Wednesday 11 February — Saturday 21 March 2009

International Festival
of Live Art, Scotland
International festival of live art, Scotland
Produced by New Moves International

Wednesday 11 February — Saturday 21 March 2009

Artistic Director Nikki Milican

Company Manager Colin Richardson-Webb
Production Manager Grahame Coyle

New Moves International is funded by the

Scottish Arts Council and Glasgow City Council.

Additional financial support has been gratefully received from:

EU Culture Programme 2007-2013, Arts Council England;
Goethe Institute, Glasgow; Délégation génerale du Québec;
Calouste Gulbenkian Foundation; Istituto Italiano di Cultura Edinburgh.

With special thanks to our partners for this year: The Arches; Novotel and IBIS (Accor Hotels);
Royal Scottish Academy of Music and Drama; The University of Bristol; Tramway.
Additional thanks to the board of directors of New Moves International.

Contact Details:
New Moves International, PO Box 16870, Glasgow G11 9DS
Telephone: +44 (0)141 357 5538 Web: www.newmoves.co.uk

Design (website & print): Mark Gatti, Gatti Creative Design

Website Development: Neill Ritchie (iSPY)
Cover: Cas Public/Hélène Blackburn Suites Cruelles

Contents
New Territories Calendar .................02
NRLA Diary .................................... 04
The National Review Of Live Art .........06
Ian Smith ...................................... 06
Artists In Residence ........................06
hancock & kelly live ......................... 06
Invited Artists ................................ 07
2boys.tv ....................................... 08
Áine Phillips ................................... 08
Andree Weschler ............................. 09
anti-cool ....................................... 09
Billy Cowie .................................... 10
B.O.R.N ........................................ 10
Brownsierra ................................... 11
David Gale .................................... 11
Dominic Johnson ............................. 12
Eva Meyer-Keller ............................. 12
Franko B ....................................... 13
Gary Stevens .................................. 13
Helge Meyer ................................... 14
Ivana Müller ................................... 14
Jiva Parthipan ................................ 15
John Dummett ................................ 15
Kate McIntosh ................................. 16
Kenny McBride ................................ 16
Lesley Yendell ................................ 17
Marcel Sparmann ............................. 17
Mehr Javed .................................... 18
Miss Electric Gypsyland ..................... 18
Mundo Perfeito ............................... 19
Pere Noguera ................................. 19
Raimund Hoghe ............................... 20
Rebecca Cunningham ........................ 20
Rosie Dennis .................................. 21
Sandra Johnston .............................. 21
Shaun Caton .................................. 22
Six Belfast Based Artists..................... 22
Sohail Khan.................................... 23
Third Angel .................................... 23
Wendy Houstoun ............................. 24
Vocal Sonics .................................. 24
Programme 1 ................................. 24
Tagaq ........................................... 24
Frank Millward – The Visual Voice ......... 25
Phil Minton .................................... 25
Programme 2 ................................. 26
Giovanni Fontana ............................ 26
John Giorno ................................... 26
Alexis O’Hara ................................. 27
Los Torreznos ................................. 27
Screenings .................................... 28
Gina Czarnecki & Ulf Langheinrich ........ 28
Zlatko Kopljar ................................ 28
Early Bird Talks .............................. 29
Tanya Mars .................................... 29
Helge Meyer ................................... 29
Franko B, interviewed by artists in
residence hancock & kelly .................. 29
Capturing the past, preserving the future:
digitising the National Review of Live Art
video archive ................................. 29
Chinese Arts Centre .......................... 29
Live Art Development Agency ............29
01
Elevator ....................................... 30
Aileen Lambert ............................... 31
Beth Greenhalgh ............................. 31
Clara García Fraile ........................... 31
Florence Peake ............................... 32
Harriet Plewis ................................ 32
Hunt & Darton ................................ 32
Justin McKeown .............................. 33
leonard ........................................ 33
Michael Fortune .............................. 33
Michelle Browne .............................. 34
Michelle Horacek ............................. 34
Panther ........................................ 34
Petra’s Pulse .................................. 35
Ruby Pester ................................... 35
Sam Hasler .................................... 35
Soozy Roberts ................................. 36
Sophia Yadong Hao ........................... 36
The Paper Birds............................... 36
One Year On .................................. 37
Augusto Corrieri .............................. 37
Helena Hunter ................................ 37
Jenna Watt .................................... 37
New Territories ............................. 38
Station House Opera ......................... 39
Companhia Paulo Ribeiro ................... 40
UBU ............................................ 41
Into The New ................................. 42
Anna Krzystek ................................ 43
Sylvain Émard Danse ......................... 44
Cas Public/Hélène Blackburn .............. 45
Winter School 2009 .........................46
Space For Live Art ..........................46
Venues & Tickets ............................ 46
02

Calendar
February March
DATE TIME ARTIST/EVENT VENUE DATE TIME ARTIST/EVENT VENUE

Sat 7 10:00-18:00 Mary Brennan (Winter School) Novotel Mon 2 1000-2000 Franko B (Winter School) Tramway

Sun 8 10:00-18:00 Mary Brennan (Winter School) Novotel Tue 3 1000-2000 Franko B (Winter School) Tramway

Mon 9 10:00-18:00 Mary Brennan (Winter School) Novotel Wed 4 1000-2000 Franko B (Winter School) Tramway

Tue 10 10:00-18:00 Mary Brennan (Winter School) Novotel Thu 5 1000-2000 Franko B (Winter School) Tramway

Wed 11 1730-12midnight NRLA The Arches Thu 5 1830 + 2100 UBU Tramway

Thu 12 1115-0200 NRLA The Arches Fri 6 1000-2000 Franko B (Winter School) Tramway

Fri 13 1100-0200 NRLA The Arches Fri 6 1530 + 1830 UBU Tramway
+ 2100
Sat 14 1100-1800 (The Arches) NRLA The Arches
1900-late (Tramway) & Tramway Sat 7 1530 + 1830 UBU Tramway
+ 2100
Sun 15 11.30-0100 NRLA The Arches
Mon 9

Tue 10

Mon 23 1000-1800 Gábor Goda (Winter School) RSAMD Wed 11

Mon 23 1000-1800 Curious (Winter School) Tramway Thu 12 1800 Into The New Tramway

Tue 24 1000-1800 Gábor Goda (Winter School) RSAMD Fri 13 1800 Into The New Tramway

Tue 24 1000-1800 Curious (Winter School) Tramway Sat 14 1400 Into The New Tramway

Wed 25 1000-1800 Gábor Goda (Winter School) RSAMD Mon 16

Wed 25 1000-1800 Curious (Winter School) Tramway Tue 17 1930 Anna Krzystek Tramway

Wed 25 1930 Station House Opera Tramway Tue 17 2030 Sylvain Émard Danse (Pluie) Tramway

Thu 26 1000-1800 Gábor Goda (Winter School) RSAMD Wed 18 1830 Anna Krzystek Tramway

Thu 26 1000-1800 Curious (Winter School) Tramway Thu 19 1930 Sylvain Émard Danse Tramway
(Temps du chien)
Fri 27 1000-1800 Gábor Goda (Winter School) RSAMD
Fri 20 1930 Sylvain Émard Danse (Wave) Tramway
Fri 27 1000-1800 Curious (Winter School) Tramway
Sat 21 2000 Cas Public Tramway
Fri 27 1930 Companhia Paulo Ribeiro (Masculine) Tramway

Sat 28 1000-1800 Gábor Goda (Winter School) RSAMD

Sat 28 1000-1800 Curious (Winter School) Tramway

Sat 28 1930 Companhia Paulo Ribeiro (Feminine) Tramway

UBU
04

NRLA Diary
Wednesday 11 February 2boys.tv 08 Studio Theatre 1600-1645

Artist/Event Page The Arches Space/Site Perf Time Panther 34 Middle Bar 1710-1730

Doors Open - 1730 2boys.tv 08 Studio Theatre 1715-1800

hancock & kelly live (Dermographia) 06 Arch 3 East 1800-1930 Sohail Khan 23 B3 1730-1830

Helena Hunter 37 B2 1800-2230 Michelle Horacek 34 Arch 3 West 1830-2230

Billy Cowie 10 B4 1800-2230 2boys.tv 08 Studio Theatre 1830-1915

Lesley Yendell 17 Practice Room 1800-2230 Third Angel (Talk & Film) 23 Playroom 1915-2045

Michael Fortune 33 Foyer 1800-2230 Eva Meyer-Keller 12 Arch 2 2100-2230

2boys.tv 08 Studio Theatre 1815-1900 Gina Czarnecki/Ulf Langheinrich 28 Playroom 2130-2300

Mundo Perfeito 19 Arch 2 1905-2020 Andree Weschler 09 Arch 3 East 2230-2300

2boys.tv* 08 Studio Theatre 1940-2025 Festival Club - South Bar 2230-0200

Third Angel — Process 23 Playroom 2030-2120 Harriet Plewis 32 Middle Bar 2310-2330

Third Angel — Performance 23 Playroom 2120-2210

hancock & kelly live (In Season) 06 Arch 3 West 2100-2230

2boys.tv 08 Studio Theatre 2110-2155 Friday 13 February

Áine Phillips 08 Arch 2 2200-2230 Artist/Event Page The Arches Space/Site Perf Time

David Gale 11 Middle Bar 2240- Marcel Sparmann - meeting point 17 Foyer 1000

Festival Club - Midlle Bar 2230-midnight Early Bird with Tanya Mars + Book launch 29 Foyer 1100-1300

Zlatko Kopljar 28 B4 1300-2230

* Capacity for 2boys.tv is 20 per show
LADA 29 B2 1300-2100

Thursday 12 February John Dummett 15 Casbah 1300-

Artist/Event Page The Arches Space/Site Perf Time Soozy Roberts 36 Middle Bar 1300-1530

Marcel Sparmann - meeting point 17 Foyer 1000 Hunt & Darton 32 Studio Theatre 1330-1400

Early Bird with Helge Meyer 29 Foyer 1115-1245 Sam Hasler 35 Arch 3 West 1400-1600

Eva Meyer-Keller (film) 12 Foyer 1300-2230 hancock & kelly live (Postures A to M) 06 Practice Room 1400-1700

Helena Hunter 37 B2 1300-2230 Franko B* 13 Playroom 1400-2000

Billy Cowie 10 B4 1300-2230 anti-cool 09 Studio Theatre 1500-1530

Lesley Yendell 17 Practice Room 1300-2230 Florence Peake** 32 B3 1530-1730

NRLA Archive launch 29 Middle Bar 1300-1400 Rosie Dennis 21 Arch 3 East 1630-1715

John Dummett 15 Casbah 1300- Jiva Parthipan 15 Middle Bar 1745-1815

Aileen Lambert 31 Dance Arch 1400-1410 B.O.R.N 10 Arch 2 1830-1930

Michelle Browne 34 Arch 3 West 1400-1700 Dominic Johnson 12 Studio Theatre 2000-2020

Third Angel — Process 23 Playroom 1410-1500 hancock & kelly live (The Mirror Pool) 06 Practice Room 2000-2100

Third Angel — Performance 23 Playroom 1500-1550 Gary Stevens 13 Arch 2 2100-2210

 05

Gina Czarnecki/Ulf Langheinrich 28 Playroom 2130-2300 Sunday 15 February

Brownsierra 11 Arch 3 West 2230-2310 Artist/Event Page The Arches Space/Site Perf Time

Festival Club - South Bar 2230-0200 Marcel Sparmann - meeting point 17 Foyer 1000

Panther 34 Arch 3 East 2330-2350 Brunch & Vital book launch 29 Foyer 1130-1230

Six Belfast Based Artists 22 Arch 3 East & West 1230-1930

* 20 people at a time every 15 mins
** 8 people at a time over 2 hours, each performance lasting 10 mins. Sandra Johnston 21 Practice Room 1230-1930

Shaun Caton 22 B3 1230-1930

Saturday 14 February LADA 29 B2 1230-1800

Artist/Event Page The Arches Space/Site Perf Time Pere Noguera 19 Casbah 1230-1300

Marcel Sparmann - meeting point 17 Foyer 1000 Vocal Sonics (Programme 1) 24 Arch 2 1300-1455

Early Bird with Franko B 29 Foyer 1100-1230 Frank Millward 25 Arch 2 1300-1320

Zlatko Kopljar 28 B4 1200-1800 Tagaq 24 Arch 2 1325-1405

LADA 29 B2 1200-1800 Phil Minton 25 Arch 2 1410-1455

John Dummett 15 Casbah 1200-1800 Mehr Javed 18 Middle bar 1430-1630

Shaun Caton 22 B3 1200-1800 Jenna Watt 37 Playroom 1500-1600

Sophia Yadong Hao 36 Practice Room 1200-1800 hancock & kelly live (Open Wound) 06 Studio Theatre 1600-1620

Clara García Fraile 31 Foyer 1230-1800 Justin McKeown 33 Dance Arch 1600-1800

Helge Meyer 14 Arch 3 West 1245-1330 leonard 33 Playroom 1700-1800

The Paperbirds 36 Arch 2 1340-1435 Vocal Sonics (Programme 2) 26 Arch 2 1800-2030

Kenny McBride 16 Arch 3 East 1400-1800 Alexis O’Hara 27 Arch 2 1800-1830

Rebecca Cunningham 20 Middle Bar 1400-1800 Giovanni Fontana 26 Arch 2 1835-1935

Augusto Corrieri 37 Playroom 1500-1530 John Giorno 26 Arch 2 1940-2025

Beth Greenhalgh 31 Arch 3 West 1540-1620 Petra’s Pulse 35 Playroom 2030-2130

Ruby Pester* 35 Studio Theatre 1600-1700 hancock & kelly live (Rupture) 06 Studio Theatre 2040-2100

Clara García Fraile 31 Playroom 1700-1710 Los Torreznos 27 Arch 2 2130-2205

Wendy Houstoun 24 Arch 2 1715-1800 David Gale 11 Middle Bar 2215-

Tramway Programme Page Space/Site Perf Time Festival Party - South Bar 2200-0100

Ivana Müller 14 T1 *** 1900-

Elevator Artist
Kate McIntosh** 16 T4 *** 2000-2100

Raimund Hoghe 20 T1 *** 2130-2300

Festival Club - Café/Bar 2230-late

Miss Electric Gypsyland 18 Café/Bar 2300-

* Durational performance ** Capacity 90 *** These events take place at Tramway

06 → NRL A 09

ARTISTS IN RESIDENCE
THE NATIONAL REVIEW hancock & kelly live
OF LIVE ART
Lone Duets is a series of fractured conversations, a shattered dialogue between old
Wed 11 Feb – Sun 15 Feb friends, a deviation from the script, and a shared pause for the last breath...
Since 2005, Richard Hancock and Traci Kelly have been engaged in a game
It’s time to welcome our community together
of ‘performance chess’, a viral investigation into the form and nature of
again from across the globe to celebrate the
collaboration.
National Review of Live Art in Glasgow, Scotland.
Employing contamination and infection as dramaturgical devices, Hancock and
Once more, an exciting and eclectic mix of
Kelly have cultivated a series of 6 solo performances, each made in response to the
seasoned international artists, mid career artists
work of the other, each grappling for the space between. The resulting works are a
with new ground breaking works, Elevator artists
series of visceral, intimate, and queer events, both moving and spectacular.
(appearing perhaps for the very first time at a
Throughout their residency at the National Review of Live Art, Hancock & Kelly
major festival) and you the audience all get to
will present, for the first time, the entire series of six works:
rub shoulders, exchange stories, business cards,
telephone numbers and e-mail addresses. Be it Richard Hancock Dermographia (2005)
your first visit or an annual migration, enter with Traci Kelly In Season (2006)
an open mind and enjoy. Richard Hancock Postures A-to-M (2006)
Traci Kelly The Mirror Pool (2007)
NRLA Honorary Associates: Robert Ayers, Neil Richard Hancock Open Wound (2007)
Bartlett, Mary Brennan, Forced Entertainment, Traci Kelly Rupture (2008)
Paul Hough, Lois Keidan, Richard Layzell, Alastair
Richard Hancock (b. 1977, UK) and Traci Kelly (b. 1961, UK) have collaborated on a
MacLennan, Michael Mayhew, Stephen Partridge,
body of work spanning performance, live art, text, installation, and video.
Geraldine Pilgrim, Anne Seagrave, Ian Smith.
Known for their beautiful and brutal explorations of the visceral body, Hancock
and Kelly have presented works of critical acclaim to audiences across the UK,
Ian Smith (Master of Ceremonies)
Europe, Central America and Australia.
Swimmers approaching the English Channel smear
themselves with thick grease in ‘Hancock and Kelly are among the most exciting new artists that it has been my
order to survive. For those of privilege to encounter in the last decade.’
you about to dive into the deep Robert Ayers
and seemingly endless stream of This presentation of Lone Duets is a New Moves International commission for
activity that is the NRLA, this will the National Review of Live Art.
not be necessary, although any
The project has been supported by Arts Council England (UK), the Arts &
members of the audience who
Humanities Research Council (UK), Critical Path (AUS), Dance4 (UK), Future Factory
choose to do so will be treated
(UK), greenroom (UK), Performance Space (AUS), and the University of Reading
with reverence and a wide berth.
(UK).
As harbourmaster of ceremonies
Ian Smith will be on hand to pilot www.hancockandkellylive.com
you through the dazzling waters,
and toss out the odd lifebelt when necessary.
Traci Kelly In Season (2006)
Ian has spent the past year ‘Peeping at Bosch’
and creating a full-sized ‘Market of Optimism’ for
Liverpool, Edinburgh and beyond. Now hitting 50,
Photo: Richard Hancock

there seems little hope that he will ever grow up.

