Tomas Jonsson Screening of Performance Art in the Natural Environment

WHERE > RMIT Design Hub, level 10, long room WHEN > Fri, 09-10-2015 9 am to 6 pm

Private Perimeter

Keywords: Performance art, nature

The Screening of Performance Art in the Natural Environment (SPANE) is a series founded by Johannes Zits (Toronto), featuring a diverse mix of performance-based videos in which artists interact with uncultivated or rural surroundings. The works in this fourth iteration of SPANE: ‘Threshold’, draws reference to Hannah Arendt’s notion of the ‘overwhelming elementary force’ of nature and the desire/need of humans to be estranged from such a power. The works in this screening present performative acts that push and destabilize the borders of this estrangement.

Please Feed the Animals, 2012 Stefan St. Laurent 8:26

Crab Park Performance, 2011, Robin Brass 9:37

Float, 2013 Jake Klein-Waller 3:34

Private Perimeter, 2013 Rebecca Belmore 22:50

Mutopia 7: Coal Mound, 2012 4:21

Gravitational Pull of My Head, 2011 Didier Morelli 7:03

Tuck, 2012 D’arcy Wilson (Halifax) 14:29

Dancing with Dad 2008 Jaan Toomik (Tallinn) 3:49

>> http://www.performingmobilities.net/symposium/assembly_symposium/spane-threshold/

151002_booklet_template_10.indd 26 6/10/2015 11:15:01 AM Layne Waerea as Itinerant Female-Maori-Artist-Activist (of sorts) Chris Braddock Mobile public gestures escape categorisation and challenge ideas.

WHERE > RMIT Design Hub, level 3, lecture theatre WHEN > Fri, 09-10-2015 TIME > 9:30 am DURATION > 1.5 hours

MORE > www.christopherbraddock.com

Layne Waerea (2012) Maori Lane. Performance still, Auckland.

Keywords: itinerant, indigenous, inscrutable, power

This paper discusses the itinerant art practice of Auckland-based Layne Waerea. As Mãori lawyer turned performance artist, Waerea’s mobile public gestures escape clear categorisation; they are temporal and inscrutable. She will mow grass berms in the middle-class Auckland suburbs of Remuera and Orakei, advertise ‘free’ water on Queen Street, sell free air and create new Maori bus lanes. Her ‘injunctions’ (as she calls them) challenge ideas of artistic, legal and social discipline: Is she a council worker, is it street protest, Mãori subversion, performance art, legal protest, and so on?

Waerea’s mobile gestures in the public sphere might never gain or retain legitimacy. We cannot answer with any exactitude how they might return to the cultural archive. In a similar way, the ephemeral nature of performance art has often posed a similar dilemma to the disciplinary strictures of art and its collection as archive.

I argue that this mobile and peripatetic performance work creates tensions of global relevance to do with the rights of indigenous groups and the role of art practice in the not-so-classifiable arena of the public social sphere. I will resurrect some slightly forgotten theories of Australian academic Michael Carter, and his exploration of the codes of ‘public’ and ‘private’ circulation (public-public, public-private, private-public and private-private). For Carter, the Victorian male’s mobile circulation through and across cultural boundaries of the home, club, office and brothel, lent him itinerant power. Accordingly, a question of the power of performance (as performative action and utterance) is foremost as I critically engage with Layne Waerea as itinerant female-Mãori-artist-activist (of sorts).

>> http://www.performingmobilities.net/symposium/assembly_symposium/layne-waerea-as-itinerant-female-maori-ar tist-activist-of-sorts/

151002_booklet_template_10.indd 27 6/10/2015 11:15:01 AM Mobile Strategies: Cage, Rauschenberg, Paxton and the ‘Body’ in mid-century Minimalism. Erin Brannigan This paper focuses on the body as the ‘invisible heart’ of Minimalism.

WHERE > RMIT Design Hub, level 3, lecture theatre WHEN > Fri, 09-10-2015 TIME > 9:30 am DURATION > 1.5 hours

Keywords: minimalism, composition, dance, Cage, Rauschenberg

Cage’s 4’33’’ (1952), Rauschenberg’s White Paintings (1951), and Steve Paxton’s Small Dance (1967?) could perhaps be a trilogy of works representing the Minimalist limit-point of music, art and dance in 20th century American modernism.

These three works and their artists are brought together here to represent both this culmination of reductive aesthetic strategies, and the historical moment at which art turns inside-out and lands, squarely, in the bodies of artists and their audiences. If ‘there is no such thing as silence’ for Cage, ‘a canvas is never blank’ for Rauschenberg, and later ‘a dancer is never still’ for Paxton, it seems that the end-point of Minimalist reduction is the body as it is experienced.

This paper focuses on the body as the ‘invisible heart’ of Minimalism. In doing so, it critiques Minimalist sculpture as the origins of ‘post-modernist’ contemporary dance, asserting pre-existing dance knowledges as circulating trans-disciplinarily, and being crucial to the emergence of certain radical aesthetic strategies in sculpture, music and art. This provides an alternative aesthetic genealogy for experimental dance since Judson Dance Theater, and repositions dance within the creative milieu of mid-century America.

>> http://www.performingmobilities.net/symposium/assembly_symposium/mobile-strategies-cage-rauschenberg-paxt on-and-the-body-in-mid-century-minimalism/

151002_booklet_template_10.indd 28 6/10/2015 11:15:01 AM Stills in Fast Forward: Kris Verdonck’s austerity projections Ed Scheer This paper looks at recent projection works of Kris Verdonck in terms of his framing of immobility.

WHERE > RMIT Design Hub, level 3, lecture theatre WHEN > Fri, 09-10-2015 TIME > 9:30 am DURATION > 1.5 hour

Keywords: Stills, Greece, projection, stasis, austerity

Announcement: We would like to inform you that the Onassis Cultural Centre was obliged to stop the projection of the work by Kris Verdonck entitled ‘Stills’ on the corner of Parnassou and Paparigopoulou Streets (Klafthmonos Square) due to complaints lodged with the police regarding the work’s artistic content.

Athens May 2015 – (http://www.sgt.gr/en/programme/event/1862)

This paper looks at recent projection works of Kris Verdonck in terms of his framing of immobility in his work entitled Stills made for the Fast Forward festival in Athens. This concept operates at various levels in the work and addresses, among other topics, the limited movement of Greek political actors in the European economic context. This work is contrasted to Verdonck’s framing of the concept of mobility of non-human actors in works such as Actor#1.

>> http://www.performingmobilities.net/symposium/assembly_symposium/stills-in-fast-forward-kris-verdoncks-aust erity-projections/

151002_booklet_template_10.indd 29 6/10/2015 11:15:02 AM Walking Upstream: Wandering Edgars Creek Brogan Bunt & Lucas Ihlein & Kim Williams A wander up Edgars Creek in Coburg North with Karina Quinn.

WHERE > Meet at Coburg Basketball Stadiums 25 Outlook Road Coburg North WHEN > Fri, 09-10-2015 TIME > 9:30 am DURATION > 1.5 hours > Maximum number of participants: 8 > Participation is free, bookings required > Allow 40 min travel time to/from city Our local host Karina Quinn is a researcher, writer, and award- winning poet whose work lies at the nexus of feminist and queer theories of the body, autobiography, and philosophy. She is published nationally and internationally, and her first book, all the beginnings: a queer autobiography of the body is due to be released in November 2015. She is currently concerned with writing the body in place, and finds herself wandering along the creeks near her home, where she thinks and writes about the ways that stories lay themselves down in land, the inconsistent nature of time, and the vagaries of wayfinding. BOOKING > by emailing: [email protected]

MORE > http://walking-upstream.net

Keywords: walking, waterways, land-use

The visiting WOTI (Waterways of the Illawarra) team from NSW will be hosted by creek enthusiast Karina Quinn for a meander up her local waterway. You are invited to join us on this exploration of a slender riparian corridor, as we wend our way through diverse land-uses including residential suburbs, recreational amenities and industrial facilities. Wandering Edgars Creek is also a way of inaugurating the International Creek Walking Network (ICWaN), which promotes perambulation as a practice of inhabiting these oft-contested waterways.

Walking Upstream is a collaboration between Brogan Bunt, Kim Williams and Lucas Ihlein, all artists and walkers living near Wollongong NSW. Our current project is Waterways of the Illawarra (WOTI) – an ongoing series of creek walks in the region surrounding Wollongong between the Tasman Sea and the Illawarra Escarpment.

>> http://www.performingmobilities.net/symposium/assembly_symposium/walking-upstream-wandering-edgars-creek/

151002_booklet_template_10.indd 30 6/10/2015 11:15:02 AM Disc-Course Pflab A silent, creative practice research situation

WHERE > RMIT Design Hub, level 10, pavilion 4 WHEN > Fri, 09-10-2015 DURATION > ongoing > 9.30am-1pm

Keywords: Coffee, Ancestors, Discs, Cult, Occult

No need to speak. An embodied, emergent situation is in flux. A silent seminar. Welcome. Creative practice researchers gathering. Limited scholarships at the door. Enter a pavilion on a building roof. Make a shelter precarious and weak and exposing. A hearth for uncertainty.

An affect.

A condition for creative research process at its most ill-formed. A shelter where anything, everything, nothing is possible. A boat. A gesture. All these circles. Discs. Discourses. Solids. Sound waves. The research is in the pavilion, sorry, it has left the pavilion.

If nothing is happening, what is happening? Night dances. Anything? Try it on. Trust. What? My organs? Your muscles? My ancestors? Your sources? Bring your research with you, or leave it outside, or give it away. Are you feeling for research questions? Relax doesn’t mean collapse. Suspension of disbelief? Pre- critique? Research community as cult. Sorry, occult.

Really? Oh that world cafe thing, the coffee breaks being more fruitful exchange than the formal sessions.

Tim calls it ‘togethering’. Some context please. Make it up as you go, poesis, you know. How does a peer group come into being? People make it but what affords it? How to touch differences? How to be a part of it without being ‘in’ it? Who is this? I, We, You, Me, Us, Them? Yeah, reflexive about it. (But isn’t that getting a little tired?) Does she believe that?

Kindly transmit the new knowledge. Dead wood. Thorns. Rain. A large ball of string. Feel it? Get it? Critique it? Get a job out of it? What, micro-performing movements of people amongst the arts and the academy? Give it time (like there’s no tomorrow). A thread to navigate.

Ok, picking on things. (Mmmm, picking it up?)

>> http://www.performingmobilities.net/symposium/assembly_symposium/disc-course/

151002_booklet_template_10.indd 31 6/10/2015 11:15:02 AM Dark Telephony Robert Walton & Jason Maling A responsive, time-based, narrative experience that moves across media, bodies and technologies.

WHERE > RMIT Design Hub, level 1, foyer outside multipurpose room WHEN > Fri, 09-10-2015 DURATION > 1.5 hours TIMES > 9.30am > 11.30am

MORE > robertwalton.net/?portfolio=in-your-hands

Keywords: telephony, call centre, mobile technology

Throughout 2015, Robert Walton and Jason Maling are developing a responsive, time-based, narrative experience that moves across media, bodies and technologies, between public and private spaces.

Dark Telephony is controlled by call-centre technology, and will be mediated by an interactive telephone system via individual mobile devices, social media and its human avatars. In this iteration the Dark Telephony system will manifest a live performance for a small group of participants. Part call-centre horror story, part spectral encounter with oneself, the work exploits the uneasy relationship we have with automated disembodied telephone systems. It plays on that vague sense that our mundane communications are not all they seem, and an all-pervasive and non locatable ‘other’ might actually be tracking and directing our movements. Participants will literally ring in to be wrung out.

We propose a performative presentation in which 8 or 16 symposium participants are invited to take part in a live trial of the work.

Dark Telephony is an iteration of Walton and Maling’s three year collaboration with Arts House Melbourne through an In Your Hands commission, which is funded by the Australia Council’s Digital Theatre Fund.

TECHNICAL REQUIREMENTS: Participants will need to register their interest prior to the performance and supply their mobile numbers. Participants are also required to attend the event with their mobile phones switched on.

>> http://www.performingmobilities.net/symposium/assembly_symposium/dark-telephony/

151002_booklet_template_10.indd 32 6/10/2015 11:15:03 AM Unfamiliar Destinations Bree Hadley A performance score/workshop about moving along paths different to our habitual ones.

WHERE > RMIT Design Hub, level 10, pavilion 1 WHEN > Fri, 09-10-2015 TIME > 9:30 am DURATION > 1.5 hours

Keywords: destinations, friendships, anxiety, journeys

Unfamiliar Destinations is the middle of a series of three performance scores/workshops – Unfamiliar Friendships, about meeting people different to us, Unfamiliar Destinations, about moving along paths different to our habitual ones, and Unfamiliar Feelings, about relating, living and loving in ways different to our own habitual ones – that aim to investigate the anxiety provoked by meeting new people, taking new paths, or trying new things.

In Unfamiliar Destinations, a workshop process, with a participant group in a space with realia/symbolic resources, provides a mixed group with an opportunity to improvise textual, visual and/or movement responses to the idea of a difficult journey, and find different paths to overcome difficulty in a journey. Operating metonymically, the workshop process allows a single small-scale incident or episode to stand in for a much wider range of difficult journeys, for a wide range of different individuals, with different identity positions, and different barriers to mobility. The score has previously been presented at Disability/Culture: New Grounds 2015 practice-led research symposium, University of Michigan.

>> http://www.performingmobilities.net/symposium/assembly_symposium/unfamiliar-destinations/

151002_booklet_template_10.indd 33 6/10/2015 11:15:03 AM Jamming Gravity #2 Lian Loke, Frank Feltham and Jodie McNielly Performance installation for two people to explore balance through a movement to sound jam.

WHERE > RMIT Design Hub, level 10, pavilion 2 > Fri 9 Oct (two interactive sessions) 9.30–11am & 11.30am–1pm > Sun 11 Oct (morning interactive session) 9.30–11am > Sun 11 Oct (full performance) 11.30–1pm

Interstellar Movematicians on Jamming Gravity #1, Seymour Centre 2015

Keywords: balance, movement, somatics, sound

When we stand or walk, our bodies constantly cheat gravity to remain upright. The gravitational pull on our bodies can take us off-centre – it is this off-balance moment we seek to amplify and reframe as a creative act.

The Jamming Gravity series builds on earlier work into creative agency through a focus on the aesthetic and somatic capacities for bodily self-awareness of balance. This installation is part of a research project investigating the relationship between somatics and sound through physical interaction on pressure-sensitive, sound-generating surfaces.

Jamming Gravity is designed for two players to explore how their relationship to gravity through moving can create moments of connection or dissonance, in a game-like ‘movement to sound jam’. Subtle shifts in weight or micro-movements are amplified through sound. Visitors are free to play with the installation. A performance by the Interstellar Movematicians will take place on the final day.

>> http://www.performingmobilities.net/symposium/assembly_symposium/jamming-gravity-2/

151002_booklet_template_10.indd 34 6/10/2015 11:15:03 AM The Tour of All Tours (presentation) Bill Aitchison An overview of the Tour of All Tours, its principles, delivery and reception in Europe and Asia.

WHERE > RMIT Design Hub, level 10, pavilion 1 WHEN > Fri, 09-10-2015 TIME > 11:30 am DURATION > 1.5 hours MORE > http://www.billaitchison.co.uk/billaitchison/The_Tour_of_All _Tours.html

Keywords: tour, tourism, tourist gaze

This presentation gives an overview of the performance project The Tour of All Tours, outlining some of the principles underlying it, and then looking at how it has been given and received in different locations in Europe and Asia. In contrast to the tourism industry that frames the tourist as a mobile consumer, I will explain how I take a broad idea of the tourist that includes artists, academics and workers who often travel for different reasons – often more similar than different to tourists in important ways. I will also mention how tourist aesthetics have increasingly permeated mainstream cultures to the extent that people are liable to adopt a tourist gaze without even travelling at all. As well as taking an extended view of who tourists are and what they do, I will also broaden the idea of what a tour is, so that I may consider it as a performance structure rather than a tourist industry product; in this way bringing in such things as political marches, pilgrimages and artist’s projects.

With this broad definition that stresses connections more than differences, I will look at the project and highlight the issue of mobility. As the project is a guided tour of guided tours, it necessarily deals with mobility and does so in two obvious way: it considers both the mobility of tourists and the mobility of tour formats, that is to say what and how visitors project onto locations, and how in turn the location makes itself know to visitors.

I will then consider the mobility of the project itself. I will compare and contrast the creation and reception of The Tour of All Tours in different locations, including Melbourne. I will attempt to show how, in choosing to spotlight the interaction of host and visitor as a site of performance,

>> http://www.performingmobilities.net/symposium/assembly_symposium/the-tour-of-all-tours-presentation/

151002_booklet_template_10.indd 35 6/10/2015 11:15:03 AM Collective Body Melbourne Eddie Paterson Community, diversity and mobility in Rimini Protokoll's '100% Melbourne' and rawcus' 'Catalogue'.

WHERE > RMIT Design Hub, level 10, pavilion 1 WHEN > Fri, 09-10-2015 TIME > 11:30 am DURATION > 1.5 hours

Keywords: Performance, Community, Scriptwriting

Emancipation begins when we challenge the opposition between viewing and acting; when we understand that the self-evident facts that structure the relations between saying, seeing and doing themselves belong to the structure of domination and subjection (Rancière 2011:13).

For Rancière, ‘emancipation’ refers to the ‘blurring of the boundary between those who act and those who look; between individuals and members of a collective body’ (2011:19). This paper will explore the notion of the emancipatory collective body and Chantal Mouffe’s notion of agonistics (2013) through a contrasting analysis of two models of performance making and scripting: 100% Melbourne, part of the so-called ‘Reality Trend’ theatre of German-based collective Rimini Protokoll and their ongoing 100% series (2008-); and Melbourne performance ensemble rawcus’ recent work Catalogue (2015).

The 100% series – Berlin (2008), Vienna (2010), Karlsruhe, Cologne (2011), Melbourne, Braunschweig, London, Zurich (2012), Cork, Dresden (2013) – draws directly on specific city-sites in the West, often commissioned by city councils, composed of statistical data, and performed by non-actor members of the community. I analyse the Melbourne iteration of this distributed and mobile performance model against the collaborative devising practices of rawcus, an ensemble of performers with and without disability. Both these models are significant for their focus on ideas of community and diversity, communitarian engagement and active participation. Yet these performances also reveal very different notions of how collaboration, mobility and diversity might intersect with the making of performance and the restructuring of relations between saying, seeing and doing.

>> http://www.performingmobilities.net/symposium/assembly_symposium/collective-body-melbourne/

151002_booklet_template_10.indd 36 6/10/2015 11:15:03 AM Where is the Artist: Affective Labour in Live Performance Sarah Rodigari A paper on affective labour in contemporary art practice and global presentation.

WHERE > RMIT Design Hub, level 10, pavilion 1 WHEN > Fri, 09-10-2015 TIME > 11:30 am DURATION > 1.5 hours

Keywords: performance, contemporary art, affective labour,

Since the advent of the solo performance artist in the 1970s, the notion of performance has continued to evolve beyond the use of the artist’s own body as the sole medium. The body as gesture has come to play an increasing role in audience activation, through which the relationship between artist and viewer has grown increasingly complex. When an artist is no longer the central agent of their own work, but operates through a range of individuals, communities and surrogatese, questions of authorship, instrumentality, ethics, labour and representation come to the fore.

In 2014, Arts House in Melbourne presented their first sustainable performance programme Going Nowhere. The event explored how artists, communities and audiences can sustainably generate international creative experiences without getting on a plane. Based in Sydney, and working with London artist Joshua Sofaer between 2012 and 2014, the performance Reach Out Touch Faith was developed for this programme. Considering Australia’s tyranny of distance and cultural fear of missing out, Reach Out Touch Faith addresses the presence of the live body in performance and its relationship to audience – how do you create a work without travelling when the artist’s presence is supposedly so crucial to the live art?

Through the writings of Shannon Jackson, Dorothea Von Hantelmann and a close reading of Reach Out Touch Faith and Going Nowhere, this paper considers the complexity of outsourcing authenticity in the expanded field performance.

>> http://www.performingmobilities.net/symposium/assembly_symposium/where-is-the-artist-affective-labour-in-live -performance/

151002_booklet_template_10.indd 37 6/10/2015 11:15:04 AM Val, The Invisible: Walking Whilst Working and Other Invisible Mobilities Julie-Anne Long Interrogates the labour and mobility of an invisible female body through a durational performance.

WHERE > RMIT Design Hub, level 10, pavilion 1 WHEN > Fri, 09-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

Keywords: Invisibility, public spaces, body, performance

Throughout March/April 2012, Julie-Anne Long undertook a durational performance intervention Val, The Invisible in the public spaces of Sydney’s Museum of Contemporary Art. Quietly traversing the floor and subversively circulating throughout the building in a mode of walking/cleaning, the performance interrogated the multiple strata of visibility in operation within public spaces, specifically considering those that are occupied by low paid female workers. Since the 1960s the intersection between movement and visual art has often been explored through a discourse on the subjective, the everyday, and the private body made public. In her paper Val, The Invisible: Walking Whilst Working and Other Invisible Mobilities, Long extends these lines of enquiry to explore the labour and mobility of the body as part of the production of work.

>> http://www.performingmobilities.net/symposium/assembly_symposium/val-the-invisible-walking-whilst-working-and -other-invisible-mobilities/

151002_booklet_template_10.indd 38 6/10/2015 11:15:04 AM Unsteady Belongings: Failures to Mob Justine Shih Pearson An exploration of 'unsteady' cultural belonging.

WHERE > RMIT Design Hub, level 10, pavilion 1 WHEN > Fri, 09-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

Keywords: public space, dance, cultural belonging

In ‘Unsteady Belongings: Failures to Mob‘, Justine Shih Pearson presents a number of scenes – including from choreographer Jane McKernan’s Opening and Closing Ceremony, and a flash mob that failed to either ‘flash’ or ‘mob’– to think through occasions of cultural belonging that are partial, incomplete or not quite achieved, under a rubric of ‘unsteady’ belonging. Revisiting Benedict Anderson’s (1983) assertion that nation and nationality are the work of an ‘imagined community’, she reflects on what corporeal mobilisations and moves of the imagination these performances offer us, especially in this renewed age of ‘Team Australia’.

>> http://www.performingmobilities.net/symposium/assembly_symposium/unsteady-belongings-failures-to-mob/

151002_booklet_template_10.indd 39 6/10/2015 11:15:04 AM Seeking Asylum, Staging Withdrawal Caroline Wake Assembly paper.

WHERE > RMIT Design Hub, level 10, pavilion 1 WHEN > Fri, 09-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

Keywords: performance, politics, migration, boycott

Over the past four decades, five waves of so-called ‘boat people’ have arrived on Australia’s shores, seeking refuge and protection. This paper compares and contrasts the artistic responses to the two most recent waves in 1999-2001 and 2009-13. More specifically, it seeks to understand why the response to the fifth wave has been so subdued, when the response to the fourth was so voluble. What has changed in the intervening years and why? This paper speculates on the rise of social media, the government’s own startling appropriation of fourth-wave aesthetics, as well as the feelings of failure and fatigue that are widespread in the artistic and activist communities. It concludes by reading the recent boycott of the Sydney Biennale as a staging of this withdrawal from/as witnessing.

>> http://www.performingmobilities.net/symposium/assembly_symposium/seeking-asylum-staging-withdrawal/

151002_booklet_template_10.indd 40 6/10/2015 11:15:04 AM Interpretive Wonderings Campbell Drake & Jock Gilbert Mapping responses to local Indigenous stories, spatial narratives, & sites of cultural significance.

WHERE > RMIT Design Hub, level 10, pavilion 4 WHEN > Fri, 09-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

Keywords: mapping, critical, knowledge exchange, culture

Exploring spatial aspects of intercultural transdisciplinary arts practices, this presentation is centred upon a mapping workshop that took place at Culpra Station; an 8000 hectare property in rural NSW, bounded by both a national park and the Murray River. The property is home to a number of significant cultural heritage sites including Aboriginal burials, hearths, middens, scarred trees, fish trap, an ochre quarry as well pastoral relics including stockyards, a homestead and nascent irrigation landforms. A selection of thirty Indigenous and non-indigenous participants were invited to the station to produce interpretive mappings through which to explore multivalent understandings of country.

Located within the field of critical spatial practice, the presentation of this research builds upon a body of critical cartographic work that sees mapping as ‘performative, participatory and political’. ‘Transgressing the limits of art and architecture to engage with both the social and the aesthetic’ participants were asked to map material and immaterial qualities of country. Responding to local Indigenous stories, spatial narratives and sites of cultural and environmental significance, maps were produced through a series of journeys and conversations using digital, analog and performance based media. Focusing on exchanges of knowledge through intercultural and transdisciplinary creative practice, the outcome of the workshop is a collection of mapping artefacts in a range of media including recordings, collections, performance, video, composition, assemblages, writing, drawings, construction and photography.

Through the processes of production inherent in these mappings, the research ambition is to provide new understandings of Indigenous and non-Indigenous spatial sensibilities, drawing out and on the tensions inherent between ways of knowing in the cultural and disciplinary domains gathered in the workshop. This presentation seeks to explore these processes and some of the artefacts themselves, opening them up to a

>> http://www.performingmobilities.net/symposium/assembly_symposium/interpretive-wonderings/

151002_booklet_template_10.indd 41 6/10/2015 11:15:04 AM Moving Screens: gateways between the material and immaterial Lynne Kent This paper will highlight the possibilities of working with moving screens and mobile audiences.

WHERE > RMIT Design Hub, level 10, pavilion 4 WHEN > Fri, 09-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

MORE > www.lynnekentvisualtheatre.com

Keywords: puppeteer, screen-based, creative practice

The shadow theatre, and its use of dynamic screens and/or mobile audience, has much to offer intermedial performance today. The idea of the shadow theatre as the primitive predecessor to modern media can hinder the perception that the shadow theatre can be useful in providing a new ontology of working with the screen on stage. It could be that through the remediation of the shadow theatre, new media performance may be once again reconfigured and a new materiality of performance may be found. This paper will discuss screen practices of the past in order to highlight the possibilities of working with mobile audiences and moving screens in contemporary performance today.

Lynne Kent is a screen-based performer, puppeteer and collaborator. Lynne is currently conducting PhD research into the texture of the visual image in performance.

>> http://www.performingmobilities.net/symposium/assembly_symposium/moving-screens-gateways-between-the-mat erial-and-immaterial/

151002_booklet_template_10.indd 42 6/10/2015 11:15:05 AM iC2: The Blind Teach The Sighted To See Geoff Munck A paper discussing blind people guiding a sighted audience to explore visual art experiences.

WHERE > RMIT Design Hub, level 10, pavilion 4 WHEN > Fri, 09-10-2015 TIME > 2:00 pm DURATION > 1.5 hours An IC2 walk departs from RMIT Gallery on Thursday 8th Oct at 11am.

IC2 — I (Eye) See Too MORE > http://vislan.net/

Keywords: Vislan, accessibility, communication

Despite initiatives to address accessibility, the institutions of visual culture continue to exclude from their audience those people who do not have the privilege of good vision.

In this paper, I argue that it is neither the mode nor manner of expression that is at fault, but rather the design of the audience experience that perpetuates the barrier to meaningful and dignified engagement in our ubiquitous visual culture.

I will explore how a new project underway in Melbourne and Brisbane aims to resolve the shortcomings of first generation visual literacy initiatives like audio and verbal description by melding ekphrastic expression, phenomenological and formalist analysis with a dynamic digital platform delivery for a rich, mobile and autonomous audience experience of the visual.

In effect, the blind as people who are ‘visually remote’ teach the sighted to see by guiding a sighted audience to explore visual experiences thoughtfully and systematically. This requires any typical shorthand to be expunged in favour of intimacy, revealing the essential form of experiences that might otherwise have been passed over at a glance for reasons of brevity or taste.

While the collaborative methodology affords social and cultural dividends, this is not a disability project. Rather, it is a much broader communication project informed by the experience of disability. I will also be demonstrating the pilot project during the Assembly as an iC2 Walk down nearby Swanston Street.

The iC2 Walk is supported by the City of Melbourne Arts Projects 2015.

>> http://www.performingmobilities.net/symposium/assembly_symposium/the-blind-teach-the-sighted-to-see/

151002_booklet_template_10.indd 43 6/10/2015 11:15:05 AM THE DESIGN PLOT Shelley Lasica The elision between place and a person.

WHERE > RMIT Design Hub, level 10, long room WHEN > Fri, 09-10-2015 TIME > 3:30 pm DURATION > 1/2 hour

Keywords: architecture, constructed, place

THE DESIGN PLOT supposes an imaginary theatrical space in which understanding is mixed and transformed into an illusory, notional place and time. Through the idea of the imaginary place, the work explores the elision between place and a person: architecture and character, individual and constructed/public context.

>> http://www.performingmobilities.net/symposium/assembly_symposium/the-design-plot/

151002_booklet_template_10.indd 44 6/10/2015 11:15:05 AM The Last Avant-Garde?: Disability Arts and (rethinking) mobility Eddie Paterson, Bree Hadley, Janice Florence, Yumi Yumimare, Lachlan MacDowall A panel discussion about art, disability, and the role of aesthetic experimentation.

WHERE > RMIT Design Hub, level 1, multipurpose room WHEN > Fri, 09-10-2015 TIME > 4:00 pm DURATION > 1.5 hours

Keywords: art disability aesthetics avant-garde

Participants: Eddie Paterson (University of Melbourne), Bree Hadley (QUT), Janice Florence (Weave Theatre), Yumi Umiumare (Butoh Caberet), and Lachlan MacDowall (University of Melbourne).

Taking as its starting point a remark by Turner Prize nominee Yinka Shonibare that disability arts is ‘the last avant garde’, this panel focuses on the role of aesthetic experimentation in disability arts and the possible rethinking of the relationship between avant-garde aesthetic strategies and inclusive arts.

Points of connection between the avant-garde and disability arts include a rejection of traditional aesthetic forms, the development of aesthetic strategies appropriate to non-normative bodies, politics and populations, and the implications of these ideas for the conference themes.

This panel is intended as a facilitated discussion involving researchers and artists undertaking work in this area. The panel will begin with some brief provocations reflecting on the implication of Shonibare’s comment, and on their own research and creative practices.

>> http://www.performingmobilities.net/symposium/assembly_symposium/the-last-avant-garde-disability-arts-and-r ethinking-mobility/

151002_booklet_template_10.indd 45 6/10/2015 11:15:05 AM The art of free travel Artist as Family Multimedia presentation of a 400-day research-performance on bicycles, documenting free food.

WHERE > RMIT Design Hub, level 1, multipurpose room WHEN > Fri, 09-10-2015 TIME > 6:00 pm DURATION > 1/2 hour

MORE > http://theartistasfamily.blogspot.com.au

Chance sleep shelter, central NSW

Keywords: Bicycle, Food, Indigenous, Ecology, Travel

A presentation by Artist as Family collaborator Patrick Jones, encapsulating the collective’s movements, findings, food and shelter from Jaara Jaara country in Central Victoria to the Guugu Yimithirr community in East Cape York, Queensland.

Jones will draw on more than 60 blog posts published on the road, including images and videos that show some of the materials, arts, relationships and knowledges required to perform low-damaging travel in Australia. The presentation will demonstrate that collaboration is an essential part of free travel. Relationships create and nurture resilience, and gift economies become part of the collaborative experience. Chance plays a significant role in such movement, and ’embrace uncertainty’ becomes the collective’s mantra.

>> http://www.performingmobilities.net/symposium/assembly_symposium/the-art-of-free-travel/

151002_booklet_template_10.indd 46 6/10/2015 11:15:05 AM Migrant Mobilities: Cruel Optimism and the Case of AJ D’Cruz Glenn D’Cruz A Performative Lecture on Migrant Mobilities.

WHERE > RMIT Design Hub, level 1, multipurpose room WHEN > Fri, 09-10-2015 TIME > 6:30 pm DURATION > 1/2 hour

MORE > https://migrationaustraliablog.wordpress.com

Glenn D’Cruz at the Walker Street Gallery, Dandenong.

Keywords: Migration, Identity, Performativity, Anglo-Indians

Migrants are mobile by definition. They literally uproot themselves and move to sometimes-distant lands for a variety of reasons. Some move away from real or imagined threats to their very existence. Others seek a better quality of life. And some adventurous souls are inhabited by a restless wanderlust – a desire to roll the dice and see what happens.

Such mobility requires fortitude and faith. Migrants move through space and, if they have an aspirational disposition, they attempt to accumulate symbolic capital to move up those social and economic hierarchies that bestow status and prestige within their adopted homes. The migrant journey to Australia often ends with the realisation that one has to make and re-make one’s identity, and perform a series of adjustments – adjustments in terms of comportment, dress, accent and disposition.

My father was a migrant to Australia. More specifically, he was an Anglo-Indian migrant – a member of the ‘mixed-race’ community produced by British colonialism. He left India for the UK in 1962 and, after living in London for 10 years or so, immigrated to Australia in 1973, dragging his immediate family with him. Lured to the so-called ‘lucky country’ by the optimistic prospect of building wealth and prosperity under the Southern Cross, his ambitions were thwarted by casual and institutional racism. He died prematurely at the age of 53.

This multi-media presentation tells his story through a series of encounters with the historical archive and the material remnants of my father’s relatively short life (letters, photographs, sound recordings, 8mm films). It provides a singular account of the performance practices involved in becoming a ‘New Australian’. Combining personal anecdotes and philosophical ruminations on history, technology, and cultural identity, the presentation interrogates and performs a series of migrant mobilities.

>> http://www.performingmobilities.net/symposium/assembly_symposium/migrant-mobilities-cruel-optimism-and-the-c ase-of-aj-dcruz/

151002_booklet_template_10.indd 47 6/10/2015 11:15:06 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

SATURDAY - ASSEMBLY

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151002_booklet_template_10.indd 48 6/10/2015 11:15:06 AM An Anecdotal Account of Transnational Performance Scholarship Sarah Balkin A reflection on the experiences of performance scholars working internationally.

WHERE > VCA Grant Street Theatre WHEN > Sat, 10-10-2015 TIME > 9:30 am DURATION > 1.5 hours

Keywords: Internationalisation, Contingency, Academia

As academic labour becomes increasingly internationalised and contingent, scholars range across more varied professional, geographical, and institutional landscapes. Although recent scholarship has been attentive to the transnational circulation of theatre and performance, and although efforts to collect data on the state of the profession are ongoing, our understanding of the transnational circulation of performance scholars is anecdotal and based in professional and social networks.

My presentation extends this tendency rather than correcting it. In addition to the American Society for Theatre Research’s efforts to compile empirical data on the state of the profession, ASTR launched a ‘Tell Me’ exhibit at its annual conference in 2013, in which members responded to the prompt, ‘How’s Work?’. I will pose slightly more specific questions to my own extended network of performance scholars who work (or have worked) in countries different to the ones in which they were trained.

While I will curate responses, as much as possible, I will present them in the scholars’ own words. In addition to consulting scholars at institutions in Australia, Singapore, UAE, USA, Canada, UK, Turkey and Denmark, I will reflect on my own experience moving to Melbourne from the USA. By sketching an anecdotal portrait of a newly mobile generation of performance scholars, I will reflect on the personal, professional, and intellectual mobilities afforded by contingency.

>> http://www.performingmobilities.net/symposium/assembly_symposium/an-anecdotal-account-of-transnational-per formance-scholarship/

151002_booklet_template_10.indd 49 6/10/2015 11:15:06 AM Journeys across the Philippine archipelago: co-performative accounts of disaster and resilience Jazmin Llana The intersections of performance, disaster, and resilience.

WHERE > VCA Grant Street Theatre WHEN > Sat, 10-10-2015 TIME > 9:30 am DURATION > 1.5 hours

Keywords: Philippines, archipelago, disaster, resistance

What does it mean for people to live in a country with 7,100 islands, beyond the fact that the cultures in these islands differ one from the other? Is there such a thing as an archipelagic consciousness? If this consciousness be seen as necessarily about ties, rather than separation despite the physical barriers of seas or mountains, what practices/objects/documents/monuments/events embody this consciousness and in the process also shape it? What creative/ expressive/artistic products/practices/traditions/performances are sustained or made and why?