www.mischieflabas.co.uk
 N RLA 0 9 → 07

Invited Artists

2boys.tv
08 → NRL A 09
Photo: 2boys.tv
2boys.tv (Québec)
Phobophilia
PHOBOPHILIA (arousal from fear)
A small group of spectators is led blindfolded to a secret location to
witness a peculiar interrogation. “This is my life, and it is the truth”
confesses the man being questioned, and as further explanation an
elaborate pop-up book is produced upon which is projected his story.
A delicate and miniature performance work, Phobophilia seeks to
pose the question, “What is the role of the poet in an age characterized
by fear?”.
‘…their pieces are a tangible “mise en abîme”. Without copying nor
disregarding, the duo borrows words and images from an artistic
heritage that express their vision of the world, creating In this manner
performances which are multilayered, where the tri-dimensional
(performer, objects, space) become the screen for their video
projections, where audio sampling occurs as a way to speak “insane”
thoughts, where the political messages are layered between the real
and virtual, essentially employing a burlesque humour that never loses
substance.’ Marie-Chantal Scholl, magazine Dfdanse, MONTRÉAL
Phobophilia was originally produced with the assistance of Studio 303
(Montréal).
Stephen Lawson and Aaron Pollard, under the moniker of 2boys.tv
—and as their alter egos, Gigi L’Amour and Pipi Douleur— create and
tour trans-media performance pieces that conjure up phantasmagoric
ghosts from the vaults of gothic and film noir popular culture. Based in
Montréal, these darlings of the city’s cult cabaret scene have produced
multimedia videos, installations and performances in clubs, galleries,
theatres and cabarets internationally.
With thanks to Conseil des arts et des letters Québec and Canada
Council for the Arts
‘Astounding! Phobophilia was an experience as thick, dark and sensual
as the velvet curtains that engulfed the audience. Really affecting,
can’t wait to see more!’ Isa Tousignant, Hour Magazine, MONTRÉAL
www.2boys.tv
Photos: Jane Talbot
Áine Phillips (Ireland)
The Art of Love (War)
A re-writing of Sun Tzu’s 6th Century BC treatise The Art of War. Áine
Phillips performs the text and applies the strategies of war to acts of
love. She explains how to make love not war: and reveals how acts of
destruction and bloodshed can be re-imagined into affairs of the heart.
From ‘the personal to the political’ is a concept explored in the
performance, which is presented as a witty public address playing with
the paradox of ‘to war with love/making love with war’. Áine explains
how the strategies of war can apply both humorously and darkly to the
conditions of love affairs and how she arrived at this juxtaposition of
texts (as a result of experiencing a difficult love affair and trying to find
useful tactics to cope with it). She wears a costume of modified military
camouflage inspired by La guerre eu deutelles (the war of lace). Its
patterns are inscribed onto her skin and revealed in a final gesture of
invocation to allure a beloved to the combat zone of the body – in an
engagement of passions seeking conquests where adversaries are not
enemies to the death but worthy contestants in love!
Two projections accompany the performance; a scrolling text of the
script (The Art of Love (war)) and elegant, altered images of amateur
internet porn.
Special thanks to Jim Ricks & Tom Flanagan.
Áine Phillips makes multi-media performance and live art in Ireland
and internationally since the late 80s. Her work is centred on
autobiographical performance and explores ways to make the personal
political. She has created work for diverse contexts; the street, club
events and exhibitions including The Kitchen New York, The National
Review of Live Art, Glasgow, Tanzquartier Vienna, MOMA Cleveland
and in Ireland at Irish Film Centre, Arthouse, EV+A and The Hugh Lane
Gallery. She also works curating live and video art events in Ireland
(TulcaLive & Live@No.8, Galway).
www.ainephillips.com
 N RL A 0 9 → 09
Photos: Kenny Low Photo: Jerome Bourque

Andree Weschler (France/Singapore) anti-cool (Japan)

Innocence #03 role model for a store clerk

The 3rd piece of a series of performances. In my country – Japan customers are treated like gods. Store clerks are
trained to master the art of good service, must follow manuals, and
In 2006, my life was going through a desert. Everybody seemed busy,
all with a perfect smile, even if they are in a state of exhaustion. My
active, alive and I was a prisoner in my own apartment. Nothing was
performance happens in the gap between the smile and the clerk’s true
happening to me, I felt I was a thing among others in my home.
feelings. The audience will witness continuing dynamic actions, comical
One day I received from a friend a pack of porcelain. I started to roll but ironic reality of life.
small pearls of porcelain for no reason. They were cute.
Performance artist anti-cool was born in Kanagawa, Japan, and has
To stress my lethargy, every night I rolled pearls made of porcelain, a presented in more than 10 countries in the last 8 years. Recent group
bit like Penelope doing tapestry waiting for Ulysse, except that in my exhibitions include: Glasgow International (UK), M1 Singapore Fringe
story there was no Ulysse. Festival at Singapore Art Museum (Singapore), CAFKA05X Industria
All the pearls together became a very long necklace of a few meters, (Canada), Cultural Studies Wien at Museum Quarter 21 and Platform
very beautiful, very difficult to move, very heavy. Kunst for the programme of the Japan-European Union Year (Austria).
anti-cool’s works explore how people can conquer the boundaries and
This performance is telling a story.
rules with which they surround themselves. Through communication
Andree Weschler, a French artist who has been living and practising with those present, she tries to find solutions in order to break through
art in Asia for more than 13 years, studied Visual Arts in Singapore, people’s self-imposed limits.
Australia and Les Beaux Arts de Paris. She has exhibited in Singapore,
Thailand, Malaysia, Japan, China, Korea, Australia, Argentina, Chile
and London. She is interested in using her body to understand and
express her ideas. The body is her tool to discover material and become
a material in itself. Her work explores the boundaries of acceptable
social constructs. Andree Weschler performs in public spaces in order
to challenge the general populace to read her performance of bodily
difference.
www.andree-weschler.com
10 → NRLA 09
Photo: Billy Cowie
Billy Cowie (UK)
The Revery Alone
A seven minute looped 3d installation that is projected onto the ceiling.
The audience – wearing red/blue anaglyph glasses - see what appears to
be a solid three-dimensional dancer hanging from the ceiling. The piece
develops and expands the techniques both filmic and choreographic
of Cowie’s previous In the Flesh and features solo performer
Eleonore Ansari. The work explores in a meditative way a slow lyrical
choreography that exposes the performing body in a sculptural manner.
Billy Cowie is a Scottish composer/choreographer/filmmaker/writer.
He works principally in the area of dance/theatre performance, screen
dance and installation. His previous installation In the Flesh has been
presented at the V&A, Sadlers Wells, Tramway, Amsterdam, EMPAC,
Dancebase, Shoot Festival Sweden and won the Delegates Prize at the
IMZ Festival in the Hague.
www.billycowie.com
B.O.R.N (UK)
Prune Machine Glitz
B.O.R.N is Paul Granjon, Davida Hewlett and Thomas Hobson. Prune
Machine Glitz is an attempt to defeat contemporary feelings of
gloom and doom while embracing a wide range of human activities
and feelings. Based on personal experiences, reflections on progress,
love, and the challenge of a meaningful life, Prune Machine Glitz is
a musically rich, dance activated, thought provoking, multi-layered,
technological, heartfelt journey shaped as a cross between a robot
demonstration, a psychological experiment and a slightly wobbly
cabaret night.
The show combines Paul Granjon’s expertise of hand-made machines
and unique approach of the performance lecture format with bright
performer Davida Hewlett’s vivid, humorous and slightly paranoid
observations and pop ballads. Paul and Davida’s previous collaboration
was the Mind Sniffer, a consultation room where volunteers’
psychic abilities were evaluated. Thomas Hobson, a visual artist and
skateboarder, brings an energetic dimension, super slick dance moves
and fine video graphics skills. All the crew will be singing and dancing.
B.O.R.N. was created in 2008 after several successful presentations
of a disco dancing number on the tune of Patrick Hernandez’ 1979 mega
hit Born to Be alive.
Prune Machine Glitz will première at the National Review of Live Art
2009.
Paul Granjon is a visual and performance artist based in Cardiff. He has
produced several performance/lectures with robots and songs. He was
one of the artists representing Wales at the Venice Biennale in 2005.
Davida Hewlett is an artist working in variable combinations of video,
performance, writing, music, intervention and installation. She has
shown work in ICA, NRLA and Home. Thomas Hobson is a visual artist
using drawing, animation, video and live performance in his practice.
www.zprod.org

Photo: Pia Gambardella
Brownsierra (UK)
The Torment of St. Agatha
Patron Saint of bell founders, Christian virgin of Catania in Sicily, who
possibly lived in the 3rd century, St. Agatha spurned the advances of
the pagan Roman consul Quintinianus, who in revenge handed her over
to a brothel keeper called Aphrodisia. When she persisted in refusal of
his lewd suggestions, she was tortured and her breasts were either torn
or cut off (she is always represented in paintings with pincer tongs or
a knife and carrying her two breasts on a plate). St. Peter appeared to
her in a vision of blinding light and healed her wounds. Her terrified
jailers wanted to release her but she chose martyrdom. Because her
inverted breasts on a dish were mistaken for bells so she was adopted
as the patron saint of bell-founders. For the performance The Torment
of St Agatha we will create a sound piece as our homage to St. Agatha
using bells. Interacting with the immediate environment, placing alert
sounds all around the space using stands and clamps operating them via
switch boxes, the audience is surrounded and is placed inside the sound
as they move around in the space. Using on/off mechanised devices,
semi automated, controlled by the performers, we will be constructing
and deconstructing sound using and mixing kinetic sculpture with
performance.
Paddy Collins and Pia Gambardella have been making sound
art, installation performance and artist’s books under the name
brownsierra for 11 years. Developing an approach to modify, adapt
and transform things that already exist through a process of finding
and reusing discarded and disused materials, adapting, often changing
original functions to take on a new life or existence. Co-editors of
Noisegate sound art journal, running National Express Recordings, and
International Litter Exchange, multiples publications and artist books.
www.brownsierra.org.uk
To hear some of our work
http://www.myspace.com/brownsierra
N RL A 0 9 → 11
David Gale (UK)
Peachy Coochy Nites
Just a projector and 20 images. Just 20 seconds per image. During those
20 seconds the Presenter talks about the image. So simple. So precise.
So demanding. This is the Peachy Coochy Way.
David Gale, ever keen to launch a nationwide performance must-have,
is curating a series of Peachy Coochy events at the NRLA.
Each event features six Coocheurs, or Presenters, drawn from the
ranks of artists working at the festival. Each Coocheur will compose
a verbal response to 20 images of their choice. The images need not
be narratively linked but randomness is frowned upon. Thematic
associations are embraced. Each presentation lasts 6 minutes and 40
seconds.
David, something of a Black Belt in these matters, will both compere
and present the vignettes that strike one at times as coterminous at
other times as having very little in common. It is wrong, however, that
David should talk about his qualities, so let others comment on his
stewardship:
“He seems to like to show off his French accent at times.”
“It is clear what has to be done and he does it.”
(Comments taken from The Peachy Coochy Visitors’ Book)
Please come along, if only to be able to say “I was there when David
cried ‘Hello, sparkling new form of entertainment!’ and lo, there was
some.”
Press Comments:
‘Peachy Coochy blends art, athletics and a hectic emotional agenda.
I was drained.’ What’s On in Hertfordshire
‘I honestly think the only way to get more delightfully unpredictable
diversity would be to fall out of an aeroplane onto an unknown
surface.’ House & Housing
Don’t miss this loopy lecture tornado!
David Gale is a writer and director of theatre, also a journalist. For
twenty years he wrote shows for Lumiere & Son. He has been presenting
Peachy Coochy Nites at Toynbee Studios in London for the last year.
12 → NRLA 09
Photo: Eva Meyer-Keller
Dominic Johnson (UK)
Transmission
A body testing its thresholds, in rhythms that rise and fall like music, or
crisis. Let these be the languages spoken by bodies: to laugh, to cry, to
suspend oneself otherwise through acts of perseverance and devotion,
poised on the knife-edge of a permanent scream.
I am interested in the relations between spectacle and the
production and communication of affective experiences in
performance. Currently, these pursuits are focused on the creation
and decoration of wounds, and ancient invocations, amid vivid blazes
of sound and coloured light. My aesthetic is one of melancholy excess,
heady longing, and camp spectacle. As such, the work admits a form of
“self-obliteration”, pointing towards disappearance as an embattled,
impossible and enduring shudder.
In stating my queer heritage as a genuflection to the visual
onslaughts of past legends, I look towards a writing of history through
performance, easing the pomp of stolen birthrights with a rigorous,
queer love. This orientation to performance grows out of the fact that
the current work began as a response to the lost works of Fred Herko,
who danced himself to death, in 1964, out of a fifth-storey window.
The details are missing. Life is elsewhere. Laying down its arms, the
body wavers, and Idols gleam with tempting splendour.
Includes commissioned music by Othon Mataragas and Black Sun,
with cello by Jacob Shirley.
Dominic Johnson has presented solo performances at festivals in the
UK, France, Slovenia, Croatia and Austria, and in clubs in London
and Rome. He collaborated with Ron Athey on Incorruptible Flesh
(Perpetual Wound) in 2006-07, a co-commission by Fierce! and Chelsea
Theatre. He is a lecturer in the School of English and Drama, at Queen
Mary, University of London. He has presented performance-lectures
internationally, including at Brown University, King’s College London and
the NRLA. He has edited two books, on Franko B and Manuel Vason, and
regularly publishes articles on queer performance and visual culture.
http://dominicjohnson.blogspot.com
Eva Meyer-Keller (Germany)
Shadowgames + Handmade (film)
Welcome!
In this game the participants take on 3 functions:
Playing evaluating observing
Each game lasts approximately 7 minutes.
Four games are being played by 8 participants (2 per game) at any one
time.
If you choose to play, please sit down in the waiting area, there you
will wait, spectate and prepare whilst enjoying a glass of something.
During the shadow plays there should be no talking.
You are welcome to play the game more than once.
A project by Eva Meyer-Keller in collaboration with Kay Grothusen and
Rico Repotente; initiated by the Tanzquartier in Vienna.
+
Handmade is a video work where three different catastrophic weather
scenarios are being re-enacted using models. Eva refers to this process
as ‘choreographic arts and crafts’. With playful precision, she uses
household objects and materials such as a mixer, a hairdryer, salt and
water to simulate states of emergency caused by climate change. The
scenarios are played out in an aquarium placed on a rotating disk. The
glass of the aquarium reflects the room, the camera, tripod and the
hands of the artist and her helpers, so that the viewer sees both the
extreme weather event and its means of production simultaneously.
Eva Meyer-Keller has exhibited work throughout Europe and America.
Before she graduated from the School for New Dance Development
(SNDO) in Amsterdam, she studied photography and visual art in Berlin
and London. Eva has also worked with Baktruppen, Jerome Bel and
Christine De Smedt / les Ballets C de la B.
www.evamk.de
 N RL A 0 9 → 13
Photo: Marissa Boldo Photo: Georgina Carless

Franko B (UK) Gary Stevens (UK)