These practices might be counter-intuitively thought as ways by which people live life on the islands always on their own terms, which means they always already prove the limits of even an archipelagic mode of consciousness. How then do we make sense of the much touted ‘Filipino resilience’ in what Greg Bankoff (2003) calls ‘cultures of disaster’ in the archipelago?

These are some of the questions and provocations explored in a paper that draws straight from actual journeys across the Philippines, conducted from the end of March to late July 2015 for the project ‘Fluid States Philippines: On tilted earth: performance, disaster, and resilience’.

Navigating a sea of stories using performance as rudder, the paper will be a sharing of the experience of the journeys and gatherings, as well as a critical and reflexive afterword on ‘findings’ from the project as performance research and on the methodology of travel across the multiple spaces of the archipelago, especially as it addresses the intersections of performance, disaster, and resilience.

>> http://www.performingmobilities.net/symposium/assembly_symposium/journeys-across-the-philippine-archipelago- co-performative-accounts-of-disaster-and-resilience/

151002_booklet_template_10.indd 50 6/10/2015 11:15:06 AM Watching Hamlet in the Pacific Paul Rae The significance of staging Shakespeare in the Pacific

WHERE > VCA Grant Street Theatre WHEN > Sat, 10-10-2015 TIME > 9:30 am DURATION > 1.5 hours

Keywords: Hamlet, The Globe, Pacific, Globalization, touring

In June and July 2015, The Globe Theatre (UK) presented Hamlet in a number of Pacific islands as part of its bid to stage Shakespeare’s play in every country in the world over the course of a two-year tour. In this paper, I draw on my experience of watching the performance in Australia, the Solomon Islands and Vanuatu in order to reflect on the meanings of the enterprise. The paper focuses on three areas.

First, since the production represents the latest in a long line of highly performative Pacific encounters, I am particularly interested in how the performances are located and received. Second, while the rhetoric from the Globe has tended – rather problematically, of course – to focus on the benefit that the production can bring to its host countries, I will explore what meanings the play itself takes on in the context of its new presentations. And third, I think through the meanings that arise as I track the production across a number of different island settings and environments.

Taken together, I hope these reflections will provide some insight into the dynamics of contemporary theatrical touring in the context of globalization, with a special focus on the significance of staging Shakespeare in the Pacific cultural and geopolitical contexts.

>> http://www.performingmobilities.net/symposium/assembly_symposium/watching-hamlet-in-the-pacific/

151002_booklet_template_10.indd 51 6/10/2015 11:15:06 AM On Mobility and Context Lyndal Jones Rehearsing Catastrophe: on play and possibility.

WHERE > VCA Federation Hall WHEN > Sat, 10-10-2015 TIME > 9:30 am DURATION > 1.5 hours

MORE > www.avocaproject.org

Keywords: performance, play, migration, animals

‘Milijana’, a video description of one person’s escape from the Siege of Sarajevo, was presented as part of Rehearsing Catastrophe: the Ark in Sydney, a ‘scene’ for the 2012 Sydney Biennale. It is the most explicit element of this series in its description, by one person, of her displacement through catastrophe.

The scene, comprising the completed prow of a large boat projecting through the doors of a Joiners shed at Cockatoo Island, included daily performances by volunteers wearing makeshift animal masks who queued by the boat with their luggage in this rehearsal of an escape…

This is the second version from an ongoing series of the same ‘scene’ continually adapted for and by different contexts. Each proposes rehearsal as play as a challenge to the rigidity and immobility of fear in response to catastrophe while also being responsive to the ways different contexts might affect the focus of the project.

This paper will discuss these shifting contexts for four versions of the Rehearsing Catastrophe work shown to date, including:

…The Ark in Avoca 2010 at Watford House, the site of The Avoca Project, a 10-year environmental work specifically addressing climate change,

…The Ark in Sydney, as described above,

…An Ark for Somerset for Illuminate Bath in January 2015, as influenced by the ‘Charlie Hebdo’ demonstrations in Paris,

…An Ark for Mons, (Belgium) in June 2015, in a Europe now under constant terrorism alert.

This paper hopes to extend the artworks by first challenging assumptions of fixity of place as enacted by Watford House then, by focusing on play through the filter of Francisco Varela, Evan Thompson and Eleanor Rosch’s use of the term ‘enaction’ (1992), exploring the adaptabilities of people under threat from environmental and social catastrophe; and finally, through the added filter of Brian Massumi’s recent study of animal play (2014),

>> http://www.performingmobilities.net/symposium/assembly_symposium/on-mobility-and-context/

151002_booklet_template_10.indd 52 6/10/2015 11:15:06 AM Retracing steps: mobility and the debris of history Dr Bagryana Popov The unbearable heaviness of mobility.

WHERE > VCA Federation Hall WHEN > Sat, 10-10-2015 TIME > 9:30 am DURATION > 1.5 hours

Keywords: Sofia, Bulgaria, regime, bodies, absence

This paper will look at a site-specific performative project, Traces, which took place in Sofia. My research investigates the traces of a politically repressive past, during the former communist regime of Bulgaria. It investigates what traces of the regime are left, not only in places, but in the memory of people, in people’s bodies, including my own.

In order to investigate this archaeology of memory and the effects of a political system, I travelled not only across oceans to Europe, but through the silence around that which had been hidden and erased, to speak to people who had known my grandfather, a political prisoner under the totalitarian regime.

In this paper, I will look at mobility as something which is tethered to history, to memory of generations before us. Through text, film, and still images, I will look at how the return to discover a traumatic political past is not only a geographic return, not only in time, but in a sense a return into a site of deeply personal and family memory.

Drawing on Secret Police dossiers, the work of Mike Pearson and Michael Shanks in Theatre and Archaeology, the idea of trace in Walter Benjamin, and of the ‘difficult return’ in the work of James Thompson, I will discuss the threads and traces which weave through generations, and which are present in this work.

The site-specific project Traces involved walking to unnamed sites in Sofia. In one of those sites my daughter – born in Australia – sat deciphering the diary of her grandmother in a small apartment, laden with a troubled and semi-hushed history, and with absences.

This is a paper looking at the unbearable heaviness of mobility, and the after-shocks across time, place and generations.

>> http://www.performingmobilities.net/symposium/assembly_symposium/retracing-steps-mobility-and-the-debris-of- history/

151002_booklet_template_10.indd 53 6/10/2015 11:15:07 AM Cycles of dispersal and coherence Kim Sargent-Wishart Paper with dance/film extracts exploring mobility as a dynamic continuum of densities.

WHERE > VCA Federation Hall WHEN > Sat, 10-10-2015 TIME > 9:30 am DURATION > 1.5 hours

Still from the dance/film ‘Postcards for John Cage’ (2015) by Kim Sargent-Wishart

Keywords: dance film elements cycles dispersal

The mobility of matter partly hinges on its density, and density is often shifting. Within our physiology and our environment, there are significant cycles of matter dispersing and reconfiguring: the water cycle of lake to steam to cloud to rain to lake; skeletal tissue dispersing as minerals into the bloodstream and reconfiguring excess back into bone; DNA performing frequent cycles of unraveling, duplication, and regrouping in order to birth new cells – a fundamental gesture of biological life.

Creative activity can be seen as a condensing of mind and matter into expression – drawing dispersed ideas and elements into a coherent event, mobilising and directing forces into the becoming of something new. Within Tibetan Buddhist philosophy, this is represented by the dynamics of the five elemental phases: from the openness of space (which allows even the idea of mobility), the free movement of air stirring introduces communication and momentum; fire generates a magnetising force, becoming more tangible, drawing in and digesting fuel as it moves along a certain path; developing then into water, coherent and strong yet still adaptable and transformative. When ideas take form, this is an expression of earth, which, like bone, is seemingly stable yet always ready to disperse again into mobility.

This paper is based in my creative research into the fluctuating density of the body’s physiological systems through movement and dance, and the development of the dance/film cast (2014), set along the Yarra River in Melbourne’s CBD – exploring internal and external flows of movement in this urban, pedestrian environment – and Postcards for John Cage (2015), filmed near the Hopkins River in Warrnambool. My presentation will feature clips from both films, along with a discussion of mobility as described by a continuum of density, marked by continuous dispersal and regrouping into coherence.

>> http://www.performingmobilities.net/symposium/assembly_symposium/cycles-of-dispersal-and-coherence/

151002_booklet_template_10.indd 54 6/10/2015 11:15:07 AM SMOKO Monique Redmond A social event involving shared ceramics and refreshments reflecting upon the 10-minute workplace tea break

WHERE > VCA Federation Hall foyer WHEN > Sat, 10-10-2015 TIME > 11:00 am DURATION > 1/2 hour

Public Share on ‘Alice’ clay expedition (Wiri site). 26 November 2014

Keywords: Collaboration, Sharing, Making, Workplace rights

SMOKO (New Zealand slang for a work break) engages with two sites and two publics. Clay from an Auckland infrastructure site is crafted into cups and saucers, then used to serve morning tea in Melbourne to symposium participants, who keep their set. Engaging with the elimination in New Zealand of the right to two 10-minute tea breaks in the working day, the Public Share collective invites exchange within the setting of an institution symbolic of the notion of workers’ rights.

SMOKO flows from the first Public Share project: A break in proceedings / Irregular allotments. It continues a focus on the workplace ritual of the ‘break’ and the implied relations, social and political, that pausing for a 10-minute ‘cuppa’ brings. The projects embrace the ‘everyday’ as the means through which to engage in notions of making and sharing. Site, place and production are interrelated through a series of exchanges – discussion, negotiation, collection, testing, making, sharing – to form, in essence, a small revolt: a free offering and an invitation to stop work.

SMOKO extends the project into the Australasian context, drawing connections between Auckland and Melbourne through two interconnected events. Without irony, the collective temporally joins the flow of New Zealanders across ‘The Ditch’. Whilst not seeking work, we too bring a focus on working life in our engagement with both the Performing Mobilities community and the site workers operating Alice, the tunnel boring machine cutting an underground motorway through Auckland. Public Share acknowledges that project’s history of controversy, whilst collaborating with workers to access the displaced clay to make cups and saucers recalling those that workers throughout New Zealand historically used in their collective tea breaks. Sets of these will be brought both to Performing Mobilities and to the Alice site tearooms for shared events that claim back the right to take a pause,

>> http://www.performingmobilities.net/symposium/assembly_symposium/smoko/

151002_booklet_template_10.indd 55 6/10/2015 11:15:07 AM Performing Immobility / Protesting Immobility Bree Hadley A paper discussing performances that highlight socially produced immobilities.

WHERE > VCA Grant Street Theatre WHEN > Sat, 10-10-2015 TIME > 11:30 am DURATION > 1.5 hours

Keywords: immobility, disability, protest

Though there is much interest in mobilities as a characteristic of modern, urban, social life today, this is not always matched by attention to immobilities. In this paper, I investigate public space performances designed to draw attention to precisely this counterpoint to current discourses of mobilities – performances about the socially produced immobilities many people with disabilities find as a more fundamental feature of day-to-day life, the fight for mobility, and the freedom found when accommodations for alternative mobilities are made available.

Although public policy is increasingly aligned with a social model of disability, which sees disability as socially constructed through systems, institutions and infrastructure deliberately designed to exclude specific bodies – stairs, curbs, queues and so forth – and although governments in the USA, UK and, to a lesser degree, Australia, New Zealand and other Commonwealth nations, aim to address these inequalities, the experience of immobility is still every-present for many people. This often comes not just from pain, or from impairment, or even from lack of accommodations for alternative mobilities, but from fellow social performers’ antipathy to, appropriation of, or destruction of accommodations designed to facilitate access for a range of different bodies in public space, and thus the public sphere.

The archetypal instance of this tension is the antipathy many able bodied people feel towards the provision of disabled parking spaces. I examine a number of protest performances in public space, in which activists present actions to give bystanders, passersby and spectators, as well as antagonistic fellow social performers, a sense of what socially produced immobility feels like. I examine responses to such protest performances, and what they say about the potential social, political and ethical impacts of such protests, in terms of their potential to produce new attitudes to mobility, alternative mobility,

>> http://www.performingmobilities.net/symposium/assembly_symposium/performing-immobility-protesting-immobility/

151002_booklet_template_10.indd 56 6/10/2015 11:15:07 AM Mobility, Immobility and The Disappearances Project Dr Suzanne Little An examination of stasis and movement in Version 1.0's performance of 'The Disappearances Project'.

WHERE > VCA Grant Street Theatre WHEN > Sat, 10-10-2015 TIME > 11:30 am DURATION > 1.5 hours

Keywords: mobilities, stasis, performance, practice

The current ‘mobility turn’ studies the mass and small-scale mobilities of objects, people, information, and capital on global and local scales and the implications of these passages. Mobilities theory also ‘places an unprecedented emphasis on (im)mobility, moorings, dwelling and stillness as much as movement, speed, or liquidity’ alongside the analysis of temporalities, kinaesthetic and sensory environments, embodied practices, political power structures, and more (Sheller 2011).

A mobilities focus offers new ways of approaching and examining performance. I will analyse the work of Version 1.0, focusing on their 2011-2013 verbatim theatre production, The Disappearances Project, which toured Australia as well as having a short season in the UK. Disappearances focuses on Australian individuals and communities affected by the unexplained disappearances of friends and family members.

This production is something of a departure for a company renowned for highly physical performances. Here, two actors sit immobile on stage in front of a large projection screen. By contrast, the screen images are in constant motion, displaying footage taken from a car window, searching slowly through deserted streets at night. In a parallel effect, the actors speak the testimony of a range of individuals without changing accent or expression. The identities shift or ‘move’ rather than transform, in a manner not unlike the repetitive images of night streets. These juxtapositions between movement and stasis have an unsettling and mesmeric effect, capturing, in part, the inertia of non-closure felt by those left behind by the disappeared, as well as the ongoing desire to search for what has gone.

In this presentation, I will unpack some of the ‘mobilities’ practices and effects utilised in the production, examining what is at stake and at play in this interplay of movement and stasis.

>> http://www.performingmobilities.net/symposium/assembly_symposium/mobility-immobility-and-the-disappearances- project/

151002_booklet_template_10.indd 57 6/10/2015 11:15:08 AM In-mobility: On limens, free falling and our escape from Earth Felipe Cervera The rise of interplanetary performance.

WHERE > VCA Grant Street Theatre WHEN > Sat, 10-10-2015 TIME > 11:30 am DURATION > 1.5 hours

Keywords: interplanetary, liminal, limen, McKenzie, Harger

It is May 2011, and Honor Harger is giving a TED Talk. She closes her eyes and, as Jamiroquai might have it, begins travelling without moving. She is listening to the sounds of the universe from millennia ago. The following year, on 14 October 2012, Felix Baumgartner is at the extreme border of our planet. He breathes in, jumps down, and then takes nine minutes to land. Two years later, on 24 October 2014, Alan Eustace goes even further. He jumps from the edge of the stratosphere and his free-fall lasts fifteen minutes. The planetary limen is now a performance arena. Harger, however, continues to listen.

Whatever goes up must come down, and as above, so below.

Almost fifteen years have passed since Jon McKenzie published in his classic Perform or Else – an account of liminality and performance as a global norm. In this paper, I examine these literally liminal performances to ask what updates McKenzie’s account needs, in light of the reawakening of the space race and the rise of interplanetary performance.

>> http://www.performingmobilities.net/symposium/assembly_symposium/in-mobility-on-limens-free-falling-and-our-e scape-from-earth/

151002_booklet_template_10.indd 58 6/10/2015 11:15:08 AM FINDING MY CITY IN YOUR CITY Mammad Aidani, Omid Movafagh, Mike Fard, Mohsen Panahi & Hoda Kazemitame A dialogue with Iranian asylum seekers and refugee artists on their making a film in Melbourne.

WHERE > VCA Federation Hall WHEN > Sat, 10-10-2015 TIME > 11:30 am DURATION > 1.5 hours

Keywords: asylum seekers, refugees, diaspora, displacement

Mamamd Aidani has been working with Iranian asylum seekers and refugee artists who have recently arrived in Melbourne. They are working to make a film from Aidani’s text ‘A Few Steps Not Here Not There’, written in 1988 soon after he arrived in Australia.

The text is bound by an exilic narrative of displacement, and has been used by these artists as a prism through which they find locations of affinity and belonging, as well as aspects of being strangers experiencing invisibility and that of interlopers in a foreign country. These artists have been employing the text as the site for negotiating how to create a dialogical process through which the refugee – and the displacement of being neither here nor there – may navigate bodily landscapes and temporal familiarity.

In this presentation, Aidani will provide an overview of the dialogue between the artists and himself, and the developmental process behind the project. They will show a short screening of the film and engage in an open discussion between Aidani and the filmmakers. They will highlight the implications this creative dialogue has for them, within their recent emigrational experience and multi-layered ‘journey’, and explore how the text and the process of making the film have affected their relationships with the city.

>> http://www.performingmobilities.net/symposium/assembly_symposium/finding-my-city-in-your-city/

151002_booklet_template_10.indd 59 6/10/2015 11:15:08 AM Forced Mobility within a Mobile Performance Structure: Australian Performance Exchange’s ‘Origin-Transi- -Destination’ Sally Sussman & Annemaree Dalziel O-T-D is an encounter between asylum-seeker artists and people in the societies they reach.

WHERE > VCA Federation Hall WHEN > Sat, 10-10-2015 TIME > 11:30 am DURATION > 1.5 hours

Origin-Transit-Destination Shahla Shohani on running machine in front of media montage

Keywords: Asylum-seekers, Indonesia, O-T-D, Western Sydney

This paper explores the development of the mobile performance structure in the performance piece, Origin- Transit-Destination (O-T-D). It examines how the 25-seater bus operates as a capsule for an intimate encounter between audience and asylum-seeker-artists and of engendering a sense of a shared journey.

It examines how the mobile performance can reference the asylum-seeker state of forced mobility, of perpetual motion, of shape-shifting, of transit after transit, of crossing borders: geographical, cultural and psychological. Similarly, how the audience’s relationship to the artists and the work moves throughout the performance: from witness and confidante, to fellow-traveller, participant and activist.

O-T-D responds to the rapidly deteriorating public discourse that renders the asylum-seeker invisible, untouchable and in stasis. O-T-D counters the immobility of this discourse with a flexible, mobile structure which is a key medium for the transmission of stories of forced mobility and a possible fulcrum for identification with religious, cultural and political others. The asylum seeker artists telling their stories are always in control of their representation.

This mobile structure marked a critical point in the ever-evolving conceptual framework of the work, from its beginning in Indonesia as a commentary on the third-person depiction of the asylum seeker, through the prism of the Indo-Australian relationship, to its present form privileging ‘real people’ as agents of their own representation. This was accompanied by a deliberate focus on young adult students in Western Sydney as audience/community/voters/co-travellers.

The paper concludes with an examination of how O-T-D #2, the installation created in the gallery for Performing Mobilities, distils the simplest and most visceral images and stories from the mobile live performance into a video installation that can only be fully experienced while in motion.

>> http://www.performingmobilities.net/symposium/assembly_symposium/forced-mobility-within-a-mobile-performanc e-structure-australian-performance-exchanges-origin-transit-destination/

151002_booklet_template_10.indd 60 6/10/2015 11:15:08 AM Things that move around us, things that move towards us, things that move below us Saskia Schut & Louisa King Performances uttering distances between body, astronomic, geologic and atmospheric events.

WHERE > environs between RMIT Gallery and Margaret Lawrence Gallery VCA > Sat 10 Oct 1-2pm > VCA campus, Lionel's courtyard > Sun 11 Oct 9.30-11am > A walk departing RMIT Gallery

Keywords: embodied empirical earthly astronomical

Things that move… explores an ensemble of performative, coalescing, embodied and empirical instruments in a laboratory of earthly, astronomical and atmospheric situations. The instruments and their subsequent ‘data’ suggest an alternative to the predominantly technocratic responses to current global climate instability; seeking alternative sitings of this knowledge of the ‘earth’, away from the authoritative expert, in ways that induce participatory and shared open experiences. Things that move… will explore the possibility of these shared experiences by producing feedbacks between the events and the body.

Things that move… comprises two events to be staged during Assembly. These will be located across and between two sites: the level 10 rooftop of the Design Hub, and the courtyard behind the VCA Margaret Lawrence Gallery.

> EVENT 1: sun viewing (telescope) > site: VCA campus, Lionel’s courtyard > time: Sat 10 Oct 1-2pm > EVENT 2: measuring arc of the earth between the Design Hub and Margaret Lawrence Gallery VCA, and walking the arc (gnomon, callipers) > site: measuring at both sites followed by a walk from RMIT Gallery to Margaret Lawrence Gallery VCA > time: departing RMIT Gallery, Sun 11 Oct 9.30am > Duration: 1.5hrs

>> http://www.performingmobilities.net/symposium/assembly_symposium/things-that-move-around-us-things-that-m ove-towards-us-things-that-move-below-us/

151002_booklet_template_10.indd 61 6/10/2015 11:15:08 AM Craftivism and the Menstrual Fluid States of Casey Jenkins Lara Stevens Scholarly paper

WHERE > VCA Grant Street Theatre WHEN > Sat, 10-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

Keywords: craft activism feminism jenkins performance

This paper considers Australian performance artist Casey Jenkins’ piece Casting Off My Womb (2013). In this work, Jenkins sat for 28 days in the Darwin Visual Arts Association, knitting a scarf from a cream-coloured ball of wool that was lodged in her vagina. The knitted wool was hung on coat hangers that were suspended from the ceiling. The work received a lot of public attention because Jenkins continued to knit throughout the days of her menstrual cycle, interweaving her menstrual blood into the artwork.

I will consider this work in relation to the global ‘Slow Movement’ that attempts to counter-act the fast pace of capitalist consumption and its deleterious effects on the environment. Using the theorisation of ‘slow dramaturgy’ (Eckersall and Paterson, 2011), I will consider how the rhythms of the female body were represented in the work, and how these were altered in its mediated version created by SBS and spread globally through YouTube.

Further to this, I will draw on philosopher Jane Bennett’s work on material agency in Vibrant Matter (2010) to consider the ‘thing-power’ of the menstrual blood in relation to Jenkins’ political ecology and feminist activism.

>> http://www.performingmobilities.net/symposium/assembly_symposium/craftivism-and-the-menstrual-fluid-states- of-casey-jenkins/

151002_booklet_template_10.indd 62 6/10/2015 11:15:09 AM The mobility of carbon Hartmut Veit A collaborative performance following the mobility of carbon from coal and forest to fire and power.

WHERE > VCA Grant Street Theatre WHEN > Sat, 10-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

Hartmut Veit, ‘Diffraction’ (close-up detail of coaldust on floor), 2014

Keywords: carbon, fire, environment, anthropocene, matter

This paper explores a proposal by renowned environmental philosopher Val Plumwood in her article Shadow Places and the politics of dwelling [1]. The article’s invitation to reflect on ‘belonging’ and ‘dematerialisation’ is taken up through the study of place shaped by fire, trauma and historical shadows. The collaboration brings together research from within the fields of ecology and contemporary art, in an interdisciplinary performance, which blends spoken word and projected images.

The mobility of carbon – from coal and forests, to fire and power – is traced through the 2014 fire disaster of Hazelwood Mine. Excavating beneath the usual first person narratives of trauma and survival – and the institutional interests in resilience and community engagement – this work not only exposes the underlying structures of colonial history and industrial legacy but also the political agency of matter.

Here mobility does not only originate in the body of the individual as performer, but rather lies within the material transformation of carbon through the elemental force of fire. The vital impact of carbon’s material metamorphosis exerts its influence on people, necessitating their performance of critical actions, speech and movements. Departing from a site-specific context of peri-urban Victoria, the author dialogically interrogates Plumwood’s analysis of environmental mal-adaption and false consciousness of place, to invite critical reflection of both regional and global relevance. Focusing on the mobility of carbon and the performativity of ‘carbon cultures’, the orator’s dialogue will expose the increasing ecological impact of human beings’ commodified relationships to nature and place, but also makes a critical contribution to debates concerning anthropocentristic definitions of performance and mobilities.

[1] Val Plumwood, Shadow“ Places and the Politics of Dwelling,” no. 44, March 2008.

>> http://www.performingmobilities.net/symposium/assembly_symposium/the-mobility-of-carbon/

151002_booklet_template_10.indd 63 6/10/2015 11:15:09 AM Epistemology of Cargo, Part 2 Maaike Bleeker Performances of cargo and the material unconscious of global economy.

WHERE > VCA Grant Street Theatre WHEN > Sat, 10-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

Keywords: cargo, BIGhART, Allan Sekula, Rimini Protocoll

Cargo is on the move from one place to another by boat, airplane, train, truck, or other means. Cargo is goods or merchandise in transit. Cargo involves complex conglomerates of performances, some of them by people, others by machines and other technologies, as well as by systems of organising information and things. Much of what goes on in these performances often goes unnoticed. Cargo’s modes of operating are intimately connected to digitalisation and the rise of what media theorist Mark Hansen describes as 21st century media. Like them, cargo operates at scales that often remain imperceptible. Cargo’s performances, although constitutive of our very material reality, often bypass consciousness, not the least because, as Katherine Hayles observes, consciousness is expensive. In my presentation, I will look at several artistic projects (by BIGhART, Allan Sekula and Rimini Protocoll) that try to grasp aspects of these performances of cargo, bring them to our awareness and, this way, flesh out aspects of cargo as the material unconscious of global economy.

>> http://www.performingmobilities.net/symposium/assembly_symposium/epistemology-of-cargo-part-2/

151002_booklet_template_10.indd 64 6/10/2015 11:15:09 AM In Freedom’s Name… transversal encounters on the borderline Dorita Hannah Performance design within a globalised condition of proliferating borders.

WHERE > VCA Federation Hall WHEN > Sat, 10-10-2015 TIME > 4:00 pm DURATION > 1.5 hours

Keywords: performance design, borderline,

The contemporary spatial demarcation of the tension between territorialities and subjectivities forces us to invent, and to move beyond our existing architectural methods and theory. – Pelin Tan ‘Transversal Materialism’.

Despite the legacy of utopian modernism, our built environments – actual and virtual – play an active and often brutal role in reinforcing power structures, socially-sanctioned behaviours, and geopolitical cartographies. This paper posits Performance Design – an extended notion of scenography – as an interdisciplinary practice that travels between discursive fields in order to confront, critique and reimagine spatial practices; especially within a globalised condition of proliferating borders that reduce, control and deny mobility for bodies and information.

This is of particular relevance in the time of, what has been named, ‘Europe’s Migrant crisis’ where borders are shored up and bodies washed ashore. The post-9/11 barricade mentality has proliferated globally and exponentially, curtailing our freedom of movement and expression in the very name of ‘freedom’, while utilising the rhetoric of terror as a means of instilling fear of the ‘other’ and begging the question ‘whose freedom are we protecting?’

And yet the borderline – more than a simple dividing line between us/here and them/there – thickens into a complex geographical, psychological and metaphysical terrain that inhabits us just as we inhabit it. As an anomalous socio-political and psychic zone, it offers a transversal space for resistance, enacted through fleeting interventions designed to destabilise the constructed world’s will to be fixed and durable, by concentrating on its evental complexities.

This emphasis on the temporal mutability of things redresses Henri Lefebvre’s appraisal of implacable objectality with Gilles Deleuze’s focus on the mobilised objectile. Positing the barricade as an architectural and social formation allows us to consider its shifting political implications seen in public artworks that are aligned with Rubió Ignaci Solà-Morales’ concept of ‘weak architecture’

>> http://www.performingmobilities.net/symposium/assembly_symposium/in-freedoms-name-transversal-encounters- on-the-borderline/

151002_booklet_template_10.indd 65 6/10/2015 11:15:09 AM Critical interventions in the legible city Paolo Patelli The notion of legibility is explored in relation to the city and its publics.

WHERE > VCA Federation Hall WHEN > Sat, 10-10-2015 TIME > 4:00 pm DURATION > 1.5 hours

Friction Atlas, Plan (Novi Trg, Ljubljana)

Keywords: art, public domain, legibility

La Jetee is a design collaborative based in Milan and Eindhoven, initiated by Paolo Patelli and Giuditta Vendrame.

According to James C. Scott, the modern project of making the world legible takes place in three stages: firstly an institution or an organisation filters what it needs to know, the type of data, facts or readings. Secondly, the filtered information needs to be abstracted, flattened and spread out in a way that will make it readable. Then, to make this information useful, the body performing the analysis will reform the world in the image of that abstraction to resemble the administrative grid of its observations.

Today, we are getting accustomed to seeing the behaviour of citizens – users, customers, consumers – of any given city represented through spectacular real-time maps and data visualisations. These same data are being used by governmental agencies and private companies to model the behaviour and preferences of their objects of observation – users or marketing targets – affecting in return what citizens see, choose, experience. At the same time, tactical and critical interventions in different contexts, particularly in the art and design fields, are showing that as much as a sight from above, one from below is possible. Performative practices transform laws, terms, and conditions into fully visible agents. Ephemeral urban interventions provide possible models for opening up to new forms of civic and aesthetic engagement with hidden or abstract layers of the city.

In this paper, we would like to present a critical review of art practices and interventions that address legibility as a means to critical engagement with the city.

>> http://www.performingmobilities.net/symposium/assembly_symposium/critical-interventions-in-the-legible-city/

151002_booklet_template_10.indd 66 6/10/2015 11:15:10 AM Roots and Leaves: Mobilising Community Gardens Asher Warren Gardening with Intermediate Bulk Containers and geo-locative, online networks

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > > > On Oct 10th from 12-4pm, 3000acres is hosting its annual spring fling! Details here: www.facebook.com/events/1461094580867120. > All are invited, and Asher will be leading a group by public transport at 1pm to return by 3pm, leaving from VCA Federation Hall Foyer. > Followed by paper, Sat 10 Oct 4pm at VCA Federation Hall

Keywords: community, gardening, urban-horticulture,

Community gardens are nothing new. The idea of growing food with other people evokes a horticultural imaginary – getting back to nature, the wholesome simplicity of agrarian society and seasonal living. In the urban sprawl of Melbourne a number of these gardens exist, with many more beginning to take shape.

Helping with this development is community gardening organisation 3000acres, a non-profit seeking to ‘connect people to land, resources and each other so that more people can grow more food in more places’ (http://www.3000acres.org/about). Using an online platform, geo-locative technologies, and 1000 litre Intermediate Bulk Containers, 3000acres gardens are often temporary and relocatable, a condition of working with developers.

3000acres, then, augments a traditionally static practice with techniques of contemporary mobility. They identify a number of surpluses (space, time, materials) and mobilise various forms of knowledge (spatial, economic, political, horticultural) in order to exploit these surpluses. The desire to form and engage communities and grow food in available spaces, however, also allows, developers to green-wash their practice, councils to outsource their community and health engagement, and property owners to maintain or even improve the value of their property. Because of these factors, the gardens are precarious: they are required to produce nutritionally, socially and aesthetically – for growers, communities, developers and 3000acres.

The purpose of this inquiry is to trace the developments of a number of these gardens. What type of community do these gardens assemble? What knowledge is produced, transferred? What compromises are needed to connect with the land and the seasons in an urban environment? More than fruit and vegetables; what is produced and mobilised within these communities?

>> http://www.performingmobilities.net/symposium/assembly_symposium/roots-and-leaves-mobilising-community-gard ens/

151002_booklet_template_10.indd 67 6/10/2015 11:15:10 AM Storytelling and Performance Workshop Ranters Theatre: Beth Buchanan & Raimondo Cortese Text as a mobile and transmutable entity in a fluid relationship between performers and audience.

WHERE > VCA Grant Street Theatre WHEN > Sat, 10-10-2015 TIME > 4:00 pm DURATION > 1.5 hours

MORE > http://.www.ranterstheatre.com

Keywords: performance, storytelling, text

The aim of the workshop is to present participants with an understanding of text creation that utilises everyday lived and imaginary experience. Rather than see performance texts and storytelling as a form of literature, born from an isolated mind, the workshop will focus on text as a mobile and transmutable entity that exists in a fluid relationship between performers and audience. Participants will be encouraged to engage and collaborate with each other through writing and performance in order to gain insight into new ways of understanding and communicating personal and cultural differences.

>> http://www.performingmobilities.net/symposium/assembly_symposium/storytelling-and-performance-workshop/

151002_booklet_template_10.indd 68 6/10/2015 11:15:10 AM Lecture, This Way Loo Zihan An installation responding to Kim Donaldson’s 'From the Lecture – A Reminder of Life' (1996)

WHERE > Victorian College of the Arts College Flat (near the intersection of Dodds Street and Southbank Boulevard) WHEN > Thu, 08-10-2015 > Tue, 13-10-2015 TIME > 2:00 pm daily DURATION > 3 hours There will be a performance lecture as part of Performing Mobilities Assembly Symposium events on 10th October 2015 (Saturday) from 5.30 pm to 6.30 pm for 10 participants. Participants are to meet at the Victorian College of the Arts College Flat. Please email the artist with your contact information to reserve a slot.

BOOKING > [email protected] MORE > http://www.loozihan.com

Dildo mold created by Bruce Belcher. Object collected by the Australian Lesbian and Gay Archives, Melbourne.

Keywords: Objects, Orientations, AIDS, Queer, Archives

‘If orientations point us to the future, to what we are moving toward, then they also keep open the possibility of changing directions, of finding other paths, perhaps those that do not clear a common ground, where we can find hope in what goes astray. Looking back is what keeps open the possibility of going astray. We look back, we go behind; we conjure what is missing from the face. This backward glance also means an openness to the future, as the imperfect translation of what is behind us.’ – Sara Ahmed, Queer Phenomenology: Orientations, Objects, Others (Durham, UK: Duke University Press, 2006)

Loo Zihan, the 2015 Asialink artist-in residence at the Victorian College of the Arts (VCA), presents an installation responding to Kim Donaldson’s From the Lecture – A Reminder of Life (1996). Kim’s installation documents her father’s experience of caring for her brother who passed away from HIV/AIDS-related complications in August 1995.

Twenty years on, Zihan archives and re-presents Kim’s installation alongside documentation compiled from Zihan’s research visits to the Australian Lesbian and Gay Archives (ALGA) over his two-month residency.

Lecture, This Way is sited within the residency flat on the VCA campus and opens up the artist’s private residency space for public view, highlighting the subject/object relationship and the role of the caregiver for

>> http://www.performingmobilities.net/symposium/assembly_symposium/lecture-this-way/

151002_booklet_template_10.indd 69 6/10/2015 11:15:10 AM Flux Aeternus Gilbert Douglas and project participants An experimental dance project exploring ‘trans-nationalism’

WHERE > VCA Lionel’s Lounge at Grant Street Theatre WHEN > Sat, 10-10-2015 TIME > 5:45 pm DURATION > 30 mins

Keywords: dance, trans-nationalism

Flux Aeternus is an experimental dance project which explores the increasing global phenomena of ‘trans- nationalism’. Emotions, cultural behaviours and identities flex and shift as the individual moves from one global locality to another. Flux Aeternus questions our individual participation in the human story, the importance of belonging, ‘the right to life, liberty and security of person’, and our inter-connectedness. As we move forward, we participate in the forging of new stories: his-stories / her-stories, sharing and continually reshaping our collective identities and cultures.

Performance 15min > Conversation 15mins

>> http://www.performingmobilities.net/symposium/assembly_symposium/flux-aeternus/

151002_booklet_template_10.indd 70 6/10/2015 11:15:10 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

SUNDAY - ASSEMBLY

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

151002_booklet_template_10.indd 71 6/10/2015 11:15:10 AM Very Local Radio: amplifying ephemeral sound communities Sasha Grbich/Heidi Angove Listening is considered as activism where radio amplifies the sounds of ephemeral social networks.

WHERE > RMIT Design Hub, level 1, multipurpose room WHEN > Sun, 11-10-2015 TIME > 9:30 am DURATION > 1.5 hours

Very Local Radio for PlaceLab, Noarlunga 2015.