I’m Thinking Of You (part 1) Ape

I’m Thinking of You presents a surreal, dreamlike image... a romantic Three performers inextricably linked by one rule, to copy and ape
vision of childhood fantasy and abandon. The body is central, but we each other’s behaviour. Starting with simple actions and movements
are also presented with objects and music, which take the viewer and rapidly descending into a chaotic world of gestures, language
through a contemplative, personal experience. and not quite enough props, each performer struggles to assert their
The first inspiration for I’m Thinking of You came from a childhood own character and to take control. Playfully testing the limits of the
object, which Franko B made into a sculpture, altered for safe use by rule through skilful and sophisticated performances, Ape creates a
adults. The idea was to allow adults to play, to forget their problems, tangled mass of associations, moving from instantly recognizable social
to let go, or just to have fun - in the same way that children are situations to moments of slapstick comedy. Actions and words soon spin
allowed to. Over time, and through engagement with the composer out of control as the performers continue to copy the copy.
Helen Ottaway, the idea has developed and changed, with Franko using
Gary Stevens is a visual artist who has created solo and group
performance and music as a means to create his desired image.
performance and installations, for galleries, theatres and public spaces
The piece is presented as a durational installation, with audience
since 1984. He originally studied Fine Art at Goldsmiths College and the
members entering in small groups for 5-10 minutes at a time to have
Slade School of Art, and his often complex, choreographed and scripted,
their own encounter.
live pieces have grown out of earlier work in installation and film.
I’m Thinking of You by Franko B His live performance works have been presented as part of the British
Music by Helen Ottaway Art Show, 1990 and in the Sydney Biennale, 1988. In 1996 he received
Lighting consultant: Kamal Ackarie an award from the Foundation for Contemporary Performance Arts (New
Assistants: Thomas Qualmann, William Barrett York) and in 1998 won The Paul Hamlyn Award (Visual Arts). His most
recent pieces are Wake Up and Hide (installation), Slow Life (video
Franko B was born in Milan and has lived in London since 1979. He
installation).
has performed widely, including at Tate Modern, ICA, South London
Gallery and Beaconsfield, and has presented work internationally in Written and directed by Gary Stevens and originally developed with
Moscow, Zagreb, Mexico City, Milan, Amsterdam, Antwerp, Copenhagen, Julian Maynard Smith and Amanda Hadingue.
Madrid and Vienna, Tate Liverpool, the Palais des Beaux-Arts, Brussels
Commissioned by Artsadmin through support from Arts Council England,
and the Crawford Municipal Gallery in Cork. Franko B lectures widely,
London.
including at St Martins School of Art, DasArt, New York University
and the Courtauld Institute of Art. He has been the subject of three http://www.artsadmin.co.uk/projects/project.php?id=173
monographs, most recently, Blinded by Love (Ed. Dominic Johnson,
Damiani 2006). His recent shows include Posizione e Deposizione
– Franko B and Zhang Huan, Galleria Pack, Milan (15th April – 15th
September 2008) and The Golden Age – Franko B, LipanjePuntin Arte
Contemporanea, Rome (25th September – 25th November 2008).
http://www.franko-b.com
http://dontleavemethisway.net
14 → NRLA 09
Photos: Omar Euan
Helge Meyer (Germany)
Taschlich
Working on the idea of forgiveness, Taschlich is part of a series of
research where the performer tries to cooperate with the audience in a
direct way. The performer takes the symbolic burden of the viewer and
also a real heavyweight as an endurance task. In the Jewish tradition,
the Taschlich is a prayer where the participants take some bread
crumbs to a lake or the ocean, pray there and throw the material into
the water to symbolize the release from sins and start with something
new. The presented work will hold a dialogue with fire, stones and
different aspects of shared pain.
Born in Woltwiesche, Germany, 1969, Helge Meyer has been a member
of Black Market International since 2000, as well as working solo and
being involved with System HM2T. He has performed in Europe, Asia,
South America, Canada and the USA. Meyer has a diploma in Cultural
Studies (University of Hildesheim, Germany). He teaches performance
art workshops and theoretical classes at University and High School.
Since 2008 he has a PhD in Art Science/Art History from the Academy
of Fine Arts in Stuttgart. His dissertation about the image of pain in
performance is published as a book in 2008.
Helge will also be hosting one of the Early Bird sessions.
www.performance-art-research.de
Ivana Müller (Croatia)
While We Were Holding It Together
While We Were Holding It Together creates images in becoming, always
changing, depending on who is looking. Is it a rock band on tour? A
picnic in the forest? A hotel room in Bangkok? We look, imagine and
reinvent while searching for what is hidden and for what we want to
see.
A performance artist/choreographer/theatre director, Ivana Müller
studied literature in Zagreb, dance and choreography in Amsterdam
and fine arts in Berlin. In her artistic work she develops defined
performative concepts that use twists in perception or logic as
a starting point, creating pieces that are poetic and scientific,
philosophical and humorous, intimate and political at the same time. In
her recent work she explores notions of self-invention and storytelling,
often working on the borders between fiction and reality. Most of her
work is made for theatres, although she also creates installations for
galleries and museums or publishes texts.
While We Were Holding It Together is produced by LISA in co-production
with Sophiensaele Berlin (DE), Productiehuis Rotterdam (Rotterdamse
Schouwburg) (NL), Dubbelspel (30CC) & STUK Kunstencentrum Leuven
(BE). The production has been produced with the financial support of
Fonds voor Amateurkunst en Podiumkunsten en de Mondriaan Stichting.
Concept, direction: Ivana Müller
Performance: Sarah van Lamsweerde, Pere Faura, Hester van Hasselt,
Jobst Schnibbe, Jefta van Dinther
Text: Ivana Müller, Bill Aitchison, Katja Dreyer, Peré Faura, Karen Røise
Kielland, Stefan Rokebrand, Jefta Van Dinther
Artistic advice; text: Bill Aitchison
Sound design: Steve Heather
Light design & technics: Martin Kaffarnik
www.associationlisa.com

Photo: Jiva Parthipan
Jiva Parthipan (UK)
Terror of Living
On the I5 January 2007 the British press reported another attempt to
foil a terrorist threat. This involved a group trying to make a chapatti
(Indian bread) flour bomb. The great British love affair with Indian
food had taken a whole new meaning this time around. By rearranging
material from found media (newspapers, websites) with personal
encounters with terrorism and anti-terror (ism), Jiva Parthipan explores
the terror of living as he cooks, demonstrates and narrates, navigating
through one of the pressing concerns of our times.
Jiva Parthipan’s work has been seen at The Tate Modern, ICA, Arnolfini,
Fierce Festival and Saddlers Wells as well as the NRLA.
Past work include Rent, FIST!, Lick, Necessary Journey, [man(DOG,
MONKEY, GOD)], Al Qaeda State Ballet, Waiting and Pakiboy. Jiva’s film
work Waiting for Guards and Stuff of Life was commissioned by Amnesty
International for the television, cinemas and the internet.
International performances include the Netherlands, Sweden,
Norway, Denmark, Germany, Switzerland, South Africa and Sri Lanka.
Jiva has an MA in Performance (Distinction) from Goldsmiths College,
London, which was funded by an Arts and Humanities Research Council
Scholarship.
With thanks to Arts Council England, Collide – Birmingham City Council
and Birmingham Repertory Theatre.
www.jivajiva.com
N RL A 0 9 → 15
Photo: John Dummett
John Dummett (UK)
Institution Everyone
Over 3 days Institution Everyone will explore the status of thinking
in contemporary society. Beginning with the proposition “equality
of access to thinking” this live work will initiate a public process of
talking, writing and making.
During Institution Everyone John Dummett will be undertaking
different activities by himself and with members of the public. These
will include informal and formal spoken works, the collaborative writing
of critical texts and the carrying out of ceremonial tasks. All of these
activities will take place in and around a temporary structure erected
for Institution Everyone. This physical ‘refuge’ for thought and thinking
will perform not only as a working space but also as a reliquary for
critical thinking in the 21st century.
Since 2002 John Dummett has worked in the UK and abroad on socially
and contextually engaged projects, which provided live critiques
of the ‘public realm’. This critical process has been developed and
made public through forms and props appropriated from acts of public
celebration, protest and remembrance.
Recent works have explored what ‘the public realm’ means or refers
to and how its meaning is made visible or legible in architecture, voice
or action.
16 → NRLA 09
Photo: Luc Massin Photo: Kenny McBride

Kate McIntosh (Belgium) Kenny McBride (UK)

Loose Promise Meant Lament

Some stories are treason, some are dreamy, some are brutal, some are ManifestAction concerned with generations, loss, and conflict.
too funny to believe, some are too painful to tell straight, some are A meditation on the loss of generations as a result of all conflicts,
magical and others are poorly made, some might be the honest truth, generations past and never to be present.
and some are beautiful but hard to remember. A narrative is a slippery Walking at the same pace as I do with my son who only recently learned
thing. how to walk.
Kate McIntosh’s text for Loose Promise was written in collaboration Finding things that don’t belong in the ground, how to remember these,
with five writers (Tim Etchells, M. John Harrison, Deborah Levy, Richard and how long can I touch them.
Maxwell & Jo Randerson). Each began with the same set of narrative Passing my breath to the open mouths of fish, so close to water, as a
ingredients - but were asked to write their own version of the story. The way to remember those who have gone, those who will go, never more
result is a collection of beautiful, difficult and compelling stories, all to be with us.
bound by their shared origin, but they head out in very different and Duration: 4 hours.
surprising directions. The narratives of Loose Promise create worlds
Kenny McBride (Scotland) works with body-based performance and
that echo each other and yet can hardly co-exist.
installation. He is interested in creating poetic and encountering spaces
On stage, the lone performer takes on the task of laying these
that can be used to memorialise and engage collective memory. He
narratives back together again. Allowing the events she tells to lodge in
is author of many unique works, presenting in diverse locations and
her own body she uses image, gesture and objects, to enact fragments
contexts internationally - often operating beyond the traditional gallery
of the stories she recounts. The debris of these versions and try-outs
structures and in a wide variety of impermanent or public spaces. Works
accumulates, as the stories themselves stack and balance in unlikely
often engage the full range of senses.
combinations. In Loose Promise both the telling and hearing of a story is
Kenny lectures in the new InterMedia Faculty at ASP Krakow.
work - the pleasurable work of words, and the creative work of letting
Previously he worked for 15 years as an artist in disadvantaged inner-
different worlds collide and tangle. Meanwhile, McIntosh asks what the
city communities and within the rehabilitation and prison systems,
stories we have are doing to us, as we let them enter our mouths, our
schools, and community and unemployed groups.
thoughts and our memories.
www.agora8.org/kmb
From New Zealand, and now based in Brussels, Kate McIntosh has
created performance work, short videos, is a founding member of the
Belgian performance-collective and punkrock band Poni, is a guest
exhibitor with the Icelandic visual arts collective Klink&Bank and
performed in dance theatre with Wendy Houstoun and Meryl Tankard’s
Australian Dance Theatre.
Production: Margarita Production Co producers: Sophiensaele (D),
Theater Gasthuis (NL) With the support of: nadine, Kaaitheater (B), Les
Halles de Schaerbeek (B), STUK Kunstencentrum (B), Kunstencentrum
Vooruit (B), European Commission, Culture 2000.
www.margaritaproduction.be

Photo: Lesley Yendell
Lesley Yendell (Spain)
Buscandose el Pan
Buscandose el Pan is a phrase in Spanish which translates literally
as searching for bread and is used to signify ‘to emigrate in search
of better possibilities’. From flour to bread, a basic food, in search
of which, many humans displace themselves. Buscandose el Pan is
an ephemeral installation using flour as the principle material. The
installation will be created over two days in a space open to the
public demonstrating the work process and offering the opportunity of
interaction and dialogue with the public.
Sound produced by Lucho Hermosilla.
Lesley Yendell is an English sculptor based in Spain who has worked on
and realized various sculptural projects in Europe, including:
2004: Le Fête de Mai, Belgium
2006: 4eme Festival de jardins métissés, France
2006: Arte en la Tierra, Spain
2006: Project Regenerate, Northern Ireland
2007: Fem-Art, Barcelona, Spain
2007: Art Mar, 2ª biennal de la Mediterrània, Spain
2007: Josep Amat IV International Drawing Biannual, Spain
2007: Kunstgarden Project, Germany
2008: Artist in Residence, Foundation Valparaiso, Spain
2008: Project Regenerate, Northern Ireland
N RL A 0 9 → 17
Marcel Sparmann (Germany)
Walk to Glasgow - Part 2
I would like to continue and complete my performance Walk to Glasgow
at the National Review of Live Art in 2009. In part one, I will cover
the distance from Hildesheim to Glasgow by walking back and forth
between my house and the university. Part two marks my arrival in
Glasgow.
The performance in Glasgow will be set in the surroundings of The
Arches. The focal point will be in the foyer of the building. There will
be a set table and two chairs. Presented on the table will be several
different welcome dishes like bread, salt and wine.
The pathways will lead me on a circular route around The Arches in
the centre. One circuit will be complete whenever I have walked on
every path around the building at least once.
I will walk the paths around for the duration of the festival, day and
night. Whenever I am too tired to walk on I will put up a small tent,
which I will carry with me throughout. After a short break I will keep on
walking.
During the opening hours visitors will be welcome to walk with me.
I would like to meet them and learn about their origins and their place
of birth, typical customs and rituals. For documentation I will carry the
logbook from my first performance, Walk to Glasgow – Part 1, in which
visitors can read and find out more about the first part and people who
walked with me before. At the beginning and end of every shared walk I
will take photographs and measure the total distance walked with every
person.
The shared walk is finished whenever a route on the paths is complete.
After this, I will share a meal with the person that walked with me.
The performance comes to an end when the NRLA closes.
Born in Gera, Germany, Marcel is currently studying Theatre/
Performance Art in Hildesheim.
18 → NRLA 09
Photo: Malcolm Hutcheson Photo: D. Laing

Mehr Javed (Pakistan) Miss Electric Gypsyland (UK)

Air Hunger

Seated within a circular boundary, the artist breathes in and out of a
pair of lungs, recording each breath on a mechanical counter – moving
into a state of air hunger.
Mehr Javed is a graduate in visual arts from the Beaconhouse National
University, Lahore (2007). Her work spans various media, assuming a
narrative based approach that incorporates the elements of enactment,
gestural play and theatricality.
Her recent performances explore the notions of intimacy and
familiarity that are intrusive, awkward and often incapacitating,
especially in situations of co-existence.
youtube.com/watch?v=nOgcENPJuGQ
I am miserable and he is miserable – we are miserable. We want to
have a party, why can’t we have a party..? Regular contributor to the
festival, Donna Rutherford mentioned in recent performance Ochone
Ochone that she enjoys dancing and enjoys watching other people
dance, especially when caught lost in the moment. This year she
deviates as DJ Miss Electric Gypsyland, inviting you to take the floor
where a series of Mediterranean winds will whip you into a dancing
frenzy. Saturday night sees the Bora coming off the Black Sea, the
Etesian flying over Macedonia, while the Mistral meets the Sirocco
coming up from Algiers. All in all we will be saying goodbye to the
Doldrums…
For 20 years Donna Rutherford has worked in the realm of art
performance as a writer, performer, director & video maker. Examining
how people deal with and don’t deal with things in their life - issues
around avoidance and what happens when one is close to the edge.
www.donnarutherford.org