Keywords: radio, community, broadcast, internet radio

This paper discusses a series of journeys through the cities of Melbourne and Adelaide undertaken as part of the art project Very Local Radio (Grbich/Angove, 2015). The work in question comprises a live Internet radio broadcaster, mounted on a hand-pushed trolley. Very Local Radio is performed in real-time as a mobile event moving through shifting sites of sociality (Latour, 2005), taking in artists, things, publics, places, and online radio listeners. I suggest that navigating the city in this manner is a performance of ‘excess’ where art making exceeds the capitalist logics of city spaces – not by engaging illegal actions, but by moving outside of expectations of usefulness and moving with sensuous attentiveness (Bennett, 2010). Here listening is approached as a mode of activism in shifting locales, where very local radio is used to amplify the sound of ephemeral social networks.

>> http://www.performingmobilities.net/symposium/assembly_symposium/very-local-radio-amplifying-ephemeral-soun d-communities/

151002_booklet_template_10.indd 72 6/10/2015 11:15:11 AM Performing Mobiles: Smartphones and Theatre Robert Walton Theatre in the age of smartphones.

WHERE > RMIT Design Hub, level 1, multipurpose room WHEN > Sun, 11-10-2015 TIME > 9:30 am DURATION > 1.5 hours

MORE > www.robertwalton.net

Keywords: Theatre, Smartphones, OTT, IP, Mobiles

Both Apple and Google’s App Stores were launched in 2008, heralding an age of handheld, mobile computing. Since then, more than 125 billion apps have been downloaded and, by the end of 2014, 81% of Australians owned a smartphone. Theatre attendance in the same period has remained a steady 16% of the Australian population visiting at least once per year. Thus, if Australia’s theatregoers reflect the population as a whole, four out of five of them will bring their smartphone to a performance and silence it. Because, while smartphone usage for some has penetrated almost every aspect of daily life, it remains anathema to most live theatre. This paper begins to discuss theatre in the age of smartphones, and analyses theatre’s potential to move, as other communication systems have, ‘over the top’ of existing infrastructure to spread across platforms via the Internet Protocol.

This academic paper will complement the ‘Dark Telephony’ PASSAGES mobile performance also submitted by Robert Walton with collaborator Jason Maling.

>> http://www.performingmobilities.net/symposium/assembly_symposium/performing-mobiles-smartphones-and-theat re/

151002_booklet_template_10.indd 73 6/10/2015 11:15:11 AM PAN & ZOOM (presentation) Jondi Keane & Kaya Barry The performative power of image-making and image-viewing

WHERE > RMIT Design Hub, level 1, multipurpose room WHEN > Sun, 11-10-2015 TIME > 9:30 pm DURATION > 1.5 hours

Keywords: Language, image-making, participatory

PAN & ZOOM take the effects inscribed in the global language of cinema and turn them into performative and participatory image-making apparatuses. Jondi Keane and Kaya Barry’s installation invites visitors to collaborate in the construction of the images in order to re-explore relations between media technologies and embodied experience. The result is an expanded, amplified and dilated experience of the performative power of image-making and image-viewing.

PAN activates an accumulating collection of moving panoramic images – provided by Kaya Barry and PSi Fluid States participants from around the world – that visitors may interactively inhabit. The visitor manipulates relationships between an image projector mounted upon a dolly track, and a trackpad that scrolls the projected panorama. The live event of constructing-perceiving panoramic tracking shots opens up in ways that expand sensory experience beyond usual peripheries.

ZOOM co-opts the ‘dolly-zoom’ effect in cinema – wherein the camera zooms in while moving backward or zooms out while moving forward – resulting in the image expanding to amplify an intense moment of realisation. Hitchcock developed this technique in Vertigo to show audiences how the protagonist experiences his fear of heights. Jondi Keane pulls apart the double movement of the camera effect by himself performing the pulling back and forth of a moving wall as a backdrop. Moments of realisation are created between visitors who take up the camera operation, and an improvising actor’s role, to accompany Keane’s durational wall moving. An updating collection of filmic moments made throughout the installation duration screen ‘on-set’.

Amongst the pervasive languages of cinema, photography, television and mobile media, PAN & ZOOM explores how audiences here are performative inter-actors, rendering the image toward the body’s expansive inhabitations of space, and challenging the grip of technological seduction.

>> http://www.performingmobilities.net/symposium/assembly_symposium/pan-zoom-presentation/

151002_booklet_template_10.indd 74 6/10/2015 11:15:11 AM Plotting and gleaning a restless site Kate Church A landscape protagonist, a (mostly) self-guided tour, a collection.

WHERE > RMIT Design Hub, level 10, pavilion 4 WHEN > Sun, 11-10-2015 TIME > 9:30 am DURATION > 1.5 hours 9.30 & 11.30am

Keywords: Truganina Exposives Reserve, Altona, landscape

Here, at this junction, it’s all in motion.

It’s where a river meets a bay, where the very matter of the ground is volatile, slipping from beneath you as you walk beside the path. So much so, that the sensation of walking this ground is akin to standing at a shoreline with waves hollowing out the beach from under you, forcing you to regain your footing over and over. Walking is really just controlled falling, and here – where the land is not solid but comprised of restless granules – you must traverse in stuttering steps and lurches.

This performance/installation/tour introduces you to a landscape protagonist and a spatial practice founded on collection, narrative, walking and making. It examines and explores a landscape, which itself is restless and mobile. It emerges from a broader body of design research that frames landscape as an inherently performative medium – temporally intermediate, in between states, unfinished and ‘unfinishable’.

The material for this performance-presentation has been generated from a long-term fascination with the landscape within and around Truganina Explosives Reserve in Altona, Victoria, and the mobility of its matter. Here, the ground itself is restless; volatile and mobile. The site and surrounding context is relentlessly flat and exposed, and the 2.5m high fence spanning the large decommissioned reserve is a powerful presence. The context of the site – its horizontality, exposure, and the mobility of its matter – reveals the implausibility of sustaining a fixed bound condition within this landscape. This is a place where drift is writ large, it is vast and flat and on the move.

>> http://www.performingmobilities.net/symposium/assembly_symposium/plotting-a-restless-site/

151002_booklet_template_10.indd 75 6/10/2015 11:15:11 AM Take A Long Line Meredith Rogers A performance paper on motion and stillness, time and travel – on a train.

WHERE > RMIT Design Hub, level 1, multipurpose room WHEN > Sun, 11-10-2015 TIME > 11:30 am DURATION > 1.5 hours

Keywords: The Ghan, Raftopoulos, South Australia, Indigenous

‘The Ghan’, a train that bisects the continent of Australia from Adelaide to Darwin, is a major Australian tourist attraction. It is its own destination, a journey and an arrival, a moving window on an apparently untouchable landscape and a distance-eating juggernaut.

This paper will braid together lines of thought about motion and stillness, time and travel – social, economic, geological, political and spatial – prompted by taking the train in 2014.

A passenger on the Ghan in the 21st century finds herself, in spite of the constant busy-ness of her own body, a relatively fixed point within a (19th century) vehicle travelling at speed across an ancient stillness – time, speed and motion in fugal and continually shifting relation to each other – from Adelaide to Darwin in two sleeps. As she sleeps and wakes on the train, her fingernails continue to grow and Australia moves northwards ‘7cms every year, towards Asia’. They take the same time.[i]

She has read Raftopoulos’ argument that: ‘Lightning strokes that are measured as simultaneous from the railway embankment, are also measured as simultaneous from the moving train’.[ii] She has seen the map that locates the Indigenous language groups who, for 50,000 years, have inhabited the country the train travels over.[iii] She wonders how they would measure a lightning strike?

Before Federation, the nascent state of South Australia had large colonial and economic ambitions in relation to Asia, many of which were tied up with the construction of the rail line to Darwin. Perhaps, she thinks, they should simply have waited for the continent to arrive in its own time.

It is unlikely that these parallel lines of enquiry will meet – that’s not how railway tracks work after all – but perhaps the simple acknowledgement that these multiple temporalities,

>> http://www.performingmobilities.net/symposium/assembly_symposium/take-a-long-line/

151002_booklet_template_10.indd 76 6/10/2015 11:15:12 AM Mobilising Cultural Resistance: Palestinian Theatre Practices in Sites of Extreme Contention in the West Bank Elin Nicholson A paper exploring the Playback Theatre of 'Freedom Bus' traversing the West Bank and East Jerusalem.

WHERE > RMIT Design Hub, level 1, multipurpose room WHEN > Sun, 11-10-2015 TIME > 11:30 am DURATION > 1.5 hours

Keywords: Playback Theatre, cultural resistance, contention

The West Bank in Palestine is a fragmented space existing under Israeli military occupation. It is divided and subjected to strict controls, which deny its Palestinian population freedom of movement between the different spatial segments. Presently, Palestinians have to overcome numerous physical barriers (‘flying’ and static checkpoints, military installations, Israeli settlements and bypass roads) to traverse the space of the West Bank, in addition to the imaginary barriers resulting from years of containment within a local area during the second intifada (2000-2005).

I will examine theatre practices in Palestine that are produced and performed within sites of extreme contention, located on the peripheries of the West Bank and near to Israeli settlements and the Separation Wall. I will focus specifically on the activities of the Freedom Bus, a project that utilises Playback Theatre techniques as an instrument of, and for, cultural resistance against the occupation.

This will be done through analysing the Freedom Ride – an annual programme that traverses the West Bank and East Jerusalem, in direct opposition to the military policies of ‘enclavisation’ and restricted Palestinian movement. I argue that through this highly visible and controversial practice, the Freedom Ride attempts to engage with the Israeli occupation at the strategic, rather than the tactical, level of political involvement. I examine the efficacy of this dangerous and problematic practice as a form of cultural resistance in a space that is occupied not only by a hostile state military, but also by a complicit international humanitarian regime.

>> http://www.performingmobilities.net/symposium/assembly_symposium/mobilizing-cultural-resistance-palestinian-t heatre-practices-in-sites-of-extreme-contention-in-the-west-bank/

151002_booklet_template_10.indd 77 6/10/2015 11:15:12 AM Environmental Walking to Sensuous Performance Prof Peta Tait Questioning where we walk and whose footsteps we follow…

WHERE > RMIT Design Hub, level 1, multipurpose room WHEN > Sun, 11-10-2015 TIME > 11:30 am DURATION > 1.5 hours

Keywords: Australia, Greenland, Indigenous

This presentation will report on the events that surrounded and supported Psi Fluid States #21 Greenland as an intercultural event. It explores how contemporary international performance potentially connects up diverse landscapes and ideas through the embodied practices of artists and scholars in a localised site.

Sisters Hope, with their ‘manifest’ for the ‘sensuous society’ against neoliberal economic rationalism, became a catalyst for those attending, and were relevant to my own interest in enfolding and unfolding sensory emotional experience in performance. I was also pondering human–animal relations in a continent where the ice, sea, and rock landscapes mean there is no farming as such.

As planned, the event in the Nuuk Art Museum Gallery worked in telematic space at set times, connected with the Faroe Islands and Copenhagen, but this could only be achieved by the artist scholars working live within far more extensive and, at times, arduous processes. In what seemed like an extension of journeying to Greenland, preparations for the presentations included walking the snow covered hills and environs around Nuuk and its gallery. Was there an idealisation of remote Greenland from afar, given Howard Brenton’s future named utopia? The tension between hopefulness and anxieties about climate extremes manifest in environmental realities. As Freya Mathews explains about Australia, thinking about the natural world invariably implicates Indigenous culture. Accordingly, Fluid States participants too must question where they walk and whose footsteps they follow.

>> http://www.performingmobilities.net/symposium/assembly_symposium/environmental-walking-to-sensuous-perform ance/

151002_booklet_template_10.indd 78 6/10/2015 11:15:12 AM The travelling artist as responsible tourist? Fiona Wilkie An artists’ roundtable exploring the role of travel in the practice of making performance.

WHERE > RMIT Design Hub, level 1, multipurpose room WHEN > Sun, 11-10-2015 TIME > 2:00 pm DURATION > 1.5 hours

Keywords: travel artist ethics process

The travelling artist as responsible tourist? is a gathering of artists to discuss the role of travel in their practice. The apparently pragmatic issue of how artists travel, and the relationship of that travel to ‘the work itself’, is often overlooked in favour of questions that might seem more central to the themes or forms of the work. In the context of the Performing Mobilities events, it seems timely to consider what it means to think of the artist as a mobile figure. In a global context in which issues of who has access to travel, and who is allowed to stay, are fraught with political controversy, it seems important to consider performance’s own patterns of movement and how they interact with those of others.

The roundtable reflects on the ethical dimensions of the travelling artist. Among questions that participants will discuss are: what are the responsibilities of theatre-makers and performance artists as travellers, and how have they negotiated these? How is the mobility of artists understood in relation to that of others? Do artists seem to occupy a privileged position as ‘travelling correspondents’? And, more broadly, how have theatre-makers and performance artists developed artistic strategies by which to respond to their movement through the world?

The session aims to stimulate debate and open out the conversation beyond the invited participants and, as such, will attempt to take its steer from the experiences and interests of those attending.

>> http://www.performingmobilities.net/symposium/assembly_symposium/the-travelling-artist-as-responsible-tourist /

151002_booklet_template_10.indd 79 6/10/2015 11:15:12 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

> > > > > ADVICE TO PRESENTERS > > >

> > > > > > > > Advice to ASSEMBLY presenters and chairs > > > > > >

If you are presenting a paper in a parallel session, you need to >>> > have any A/V material you intend to use on a USB memory stick – and make sure you’ve imported all the necessary files. > copy your presentation file/s to the main computer desktop and test beforehand to ensure you can open properly, also remember to delete your files at the end of the presentation session. > have timed your paper or presentation to ensure that it is not longer than 20 minutes. > get to the room 15 minutes before the session is due to start so you can meet the chair and other panel presenters if you haven’t already, and to load your A/V, video, connect to powerpoint etc. and to test before the presentation.

If you are presenting a performative lecture, performance, intervention or workshop, you need to >>> > ensure you have adequately discussed your needs in advance. > plan the timing of your bump-in and bump-out. > organise extra hands to help you if needed.

If you are chairing a session you need to >>> > get to the room 15 minutes before the start time so you can meet the presenters if you haven’t already. > help presenters sort out any technical issues, or report urgent tech problems to Coordinator Kate Riggs 0423 514 047. > confirm with presenters the session order as per the Assembly program, also confirm with them that each 20 minute paper/presentation will be followed by 5 minutes of questions and a 5 minute changeover. > introduce the session and then each presenter. > time each presentation and indicate by a gesture or a note on a piece of paper when the speaker has five, two and finally one minute of their allotted time left. > check the allocated time for each presentation and take time off a presenter’s question time if they run overtime, so as not to disadvantage other presenters in the session. > call for questions for each speaker and be ready with at least one of your own in case the audience is slow in formulating theirs. > check if there is any request to photograph or video proceedings, and then request the agreement from everyone present.

Chairs may wish to contact the presenters in the panel you are chairing before the event, and suggest an exchange of papers, but this is entirely at your own discretion.

151002_booklet_template_10.indd 80 6/10/2015 11:15:12 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

TRACES expositions

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151002_booklet_template_10.indd 81 6/10/2015 11:15:12 AM BEHELD Graham Miller An installation connecting audiences with the disturbing phenomenon of people who fell from the sky

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > > WHEN > Fri, 25-09-2015 > Sat, 24-10-2015 COMPANION CURATOR > Fiona Wilkie

Beheld (Areeiro, Caparica, Portugal)

Since 2006, UK artist Graeme Miller has been collecting and presenting instances where stowaways have fallen to the ground from the undercarriage of aircraft throughout the world.

Beheld gathers fragile traces of these charged places in glass, sound, and 180° images. For this Melbourne installation, Beheld features an Australian incident amongst other occurrences around the globe. The installation poetically engages with the tragic consequences of desperate acts of attempted informal migration to enchant audiences into a meditation upon a shared human condition – a global connection to human life on earth, relationships between the living and the dead, and how individuals and societies negotiate responsibilities and intractable issues.

Being with Beheld offers a live experience at its most artfully affecting and hauntingly powerful. In a blackened space seemingly opening out to the universe, we are called to reflect on the tension between our bodily encounter with specific places, with desperate acts of migration, and with urgent globally-proportioned questions of human rights and ethical action.

Beheld was first created at Dilston Grove, London, and has since been exhibited across Europe, adding further instances of falling to the ground in the places in which it is shown. This is its first presentation in the Southern Hemisphere.

>> http://www.performingmobilities.net/symposium/traces_gallery/beheld/

151002_booklet_template_10.indd 82 6/10/2015 11:15:13 AM A FEW STEPS NOT HERE NOT THERE Mammad Aidani, Omid Movafagh, Mike Fard, Mohsen Panahi & Hoda Kazemitame An installation exploring asylum seekers' experiences of displacement.

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > > COMPANION CURATOR > Mick Douglas

still image from 7min digital video ‘A Few Steps Not Here Not There’, 2015.

In 1988, soon after arrival in Australia, Mammad Aidani wrote ‘A Few Steps Not Here Not There’. The text is bound by an exilic narrative of displacement, of being a stranger experiencing invisibility and an interloper in a foreign country, of being neither here nor there. The text later became a play, first performed in 1997 at La Mama in Melbourne, with a second production in 2002 at Arts House Meat Market in Melbourne, and a third production due at La Mama again in late 2015.

Aidani has been working with Iranian asylum seekers and refugee artists who have recently arrived in Melbourne. With backgrounds in Iranian film and theatre, Omid Movafagh, Mike Fard and Mohsen Panahi formed a small group that became immersed in Aidani’s text as a prism through which to find locations of affinity and belonging. Together the group made a short film.

This new installation of ‘A Few Steps Not Here Not There’ creates an intimate setting for experiencing the looping film and encountering the original text. Together, these layers of the installation reveal two generations of asylum seeker experience endeavouring to come to terms with trauma, hopes, movement of identity, and forms of self-authorised creative expression that negotiate cultural displacement.

The third play production since 2001 of the text ‘A Few Steps Not Here Not There’ is presented at La Mama 18-29 November 2015, directed by Lloyd Jones

>> http://www.performingmobilities.net/symposium/traces_gallery/a-few-steps-not-here-not-there/

151002_booklet_template_10.indd 83 6/10/2015 11:15:13 AM CRUISING (A JOURNEY INTO CULTURE) Chris Barry A photographic/video project based in Alice Springs.