Mundo Perfeito (Portugal)
Yesterday’s Man
A Portuguese man visits the town of Beirut year after year. He is
several people at the same time. Several men year after year walk
the same path throughout one day, in the centre of Beirut. The city
changes, it metamorphoses at the mercy of times’ erosion and history’s
convulsions. This man never changes but he always lives different days
in each visit. The days the ever-changing city allows him to live. This
show starts from the supposition that in each city there is another city,
an underground city and underneath that city there is another and
another, in an endless number of hidden cities that time reveals in the
most unexpected way. These underground cities are at the same time
past and future, they are all that no longer exists, or does not yet exist
in the present.
Tiago Rodrigues has worked with the Belgian company tg STAN and since
2003 he has directed the company Mundo Perfeito in Portugal with
whom he has created 8 performances. As an actor and director he has
participated in various TV and film projects and also teaches theatre at
the contemporary dance school PARTS, in Brussels. In Portugal he taught
at art school, as well as the Évora University and the Escola Superior de
Dança from Lisbon.
Rabih Mroué studied theatre at the Lebanese University of Beirut
and started very early, since 1990, to create his own plays. He belongs
to a new generation of Lebanese artists who emerged at the same
time in Lebanon and in the whole world by their innovative creations.
He began in 1990, introducing into his own plays performances and
videos. Very quickly, the work of Rabih Mroué became a great success in
Europe.
The third creator of the project was Tony Chakar who contributes
to Al Mulhaq (Annahar’s cultural supplement) and other European art
magazines. He also teaches Art History and History of Architecture at
the Académie Libanaise des Beaux Arts (ALBA), Beirut.
With thanks to Alkantara, DGA, Ministério da Cultura, Instituto Camões,
Ashkal al wan e Teatro Maria Matos.
www.mundoperfeito.pt
N RL A 0 9 → 19
Pere Noguera (Spain)
Ground Level
My performance practice is related to the essence of life. The
performance is the culmination of a temporary act that flows from
the experience. This is not an improvised and spontaneous act. The
performance is the result of a deep reflection about the existential
dimension of the every-day life. The performance comes from a process
that links art and life. This is not an interpretation of the reality, but
a new reality that becomes evident in the language, in a real time
and in a concrete space. I like that the performance reveals unusual
readings and hidden aspects of the human being that are difficult to
produce employing other languages. I use found objects that come
from every-day life or households, which are still working or falling into
disuse. They help me to make the reality and the ephemeral dimension
of life evident. I usually work on the ground as a level and a space of
my performance. But, sometimes I project images on the wall. In the
performance I try to make visible a direct state of things and I am
willing to reveal the purity of the act itself. The space and time helps
me to locate the performance in a real dimension and real life. In
this work the projection of an action that took place in the past will
be the background of my work and it will contrast with the real time
performance I will play.
Pere Noguera, 1941, lives and works in La Bisbal d’Empordà. He
garnered success in the Seventies and Eighties producing installations,
actions and performances. He takes inspiration from his native city,
which produces ceramics; he often uses raw, fired and sometimes even
earth dust in his installations. He is one of the pioneers of photocopier
art in Spain. He has exhibited in many countries in Europe and his work
is in museums and private collections of Spain.
A co-production with Acción!08MAD as part of A Space For Live Art
20 → NRLA 09
Photo: © Rosa-Frank.com
Raimund Hoghe (Germany)
36, Avenue Georges Mandel
For many years, Raimund Hoghe was content to stay on the fringe of
the stage before he, the hunchback, finally dared to “throw his body
into the battle” in his first solo Meinwärts (1994). Asserting an obvious
difference while revealing the true self is an artistic and political
gesture that destabilizes, questioning our conceptions of abnormality
and our expectations about the body, particularly in a discipline where
the image of the virtuoso body is paramount. His body “does not comply
with the norm”. It is a palimpsest, a blend of the individual and the
collective, reflecting traces of the past and welcoming the sensations
of the present, all of which moves in boomerang fashion back to the
spectator who watches, listens and feels in his own body and in his own
personal history the story of his deformed being. It is an exemplary
means of inclusion that subverts conventional aesthetics. It is also a
reminder of the genocidal demons of the past, the desire to eradicate
differences. It comes as no surprise that Raimund Hoghe is inspired by
Kazuo Oono, Fassbinder and Pasolini, all artists who emerged after the
murderous calamity of world war.
Raimund Hoghe was born in Wuppertal. He began his career as a
journalist for Die Zeit. From 1980 to 1990, he worked as a dramaturge
for Pina Bausch and since 1989 he has focused on writing his own
theatre pieces. In 1992 he began his collaboration with Luca Giacomo
Schulte, his artistic associate. Meinwärts (1994) together with Chambre
séparée (1997) and Another dream (2000), forms a trilogy on the 20th
century.
He has been invited to major festivals in Europe, Australia, Asia and
Canada and his many awards including the Deutscher Produzentenpreis
(2001) and the Prix de la Critique Française (2006) for Swan Lake,
4 Acts. In 1997 he starred in Der Buckel, a 60-minute self-portrait
commissioned by the WDR television network.
Co-production Ganesa Production-Spring Wave/Contemporary Arts
Festival of Seoul (Korea), Festival d’Avignon, Centre national de danse
contemporaine d’Angers, Theater im Pumpenhaus Münster and Théâtre
de la Bastille (Paris)
www.raimundhoghe.com
Photo: Rebecca Cunningham
Rebecca Cunningham (Australia)
Sentiments of War
500mls of blood
500 empty shotgun cartridges
“what are your thoughts about the affect/effect of war?”
“what are your hopes for peace?”
reload the cartridge with your thoughts and my blood
repeat for as long as possible
Sentiments of War is an exploration into the happening of war - war
between nations, war within countries, war within cities, war within
families, war within ourselves.
About the possibility of metaphysical transformation: objects once
purposed for violence – now hoping for peace.
Sentiments of War examines human condition; the e(a)ffect of war,
the veracity of war, the frequency of war, the reasons for war, the need
for war?
Will we, can we ever get along?
Sentiments of War originally grew out of a previous work 1Litre of
Blood, 100kgs of Bullets. Sentiments of War was commissioned by
Leibniz in 2008 (http://www.leibnizlab.co.uk) and was first performed
alongside Leibniz’s work, Book of Blood 3 as part of the Performing
Rights program at the National Review of Live Art, supported by Arts
Queensland.
Rebecca Cunningham is an Australian sound and performance artist
interested in all methods of making. Rebecca holds a Bachelor of Music,
Performance from the Queensland Conservatorium of Music, Griffith
University and Bachelor of Creative Industries Honours, Interdisciplinary
from QUT. She has curated a number of events in Brisbane including
MUSICIRCUS: for John Cage (2004), FLUX-US (2006) and CHAMBERS(2007)
and has also performed locally and internationally. Most recently
Rebecca has performed in Once Only (Brisbane, Sept 07), Fetter Field
festival (Singapore, Sept 07), The Other Film Festival (Brisbane, Nov 07)
and National Review of Live Art, Glasgow (Feb 08).
www.myspace.com/rebeccalyncunningham
 N RL A 0 9 → 21

Rosie Dennis (Australia) Sandra Johnston (Ireland)

No Entry Then Again

Colliding dance, spoken word and sound, No Entry is an electrifying Sandra Johnston’s work is characterised by one-off actions, which are
exploration of the rapacious and demanding world of a white-collar visually understated, and directly responsive to studied observations
worker. It begins with the critically acclaimed Access All Areas, which made within a selected location. In particular she often sources
was presented at NRLA 2006. In No Entry two distinct sides of corporate from habitual patterns in people’s behaviour, experienced over long
culture are presented. The first draws on themes of exposure and periods of static viewing in one place. These actions are then offered
isolation to create a persona of vulnerable dysfunction - trapped in a to audiences as rapidly formed physical translations, using materials
world of unrelenting deadlines and white noise. This is paralleled with sourced from the site. The works often retain the fragility of weighing
the second, which takes a middle management approach to corporate out new thoughts, and are unapologetically inclusive of all the doubts
megalomania, exploring the deception, the hype, the ‘just gotta have and disjunction, which invades the human capacity to respond honestly
it’ attitude that is nurtured and encouraged in some work places. to a given moment.
These two worlds collide to create a compelling insight into the effect For the NRLA the artist will select sites within and around The Arches
corporate culture can have on a person’s emotional fragility. linked to memories of having lived in Glasgow in 1996. The revisiting of
place will progress over a few days, culminating in actions brought back
Performer/Devisor: Rosie Dennis. Sound: Gail Priest. Movement
and performed at The Arches, reflecting on the incidents, conversations
Consultant: Julie-Ann Long
and materials encountered.
Rosie Dennis is a Sydney-based artist who mixes movement and text
Sandra Johnston was born in Northern Ireland in 1968. She has since
to create deceptively simple and evocative work. Since 2004 Rosie
graduated from the M.F.A University of Ulster in 1992. Johnston’s
has self-produced and toured 4 works to festivals in Sydney, Perth,
work has centred on producing site-reactive actions and installations.
Melbourne, Finland, Portugal, Slovenia, Amsterdam, Frankfurt, Paris
Between 2002-2005, during an AHRC Research Fellowship, her work
and throughout the United Kingdom.
became focused around core issues of trauma. Subsequently, she has
Recent commissions include The Strand Ephemera Festival
continued to explore diverse aspects of the relationships between
(Townsville); Channel 4 (UK) and ABC TV (Australia) to make the short
processes of art, commemoration and healing. Often she has worked
dance film Quietly Collapsed; Arnolfini to make a new dance work
collaboratively, and has been involved in developing artist-run
for the 2009 InBetween Time Festival of Live Art & Intrigue and The
collectives in Belfast, namely CATALYST ARTS, BBEYOND, and AGENCY.
Plateaux Festival, Frankfurt.
Currently Associate Lecturer in Time-Based Art at the University of
This project was supported by the Australian Government through
Ulster.
the Australia Council for the Arts, its arts, funding and advisory body,
Künstlerhaus Mousonturm and The Plateaux Festival, Frankfurt; Creative
Practice & Research Unit, School of English, Media and Performing Arts
Faculty of Arts & Social Sciences, University of NSW & Department of
Performance Studies, University of Sydney.
www.suture.com.au
22 → NRL A 09
Photo: Beth Greenhalgh
Shaun Caton (UK)
Drawn From Scratch
A long durational performance in 2 parts, spread over 2 days by veteran
ritualistic performance artist Shaun Caton. All of Caton’s performances
are one-offs and although he has given live presentations worldwide, he
rarely performs these days.
Drawn from Scratch refers to our earliest forebears from Palaeolithic
societies, who scratched enigmatic depictions of animals and human
beings on the walls of caves, perhaps in unknown initiation rites or
hunting magic. This slow moving, transitional event is a meditation
on such trans-historical, ancient images with strong visual references
to prehistoric art. However, it focuses on current global ecological
and environmental concerns and fuses painting activity with strange
trance-like manoeuvres in a surge of creative energy. This is a
meditative, primordial, performance filled with tiny ink drawings and
paintings made on scraps of paper that form an enclosure, a shrine
and an enclave. Slowly fragments of words and utterances emerge in
ink. Subtle changes and processes are visible as hours turn into days.
Throughout the duration the artist does not speak and goes into a
self-induced trance in order to work with subconscious imagery and
impulses. The results are a unique and fascinating glimpse into a
wonderful netherworld of beautiful and strange possibilities.
Shaun Caton performed at the NRLA in 1986 and 1988.
Shaun Caton has worked with live art since the early 1980s and
presented some 220 live events in galleries and venues throughout
the world. He also makes poems, paintings, books, drawings and
photographs. His live work is characterised for its very long duration,
strong expressive use of colour, strange paradoxes and mesmeric
trance-like quality.
www.shauncaton.com
Chrissie Cadman Alastair MacLennan Brian Patterson
Photo: Brian Patterson
Photo: Brian Connolly
Six Belfast Based Artists (Ireland)
Scrabb
Six Belfast-based artists will create a durational simultaneous
performance within Arch 3 West & East throughout the final day of
the NRLA. The artists will carry out divergent approaches within the
cannon of contemporary Performance Art using a range of linked props,
materials, and processes. The artists will create individual works,
which by their nature will overlap, link, jar, and fuse to create a rich
variety of confluence, readings, and energies. The artists performing in
this artwork are: Chrissie Cadman, Sinead Bhreathnach-Cashell, Brian
Connolly, Alastair MacLennan, Rainer Pagel and Brian Patterson.
Chrissie Cadman: If performance were an it, what could it be? If I were
of it, it would include me, and as I am it, performance is me.
Sinead Bhreathnach-Cashell, born Belfast 1983, urban tumbleweed with
magpie tendencies and a fine art degree.
Brian Connolly has created performances since the early 1990s. His
works relate to place, with socio-political and spiritual motifs.
Alastair MacLennan is a member of the Performance entity: Black
Market International and is concerned with socio-political, cultural
malfunction and ‘being in the moment’.
Brian Patterson, currently administrates and co-ordinates Bbeyond
projects. He made his first performance in Poland in 2005.
Rainer Pagel comments on belief systems, political developments,
absurd ideas and conventions of communication and human interaction.
With thanks to the NRLA and University of Ulster Art and Design
Research Institute.

Photo: A. Plain
Sohail Khan (UK)
Stress Positioning
Stress Positioning is commonly used as a means of ‘conditioning’ or
‘softening up’ a subject prior to and during interrogation and has been
used by security forces and agencies in various conflicts and countries.
This entails making a human being adopt a particular stressed
physical position, such as with arms extended and knees bent, forcing
the subject to maintain the position for a period of time. Exacerbating
the victim’s suffering, torturers also often employ white noise, hooding
and forcible nudity, in combination with stress positions.
Artist Sohail Khan as a live presence will recreate these aspects
of this form of interrogation technique which, under the terms of
the European Court of Human Rights, the combined effect of stress
and distress techniques when used over a protracted period, amounts
to torture given the severity and degree of pain and suffering. The
audience is invited to pass through the space where the hooded, naked
and stress positioned figure of the artist is sited in a pool of light.
Simulated white noise will be played. The Artist will maintain this
position for the duration of an hour.
Sohail Khan is a graduate of Dartington College of Arts 1989-93. He
has been engaged in making performance-based work since 1983. For
the past five years he has been exploring the nature of Otherness in
multiple contexts and collaborations. He is currently concerned with
using performance to reflect on the uses of presence, simulation and
reality, and how this affects the mind and body of the performer and
audience members within a live context.
www.sohailkhan.co.uk
N RL A 0 9 → 23
Photo: Christopher Hall
Third Angel (UK)
9 Billion Miles From Home
We’re going on a journey; we’re performing a ritual. We want to live
in a big here, and a long now; we want to let things take the time that
they take.
We are beginning to understand that we can’t do that alone.
9 Billion Miles From Home is a modern day ritual to be performed by
a man and a woman. Tied together through a simple pulley system,
neither can move nor perform an action without the consent and co-
operation of the other. The drawing of perfect circles is attempted.
Journeys are embarked upon, completed and recounted.
Devised by Alexander Kelly, Gillian Lees & Rachael Walton
Performed by Alexander Kelly & Gillian Lees
Composer: David Mitchell
Third Angel were established in 1995 in Sheffield. At the heart of the
company is the collaboration between Co-Artistic Directors Alexander
Kelly and Rachael Walton, who work with a range of collaborators from
the fields of performance, film, lighting design, music and photography.
The work tours to theatres, galleries, cinemas and ‘non-art’ spaces
across Britain and mainland Europe, as well as on TV and the internet.
‘consistently innovative and challenging… extraordinary performances’
The Times
Commissioned by Chelsea Theatre and supported by Leeds Met Studio
Theatre.
+ Film and video programme
This screening of work by Third Angel and other collaborators is
introduced by Co-Artistic Director Alexander Kelly and Associate Artist
Christopher Hall.
Third Angel is Funded by Arts Council England, Yorkshire, and supported
by Site Gallery, Sheffield.
www.thirdangel.co.uk
24 → NRLA 09
Wendy Houstoun (UK)
50 Acts – Act 2, Manifesto, a tract of love and bile
At present I am embarking upon a new project.
This project will last for the next 10 years.
You are probably thinking – oh, that’s optimistic. To be projecting
forward that far at your age, in this current artistic climate, and, well,
yes is it. Optimistic.
But I’ll do it in a vibrant and pleasurable sort of way. It won’t be the
sort of thing where you think – oh, now she’s telling me about being old
and bitter and slow. It definitely won’t be that.
50 Acts is an umbrella title under which individual acts will be
presented. In this first round of action, there will be 3 acts:
APOLOGY – MANIFESTO – ACTION
APOLOGY is a lexicon trawl through what won’t be happening. An
articulation of regret and atonement.
MANIFESTO is self-explanatory. A tract of bile and love. A statement of
belief and a physical combat with how to be onstage.
ACTION is an ambitious attempt at naming the totality of human
experience.
Wendy’s work has developed a distinctive style that combines
movement with text and meaning with humour. Since 1980, she has
worked extensively as a solo performer and in collaboration DV8,
Forced Entertainment, David Hinton and Jonathan Burrows and has
explored large and small stages, specific sites, film and installation.
‘A maverick to the tip of her toes, Houstoun seems to reinvent herself
for each new work…. It’s daringly brilliant’ The Independent
50 Acts is supported by Arts Council England, Greenwich Dance Agency,
Progetti Festival, Commune di Bassano del Grappa, Italy and a Lisa
Ullman Travelling Scholarship.
www.wendyhoustoun.com
Photo: Pedro Usabiaga
VOCAL SONICS
Programme 1 –
Tagaq (Canada)
‘Tagaq is directly musically in touch with something that is almost a
ghost. To me it is something that is so special and so much a part of
the earth and the land and the environment.’ David Harrington, Kronos
Quartet
Tanya Tagaq Gillis is genuinely one of those rare artists whose sounds
and styles are truly groundbreaking. ‘Inuit throat singer’ is one part
of her sonic quotient, so are descriptions like ‘orchestral’, ‘hip-hop-
infused’ and ‘primal’ but these words are not usually used collectively.
Since the release of her debut CD Sinaa (meaning ‘edge’) in 2005,
the Nunavut- born singer has not just attracted the attention of some
of the world’s most groundbreaking artists, they have invited her to
participate on their own musical projects.
Recently recording once again with Bjork (on the soundtrack for
the Matthew Barney film Drawing Restraint 9), having appeared on
Bjork’s Medulla CD and accompanied her on the Vespertine tour. In
2007, another monumental collaborative project came to fruition, when
the world-renowned Kronos Quartet invited Tanya to participate - as
co-writer and performer - on a project aptly titled Nunavut, performed
across North America in 2008, from its debut at the Chan Centre,
Vancouver BC through to New York’s Carnegie Hall.
Tagaq is a Contemporary Inuk Throat Singer from Canada’s North.
Sinaa was nominated for a Juno Award (Best Aboriginal Recording)
and won in three categories at the Canadian Aboriginal Music Awards,
including Best Female Artist.
She has just released her sophomore album, ‘AUK~BLOOD’ featuring
Mike Patton and Buck 65.
Supported by Canada Council for the Arts.
www.myspace.com/tagaq
 N RL A 0 9 → 25
Photos: Frank Millward Photo: Francesca Pfeffer