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > > WHEN > Fri, 25-09-2015 > Sat, 24-10-2015

MORE > www.chrisbarry.com.au COMPANION CURATOR > Meredith Rogers

Chris Barry CRUISING (A Journey into Culture) Video Still (Betty Conway) HD 5 Screen Video Duration: 16 minutes Courtesy the artist

In Chris Barry’s current project, a group of Aboriginal women artists living in various town camps in Alice Springs undertake the daily journey of being picked up from their respective residences and taken to the Art Centre known as Tangentyere Artists.

For two years, Barry has been a daily co-driver, as well as being contracted by Tangentyere Council as Studio Manager. During this period, Barry developed a close relationship with six of the women and together discussed the possibilities of making a video project based on their relationship and the everyday lived experiences of those lives.

‘Cruising’ is a term the women enjoy using when they have the opportunity to drive around Alice Springs looking for fellow artists in multifarious locations, and engaging with other kin walking around town. ‘Driving’ is a form of accessibility into their mutual inter- and intra- subjective lives. The concept of journeying also registers the complexities of living under the propriety of a hegemonic community, and its inherent ‘expectations’. In contrast, cruising suggests the unexpected, ad hoc, incremental, provisional, and multivalent nature of Aboriginal life-worlds.

The project CRUISING continues Barry’s ongoing interest in the ‘performative moment’ set in culture and a practical methodology. The performative moment positions all subjectivities – those in front of the camera and those behind it. It becomes a reworking by performance, a space of proximity, mobility, wherein the camera acts as a catalyst and not as a neutral recording device – its actual ‘presence’ is responsible for creating the responses of the participants being filmed. Photography and performance form part of an act of auto/biographical re-presentation. By using a handheld camera, Barry enacts both mobility and proximity. In cultural terms, proximity suggests accountability, reciprocity, and the potential for enduring relationships.

>> http://www.performingmobilities.net/symposium/traces_gallery/cruising-a-journey-into-culture/

151002_booklet_template_10.indd 84 6/10/2015 11:15:14 AM FAULT Open Spatial Workshop An excavation of multiple temporalities registered in the mobility of matter.

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > > WHEN > Fri, 25-09-2015 > Sat, 24-10-2015

MORE > www.osw.com.au COMPANION CURATOR > Mick Douglas

FAULT investigates the multiple temporalities that matter registers through forces of contraction, dilation, folding, compression and erosion. Through video-collage, OSW explores the convergence of these forces that give rise to an earth that is ‘indelibly inscribed’ (Claire Colebrook). Anchored around the material specificity of a geological specimen, this work follows fissures that expose glimpses of differing tempos resonating from events that knot together accumulation and extinguishment.

Beginning with a Sea Lily fossil1 selected from the Natural Sciences collection at Museum Victoria, OSW presents a video-work of ‘temporal-fragments’ that visualise the movements of matter across durations, and complex convergences brought into relation by the specimen. Approached through the framework provided by the Sea Lily fossil, matter’s movement includes the massive sea-floor landslides and tectonic subduction that occurred over millennia, which contributed to the formation of the Eastern Australian coastline. The Sea Lily specimen persists as a tiny material remainder registering these processes, whilst also connecting with recent anthropogenic activity.

The circa 1903 event of this fossil’s excavation is contingent upon the brick-making industry reliant on the clay reserves that dominated West Brunswick. Formed by the ancient landslides taking place before the emergence of homo-sapiens, this clay provided the primary material for the Hoffman’s brickworks, a key supplier meeting Melbourne’s brick requirements in post gold rush development. The hunger for clay generated two extensive excavations on either side of Albert Street2, which widened proportionate to the surge in Melbourne’s built fabric.

The Sea Lily fossil has stimulated a process of temporal excavation through such relations, making apparent materiality’s complex durational qualities, and entanglements with the politics of extraction, forces of production, geo-bio-human history, energy and economies.

1 The particular fossil is a ‘holotype’ providing the initial description of its kind.

2 The first excavation was backfilled with domestic refuse from 1947,

>> http://www.performingmobilities.net/symposium/traces_gallery/fault/

151002_booklet_template_10.indd 85 6/10/2015 11:15:14 AM FRICTION ATLAS laJetee Enacting the choreographies implicit in the laws that regulate the uses of public space.

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > > WHEN > Fri, 25-09-2015 > Sat, 24-10-2015

MORE > frictionatlas.net COMPANION CURATOR > Laurene Vaughn

Friction Atlas at BIO50, Ljubljana. September 2014

Always implicitly present in any public space, law tends to be algorithmic, quantitative and invisible. Local and national regulations discretise human behaviour; sometimes they are rigorous and mathematical, other times loose and under-defined. They lend themselves to be represented visually, and through staged choreographies.

Friction Atlas is an ongoing critical archive, where laws regulating behaviours and gatherings in public spaces, sampled from different contexts, are represented and collected. Friction Atlas is also the enactment of such choreographies through staged performances in public spaces. Addressing the issue of legibility of public space, it aims to make regulations explicit, through graphical devices. By drawing 1:1 diagrams, and enacting laws on public surfaces, the project makes legal prescriptions and loopholes debatable. Through the engagement of the public, the dynamics of authority become discernible.

The diagrams represent cases from different cities, including Athens, Genoa, Cairo, Washington, Stockholm, Sydney, New York, and Rome. We invite the public to participate in a choreographed debate, in a rereading of urban space, which will highlight some of its hidden aspects. Friction Atlas was initiated in 2014 during BIO 50, the 24th Biennial of Design in Ljubljana, Slovenia. A second iteration took place within the programme of Adhocracy Athens, at Souzy Tros in July 2015.

>> http://www.performingmobilities.net/symposium/traces_gallery/friction-atlas/

151002_booklet_template_10.indd 86 6/10/2015 11:15:15 AM HOUSE OF WISDOM David Cross & Jem Noble A collaborative daily process of building a centre for the study of self-improvement.

WHERE > RMIT Gallery and Margaret Lawrence Gallery and between WHEN > Sun, 04-10-2015 > Sun, 18-10-2015 Invited participants will be conducting lectures, art making, performances and critical reflection that visitors are welcome to visit. The House of Wisdom runs from Tues–Sat, 4–18 October, with the residues of this process remaining in the gallery for the duration of the TRACES exhibition. COMPANION CURATOR > Paul Rae

In 1258, one of the most extraordinary cultural and scientific experiments came to a sudden and highly destructive end. Mongol raiders, laying siege to Baghdad, set about systematically destroying the incredible archive of research and scholarship that had come to make up the House of Wisdom. Operating for nearly half a millennium, the House of Wisdom was an Islamic research centre devoted to ideas of self-improvement through the arts, sciences, and humanities – where ‘self’ was understood in non-atomistic terms: as culture propagating its own growth and refinement for the good of all.

Ideas of self-improvement implicit in the activities of the House of Wisdom are today manifest in different forms. While scholarship is still a cornerstone of knowledge accumulation and dissemination, other non- cerebral activities have become central to our contemporary sense of self-improvement. Physical and psychological wellbeing and social connectivity are seen as fundamental components of today’s individual, no longer defined through modernity’s ideal of ‘well-roundedness’, but ever unfinished in a milieu of urgent specialisation and ‘life-long learning’ for competitive advantage.

Taking the House of Wisdom as inspiration, artists Jem Noble (Vancouver/Melbourne) and David Cross (Melbourne) stage a new manifestation of this intellectual hothouse. As a project developed under the auspices of Performing Mobilities, the artists instigate a new House that interrogates what self-improvement can mean in our time. The artists working with an invited group of 15 collaborators/participants will collectively build a temporary House of Wisdom in Melbourne. Through lectures, art making, performances, and critical reflection, House of Wisdom will attempt to build a centre for the study of self-improvement.

WATCH VIDEO

>> http://www.performingmobilities.net/symposium/traces_gallery/house-of-wisdom/

151002_booklet_template_10.indd 87 6/10/2015 11:15:15 AM O-T-D#2 ORIGIN-TRANSIT-DESTINATION Australian Performance Exchange An encounter between asylum-seeker artists and people in the societies they arrive in.

WHERE > Margaret Lawrence Gallery VCA Hours: Tues-Sat 12noon-5pm > 40 Dodds Street Southbank > > WHEN > Fri, 25-09-2015 > Sat, 07-11-2015 COMPANION CURATOR > Bianca Hester

Origin-Transit-Destination Mustafa Karame – playing dhaf – Mohammed Alanezi iphone footage on boat

Why do people risk their lives on perilous boat trips and take extreme actions when faced with being turned back? Referring poetically to the physical, emotional, and spiritual journeys made by asylum seekers, Origin- Transit-Destination (OTD) developed organically into a mobile performance work that generates a series of unsettling experiences for audiences, while simultaneously offering them intimate encounters with asylum- seeking artists and the places along their journey.

Always active, never passive, these artists are in control of their representations at all times. First staged in Western Sydney in March 2015, OTD developed a process that is a template for site-specific, community- engaged performance that works anywhere asylum seekers or refugees live.

“Who are we? Who is ‘one of us’? What codes must we live by? Who are we part of? Whose humanity do we recognise as akin to ours? And a further terrible question: What do we owe those whose humanity we fail to recognize?” (Sevendrini Perara, 1968). With 60 million displaced humans on the move today seeking havens (UNHCR), how can the rest of the world, particularly those privileged to live in peace and relative justice, respond ethically? In OTD we invite, inveigle, and coerce audiences into a space of identification, recognition, curiosity.

OTD is an activist work, driven by a refusal to be silent and a determination to engage in uncomfortable conversations. It deals with our societal complicity in government policy and community collusion in the dehumanising discourses passing as debate in media representations of people seeking asylum. OTD insists on the audience taking steps to walk in another’s shoes. It builds layers of experience, shared dilemmas, laughing and singing. It simultaneously introduces small discomforts – relinquishing a mobile phone, entering a blue light space alone, being assigned a name or number. It is at all times an invitation to speak.

>> http://www.performingmobilities.net/symposium/traces_gallery/o-t-d2-origin-transit-destination/

151002_booklet_template_10.indd 88 6/10/2015 11:15:16 AM PAN & ZOOM Jondi Keane & Kaya Barry An interactive performance installation of expanded image-making and viewing.

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > > WHEN > Fri, 25-09-2015 > Sat, 24-10-2015 > Assembly participation: Thur 8 Oct 11am-12pm > Public Participation: > supply panoramic images for PAN (see link below) > record improvised videos in ZOOM: Thursdays, Fridays and Saturdays from 12-4pm COMPANION CURATOR > Mick Douglas

Pan and Zoom installation plan

CALL FOR IMAGES FOR PAN

>> http://www.performingmobilities.net/symposium/traces_gallery/pan-zoom/

151002_booklet_template_10.indd 89 6/10/2015 11:15:16 AM REMOTE VIEWING Lucy Bleach Artist and homing pigeons collaborate to capture magnetic attraction and homeward passage.

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > > COMPANION CURATOR > David Cross

Remote Viewing (house and car).

Humans, like pigeons, may be drawn to a particular place throughout their lives via a form of deep magnetic attraction. In the work Remote Viewing, Lucy Bleach invites members of the Moonah Homing Pigeon Association1 to share their ‘sites of attraction’. The fanciers provide maps, GPS locations, verbal directions, and a small flock of pigeons. The members do not reveal why the site is significant to them, why they endure an ongoing pull towards it, as it is their own private magnetism.

Sanctioned by each fancier, as an envoy between place and magnetic pull, the artist travels to each fancier’s location of attraction, accompanied by their birds. A spy camera secured in a purpose-built harness is attached to the breast of one pigeon. On release, the birds leave their fancier’s selected site, and by drawing on minute magnetic particles in their beaks, navigate their way home using the earth’s magnetic field, as the site and aerial journey home are recorded on the video camera.

At the completion of all flights, the aerial footage is previewed in a one-off screening at the Moonah Pigeon clubhouse, (re)connecting the fanciers to their sites of enduring attraction. The footage then migrates to Melbourne to be screened as simultaneous individual flights, indexing journeys travelled and connections performed as persistent loops within the Traces exhibition for Performing Mobilities.

1 The Moonah Pigeon Homing Pigeon Association was founded in 1926 is one of the oldest clubs in Australia. Moonah is a northern suburb of Hobart.

>> http://www.performingmobilities.net/symposium/traces_gallery/remote-viewing/

151002_booklet_template_10.indd 90 6/10/2015 11:15:17 AM ROBE/S Punctum A sectional walking and marking of a migration landscape.

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > > WHEN > Fri, 25-09-2015 > Sat, 24-10-2015

MORE > punctum.com.au COMPANION CURATOR > David Cross

Left

The Robe to Central Goldfields Track, walked by thousands of Cantonese in the 1850s, informs one of the great east/west migration landscapes in Australia. In a reverse movement, artists/participants will walk sections of the track towards Robe from the Goldfields, which is located approximately 1.5 hours from Melbourne.

After consulting with their ‘local knowledge’ guide, with whom they’ll be put in contact, artists/participants will depart with a kit of quartz marker stones to indicate and record places and feelings of estrangement or strange belonging. They will walk their chosen section of the Robe Track over one full day (or 30kms, whichever is more achievable).

Documentation of each walk, including their marker sites, reflections, responses, and recordings are then uploaded onto the Robe/S Blog and will inform a collective installation – a quartz cairn marker with an interactive tablet/plaque that draws on the custom of cairns throughout the region that mark passages.

Robe/S will culminate in a collective walk for Performing Mobilities participants, from the original Central Goldfields alluvial gold rush site in Chewton, through a migration landscape, to a gathering at an ancient rice paddy field site at Vaughan Springs (a total walk of 2.5 hours) ahead of the Performing Assembly in Melbourne.

If you’d like to participate, contact coordinating artist Jude Anderson: [email protected]

>> http://www.performingmobilities.net/symposium/traces_gallery/robes/

151002_booklet_template_10.indd 91 6/10/2015 11:15:17 AM SAL DE SAL Mick Douglas Activating sites for the human body to register global and local dynamics through salt.

WHERE > RMIT Gallery 25 Sept – 24 Oct > Margaret Lawrence Gallery 9 Oct – 7 Nov Part of the series 'Circulations' generated in response to the Fluid States PSi 2015 program of global performance research events. CIRCULATION NOTICE #7 > 1. A body of salt that has freshly surfaced in the Murray- Darling basin > RMIT Gallery – 43.6 metres above sea level > 2. A body of water linked with the Wonthaggi desalination plant > Margaret Lawrence Gallery VCA – 10.9 metres above sea level > 3. A crossing of the Yarra River between Galleries where freshwater and saltwater negotiate > 4. A series of scores for . . . salt bodies adrift still image from ‘Circulation 2’ performance Scores are generated and performed throughout the exposition installation, Mick Douglas, Zooming Fluid States period. Festival, Rijeka Croatia 2014 BOOKING > If you are interested to collaborate in generating and/or enacting a score, contact mick(at)mickdouglas.net COMPANION CURATOR > Paul Rae

The Circulations series employ salt to activate encounters in the dynamic inter-relationships of globality and locality. Salt is a ubiquitous form of matter; material in the hydrological cycle that is essential to life and a potential cause of breakdown of living systems; substance of historically significant social and economic exchange, whose cultural usage gave rise to food preservation and sedentary lifestyles. Salt is a material in cyclical movement and transformation – through bodies of water, through the bodies of humans and living organisms, through land – that elicits awareness of the porosity of entities and raises questions of equilibrium and change. The Circulations series draw upon regional resonances of salt: the historical emergence of mercantile practices and wealth through dominating salt trade in the Adriatic; the loss to local economy with the closure of foreign-owned salt pans on Long Island Bahamas; the oceanic imaginary in the Pacific islands; the post-tsunami consequences of seawater flooding agricultural lands in northern Japan and the symbolism of spiritual purification through salt. Our attention is directed to the range of human negotiations with natural systems and resources – commonly containing and capitalising – whilst circulations of salt continue to exceed control.

SAL DE SAL activates three sites through which the human body can register global and local dynamics. At RMIT Gallery, a body of salt is encountered, recently collected from an area of increasing salinity exacerbated by agricultural irrigation demands on the Murray-Darling Basin. At Margaret Lawrence Gallery, a body of water is encountered, linked with the Wonthaggi desalination plant established in times of drought to meet metropolitan Melbourne’s water demands, that has not yet been required to supply desalinated seawater to Melbourne. Passing between Galleries one crosses the lower reach of the Yarra River, where freshwater and saltwater are in constant seasonal negotiation.

>> http://www.performingmobilities.net/symposium/traces_gallery/sal-de-sal/

151002_booklet_template_10.indd 92 6/10/2015 11:15:18 AM TAKING A LINE FOR A WALK David Thomas & Laurene Vaughan Making visible the trajectories and duration of transition within and across place.

WHERE > RMIT Gallery and Margaret Lawrence Gallery VCA Gallery and between WHEN > Fri, 25-09-2015 > Sat, 24-10-2015 COMPANION CURATOR > James Oliver

A line at the intersection of Swanston and Latrobe

Taking a Line for a Walk is a participatory performance work that employs principles of playfulness, participation and colour, as a means to make visible the trajectories and duration of transition within and across ‘place’.

David Thomas and Laurene Vaughan draw on previous work to present this performance installation as an outcome of their practice-based conversations on the nature of place, and modalities of articulating invisible/intangible aspects of (spatial) transition. Within this practice, colour is used as a navigation device.

Taking a Line for Walk, extends the artists’ articulation, with the development of a two-part installation/event linking the RMIT Gallery and Margaret Lawrence Gallery in Melbourne. At each site, a series of different coloured and sized lines are stacked in the gallery, presented and waiting to be taken to the streets. Members of the public will be invited to draw their path – a line – from, between or around one gallery to the other gallery. These lines ‘walked’ and thus drawn in space will connect experiences of exteriority and interiority, nature and culture, by making visible the ephemeral experiences and connections of daily life.

The action is not prescribed in a way that participants must make their way from one gallery to another – participants may elect to perform more or less movement – and it is anticipated that, as a public-sited work and situation, there will be a multiplicity of sociocultural engagements. It is part mobility, part encounter.

The project encourages active looking and greater awareness of the spatial practices of mobility. It will be variously documented and represented with small colour images and photographs accumulating in the galleries. No matter what the distance of the journey, the work makes visible individual passages through space, embodied and accompanied, from one location to another.