Frank Millward – The Visual Voice (UK) Phil Minton (UK)

From Anger To Sadness Breathing Out

An interactive multimedia performance for soprano and projected A solo voice improvisation that could be heard as a ‘sonic road trip’.
moving image. It explores the topic ‘Technologies as affective Minton’s never sure where it will end, or what will happen on the
instigators of intimacy’. Pre-recorded processed emotive vocal journey.
utterances, represented as nasendoscopy and spectral analysis images
Phil Minton, born in Torquay UK 1940, both his parents were singers.
are used to underscore as well as develop complementary images and
He learnt trumpet from age 15 and played and sang with local jazz
sonic materials for framing the live performance. This piece is part
groups, moving to London in 1963 to play with Mike Westbrook. From
of The Visual Voice – www.thevisualvoice.co.uk - an ongoing research
the mid-60s he worked in dance bands, rejoining Westbrook in 1972 and
project conducted by Dr Frank Millward and Dr John Rubin.
was a regular member of his Brass Band until 1984, playing trumpet
The images projected are the documentation of a series of
and singing extensively in Europe, USA and beyond. Through the last 30
nasendoscopy investigations - a small camera is inserted through the
years he’s worked mainly as an improvising singer and sung with most
nose in order to film the vocal folds in motion while engaged in emotive
of the world’s leading improvising musicians, as well as being a guest
vocal utterances. The sonic aspect of the performance is disseminated
singer for many contemporary composers. He collaborated with pianist
through a sound system enabling the real time digital manipulation
Veryan Weston on compositions such as Songs from a Prison Diary and is
of vocalisations mixed with pre-prepared materials. Spectrographic
currently a member of improvising groups TooT, No Walls and Axon. He
3D projected images are created by Fleeta Siegel in response to the
also has a quartet with Veryan, John Butcher, and Roger Turner. In the
intimate emotive vocal utterances performed by a solo soprano voice
last 15 years Phil has travelled to many countries with his “Feral Choir”,
(Heather Keens).
a workshop and concert for all people who want to sing.
The journey from anger to sadness is transacted as a scored
orchestration of wordless utterances, live and pre-prepared, in www.philminton.co.uk
interactive process through an emotive landscape involving: Anger
- Shock - Fear - Denial - Love - Hope - Sadness.
The piece explores how wordless emotive utterances, used as sonic
textures associated with the intimate images of the vocal folds in
motion, orchestrated as a performance experience, can inform the way
we interpret nonverbal vocalisations.
John Rubin – Nasendoscopy Images
Fleeta Siegel – Technology Director - MAX/MSP
Heather Keens – Performer/Singer
Evan S Raskob – Max/MSP Jitter Patch Developer
Originally commissioned by NetVoTech
Electronics Department, University of York (Prof D. Howard). Supported
by: The Royal National Throat, Nose, Ear Division, Royal Free NHS Trust
and Kingston University.
www.thevisualvoice.co.uk
26 → NRLA 09
Programme 2
Giovanni Fontana (Italy)
Elektronkabaret
The voice is mistress of poetry. It is mistress of sighs, puffs, stuttering,
mumblings, whisperings, whistles, laughs, smacks, panting, gasps and
shots.
The game of amplifications, scanning, dissolutions and
reappearances draws the acoustic and geometric space. Behind the
mirror of the futurist spirit Fontana’s sound text acts like resonating
polytext, like multipoietic sound hypertext, like cross ultratext based
on a new po(i)etic language which crosses the boundaries set by the
rules of writing and, while getting away, tends to stand out as “total
poetry”. To find new acoustic spaces, the sound poet will work on:
combinations, frictions, contrasts, equal lines, outcrops, stream,
pointillism, magma, concentrations, cuts; he will use fading, crescendo
and decrescendo, upsets, back actions, erasures, glissandi, selections,
colour energies, melting, aggregations, analysis, cuttings, overlaps,
accelerations, slows, echoes, reverberations; he will exploit timbres,
tunes and registers. The futuristic idea is reflected in the Fontana’s
“hypervox”.
Giovanni Fontana was born in Frosinone (Latium), Italy. For 35 years he
has been dealing with multicode languages, intermedia techniques and
synaesthesia. Interested in the relationships between arts, he carries on
his exploration crossing many boundaries and activating contaminations,
starting from “phono-visual” poetical matrices. In this way he attains
a new conception of the text: an integrated text introducing the
dynamic texture taking place beyond the written pages, in a time-space
dimension. His visual compositions, thus, present themselves as real
scores, as pre-texts through which to attain a performance dimension,
in which his “sound poems” can be situated, particularly appreciated
in the context of the international artistic experimentation. Giovanni
has a University degree in Architecture and has continued his studies
in the artistic, scientific and musical fields. He has been active as
a playwright, director, in electronic arts and audiovisuals. He is
particularly interested in the different aspects and ways of cultural
communication, especially relating to the problems concerning the
technological field. He has also published books and records.
Collaborator: Massimiliano Cerroni (live electronics)
John Giorno (USA)
Everyone Gets Lighter
An innovator of poetry and performance, John Giorno’s career spans
fifty years and is intertwined with contemporaries like Andy Warhol,
William S.Burroughs and Brion Gysin. Whether written, performed,
recorded, filmed or exhibited, Giorno’s work – as a poet and as a
sexual, spiritual and political radical – is a shining jewel in the ongoing
revolution of poetry and language in contemporary life. He helped
pioneer the open exploration and celebration of queer sexuality in
poetry in the 1960s, his anti-war work with Abbie Hoffmann resulted
in Spiro Agnew labelling him one of the “Hanoi Hannahs” in the 1970s,
and his AIDS Treatment Project, begun in 1984, set the bar for direct,
compassionate action in the AIDS crisis.
He founded Giorno Poetry Systems in 1965 to explore the use of
technology in poetry, to create new kinds of sound and concrete poetry,
poetry as installation and happening in venues, and poetry integrated
into consumer products including cigarette packs, matchbooks, fortune
cookies and chocolate bars. His Dial-A–Poem in 1968, at the Museum
of Modern Art in New York, made contemporary poetry available over
the phone to millions of people. To date, Giorno Poetry Systems has
released over fifty LPs and CDs, numerous cassettes, videopaks, poetry
videos, DVDs and films, books, silk-screen Poem Prints and Poem
Paintings.
Giorno is fabled for his high energy live performances, honed
with William S. Burroughs in the 1970s and 1980s, at rock, art and
other venues around the world. His use of found materials, montage
techniques and careful direct exploration of the nature of mind through
meditation has produced a vast body of work containing explosive
experimental configurations of queer sex, spiritual practice and
teaching, fused with fragments of everyday life. Since the early 1970s
when he met his teacher, the great Tibetan Buddhist master Dudjom
Rinpoche, Giorno has been an important force in the development of
Buddhism in North America, and in the ongoing conversation between
Buddhist and poetic practice. Giorno is the author of many books of
poetry, which have been translated into several languages. Subduing
Demons in America: The Selected Poems of John Giorno, 1962-2008,
was published by Counterpoint/Soft Skull in 2008.

Photos: Helmut Lackinger
Alexis O’Hara (Québec)
Seufzenstadt – The City Of Sighs
Using the breath as a starting point, the work is a dynamic sonic
exploration of the emotional impulses that lead us to the act of sighing.
Chronicling mortal expression from the ridiculous to the sublime, this
vocal meditation documents emotional impulses that trigger the act of
sighing, from frustration to anger, ecstasy to exhaustion.
Using a randomly assorted series of cue cards, each representing an
ideological trigger or emotional state, the performance moves through
various movements, each having its specific vocabulary, syncopation and
tone. Employing an array of hi and lo-technology to effect, multiply and
layer the transformed voice, a meditation on fear and desire emerges
from a virtually wordless storytelling landscape.
Straddling the divide between experimental electronic music
and the blackest comedy, Alexis O’Hara paints atmospheres with her
voice, a gaggle of electronic friends and the chimerical properties of
electricity. She has been known to wear clothes that run on batteries.
Sampling and processing her voice in real-time, her live show combines
electro-acoustic maximalism, sexy beats and good old-fashioned yarn
spinning. The eclecticism of her work attracts programmers from
various disciplines from performance poetry and sound art to live art
and music.
www.dyslex6.com / www.myspace.com/alexisohara
N RL A 0 9 → 27
Los Torreznos (Spain)
Los Torreznos is a duo dedicated to a conceptual exploration of the social
and political terrain, as well as that of our most deeply rooted customs.
Their point of departure is the most direct reality, including the family.
Los Torreznos are Los Torreznos; the name stems from the need to bring
experimental proposals to the general public. Its members, J. Vallaure
and Rafael Lamata, have been working together for over twelve years
in different creative projects, both on their own, and other projects
dedicated to the generation of art spaces and collectives.
They choose this name because it refers to a spanish traditional tapa,
very popular with a glass of wine. Something nice but with a strong taste.
Their work is full of humour, energy, and unadorned concepts. One of
their main goals is to be understood by everyone.
J. Vallaure and R. Lamata have been working together since 1993,
they formed Los Torreznos in 2000. Some of the action works from
Los Torreznos include: Average Spanish Energy, Election Night, The
Passion according to Los Torreznos, 35 Minutes, My suitcases!, where
are my suitcases?, From Perejil to Diwanija, In Shakespeare we trust
(in collaboration with The Superagradecidos.), Linguistic Investigations,
Treatise on certain emotions, Official Reality, The Culture, The Money
(in collaboration with Barbara Bañuelos, Laura Bañuelos, Ismenia Espejel,
Nines Martin and Catherine Sardella. Festivals and workspaces in last
two years have included, Arctic Hot Festival, Kirkeness (Norway), Nikel
(Russia), Im-presentable Festival 08 (Madrid), Museum Moma (Shanghai),
2007 52nd Venice Biennale, Spanish Pavilion, 2006.
www.lostorreznos.es
28 → NRLA 09

Screenings

Gina Czarnecki (UK) & Ulf Langheinrich (Germany) Zlatko Kopljar (Croatia)
Spintex K12

This film is a first collaboration between Ulf Langheinrich and Gina K12 is a projection-installation, which in its rhetorical sophistication
Czarnecki, filmed at an open-air night club and other locations in the addresses the possibility to experience ‘life’ and ‘death’ through
Ashanti region of Ghana, where Ulf Langheinrich lives. Spintex is based affects and, more importantly, affectations of the complex system of
on a real-time transition from day to night. conceptions (moving and static audiovisual and visual images). In a
In Accra, on the Equator, the transformation from bright sunlight cynical way, K12 demands we confront the artist’s existential ambiguity.
into red, into blue, into the deepest black night lasts only fifteen He presents himself as the symptom of human existence Here and Then.
minutes all year round. On Spintex Road, the air is dusty and humid, Kopljar’s installation thus functions as a social sculpture i.e. sculpture
loaded with scent and stench. At the dance in an old roofless shell by that established a social relationship between life and death at a place
the beach, throbbing masses are engulfed in trance. The pulsing crowd where we expect to see art.
forms one motion, one being; a rhythmic, sexual and elemental force as
Zlatko Kopljar (1962) is a visual artist. He has exhibited at Sao Paulo
brutal as the cycles of the natural world around it.
Biennale, Museum of Contemporary Art in Zagreb, Museum of Modern
In Spintex, Czarnecki and Langheinrich attempt to encapsulate the
and Contemporary Art Rijeka, The Kitchen - New York, Gallery Manes-
multiple, interconnected daily rhythms of physicality and mortality that
Praha, among others. His works are in collections of the Museum of
resonate in the environment and the dance. The artists use processes
Contemporary Art in Zagreb, Museum of Modern and Contemporary
of electronic recording, reproduction and disintegration to give the
Art Rijeka, Museum of Modern Art Zagreb, Filip Trade collection, etc.
film rich digital surfaces. The images appear to dissolve within the
He graduated in painting in 1991 with professor Carmelo Zotti from
noise and pixels of these surfaces, but emerge to striking effect before
Academy of Fine Arts in Venice, Italy. He lives and works in Zagreb and
becoming highly textured again. The flickering pulse underlying these
is supported by the Ministry of Culture of Croatia and the City Council
transformations is resounding, deep, immersive and total.
for the Arts, Zagreb.
Gina Czarnecki is a British artist whose films and installations are
www.kopljar.net
informed by human relationships to image, disease, evolution, genetic
research, and by advanced technologies of image production. Through
editing sound and image at a micro–level, using bespoke effects and
processes, the artist constructs vivid, highly aesthetic spaces. Czarnecki
is represented by Forma. Ulf Langheinrich is an Austrian artist who
creates powerful audiovisual installations, films and performances.
Characterised by an interest in abstraction, Langheinrich’s granular
manipulations of audio and visual material are informed by his
background in fine art painting, early audio experiments, design of
soundscapes for film/video projects and concerts, and work as part of
Granular Synthesis, the media art group that he co-founded.
Produced by Forma. Funded by Capture. Ulf Langheinrich courtesy of
Epidemic.
www.forma.org.uk

Tanya Mars
Early
Bird
Talks
Tanya Mars
Ironic to Iconic: The performance works of
Tanya Mars
+ book launch
Tanya Mars is a feminist performance and video artist
who has been involved in the Canadian art scene
since 1973. She was a founding member and director
of Powerhouse Gallery (La Centrale) in Montréal
(the first women’s art gallery in Canada), editor of
Parallelogramme magazine for 13 years, and very
active in ANNPAC (the Association of National Non-Profit
Artist-run Centres) for 15 years. She has also been an
active member of other arts organizations since the
early 70s. Her work is often characterized as visually
rich layers of spectacular, satirical feminist imagery.
She has performed widely across Canada, in Valparaiso,
Chile and Helsinki. Her most recent major work, a
7-hour durational performance entitled The Tyranny
of Bliss involved over 30 performers who created
14 tableaux in and around Queen’s Park in Toronto.
She is co-editor with Johanna Householder of OCAD
of Caught in the Act: an anthology of performance
art by Canadian women (2004), published by YYZ
books. She is also a member of the 7a*11d Collective
that produces a bi-annual International Festival of
Performance Art in Toronto. She currently teaches
performance art and video at the University of Toronto
Scarborough and is part of the graduate faculty at the
University of Toronto. In 2004 she was named artist
of the year by the Untitled Arts Awards in Toronto.
In 2008 she will be International Artist in Residence
in Paris, artist-in-residence at Lilith Performance
Theatre in Malmo, Sweden and is the recipient of a
2008 Governor General’s Award in Visual and Media
Arts. In addition, a book on her work, edited by Paul
Couillard, Ironic to Iconic: The Performance Works of
Tanya Mars, published by FADO, receives its UK launch
post-discussion.
www.performanceart.ca/time3x/mars/home.html
N RL A 0 9 → 29
Helge Meyer Franko B
Helge Meyer Live Art
Helge will talk around the subject of his recent PhD Development
dissertation on the image of pain in performance,
which was published as a book in 2008.
Agency
Documenting Live and other
Franko B, interviewed by artists in adventures in publishing….
residence hancock & kelly. Over the last few years the Live
An opportunity to hear Franko speak about the new Art Development Agency has
direction taken in his performance work. developed its publishing and
distribution activities: working in
Capturing the past, preserving the partnership with major publishers
future: digitising the National Review on key titles; co-publishing artists’
of Live Art video archive books; publishing its own and
The project to digitise the entire archive of footage other’s on-demand books and
documenting the internationally renowned National DVDs; and distributing books,
Review of Live Art reached completion in December DVDs and other materials through
2008. The aim of the project was to preserve and make
Unbound, an online shop. For
accessible this invaluable, unique and comprehensive
NRLA 2009 the Agency will display
record of material for future generations. The
catalogue for the moving image archive can now be a selection of recent projects
searched online, and the digitised footage can be that have a NRLA connection,
viewed in person at the Theatre Collection. After its including Documenting Live (a
official launch in Bristol we are delighted to be able to publication/DVD on Live Art and
share this now with the NRLA community. cultural identity), Out of Now,
Staff from the project invite you to celebrate this the Lifeworks of Tehching Hsieh
achievement and view clips from the archives. For (a collaboration with MIT Press),
further information, visit www.bristol.ac.uk/nrla
Aaron Williamson: Performance,
The project has been hosted by the University of
Video, Collaboration (a co-
Bristol Drama Department, and financially supported by
the Arts and Humanities Research Council. publication with KIOSK), Oreet
Ashery’s new book Dancing With
Chinese Arts Centre Men, and DVDs on-demand by
Following the two VITAL International Festivals of Richard Dedomenici and others.
Chinese Live Art in 2006 and 2007, Chinese Arts Centre www.thisisLiveArt.co.uk
launch an exciting new publication, VITAL - a collection www.thisisUnbound.co.uk
of essays, memories and photographs celebrating
Chinese live art.
30 → EL EVATOR 09