>> http://www.performingmobilities.net/symposium/traces_gallery/taking-a-line-for-a-walk/

151002_booklet_template_10.indd 93 6/10/2015 11:15:19 AM TOWN CROSSINGS Paul Gazzola & Nadia Cusimano in association with plan b An experimental mapping project utilising game play as a social strategy of engagement.

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > >

MORE > www.towncrossings.blogspot.it COMPANION CURATOR > David Cross

Town Crossings_Berlin

TOWN CROSSINGS is an experimental performance/mapping project that utilises gameplay as a civic and social strategy of engagement across the physical landscape. Highlighting movement and mobility as an inherent and fundamental actioning of the everyday, the project exposes the transient nature of relationships that generate and form the daily spaces we operate in.

In 2015 a series of directed yet meandering cross-town journeys are being generated by a play of exchange between one person (the player) and the response invoked by throwing a passer-by (the other players) a Frisbee. A GPS marker on the player records the winding pathways, which accumulate as a series of mappings that make visible the meandering and haphazard nature of the overall trajectories – exposing the dynamics between the intended direction and the actual manifestation of each journey. Understanding that cartography is an attempt to fill geographic spaces with knowledge, in a graphical form that we can communally understand, the exhibited maps reframe the hegemonic values granted to notions of efficient and economic trajectories of human activities across space and time.

As a light and flexible model, TOWN CROSSINGS encourages participation as an open and flexible apparatus. Valuing cultural production through non-economic exchange. where the ability for anyone to participate allows for the constant propulsion of the mediating object, it is a fluid and open process, engaging with a strategy of performative acts as generative sites of social inclusion.

Sited in the everyday, TOWN CROSSINGS can also be seen as an evolving choreography of interpretation, as it produces new engagements via each outing. Activated in the immediacy of the space, and the instantly forming and dissolving of the participatory relationships that occur, the project revalues play and playfulness in our society as a way to collectively produce and rethink new understandings of place.

>> http://www.performingmobilities.net/symposium/traces_gallery/town-crossings/

151002_booklet_template_10.indd 94 6/10/2015 11:15:19 AM WALKING UPSTREAM: WATERWAYS OF THE ILLAWARRA Brogan Bunt & Lucas Ihlein & Kim Williams Walking up Illawarra watercourses from sea to escarpment – roads, railway lines, drains and suburbs

WHERE > Margaret Lawrence Gallery VCA Hours: Tues-Sat 12noon-5pm > 40 Dodds Street Southbank > > WHEN > Fri, 09-10-2015 > Sat, 07-11-2015

MORE > walking-upstream.net COMPANION CURATOR > Laurene Vaughn

Brogan Bunt, Lucas Ihlein and Kim Williams, “Walking Upstream: Waterways of the Illawarra”, 2014-15

Hemmed in between the Tasman Sea to the east and steep escarpment to the west, the Wollongong (or Illawarra) region has few large rivers, but an abundance of small watercourses. Rainwater seeps down the escarpment forming gullies and creeks. These watercourses run through backyards, alongside sports ovals, through industrial estates, and variously constitute picturesque (desirable) water features and unsightly concrete-lined drains.

The Waterways of the Illawarra project has roots in the avant-garde practices of the past century: conceptual art, socially engaged art practice, land art, and happenings, for example. It is at this site, between land and sea, that these three intrepid artists actively adopt Donald Brook’s definition of art as ‘unspecific experimental modelling’. Through embodied acts of walking as a trio and in consort with fellow walkers, they seek to be in these places as they traverse the diversity of landscapes.

The walkers begin at the sea, at an identifiable ‘mouth’. They walk their way upstream along named and unnamed creeks, hacking through weeds and undergrowth, skirting along property boundaries, talking their way into people’s yards. They continue for as long as geography, topography, and social boundaries allow.

Through this simple methodology, their trajectories intersect with various cultures of land use – mining, bush regeneration, weed infestation and suburbanisation. These walks are a form of ‘ground truthing’ – a means of comparing official maps and aerial photographs with the lived experience of tramping along actual creeks. Waterways of the Illawarra is a resolutely local project – born from the desire of the key walkers to engage more deeply with the topographical, ecological, and social fabric of where they live.

>> http://www.performingmobilities.net/symposium/traces_gallery/walking-upstream-waterways-of-the-illawarra/

151002_booklet_template_10.indd 95 6/10/2015 11:15:20 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

PASSAGES mobile performances

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151002_booklet_template_10.indd 96 6/10/2015 11:15:20 AM A TRUE GARDEN Eddie Paterson & Lara Stevens A 25-minute audio performance based on Helene Cixous’ short story 'Un vrai jardin'.

WHERE > System Garden at the University of Melbourne Carlton Campus WHEN > Thu, 24-09-2015 > Sat, 07-11-2015 Self-guided 25-minute audio tour: > 1. Download the audio > 2. Visit the system garden > 3. Listen and explore … > The Melbourne University System Garden is open 8am-6pm daily

MORE > http://maps.unimelb.edu.au/parkville/poi/system_garden COMPANION CURATOR > Paul Rae

I entered unsuspecting, it was a garden; from the gate we saw that the earth existed. Then gently closed the gate and we were in the garden. And far enough out, people went to war. Some bombs fell and shook the tent. There was one long never called heaven because down here we saw tear and fraying over the walls. The earth felt good.

—Helene Cixous, Un vrai jardin (1971)

A True Garden is an interactive audio performance based on French writer and feminist theorist Helene Cixous’ short story Un vrai jardin. Participants can download the .mp3 audio file of the performance (link below) onto their personal media device between 25 September – 7 November 2015. Participants will receive instructions as to how, where, and when to access the System Garden at the University of Melbourne – the selected site where the work is designed to be experienced by a solo listener.

The reading, translation, and mistranslation of Cixous’ story as a bedtime fable within a public garden invites reflection on both the experience of intimacy with nature and the overwhelming global challenges to rapid environmental change that threaten this fragile and fraught relation. The interactive performance is placed within the only system garden in the Southern Hemisphere – a design that aims to demonstrate the evolutionary development of plant species. The audio performance invites participants to explore different parts of the garden as it brings together rationalist enlightenment science, religion, poetry, and the politics of human-nature relations.

PRESS PLAY TO STREAM THE AUDIO FILE

OR DOWNLOAD THE AUDIO FILE HERE, A True Garden

‘Original music and production by Hugh Crosthwaite’

EVENT GUIDE (Click images to view full size or download the A-True-Garden-instructions-and-map PDF)

>> http://www.performingmobilities.net/symposium/passages_mobile/a-true-garden/

151002_booklet_template_10.indd 97 6/10/2015 11:15:20 AM BIT-U-MEN-AT-WORK Julieanna Preston and Jen Archer-Martin Exploring empathetic relations between a human body, a road resurfacing machine and bitumen asphalt.

WHERE > environs around Margaret Lawrence Gallery VCA WHEN > Tue, 06-10-2015 > Thu, 08-10-2015 TIME > 6:30 pm DURATION > 3 hours

Stratification of a road surface > environs near VCA Margaret Lawrence Gallery > Tues 6 Oct – Thur 8 Oct > 6.30-9.30pm nightly > 3 hours duration COMPANION CURATOR > Laurene Vaughn

Discourses and practices in the realm of make and repair are typically gendered and domesticated – situated somewhere near or within the home. Often driven by the actions by both skilled and unskilled labourers, these practices have foundations in frugality, need, moral value, or material scarcity. Propelled by issues of sustainability and idealisation of the local, vernacular or artisan, there has been a recent resurgence of interest in how we craft and make the material world. These localised acts have served as critiques of globalisation, mechanisation and dehumanisation – a separation between bodies, people, the manufactured and distributed worlds.

Julieanna Preston’s site-specific intervention, bit-u-men-at-work, serves to explicate the machine-like devouring needs of perpetual mobility that our road systems manifest. The freeway, the highway, the road or the lane – across scales of distance and efficiency, these are the bitumen veins of mobility. Ever present, these are the norms of our landscape, and in Australia they run the periphery of the mainland and are repeated on our smaller islands. These veins seem to hold us together; a bitumen veiny network that is in a constant state of repair, being made by road teams, and being unmade by the vehicles that pound across its surfaces.

>> http://www.performingmobilities.net/symposium/passages_mobile/bit-u-men-at-work/

151002_booklet_template_10.indd 98 6/10/2015 11:15:21 AM CROSSINGS Benjamin Cittadini, Ceri Hann, Fiona Hillary & Shanti Sumartojo A performance revealing the negotiation of movements in the urban context.

WHERE > environs between RMIT Gallery and Margaret Lawrence Gallery VCA WHEN > Sun, 04-10-2015 > Sat, 10-10-2015 DURATION > 2 hours > Sun 4 Oct 4-6pm > intersection Elizabeth & Flinders Sts > > Thurs 8 Oct 11am-1pm > intersection Harbour Esplanade & Etihad Stadium tramstop D3 Docklands > > Thurs 8 Oct 5-7pm > intersection St Kilda Rd & Southbank Boulevard > COMPANION CURATOR > James Oliver

Crossings Iteration 1

Crossings is a performance work and a multi-disciplinary, practice as research enquiry. It is formed from emplaced practice of four artists/researchers who are ‘thinking through action’ to reveal four propositions/positions on contemporary (pedestrian) crossings.

The mobile methodology takes the form of the ‘crossing guard’ to reveal the embodied negotiations of flows in the urban context. By becoming emplaced ‘listeners’, the artists activate urban locations of pedestrian engagement in the ‘present’ term of crossing. To assist a public in a crossing is not just to help people negotiate obstacles between the past and the future, but to be with them in the present, to listen to the flow and observe the passage of the shadows of time, to live in a space that is neither departure nor destination, but a deeper space that is only crossing, never crossed. A crossing is not an overcoming of an obstruction, it is an opportunity to listen to the flow of movement that is everywhere, at all times: to coalesce in a constant state of becoming, to listen to the journey in its present passage.

In Hermann Hesse’s Siddharta, the ferryman takes people across the river, people for whom the river is an obstacle, a nuisance, a barrier to forging ahead. Meeting the ferryman, Siddharta notes his serenity and the seemingly timeless character of the river’s present. He asks the ferryman to teach him how to be present like the river. The ferryman answers that he is not a teacher, the river is. He listens. Crossing the river and observing its ever-changing rhythms and moods have taught him this. Siddharta lives with the ferryman, tending the boat and learning to listen.

>> http://www.performingmobilities.net/symposium/passages_mobile/crossings/

151002_booklet_template_10.indd 99 6/10/2015 11:15:21 AM MALAYSIA AUSTRALIA RAFT PROJECT (MARP) Anthony Pelchen, Tony Yap, Trevor Flinn, Kavisha Mazzella, Robert Millar, Frank Tagliabue, Alison Eggleton, Pete Grey, Karin Matsuda – Australia; Soong Ro Ger (Roger) – Malaysia; Monica Benova – Slovakia. A one-day performance installation vessel bringing others on board.

WHERE > ACCA Forecourt WHEN > Sat, 10-10-2015 DURATION > 7am-7pm > Sat 10 Oct > Key event at 1pm > Corner Dodds and Grant Sts Southbank COMPANION CURATOR > James Oliver

Soong Ro Ger, Wimmera River, NW Victoria, 2013

MARP is an installation and performance work initiated in 2013. This was a homage to the 2012 Malaysian raft journey by Soong Ro Ger (Roger) and Andy Lim Kah Meng, who constructed a raft and travelled for ten days through the lakes system of the Royal Belum State Park in Perak, Malaysia. During this unauthorized journey, the artists witnessed the deforestation of some of the most pristine areas of the jungle.

The raft is now fully hijacked, marooned for its broader symbolic potential, and as a platform to enact shared vulnerability and the possibilities of generosity. MARP was originally conceived as an artistic vehicle to bring some fine foreign ‘others’ into Australia, rather than ship them out – a simple act of generosity on a micro level. MARP is also a work to bring others on board.

The sense of inequality of safety and privilege in movement is a call to action for the artists – a cry for orientation, a desperate call to the gods. The performance work that plays out on the stationary, marooned raft is ‘anchored’ more in the raft’s symbolic potential – an improvised vessel for transporting with a destination in mind, and the daunting but sometimes exciting potential of going off course to arrive somewhere unintended, to even disappear in the enactment.

MARP raft will be sited on the almost littoral dry zone between VCA and ACCA, with blue tarpaulins, maroon tents, an open kitchen. Think smell, smoke, and incidental engagement. Small orange Origami boats pass from hand to hand. Around midday, a memory and medley of sound and song emerges through the colour: Code Maroon (All God’s Beggars) begins. The relative emptiness of the site’s surrounds is open to visitation, to whoever may interact, perform, or simply occupy.

>> http://www.performingmobilities.net/symposium/passages_mobile/malaysia-australia-raft-project-marp/

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151002_booklet_template_10.indd 100 6/10/2015 11:15:22 AM NIGHT WALK Sam Trubridge A black sphere travelling environments and temporarily lodged at gallery spaces.

WHERE > RMIT Gallery: 25th-26th September 2015 > > > Margaret Lawrence Gallery VCA: 23rd-24th October 2015 > RMIT Gallery > Fri 25 Sept – Sat 26 Sept 12noon-5pm > VCA Margaret Lawrence Gallery > Fri 23 Oct – Sat 24 Oct 12noon-5pm COMPANION CURATOR > Mick Douglas

Night Walk (walk, New Zealand 2015)

Night Walk is a performance work and process conducted as a blind navigation with the landscape, as part of an ongoing study into nomadic states. A large sphere of inflated black plastic is inhabited by a walker. As a journey takes its course, the sphere’s movement across various surfaces perforates the thin plastic, creating a constellation of pinpricks that afford the invisible walker within a mapping system to navigate by.

The clandestine-like movements of the black sphere reveal a hidden interior motive, for these acts of blind navigation produce a milieu in correspondence with each terrain encountered. Surfaces, materials, spatial qualities, rhythms, and other movement systems are gently intruded upon: a dark intrusion creating alternative, non-linear, nomadic narratives in relation to landscapes. A condition of blindness reveals tensions between the body and the geological, geographic, cultural, technological, and architectural terrains encountered.

In the specifically Australian context, walking country has particular significance as a mode of culturally- located knowing, resonant with the ‘songlines’ of Aboriginal tradition. Arriving in this ‘storied terrain’ of the Australian continent, this work by Sam Trubridge – whose formative childhood was spent under stars living on his parents’ sailing boat – performs as an autopoetic register of intersections between mobile spatial practices, non-linear narratives, and the organisational fixity of the state polis and urban architecture.

Following an experimental journey in the Murray Riverland, Night Walk will journey through city spaces at irregular times over two periods of 48 hours in relation to the two Performing Mobilities gallery sites. Temporarily lodging at the entrance thresholds of the galleries and their spaces within, this nomadic object unsettles the architectural loci of the gallery with a provisional spatiality; inviting entry into its own interior; opening out the potential for multi-dimensional re-inscriptions of moving with and knowing the environment.

>> http://www.performingmobilities.net/symposium/passages_mobile/night-walk/

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151002_booklet_template_10.indd 101 6/10/2015 11:15:23 AM NOW AGAIN Shaun McLeod, Peter Fraser, Olivia Millard, Sophia Cowen, Victor Renolds Performing the city through embodied experiences of responsive noticing.

WHERE > environs around RMIT Gallery WHEN > Wed, 07-10-2015 > Fri, 09-10-2015 DURATION > 1 hour > Meet RMIT Gallery entrance > Wed 7 Oct 9am > Thur 8 Oct 10.30am > Fri 9 Oct 9pm > approx. 1 hour duration > performance involves simple participation > please bring earbuds and smart phone as internet access Shaun McLeod in ‘Flickering’. Mobile performance required > in buildings and spaces of Lake Bolac, 2013 MORE > http://oliviamillard.net/nowagain/ COMPANION CURATOR > Meredith Rogers

Now Again is a participatory performance made up of a series of individual and group activities that create opportunities to notice how we fit and shift in our environment. Reflecting the dance histories of the artists, the variable dynamic possibilities of the city are brought into focus through specific ‘scores’ that, as propositions for engagement, activate simple movement patterns or observations. The aim is to allow responsive noticing of the immediate environment, but also to enliven it in unexpected ways. Individuals who are participants and observers, dedicated or incidental (passers-by), become part of the disclosure of the physical and the social.

The rigid structure of the city is re-imagined as a fluid, choreographic entity invested with organic qualities. Performances move between a series of city locations, each with differing activities. Designated ‘nodes’ in the city grid (certain streets, a square, a doorway, footpath, a hole in a wall or a particular tree), have been chosen for their imaginative, affective, or energetic resonances. These are ‘mapped’ by the perambulatory, physical, sensory, and relational engagement of all participants. This is a collective dance created through noticing the feelings and patterns of the physical self in the built, natural, and social environment.

In some sites, the artists perform, while in others they lead a participative performance. Ephemeral, self-led, performance experiments designed to disappear into the fabric of the city, will also be invited.

A mobile app enables audience participation. The app employs GPS data to trigger information specific to that site (written prompts, sounds and scored provocations).

To access the app visit: http://oliviamillard.net/nowagain/

>> http://www.performingmobilities.net/symposium/passages_mobile/now-again/

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151002_booklet_template_10.indd 102 6/10/2015 11:15:23 AM PORTABLE KOMUSO TEMPLE COMPOSITIONS Brian Tairaku Ritchie & Stuart Tanner A portable temporary zone of public shakuhachi (Japanese bamboo flute) performances.

WHERE > environs between RMIT Gallery and Margaret Lawrence Gallery VCA WHEN > Thu, 08-10-2015 > Sun, 11-10-2015 > Fri 9 Oct 1pm between RMIT Gallery & RMIT Building 8 > Sat 10 Oct 2.30pm M-Pavilion, Queen Victoria Gardens, opp Arts Centre > Sun 11 Oct 11am M-Pavilion, Queen Victoria Gardens, opp Arts Centre > (45 minutes duration) COMPANION CURATOR > Mick Douglas

Brian Ritchie

In the Japanese Komuso (mendicant monks) tradition of Shakuhachi (bamboo flute), the Komuso would roam between temples and gain alms along the way, whilst seeking to experience enlightenment through performing the Shakuhachi, as conveyed in the Komuso saying: ‘Ichion Jobutsu: become a Buddha in one sound’.1

The collaborative project of musician Brian Ritchie and architect Stuart Tanner acknowledges this Zen monk tradition of transitory wandering, whilst exploring contemporary instances of how space, sound, movement, and experience might poignantly intersect. Ritchie and Tanner share an interest in clarity and simplicity. Ritchie’s sonic pursuits are underscored by both the active directness that first propelled and continues to sustain his punk-acoustic group the Violent Femmes, and his traditional training and ongoing practice in the Shakuhachi, for which he is a licensed teacher/performer granted the name ‘Tairaku’, translating as ‘big music’.

Traditional Honkyoku (Zen compositions) of Shakuhachi are expressed in three forms: Shin, Gyo and So. ‘Shin’ is the basic form learned from the teacher; ‘Gyo’ are variations retaining the basic form; and ‘So’ improvise new interpretations expressing the basic sentiments of the piece, but with a great deal of flexibility allowed to the performer. Ritchie and Tanner extend the improvising potential of ‘So’ expressive form to create compositions interplaying space and sound. Each particular temporary installation in different public environments composes a performance zone that is distinguishable from that of everyday busking. This affords Ritchie an opportunity for the live composition of new Shakuhachi performances in relationship to the material consistency of the ‘temple’ space, and in concert with the contingencies of its present environmental conditions and social circumstances. The compositions that emerge are the aesthetic gifts of ephemeral moments, lightly extending an ancient wisdom practice to encounter the ‘real now’ of a live urban condition.

1 David J.

>> http://www.performingmobilities.net/symposium/passages_mobile/portable-komuso-temple-compositions/

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151002_booklet_template_10.indd 103 6/10/2015 11:15:24 AM REPEATING SILENCE Chris Braddock Braddock stands stationary, with eyes closed, slowly turning his head from side to side.

WHERE > environs between RMIT Gallery and Margaret Lawrence Gallery VCA WHEN > Mon, 05-10-2015 > Sun, 11-10-2015 > Thu 8 Oct 9-10am, RMIT Design Hub, Level 10 Longroom > Fri 9 Oct 11.30am-1pm, RMIT Gallery (TRACES FLOOR TALK) > Fri 9 Oct 1-2pm, RMIT Gallery > Sun 11 Oct 1.45-2pm, RMIT Design Hub, Level 1 Multipurpose Room

MORE > www.christopherbraddock.com COMPANION CURATOR > David Cross

Christopher Braddock performing live at Prague’s Veletržní Palace (Museum of Modern Art) as part of New Zealand’s exhibition Fly-Tower:“ A Live Archive” for the Prague Quadrennial of Performance Design and Space 15-26 June 2011, curated by Sue Gallagher and Tracey Collins

For Repeating Silence, Chris Braddock carries out four one-hour public performances in and around Melbourne’s CBD. For each performance, Braddock stands stationary, with eyes closed, slowly turning his head from side to side as if surveying the ‘scene’. The gesture of closing his eyes accentuates Braddock’s stationary silence but also troubles one’s expectations of public mobility and visibility. This gesture is the simple but profoundly key to appreciating these performances and operates in different ways for the public and performer. With eyes closed, the body of the performer is transformed into an object for the scrutiny of passers-by – they come close, stare and photograph, disturbing what would normally be a subtle, spatial zone of privacy. For the performer, such a lack of visibility increases other sensibilities including sound. Accordingly, a hierarchy of the ear over the eye suggests a phenomenology of acoustic space.

These performances punctuate the ASSEMBLY symposium 8-11 October by live video feed. This relay between live performance and live video projection introduces another public audience, who witness both the solitude of the performing figure as if ‘from above’ and a dramatised close-up experience of the performer’s face as it slowly turns from side to side. Through this close-up cinematic view, the passivity of the face remains intensely active. It is not a simple antithesis of action but, rather, reveals discreet and incremental levels of mobility. As a kind of face-to-face encounter, Repeating Silence endeavours to explore a radical passivity of sensibilities beyond vision, mobility and touch.

>> http://www.performingmobilities.net/symposium/passages_mobile/repeating-silence/

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151002_booklet_template_10.indd 104 6/10/2015 11:15:25 AM TECHNOPIA TOURS – WORKING MELBOURNE Kim Donaldson Tours that reveal Melbourne at work.

WHERE > meet at RMIT Gallery foyer WHEN > Tue, 06-10-2015 > Thu, 08-10-2015 > > > Tuesday 6 October > 12.15pm The Plumbing Tour. Visit Melbourne City Council's Black Water Plant and see the plumbing underbelly of the Melbourne City Baths. 1.5 hours > 2.30pm The Working Building Tour. Visit an art gallery and the private work spaces of an artist, an animator and a milliner in the Nicholson Building. 2 hours > > > Wednesday 7th October > 10.30am Early Bird Special. Meet on the steps of RMIT gallery. Visit the kitchen of the renowned restaurant 'The Press Club'. 1.5 hours > 12.30pm Visit the State Library of Victoria where a librarian from their Photograph Collection will share with us some historical images of working in Melbourne. 1 hour > 2.30pm See the inner workings of the Grand Organ at the Melbourne Town Hall. 1 hour. > > > Thursday 8 October > 11am See food scraps from the cafes of Degraves Street turned into fertiliser for the gardens of Melbourne. 1 hour BOOKING > Booking direct through the artist [email protected] COMPANION CURATOR > Meredith Rogers

Kim Donaldson, Technopia Tours – Under ‘Vault’, 2014.

Wear an orange safety vest as your Technopia Tour guide accompanies you on a journey that unfolds to reveal something unfamiliar.

Visit an artist’s studio, a librarian at the State Library, a beekeeper in the CBD or a kitchen in a five-star restaurant. Through a Technopia Tour, the concealed working parts of Melbourne open up. Participants will contribute to a progressive collaborative drawing as the events unfold.

Several tours are offered daily. Select your tour from the Performing Mobilities website or from the Technopia Tours representative in the foyer of RMIT Gallery. Tour sizes and duration vary according to the destination. Bookings can be made by email prior to departure with a gold coin donation confirming passage on the day. All proceeds go to the Asylum Seeker Resource Centre.

Sharing one of the fundamentals of her own art-making practice through the hand-drawn record of the journey as an ‘alternative’ documentation, Kim Donaldson merges the work of the artist with the work of others in the city, and places both within the frame of the language and tropes of the tourism industry. The tours investigate an industry, a city, and a set of work processes through the sharing of artistic, curatorial, and performative practices – a ‘persistent form of seriousness’.

>> http://www.performingmobilities.net/symposium/passages_mobile/technopia-tours-working-melbourne/

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151002_booklet_template_10.indd 105 6/10/2015 11:15:25 AM THE TOUR OF ALL TOURS Bill Aitchison A performed guided tour of Melbourne whose subject is other tours.

WHERE > meet at RMIT Gallery foyer WHEN > Tue, 06-10-2015 > Thu, 08-10-2015 DURATION > 1.5 hours > Tues 6 Oct – 1pm & 4.30pm > Wed 7 Oct – 1pm & 4.30pm > Thur 8 Oct 11am > Limited to 8 participants

BOOKING > Booking is required email: [email protected] MORE > http://www.billaitchison.co.uk/billaitchison/The_Tour_of_All _Tours.html COMPANION CURATOR > Fiona Wilkie

The Tour of All Tours is a guided tour like no other: a performance that takes the form of a guided tour, the subject of which is other tours (real and potential, guided and otherwise) available in Melbourne.

British artist Bill Aitchison, himself a visitor to Melbourne, guides each group around the city and describes different tours that inscribe their various narratives onto the places stopped at. Each tour ends with a convivial open conversation in a café. The work draws attention to both the city itself and the wider potential of the tourist gaze. In doing so, it opens up questions of globalisation, the meaning of these exchanges between local and visitor, and how we use and give identity to places. It draws out the inherent politics, both local and global, of describing the city, and collages radically divergent narratives, such as conventional self-serving histories with sex tourism, protest marches, and artist projects.

Aitchison reforms the guided tour into an engaging and truly unique medium for art outside of the institution and in the public sphere… For 90 minutes, Aitchison interrupts and utilises this stage to show us, the audience, the layers of branding, expectations and reality of which it is comprised. Aitchison’s quirky and peculiar mix of disclosure and captivating storytelling offers fun and enlightenment (Time Out, Beijing)

The Tour Of All Tours brings visitor and local into the same frame as equals. It achieves this by focusing upon the experience of taking tours in the city and looking at what the different tours do and don’t tell you about it. Aitchison has presented versions of the project in cities around the world, including Stuttgart, London, Beijing and Amsterdam.

>> http://www.performingmobilities.net/symposium/passages_mobile/the-tour-of-all-tours/

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151002_booklet_template_10.indd 106 6/10/2015 11:15:26 AM TOWN CROSSINGS Paul Gazzola & Nadia Cusimano in association with plan b An experimental mapping project, utilising game play as a social strategy of engagement.

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > >

MORE > http://www.towncrossings.blogspot.it/ COMPANION CURATOR >

Town Crossings_Berlin

TOWN CROSSINGS is an experimental performance/mapping project that utilises gameplay as a civic and social strategy of engagement across the physical landscape. Highlighting movement and mobility as an inherent and fundamental actioning of the everyday, it exposes the transient nature of relationships that generate and form the daily spaces we operate in.

In 2015, a series of directed yet meandering cross-town journeys have continued to be generated by a play of exchange between one person (the player) and the response invoked by throwing a passer-by (the other players) a Frisbee. A GPS locator on the player records the winding pathways and accumulate as a series of mappings that make visible the meandering and haphazard nature of the overall trajectories – exposing the dynamics between the intended direction and the actual manifestation of each journey. Understanding that cartography is an attempt to fill geographic spaces with knowledge in a graphical form that we can communally understand, the exhibited maps reframe the hegemonic values granted to notions of efficient and economic trajectories of human activities across space and time.

As a light and flexible model, TOWN CROSSINGS encourages participation as an open and flexible apparatus, by valuing cultural production through non-economic exchange. The ability for anyone to participate allows for the constant propulsion of the mediating object. It is a fluid and open process, engaging with a strategy of performative acts as generative sites of social inclusion.

Sited in the everyday, TOWN CROSSINGS can also be seen as an evolving choreography of interpretation as it produces new engagements via each outing. Activated in the immediacy of the spaces, the instantly forming and dissolving of the participatory relationships that occur re-value play and playfulness in our society, and as a way to collectively produce and rethink new understandings of place.

>> http://www.performingmobilities.net/symposium/passages_mobile/town-crossings/

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151002_booklet_template_10.indd 107 6/10/2015 11:15:26 AM VERY LOCAL RADIO (IN FOUR MOVEMENTS) Sasha Grbich/Heidi Angove Live Internet radio broadcast from a shopping trolley through the city.

WHERE > environs between RMIT Gallery and Margaret Lawrence Gallery VCA WHEN > Sat, 03-10-2015 > Sat, 03-10-2015 DURATION > 1-2 hours each movement Four movements / walks > > > midday Sat 3 Oct > departing RMIT Gallery > sunset Sat 3 Oct > departing Margaret Lawrence Gallery (6.26pm) > midnight Sat 3 Oct > departing RMIT Gallery > sunrise Sun 4 Oct > departing Margaret Lawrence Gallery (6.52am – remember daylight savings has started!) > 2 hours duration Very Local Radio for PlaceLab, Noarlunga 2015. > Limited to 3 participants invited to travel with each journey > listen at http://broadcast.sashagrbich.com

MORE > http://broadcast.sashagrbich.com COMPANION CURATOR > Paul Gazzola

Very Local Radio (in four movements) is an Internet radio broadcast and live performance. This project explores ephemeral communities brought together through radio broadcasts and employs sound to navigate cities.

Via journeying, listening and broadcasting, Very Local Radio foregrounds unpredictable performances with places encountered. The project looks like a portable Internet radio transmitter assembled in a shopping trolley pushed by the artists. Audiences access the work as an Internet radio station and tune into the unpredictable sound of movements through places.

During the Performing Mobilities program, four passages of movement will be undertaken amongst the spaces between the RMIT Gallery and Margaret Lawrence Gallery, taking place at midday and midnight, sunrise and sunset. Whilst moving, interesting urban sound ecologies are actively sought out, whilst the trolley broadcaster is used as a tool to explore, meet, and sometimes hand over the microphone to the community. Shared as a live sound broadcast, and generated by navigating on foot, the station will be live only during the movements, and each broadcast is expected to last 1-2 hours.

> listen http://www.broadcast.sashagrbich.com

>> http://www.performingmobilities.net/symposium/passages_mobile/very-local-radio-in-four-movements/

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151002_booklet_template_10.indd 108 6/10/2015 11:15:27 AM WALK ON FALLOW LANDS #2 Angela Kilford A walking performance which explores how first peoples of Melbourne and New Zealand value place.

WHERE > meet at RMIT Gallery foyer WHEN > Mon, 05-10-2015 > Fri, 09-10-2015 TIME > 11:00 am DURATION > 2 hours The walk departs daily from RMIT Gallery to Flagstaff Gardens in Melbourne, progressing to the Birrarung (Yarra River). Maximum 8 people. Bookings by email to: kilfords (at) gmail.com Walk on Thursday 8 Oct runs for 1.15 hours COMPANION CURATOR > James Oliver

Meeting point for a walk. 2014.

Walk on fallow lands #2 is a performance work that invites people to walk the land – and engage with the heavy and multiple narratives of colonisation – thereby excavating the multiple histories in the landscape. The act of walking, as ritual and guiding, brings forth oral histories and a valuing of land. The work simultaneously proposes an engagement with two indigenous worldviews. With reference to her homeland, Aotearoa/New Zealand, the artist traces her Maori temporality and whakapapa (geneaology) back to Papatuanuku the Earth Mother and Ranginui the Sky Father, which is fundamental to the way in which Maori value land. Equally, for Aboriginal Australia, many people consider the land as ‘Mother, for she gives birth to us and nurtures us through our life’.

Aboriginal and Maori people have expressed and shared these ideas through oral history and language, which have been threatened (and sometimes eliminated) by colonial structures, identities and formations. Walk on fallow lands II thereby draws on a Maori view of history that requires an understanding of whakapapa in affirming identity. The saying ‘I nga wa o mua’ alludes to the past being something that lies in front of you, rather than something you leave behind, and illustrates a cyclical view of history as each person is added to whakapapa, and the story moves forward, bringing the past with it.

In honouring the memories and myths of significance to the first peoples of Australia, and presenting these through a Maori lens, the artists seeks to disrupt Western narratives of place by removing dominant hierarchies. ‘Just as when I am walking, my feet are the waka and I carry the embodied knowledge within me.’

This walk is being conducted with blessings from the Wurundjeri Tribe Land and Cultural Heritage Council. With the support of Creative New Zealand.

>> http://www.performingmobilities.net/symposium/passages_mobile/walk-on-fallow-lands-2/

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151002_booklet_template_10.indd 109 6/10/2015 11:15:27 AM WALK WITH ME Deirdre Heddon A guided, verbatim audio-walk.

WHERE > RMIT Gallery Hours: Mon-Fri 11am-5pm > Wed till 7pm > Sat 12noon-5pm > 344 Swanston Street Melbourne > > WHEN > Mon, 05-10-2015 > Tue, 06-10-2015 > Meet at RMIT Gallery > Mon 5 Oct – Tues 6 Oct, 11.30am, 12.30pm, 2.30pm, 3.30pm daily > 30-minutes duration > Limited to 10 people per walk > Accessible to wheelchair users

MORE > http://walkinginterconnections.com/ COMPANION CURATOR > Fiona Wilkie

This performance is created from more than 25 hours of conversation recorded on-the-move. All the words heard were spoken by co-researchers in the project Walking Interconnections: Researching the Lived Experience of Disabled People for a Sustainable Society.

Walking Interconnections, and the resulting audio-play, Walk With Me, recognise and respond to the fact that disabled people’s voices have been largely absent from the sustainability debate. Representing one-fifth of the world’s population, disabled people have unique contributions, often overlooked, to help build resilient societies and communities. Setting as its foundational tenet the fact that disability does not mean inability, Walk With Me uses walking with as a way to identify and make tangible the everyday, embodied knowledges of disabled people – their habitual experiences of their environments, and their persistent enactments of resilience within these.

What can we learn from disabled people’s experiences of walking? How might these experiences help us create more sustainable futures? Join us for a 30-minute audio walk. Listen out for performances of creativity, commitment, risk-taking, resilience and interdependency. Walk as if in someone else’s shoes.

>> http://www.performingmobilities.net/symposium/passages_mobile/walk-with-me/

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151002_booklet_template_10.indd 110 6/10/2015 11:15:28 AM >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Notes

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151002_booklet_template_10.indd 117 6/10/2015 11:15:31 AM 151002_booklet_cover_03.indd 1 >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>> www.fluidstates.org > a sequence of 15 different locations over 2015 > distributed performance research project taking place in >>>>>>> the Performance Studies international globally >> Fluid States > is the Australian program of PSi#21 > >> PERFORMING MOBILITIES >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>> twitter.com/PerfMob >>>>> >>>>> facebook.com/PerformingMobilities > >>> www.performingmobilities.net >>>>>> >>>>>>>>>>> full program > updates > bookings >>>>>>>>>>>>>>>>>>

>>>>>>PERFORMING>>>MOBILITIES>>>>> ASSEMBLY >>> symposium >>>> Thurs 8 Oct – Sun 11 Oct >>>>>>> Oct 11 Sun – Oct 8 Thurs >>>> symposium >>> ASSEMBLY

>>>>>>>>>>> ASSEMBLY > symposium >>>>> >>>>>>>>>>>>>>>> Thurs 8 Oct – Sun 11 Oct 2015 >>>>>>

>>>>>>>>> RMIT Gallery >>>>>>> 25 September – 24 October 2015 >>> >>>>> Margaret Lawrence Gallery VCA >>>>>> 9 October – 7 November 2015 >>>>>>>>

>>>>>>>>>>>>>4/10/2015 10:27 pm www.performingmobilities.net >>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Assembly &gt; Full Program Abstracts Here

Assembly > Full Program Abstracts Here