Elevator
A programme celebrating the
work of a young generation of
artists in the early years of their
professional careers. Elevator
regional partners for 2009: Liz
Aggiss, Matt Ball, Paul Clark,
Curious, Richard Kingdom,
Richard Layzell, Michael Mayhew,
Ilana Mitchell, Robert Pacitti,
Áine Phillips, Pernille Spence
and André Stitt.
All photos are reproduced by kind
permission of the artists

Aileen Lambert
One Mouthful of Water
Using simple actions, gestures and interventions,
Lambert gently negotiates and engages with
everyday materials and environs. Frequently, the
artist’s body is used to temporarily transform a
site or material. Many works are concerned with
a vain attempt to preserve, mark or measure the
presence of the body in the world around us.
‘One of the strongest and most focused pieces…
Audiences stood mesmerized as she enacted her
iconic live image. Her work is reminiscent of
Marie Cool and Fabio Balducci in the simplicity
and beauty of the images she creates with her
body.’ Áine Phillips, artist and curator of Tulca
Live
Based in Wexford, Aileen’s practice spans
video, performance, sound and audio/visual
installation, which has been presented in
national and international exhibitions and
events including Festival Miden (Greece),
Infr’Action (France), Transhift ‘08 (Tennessee),
Art VideoScreening (Sweden), The Longest Day of
The Year Film Festival (Kent), Live Art Falmouth
(Cornwall), Darklight Film Festival (Dublin),
Tract (Penzance, Cornwall), Weather Permitting
(Wexford/Galway/Roscommon) and SWGC Art
Gallery, (Newfoundland).
Supported by a Visual Arts Bursary from
Wexford County Council 2007.
www.aileenlambert.com
Beth Greenhalgh
Stains placing Post. Blow me.
In looking for cover that you can see through.
I find myself lost in scenes of journeys around
everyday conversations and happenings. I’m at
work and you’re holding a bottle of water and it
glows so much that I see sense in it.
I walk under a bridge in hope that I get shat
on by a seagull. And then I remember my sister
still exists: Have a coffee, Have a cigar.
Find it hard to remember actually how I
spoke. Or what I spoke about. I continue to walk
and talk.
So you enter a room hang used flower bags,
place pipes and stain fake concrete. An
accidental stain, a bodily functional stain, a
copied stain. It looked good.
Thin blood, Fine hair, translucent skin and
vain veins.
Live visual images emerge in a fictional
space. They mimic, mourn, moan and then they
move.
Born in Huddersfield, Beth Greenhalgh studied
Time Based Practice at Cardiff School of Art and
Design. As an emerging artist she has presented
performances at Experimentica in Cardiff and
EXPO festival in Nottingham. Recent solo work
includes, Insinuations: Trace Collective at
the Switch Room, Belfast. My land, !taglinec,
Croatia and the National Eisteddfod, Wales.
Her work utilizes highly aesthetic scenes to
evoke uncanny rituals and images alluding to a
mythical reality based on a distorted “popular
culture”.
www.greycontent.co.uk/bethgreenhalgh
EL EVATOR 0 9 → 31
Clara García Fraile
Films & Things
Two screen-based works that explore the
potential of film viewing, creating situations
beyond the ‘screen-that-tells’ and ‘viewer-that-
watches’.
The Impossibility of Being an Apple, an
interactive film not-just-to-be-watched that
turns itself into a playful live event.
Performers become viewers, viewers become
actors and nobody becomes an apple.
A bizarre sensorial poem, about the
possibility of changing and the impossibility of
being someone else.
Treat Me Like You Do, a film to-be-worn-as-a-
mask, a story that is incomplete until its viewers
become a part of it.
The mysterious characters of this story are
only ‘partially’ present as two disembodied
pairs of arms on a table. Their bodies are to be
provided by… you?
The viewers are impotent actors and
implicated observers of a surreal entanglement
that they cannot control.
Clara Garcia Fraile graduated with a BA Hons.
Performance and Visual Art (Dance) at the
University of Brighton in 2008. A former student
of Journalism in Madrid, she trained as a dancer
for more than 15 years and has performed under
the direction of Liz Aggiss, Claudia Kappenberg
and Marisa Gutierrez. She has also produced
video documentation of pianist and composer
Marc Limbic and collaborated with sound and
visual artist Sam Pearson.
32 → EL EVATOR 09
Florence Peake
Valediction
An audience of 8 at a time is invited to witness
a death.
A stuttering detail captured and magnified.
A slow death flickers until the last breath is
drawn
A light is shone on the minutia and examined,
Closely interpreted
A large dark pupil, delicate hairs, singed wings
hopelessly splutter
Burn
Florence Peake extracts a moment from nature
that would normally be overlooked. Peake takes
us up close, a breath away from the action and
we share a small tragedy. This intensely intimate
performance exposes the fragility of existence.
Florence Peake is a movement artist venturing
into the textural world of language. She has
been creating her own work independently
and in collaboration with other artists since
1998, which have been performed nationally
and internationally. Training in dance and a
background in painting, her practice now uses
artists’ materials, film, text and movement.
Site and the placement of performance, finding
its right home are important factors; Coventry
Cathedral housed Duets for Objects (2008)
and the National Portrait Gallery hosted Paper
Portraits (2007). She teaches extensively in
dance, improvisation and is a certified Skinner
releasing teacher. She is currently doing an MA
in Contemporary Performance Making at Brunel
University.
www.myspace.com/florencepeake
Harriet Plewis
Confessions of a Pantophobe
A performance that looks at fear, both public
and private. In this monologue for the modern
neurotic, Harriet asks herself some honest
questions and gets no satisfactory answers.
Questions like: how can I get through a protest
march without a sit down? If I mouth the words
to the chant, will anyone notice? How can I carry
on when I care more about colour coordination
than having a sense of civic duty?
Hovering in the grey area between stand
up comedy and live art, Confessions of a
Pantophobe wants to ask: “I don’t think I can do
this any more”.
Harriet Plewis trained at Ecole Jacques Lecoq.
She has performed with dUCKiE, the National
Theatre, the English National Opera, Zephyr in
Zanussi Dance Collectif, Moveable Feast theatre
Company, and The Awkwards (of which she is
Co-Artistic Director). She has been called a ‘tour
de force’ (British Theatre Guide) and ‘hilarious’
(CBC).
www.theawkwards.co.uk
Hunt & Darton
Everybody Moving On
Two women. One bloody good idea. Embracing
all that is embarrassing and revealing the
indispositions only shared between two friends
who, quite literally, believe they can take on
the world with what can only be described as
peculiar dance moves. Daily frustrations are
described, sung and laughed at. With homemade
philosophies such as, ‘Don’t leave your dog-in-
doors for too long, it will shit’, the piece swings
from the most common of territories into the
absurd. This performance doesn’t try to make
everything ‘OK’, it’s about what it means to be
human.
Eight years after meeting whilst studying Fine
Art at Central Saint Martins, Holly Darton &
Jenny Hunt have been collaborating for two
years. They have created several performances
together including: Love is Like the Airport/The
Airport is Like Love and Desperately Seeking
Anything. They are now starting to build up
a kind of jukebox methodology. Everybody
Moving On is the culmination a series of smaller
performances and current ideas. This approach
means the performance is rarely the same,
keeping the work fresh and exciting.
They have performed at various Live Art
festivals and events including; Arnolfini’s ‘I’m
Still Your Worst Nightmare’, Colchester Arts
Centre Live Art Platform and Tasty Festival. Holly
performed at Edinburgh Fringe, as Ben & Holly,
and more recently produced a three day Live Art
Festival in Hertford.
Jenny recently participated in Rules &
Regs at Colchester Arts Centre and previously
performed at PLAY Interdisciplinary Art Festival,
OMSK, Expo, Sensitive Skin, Tate Modern and 291
Gallery.

Justin McKeown
How to Explain Ireland to A Dead
Leprechaun
(an ode to Joseph Beuys)
There are many stories of Joseph Beuys’ visit to
Ireland in 1972. Caroline Tisdall, one of Beuys’
biographers, said that while Beuys was visiting
the art school in Belfast there was a huge bomb
explosion somewhere nearby in the city. The
force of the blast caused a piece of masonry
to dislodge from the ceiling and fall, landing
directly at Beuys’ feet. Beuys picked it up,
turned it over, held it aloft and said ‘Behold!
The Northern Irish tongue!’ A friend of mine who
was present on the day of Beuys’ visit to the art
school told me ‘this never happened’.
If it is permissible for Beuys to trade off
a romanticised version of the violence of the
Troubles in Northern Ireland in order to enhance
his own mythic oeuvre then it is permissible
for me to trade off the myth of Beuys in order
to reveal the realities that this romanticised
myth-making masks. How to Explain Ireland to
a Dead Leprechaun is an attempt to get beneath
the veneer of myth that surrounds the violence
of the Northern Irish Troubles, so that the human
reality of the experience of living through these
events can be better understood.
Since 2002 Justin McKeown has exhibited
extensively, including a solo show at the Ludwig
museum, Budapest. Justin is co-curator of the
Centre for Suburban Research, Belfast and editor
of Centre for Suburban Research Publications.
He regularly writes for several publications,
including Circa. Justin completed his PhD in 2008
in the School of Art and Design, University of
Ulster, Belfast.
http://www.spartaction.com
leonard
Grass
leonard is a performance band, imagine the
love child of John Cage and Johnny Rotten.
They like performing and think like a band. For
the past two years leonard have been diligently
researching the most incredible substance on
planet Earth - grass. Grass that you will touch
223,786 times in your life-before you die.
Grass is an in depth investigation of the most
innovative, intriguing and amazing substance to
be found under our feet.
Tonight, the three women on stage are
mediums for a thousand years of writing about
grass and three days of sitting on Wimbledon
Common. For two long years between
Copenhagen, a small village 53 Kilometres
outside Rome and Brighton City, they have been
researching grass. They have listened to what
the grass has to say. Tonight, journalists, poets,
farmers, pole vaulters, historians, somebody’s
grandparents, scientists, two kite flyers and a
pack of dogs all meet through the voices and
bodies of these women. Tonight they are your
guides. Tonight they will pour out the secrets
of the grass. Tonight they will lie and cheat.
Tonight you will know it.
Based in Brighton. leonard is Bryony Henderson
(U.K), Katharina Trabert (Italy), Marina De Quay
(Portugal), and a mysterious puppet master
(Canada).
‘…A rare phenomenon, bright, beautiful and
strange in the best way possible. I have never
seen anything like this before.’ Emma Bush,
Propeller
Funded by; Arts Council England, Kunstradet,
The Danish Arts Council. Developed with
Scenekunstens Udviklingscenter, OZU and
supported by The Basement.
http://www.myspace.com/eyeheartleonard
E L EVATOR 0 9 → 33
Michael Fortune
A Job of Waiting, Bingo and Reigning Cats
and Dogs
Bingo
(Video Work, 2mins 37secs, 2007)
Bingo documents an unusual event, a Drive-
in Bingo in the village of Ballymitty, County
Wexford. Developed after the introduction of the
smoking ban, it allows participants to partake in
the game whilst smoking in their car. Although
comedic, there is an underlying sadness to the
spectacle as the social element of bingo has
retreated to the solitary confines of the car.
A Job of Waiting
(Video Work, 10mins 58secs, 2008)
Since the destruction of the signal cabin in
Rosslare Harbour train station in 1997, a group
of men were employed to manually signal trains
entering and exiting the station. This work,
made with the assistance of Iarnród Éireann
worker Brian Culleton, follows the activities
of two signallers over the duration of one day.
Commissioned under Wexford County Council’s
Per Cent for Art Programme in 2007.
Reigning Cats and Dogs
(Video Work, 15mins 30secs, 2007)
Reigning Cats and Dogs is a fixed-frame video
work recorded in the artist’s family home in
December 2006. Filmed from the animal’s
perspective, it is a domestic-styled wildlife
documentary where animals co-exist, share
and interact with humans. Each recording was
made at different times of the day, allowing the
viewer to witness the calm and chaotic rhythms
which exist in the daily household routine.
Michael Fortune is an Irish artist whose work
explores the circumstantial boundaries between
art and culture, folklore and interpretation, fact
and fiction.
34 → EL EVATOR 09
Michelle Browne
The Bearer
A young woman parades down a catwalk carrying
eggs on her head. The domestic goddess
– glamorous, fierce and fecund. The Bearer
reflects upon women’s roles in society, where
women are both glamour models and mothers.
It questions western society where women
have a do-it-all mentality, where Posh spice
and Madonna are our role models. It references
other societies where women live solely in the
domestic sphere. As the performer attempts
to balance the eggs on her head, we see the
balancing act that most woman do in their
daily lives. 217 eggs – the number her body
will have produced thus far in her lifetime.
The egg represents the child and the weight
of responsibility that is held by women both as
mothers, carers and the creators of the next
generation. It represents the decision to have
or not to have. The heels remind us ‘no pain, no
gain’. The clock is ticking. The risk grows. Will
she fall from grace?
Michelle Browne is an artist based in Dublin.
She has a BA in Fine Art Sculpture and History of
Art from the National College of Art and Design,
Dublin. She has exhibited both nationally and
internationally, most recently taking part in
Urban Wasanii, Kenya, Art@work, Roscommon,
Ireland, Documenta Urbana, Kassel, Germany
and TULCA 07 in Galway, Ireland. She is the
recipient of the NCAD Student Prize, The RDS
James White Art Award 2006 and an artist’s
bursary by The Arts Council of Ireland. Michelle
is the founder and curator of OUT OF SITE, a
festival of live art in public space in Dublin.
www.michellebrowne.net
Michelle Horacek
Still/Desire
Hands
Touching eggs.
Eggs
Rolling over body.
Sex to mouth – Awaken
Stillness. Desire. Reaching. Open.
This work aims to explore bodily perception
through repetitive actions, gestures and dialogue
of the female body with eggs. Canadian-Czech
Performance Artist Michelle Horacek will work
with 144 eggs. She will lie next to the eggs,
naked, covered in white body paint. Horacek
will work with single eggs, rolling them up and
down her torso between her mouth and her sex.
She will use her mouth and hands to explore the
tension and texture of life potential within the
eggs. She will describe the exchange between
her body and the fragility held within the eggs.
This performance uses what is set as a
podium for mystery to open. By describing an
arched body in contrast with the tenderness of
lips and flight motions, there is some beautiful
discovery of a quiet feminine force…
Michelle Horacek trained as a classical actress
in Canada and the Czech Republic. Her practice
now includes devised theatre, multi-media
works, digital video and investigates the body
in relation to time and place. In 2006 Michelle
completed her MA in Visual Performance at
Dartington College of Arts in Devon.
Michelle has worked in various parts of
Canada, New York, Prague, Kyoto, Edinburgh,
and the Southwest of England. She is currently
based in London.
Commissioned by Body Parts Festival
2007, hosted by The Royal Scottish Academy,
Edinburgh.
www.mishaproductions.com
Panther
Escape and Survival
We will leave our pursuers with nothing
but our capes + This is what it takes to
make it through the night.
The Travels is a performance lecture, in two
parts, which looks at the paths we choose
to take, how we orient and anchor ourselves
and possible strategies for emancipation in
contemporary life.
Part One – Escape - We will leave our
pursuers with nothing but our capes combines
the dirty tricks of escape artists with the serious
reality of genuine escapees. It’s a fast paced,
action packed lecture looking at famous escapes,
ancient retreat and attack strategy, failed
attempts and impossible journeys.
Part Two – Survival - This is what it
takes to make it through the night mixes
together demonstration, survival psychology,
extraordinary tales and physical challenges to
discover the limits of human endurance and the
power of the will to live.
With fast-talking and a cardboard box,
Panther seek ways to face the perils of modern
life, providing a performative guide that will
help you when lost in the jungles, stranded
in the snow or fighting for your life on the
mean streets of the city. A performance about
strategies, endurance, determination and hope,
as we wonder what it takes for ordinary people
to overcome extraordinary odds.
Panther is collaboration between Madeleine
Hodge and Sarah Rodigari who create
performances across documentary,
improvisation, video and site-based intervention.
Based in Melbourne Australia, Panther has
presented work throughout Australia, Europe and
Asia.
www.pantherpanther.com

Petra’s Pulse
Aegean Fatigue
Nine visual songs form a raw and unsettling
theatrical album. A misplaced landscape of lost
encounters, broken journeys and unfinished
words drawn from the world that surrounds
us. Aegean Fatigue offers the audience an
experience of volatile liquid sensuality with
moments of outrageous comedy and terrible
bleakness.
Petra’s Pulse was co-founded in 2001 by Selina
Papoutseli and Jamie Wood. Their work is built
on a base of movement practice that includes
elements of butoh, classic European movement
theatre, clown and mime.
‘Petra’s Pulse are masters of surreal theatre-
entertaining, moving and thought provoking in
equal measure.’ Dorothy Max Prior, Animations
Previous work by Petra’s Pulse includes
Donkey Shadow (SPRINT 2006, Shunt Vaults
London), Drinking the Dawn (BAC, CPT’s 10th
Anniversary Festival), Two Feet High in the Sky
(SPRINT 2003, Octoberfest BAC). Other work
includes for Jamie Wood directing Paperweight
(Edinburgh Festival 2008, Fringe First Winner,
Total Theatre Nominee.) As a co-devisor and
performer with Chris Goode in Longwave,
Homemade, Escapology. Selina Papoutseli is an
internationally acclaimed Butoh dancer. She
has danced in Paris, London, Berlin, Athens.
As performer/ co-devisor with Chris Goode in
Escapology, as collaborator with Song Theatre
and Guy Gutman.
Made with the support of Camden Peoples’
Theatre
www.petraspulse.co.uk
Ruby Pester
Astral Dough
Exploring an absurd yet familiar world of
common objects, the physical body veers
between dialogues somewhat disillusioned yet
compulsory. This work describes a meeting of
body and space in which the hardware and
rubble of our daily existence become superior
‘vessels’ of exchange between internal and
exterior selves. These objects precariously fixed
come alive with the presence of their impulsive
human counterpart. Enveloping often rhythmic
yet anxious momentum, these manipulated
worlds hint at an illusive and misplaced reality,
an encounter with obsession. Leading the viewer
to take on their own dialogues within this visual
dreamscape, these charged movements glance
at a journey of enigma and the obstacles that we
can impose upon ourselves.
Pester’s work deals with the body in relation to
space and language, drawing upon the isolation
of disparate physical moments in which she
attempts to agitate consciousness, exposing
something hidden, lost or imagined. She uses
her body to physically communicate with her
surroundings, manifesting itself as an object as
well as a psychological vessel.
Ruby Pester is a visual artist based in
Glasgow, Scotland, educated in Fine Art from
Duncan Of Jordanstone College Of Art & Design.
Her performance practice encompasses live
work, installation, video work, digital media,
sculpture and drawing. She has exhibited across
Scotland, most recently performing at HOST,
The Market Gallery, Glasgow and curating and
showing work as part of When I Stand On An
Open Cart, Wasps Studios, Glasgow.
www.rubypester.wordpress.com
E L EVATOR 0 9 → 35
Sam Hasler
New builder
This process driven performance uses simple
actions of drawing, building and speaking
over two hours. The construction of simple
temporary structures over time, build up a
scene or situation that ties together elements
of the space and the exposed creative process.
Taking material from a local newspaper printed
on the day of the performance and other texts
concerning faith and cultural phenomenon, the
events should build towards an understanding
of a human relationship with space. A short
publication of texts being used in this
performance will be distributed as part of the
work.
Sam Hasler graduated from Cardiff school
of art and design in 2005. He has made
performance work across the UK in Galleries
and alternative spaces. He has performed at
several festivals including EXPO festival in
Nottingham, PLAY festival in Plymouth and
Experimentica in Cardiff. Recent work was
performed at Paparazzi Gallery (Netherlands)
as part of a long running collaboration with
Beth Greenhalgh. His work uses drawing and
writing within a structure that allows decision-
making and creative responses to space, within
the performance.
36 → ELEVATOR 09
Soozy Roberts
Nanny ‘wellin’s Welshcakes
Gifts of domestic bliss, custard pies, Nanny
Llewellin’s famous Welshcakes, girls, dairy
queens down on the farm, sweet childhood
memories intertwined with flashing red lights,
glittery nights and ballooning boobies.
Growing up on a farm in the middle of
nowhere in Wales, milking cows, making
silage, these idyllic homely feelings, mixed
together with crappy chorus girls, synchronized
swimmers, playing at glitzy and glamorous.
Born on 14th May 1983, Soozy is the daughter of
Mary and Graham, the youngest of five children,
brought up on a dairy farm in West Wales.
She studied Art Foundation at Pembrokeshire
College before gaining a BA (Hons) in Fine Art
(Contemporary Practices) from Dartington
College of Arts in 2006.
Soozy has shown work at Experimentica
(Cardiff 2007), Tactile bosch (Cardiff 2007),
Arnolfini (Bristol 2007), Cardiff Art in Time
(2007) and is the winner of the Sir Leslie Joseph
Young Artist Award 2008 (Glynn Vivian, Swansea
2008).
Supported by the Glynn Vivian Art Gallery,
Swansea.
Sophia Yadong Hao
Vapour
Sophia Yadong Hao makes places where what
has been can be transmuted through acts of
preserving and erasing. Vapour is a place where
what we try to forget is remembered and made
visible.
Building upon a body of earlier works, Vapour
marks a key development in Hao’s archival
approach to the trivial and individual pasts
which together constitute what is known as
‘History’.
‘It is more arduous to honour the memory of the
nameless than that of the renowned. Historical
construction is devoted to the memory of the
nameless.’ Walter Benjamin
Hao’s practice seeks to provide a space in
which the passage of time and our awareness
of how we remember and forget can be brought
into focus and questioned through quiet and
slow encounters. This body of intimate works
breaks the social and civil boundaries between
strangers. Her work provides a brief remedy
and release for the confused and conflicting
emotions which characterise today’s world.
Would we remember the moment of forgetting?
What do we remember when we try to forget?
What is left when we have spoken?
Sophia Yadong Hao is a UK based Chinese artist
who works with process and participation. She
obtained a MA in Visual Culture with distinction
in 2005 at MMU, was an invited artist of Vital:
International Live Art Festival and one of
the collaborative performers of Ornamental
Happiness, directed by Rose English and
commissioned by Liverpool Biennial 2006. As well
as being an artist, Hao is a curator, writer and
lecturer. She is currently undertaking a deciBel
fellowship and working with the Laing Art
Gallery, BALTIC and MIMA.
The Paper Birds
In A Thousand Pieces
Ice-creams, suitcases, floorboards and buttons
tell the physically and visually moving tale of a
young Eastern European girl and her journey to
England.
A beautifully woven patchwork of accounts,
misunderstanding, movement, text and live
original music; In a Thousand Pieces sees The
Paper Birds returning to their all female roots to
deliver this touching and delicate depiction of
the violent, isolated and brutal world home to
thousands of women forced into the British sex
trade.
The company began with a research and
development period in Poland where the
company worked alongside Teatr Piesn Kozla
(Song of the Goat Theatre). The work sees
stories, events, voices and settings packed
up and unpacked from battered and bruised
suitcases by battered and bruised women while
their stories fracture, reform, repeat and
take on new shapes and forms like a distorted
kaleidoscope looking for an answer for this
epidemic of sex slavery.
Formed in 2003 The Paper Birds is an all
female collective based in Leeds and has been
short-listed for ‘Best Ensemble’ (The Stage),
‘Best Young Company’ (Total Theatre) and
The Amnesty International award 2008. The
Paper Birds continue to create challenging and
engaging visual theatre with their latest work
drawing on text, verbatim theatre, physical and
visual theatre, music and multimedia.
With thanks to The Arts Council England,
Teatr Piesn Kozla, Ben Francombe, Chichester
University and the Leeds Met Studio Theatre.
www.thepaperbirds.com

One Year On
A chance to track the development of
promising artists emerging from last
year’s NRLA Elevator programme
Augusto Corrieri
Quartet #2 (for Anna Akhmatova)
Performance is not what takes place on the
stage, but what happens in the minds of the
spectators. Based on an accident that took place
at La Scala opera house in Italy in 1913, Quartet
#2 is a performance that revolves around a
simple premise: each of its four components is
performed alone, one after the other.
Quartet #2 is the sequel to Augusto Corrieri’s
solo performance Quartet. Unlike a sequel,
the new show is identical to the previous
one; the only difference is that it is executed
by Donna Shilling, not by Augusto Corrieri.
Shilling meticulously reproduces every gesture
and movement of Corrieri’s solo, down to the
smallest detail. The result is a “photocopy” of
the original performance, an exact repetition,
made with the explicit attempt of questioning
one of the main demands of artistic production:
to make something new.
Augusto Corrieri is a choreographer and
performance artist. For the last 7 years he has
presented new performance works in the UK
and Europe, alone and in collaboration with
companies Deer Park and Propeller.
Quartet #2 is developed with the Nightingale
Theatre. The original version of Quartet is
funded by Arts Council England; developed with
BAC, The Nightingale Theatre, and the B-Theatre
Pilot programme. Supported by the Basement,
Arts Production South East.
photo: Lift Creative Services
Helena Hunter
Myths & Metamorphosis
Drawing form the rich literary tradition of Greek
Mythology, Myths & Metamorphosis revisions
these ancient stories, examining the corporeal
and carnal nature of the tales. Referring
primarily to Ovid’s Metamorphosis, Helena
explores the text as a visual language and uses
her body as subject to recast the myths. The
works include Hera, whose breast milk formed
the Milky Way, Scylla, with ferocious dogs in
place of her lower limbs, and Europa who was
ravished by a giant bull whilst gathering flowers
in a meadow.
Myths & Metamorphosis was created in
collaboration with sound artist Mark Wright and
filmmaker Chiara Ambrosio with the technical
assistance of Marty Langthorne.
Helena’s most recent work, Tracing Shadows,
was developed with the support of Artsadmin
Bursary Scheme, premièred at Chelsea Theatre
London for the Sacred Season 06/07 and was
presented at Chapter Arts Centre Cardiff, Royal
Opera House London, and NRLA 2008.
Mark Wright has produced works for
Futuresonic Festival, Art Radio 106.5fm., BAC,
and Future Cinema Events. Chiara Ambrosio has
produced photography and film work for Patrick
Wolf, The Scanners, Transgressive records,
Saatchi and Saatchi, and Kensington Palace.
Chiara is an ongoing collaborator with composer
Michael Nyman, and Mark Wright.
‘A fairy tale world that combines the seductive
and the destructive, the childlike and the
adult, desire and the artificiality of desire…
eerie, compelling, and haunting.’ Theron
Schmidt, RealTime Arts.
Thanks to Francis Alexander and James Tilston at
Chelsea Theatre for their support.
http://www.helenahunter.com
E L EVATOR 0 9 → 37
Photo: Katy Wilson
Jenna Watt
Little Vikings Are Never Lost
A young woman wanders through an entirely
fabricated environment, surrounded by trinkets,
odd objects and surreal constructions. Unable to
confront a tragedy in her childhood, the woman,
Siv, constructs a world for herself – a surreal
and absurd landscape that grows and becomes a
model for life.
When the anonymous letters begin to arrive,
Siv’s world comes under threat from intrusions
both comforting and tormenting, reminders of a
journey she has been trying to forget. Siv begins
to realise she can’t be lost forever. Someone
knows where she is, and someone is coming to
get her.
Little Vikings are Never Lost is a solo
performance devised and performed by Jenna
Watt.
‘A beautifully shaped story of acceptance and
loss’ Joyce Macmillan, The Scotsman, on LITTLE
VIKINGS ARE NEVER LOST
‘tender, self-reflexive and deprecating
statements…a beautiful and all too rare thing in
live art.’ Rachel Lois Clapham, We Need to Talk
– about Live Art, on Jenna Watt’s BENCH
Jenna Watt is a devisor and live artist originally
from Inverness but now based in Edinburgh.
Jenna graduated from QMUC in 2006 with a first
class degree, having specialised in Contemporary
Performance. Jenna has been creating her own
pieces of live art and performance since 2005
as a solo artist and also with the arts collective
Spinach.
Supported by The Scottish Arts Council.
www.jennawatt.co.uk
38 → N T 09

An international programme of première performances

 NT 0 9 → 39

Station House Opera (UK) TRAMWAY

Wed 25 February 1930
Mind Out

Separating mind from body and character from performer, Station House Opera’s latest
performance work, Mind Out, explores the impossible question of what it is like to be mindless.
Each of the five performers is split into two. Each acts as the mind of another, giving simple
instructions for action, while their own body responds to someone else’s bidding. With constantly
shifting relationships and minds and bodies shared between the performers, it becomes increasingly
difficult to discern who is in control.
Laced with a cruel humour as the actions of one bend to the whim of another, Mind Out moves
from a fragile harmony to resistance, contradiction and anarchy as minds and bodies resist the
control imposed upon them.
Mind Out builds on Station House Opera’s fascination with the shifting ideas of identity in
performance explored in previous works including Roadmetal, Sweetbread and Mare’s Nest.

‘This is postdramatic theatre meets Buster Keaton. Enjoy.’ Time Out ****
‘An elaborate, 70-minute theatrical game that pushes the notion of contradictory behaviour and
cause-and-effect social manipulation to sometimes enjoyably ridiculous extremes.’ The Times ***
‘Funny, spooky and slightly unsettling...A company that proves it can still be well ahead of the
game.’ The Guardian ***
Conceived and Directed by: Julian Maynard Smith
Devised & Performed by: Zena Birch, Tom Bowtell,
Susannah Hart, Julian Maynard Smith, Helen Morse Palmer
www.stationhouseopera.com

Photos: Hugo Glendinning

An Artsadmin project developed at BAC.

40 → N T 09

British Premières

Companhia Paulo Ribeiro (Portugal)

TRAMWAY
Fri 27 February (Masculine)
Masculine + Feminine & Sat 28 February (Feminine) 1930

Masculine
An intense, almost feverish, play capable of making the public laugh or cry, and which revolves
around the “persona” of Fernando Pessoa. The poet’s words echo throughout the play. It is a well-
told story in which speech is disputed by the performers, who bring us life episodes that come
across the Pessoa imaginary, in a turbulence of expressions that lead the public through a roller
coaster, with all the senses and beauty of the moments and energy that the play transpires.
‘The new piece has a choreographic structure which is very accessible to the general public, where
it is easy to understand the meaning of the different elements included in it. This does not mean
that it is not a demanding work in terms of precision and energy, which contain a satire on very
familiar behavioural stereotypes in Portuguese society and which are not normally commented on
through contemporary dance. Paulo Ribeiro gives well deserved and generous space to the already
well-known interpreters of dance, whose communicative, physical and expressive qualities, we
can get to know or re-familiarise ourselves with and appreciate. It is a show in which tension and
restlessness are resolved with humour and exuberance, but also with reflection.’ PÚBLICO – Paula
Varanda, 25 January 2008
Feminine
“Why am I so unhappy? Because I am what I should not be. Because half of me is not in sisterhood
with the other half. The conquest of one half is the defeat of the other” - Fernando Pessoa
Five women and Fernando Pessoa. A Pessoa in the feminine and high heels. The poet’s words
challenge them, they get lost in their own narratives. The poetics of feminine movement runs
through the piece, mixed with the ardour contained within each gesture. In this Pessoan universe,
they worry about their hair, wearing high heels, despise man and dance with bodies oozing
sensuality. The movement is contained, vigorous and flowing in prolonged pleasure. And this
space of sensations is only interrupted by the divine force of the choreographer, playing with his
Photo reproduced by permission of the artist

creations, making them laugh at themselves.

A festival favourite Paulo’s career expands with works for many renowned companies including,
Nederlands Dans Theater II and III; Ballet de Genève and Centre Chorégraphique de Nevers. From
1995 he founded his own Company and between 1998 and 2008 has held the position of General
and Artistic Director of Teatro Viriato. Between 2003 and 2005 he was the Artistic Director of Ballet
Gulbenkian.
Co-production COMPANHIA PAULO RIBEIRO, TEATRO VIRIATO, TEATRO NACIONAL S. JOÃO, TEATRO
MARIA MATOS, CENTRO CULTURAL VILA FLOR, BIARRITZ CULTURE – Festival Le Temps d’Aimer,
Executive production COMPANHIA PAULO RIBEIRO supported by MINISTÉRIO DA CULTURA – Direcção
Geral das Artes; CÂMARA MUNICIPAL DE VISEU Resident company at TEATRO VIRIATO, Viseu
www.pauloribeiro.com
 N T 0 9 → 41

The presentation of this trilogy

of work is a UK Première

UBU (Québec)
TRAMWAY
Thu 5, Fri 6 & Sat 7 March 1530
(not Thu) + 1830 + 2100 daily
Technological Phantasmagorias I, II and III (Please note that each
performance is limited to 72 people)

Created and directed by Denis Marleau

The Blind, by Maurice Maeterlinck
Twelve faces suddenly appear out of the darkness. Six faces of men and six of women. Their gaze
is aimless, directionless, unfocussed… All twelve are blind. Lost in a shadowy forest, far from the
hospice where they live, they are waiting for their guide. They talk to hide their distress and to
reassure themselves that they are not alone. They listen with fear or hope for the slightest sign
around them. Their guide no longer answers. The Blind no longer know if it is day or night and are
suspended in a metaphysical space between life and death; they feel abandoned.
A co-production by UBU, the Montréal Museum of Modern Art and the Avignon Festival. Awarded
Best Production (Montréal) by the Québec Theatre Critics’ Association in 2002.
Sleep My Baby Sleep, by Jon Fosse
Three small creatures talk quietly. In the white light of limbo, they wonder where they are. What
if they are nowhere, but there’s no such place as “nowhere”? Do they themselves even exist? Dors
mon petit enfant (Sleep My Baby Sleep) is a small play that glints like a crystal. It draws us into the
swirling complexities of Jon Fosse’s metaphysical explorations. Here he creates a state of plenitude
floating between existence and its opposite, which is not death, but the beginning of everything.
Play, by Samuel Beckett
A husband, his wife, his mistress. A vaudeville with no trap doors or pratfalls. Instead we see huge
jars where each person can take refuge and hide, leaving only the head exposed, to tell the truth.
The truth in so many words, heard a thousand times before, all the clichés of love affairs intruding
into their eerie, intercut soliloquies. But as chosen and structured by Beckett, these words spiral
out of control and give glimpses in the orchestrated chiaroscuro of the solitude of the human being,
visible behind the ludicrous moments in life and love.
Sleep My Baby Sleep and Play were co-produced by UBU, the French Theatre Department of
Canada’s National Arts Centre and Le Manège, scène nationale de Maubeuge (France).
‘The living being must, perhaps, be removed completely from the stage. This is not to say that one
would not thus return to a form of art from centuries long past, the last traces of which may be Photos reproduced by permission of the artist
seen on the masks of the tragic Greeks. Will this, one day, be the role of sculpture, about which
one begins to ask oneself such strange questions? Will the human being be replaced by a shadow,
a projection of symbolic forms, or a being that would have the aspect of life without having life?
I do not know; but the absence of the human being seems to me to be essential.’
Maurice Maeterlinck
http://www.ubucc.ca
42 → NT 0 9

Into The New

TRAMWAY
(UK) Thur 12 - Sat 14 March, 1800
& 1400 (Saturday)

Photos reproduced by permission of the RSAMD
‘The Contemporary Performance Practice course stands alone as a unique, challenging and
definitely needed contribution to the contemporary performance scene, on a national and
international level. Audiences attending Into The New can expect to be entertained, challenged,
excited and rewarded by daring, innovative and original work made by contemporary artists at the
very beginning of the their professional careers.’ Gregg Whelan, Lone Twin and artistic director,
ANTI Festival, Kuopio.
Into The New showcases the work of the students and graduates of RSAMD’s Contemporary
Performance Practice (CPP) degree programme. New Territories and CPP have a connected
history; the need for a degree in contemporary performance grew largely out of a response to
the rich cultural landscapes of the National Review of Live Art and New Territories. Nikki Milican
was the first ever external examiner and her encyclopaedic knowledge and experience influenced
the development of what has become one of the leading practice-based performance degrees in
Europe.
To celebrate CPP’s tenth anniversary, Into The New, for the first time, is part of New Territories
(in collaboration with Tramway and the National Theatre of Scotland).
Into The New is a three-day event comprising performances, workshops, discussions and talks
from a broad community of performance makers. It is an opportunity to invigorate your practice,
share inspiration and experience, and to promote growth in the field of new work. Leading to
a symposium on Saturday, the festival aims to be a practice-based encounter that facilitates
conversation, sharing and the opportunity to consider our lives and living(s) in performance.
The Symposium: Lives and Living(s) in Performance will address many of the questions faced
by artists. How do you…make a life and a living in performance? Balance the needs of funders and
audiences while maintaining innovative, radical practice. Thrive by practising what you believe in?
Make the transition from institutional training to self-directed practice? Keep going even in the face
of adversity?
Featured Artists are:
Julie Brown, Lauren Bianchi, Sara Fridgeirsdottir, Nic Green, Guillermo Gomez-Peña, Tashi Gore,
Lin Hixson, Lucy Hutson, Suzanne Lacey, Richard Layzell, Jo Lindsay, Alastair MacLennan, Johnny
McKnight, Gary McNair, Fiona Manson, Richie McColm, Peter McMaster, Anne Seagrave, Thom
Scullion, Naomi Shoba, Jess Thorpe, Eve Vaughan, Kevin Wratten.
Workshops and talks:
Guillermo Gomez-Peña, Lin Hixson, Suzanne Lacey, Richard Layzell, Alastair MacLennan,
Anne Seagrave, National Theatre of Scotland.
 N T 0 9 → 43

TRAMWAY 4

Anna Krzystek (UK) Tues 17 March (Figure This) 1930

Wed 18 March (Test 1830; Still 1945;
Figure This (2009), Still (2007), Test (2005) Figure This 2100 – sold as one ticket)

Following the première of Figure This there will also be the première of all three works presented
side by side, as a trilogy of work in its entirety.
Figure This is the third in a series of solo pieces, following Test and Still.
Once again we encounter the lone figure waiting in a room. In Test we see the figure engaged in
an ongoing prelude to something that may or may not happen, in Still she proceeds to eliminate Photos by Tim Nunn
herself from view by falling in and out of focus. In Figure This we are invited to observe the figure
more closely, unveiling newly found aspects of her presence.
The figure moves through a series of choreographic acts that sees her pushed to extremes.
These acts are compulsive and enduring, they commence without warning and stop just as
instantaneously, leaving the figure suspended in periods of “not doing”. It is precisely in these gaps
of “not doing’ that the figure is revealed and a sense of closeness can be felt. The objects that
surround the figure remain from Test and Still and quietly hold their own presence.
Test, Still and Figure This form a series of work based on the premise of waiting. Waiting, in
all degrees of ambiguity, is experienced by everyone everyday. In these pieces the performer is
referred to as the figure. Her presence is at once both immediate and distant as she is placed in
relation to time, space, sound, object & filmed image. The juxtaposing elements that form these
pieces follow their own structures. They are allowed to exist separately, linked through a detailed
sharing of attention. Given space, they are poetically drawn together to form an intense yet
sublime whole.
Anna Krzystek is a Glasgow based choreographer and performer.
Anna is also a core member of Helsinki based Oblivia Performance Company.
‘Glasgow based Krzystek is one of the most interesting choreographers Scotland has to offer,
operating at the cutting edge of contemporary dance.’ The Scotsman
Tom Murray, composer (Figure This, Still, Test)
Tim Nunn, video/stills artist and Daniela de Paulis, video artist (Figure This)
Lucy Cash, filmmaker (Still)
www.annakrzystek.com
The trilogy is a New Moves International commission for New Territories 09 and is the world
première. Additional support for the individual works has come from the Scottish Arts Council,
Dance House, Dance Base, CCA, Tramway, Oblivia and Balance.
A co-production with Trouble, Brussels as part of A Space For Live Art
 44 → NT 0 9

TRAMWAY
Tues 17 March (Pluie) 2030,

Sylvain Émard Danse (Québec)

Thu 19 March (Temps de chien) 1930
& Fri 20 March (Wave) 1930
Special ticket: tickets for Wave are
Climatology of Bodies – a trilogy free to those purchasing tickets for
both Pluie and Temps de chien.

Pluie (rain) was the striking beginnings of the Climatology of bodies trilogy. With this magnificent
pas-de-deux, Sylvain Émard takes an exceptionally lucid look at the relations between human
beings. He takes his inspiration from climate as a metaphor for the external elements affecting our
daily lives. Our bodies, unconsciously and indiscriminately, absorb a whole range of signals from
many sources; adapting has become an integral part of our life. How does the body perceive these
profound transformations? This is the Climatology of bodies.
Temps de chien (Dog’s day) is the second instalment of the Climatology of bodies cycle. It explores
the uncertainties, uneasiness and desires provoked by an increasingly unsettled environment. The
choreography underscores the fundamental humanism and sensuality of bodies that are standing
witness to such transformations.
A co-production by Sylvain Émard Danse, the National Arts Centre, the Banff Centre, the Canada
Dance Centre (Canada), and the Grand Théâtre de Lorient (France)
‘The set design, music and dance combine to create a strange and beautiful universe, at once dark
and luminous, that is full of tenderness, violence and abandon... This is undoubtedly one of the
most accomplished works Sylvain Émard has ever created.’ Frédérique Doyon, Le Devoir
Wave : the last chapter of Sylvain Émard’s Climatology of bodies cycle, explores with finesse
our capacity and our individual desire to melt, to become part of an increasingly vast and
multidimensional environment. This tidal wave sweeps forth to reveal dance as the exquisitely
tuned music of bodies.
‘[…] a very fluid piece that is visually and musically hypnotic, entrancing and captivating. […] The
five dancers perform with strength, conviction, magnetism and incredible sensuality […] If there
were but five humans remaining, it would be women such as these – beautiful, tough, complicit,
stubbornly fluid. It is an intense vision that remains with us long after leaving the theatre, pensive
and suffused with sensation.’ Aline Apostolska, La Presse
Photo by Angelo Barsetti

A co-production by Sylvain Émard Danse, Station Zuid (Netherlands), the Grand Théâtre de Lorient
(France) and Usine C (Canada)
Sylvain Émard first distinguished himself as a dancer working with renowned choreographers such
as Jean-Pierre Perreault, Jo Lechay and Louise Bédard before he formed Sylvain Émard Danse in
1987. He joined forces with Robert Lepage to work on the opera 1984 (2005) by Lorin Maazel. In
May 2008, at the behest of Robert, Sylvain Émard directed the reprise of this celebrated opera at
La Scala in Milan.
New Territories European première of this complete cycle of work is a celebration of the festival’s
Photo by Michael Siobodlan

longstanding relationship with this fine artist.

 NT 0 9 → 45

European Première

Cas Public/Hélène Blackburn (Québec) TRAMWAY

Sat 21 March 2000
Suites Cruelles (please note slightly later start)

CAS PUBLIC is now in its 19th year of existence (this is their first return to Glasgow since 1999) and each
of the creations that have marked its development attest to the pursuit of excellence and the renewal of
gestural codes. Recognized for its fiery and high-performance dance, CAS PUBLIC has secured its reputation
with works of exceptional quality.
Suites Cruelles (2008) is a choreography for nine dancers and two pianists; a brilliant dialogue between
dancers, sound score and piano. Ana Sokolovic’s music for piano is nicely crafted to the convulsive bodies
that work themselves into frenzy, an impossible union of bodies and souls.
Incandescence. Beings passionately search for one another, their vacant expressions mirroring the pain
inside the bodies. The dancers explore and search one another with athletic jumps and jolts, alternately
punishing, provoking and caressing each other. A mad dash tends toward the unbridled conquest of pleasure
through the other. The dancers sustain the virtuosity to the point of paroxysm, masters of the raw energy
they exude. The voluptuousness of the high heel rouses, the body teeters then exults in disarticulated fits
and starts.
‘Hélène Blackburn and her superb dancers are back in force on the public scene after five years spent
captivating children and adolescents. The devil is in the bodies of Cas Public, faster and more furious than
ever in this piece of a thousand and one fragments exploring the tension between pleasure and pain.’
Frédéric Doyon, Le Devoir (Montreal)
With thanks to : the Conseil des arts et des lettres du Québec, the Ministry of Foreign Affairs Canada, the
Canada Council for the Arts and the Ministry of Canadian Heritage.
www.caspublic.com Photos reproduced by permission of the artist
46 → NT 0 9

WINTER SCHOOL 2009 TICKETS

NRLA Day Ticket £15 (£10)
Continuing the ever-popular international winter school, New Moves
The Day Ticket allows access to all events throughout the day and to the Festival
International has sought to provide the best quality courses for
Club. There will be limited capacity for some shows.
artists seeking a period of professional development and research.
Once again excellent teachers are invited to run the courses, all Saturday 14 February - NRLA Tramway programme commences at 7pm.

of whom are respected artists in their individual fields of practice Tickets £9, (£6) - free to NRLA Saturday ticket holders purchased at the Arches

and include: Curious, Franko B, Gábor Goda, Mary Brennan and (just show your wristband)

Peter Boneham. For full detailed information on these courses and All other Tramway shows £9, (£6).
application forms please go to www.newmoves.co.uk + Special Ticket Offer for Sylvain Émard Danse: Tickets for Part 3 free when
purchasing tickets for Parts 1 & 2.

A Space For Live Art VENUES

Live art, an artistic discipline that “defies all
definition”, is experiencing a remarkable renewal.
It is, however, still little known to the world at large. The Arches 253 Argyle Street, Glasgow G2 8DL www.thearches.co.uk
To bridge this gap and strengthen the position of new Box Office: +44 (0)141 565 1000
forms of live art in Europe, eight cultural structures Booking Hours: Mon to Sat, 9am—8pm Sun, 12pm—6pm
have come together as partners in a five-year European project
entitled “A space for live art”.
Through each partner’s programming and the different forms of
exchange – co-productions, dissemination, residences, international Tramway 25 Albert Drive, Glasgow G41 2PE www.tramway.org
symposia – the diversity of the artistic approaches will be Box Office: 0845 330 3501 (From outside of UK: + 44 (0)141 276 0950)
highlighted. Booking Hours: by phone - Mon-Sat 10am-8pm, Sun 12-6pm
Meetings on theory and practice, the constitution of a critical in person - Tue-Sat 10am-8pm, Sun 12-6pm
corpus written by professionals and documentation of projects in Weekends: Sat-Sun, 12pm—5pm
sound and/or images will strengthen the reflexive and documentary Cheques payable to: Culture and Sport Glasgow

aspect of live art. There will also be room for mediation and Credit Cards: Visa, Mastercard, Delta and Maestro

transmission, through an infiltration of the public area and a

teaching strand, in particular in art schools where young talent will
be encouraged.

New Territories PANORAMA

Glasgow, UK Hamburg, Germany
11 February–21 March 2009 15–24 May 2009
www.newmoves.co.uk www.kampnagel.de

TROUBLE ANTIFESTIVAL
Brussels, Belgium Kuopio, Finland
23–26 April 2009 23–27 September 2009
www.halles.be www.antifestival.com

Interakcje Acción!09MAD
Piotrkow Trybunalski, Poland Madrid, Spain
May 2009 November 2009
www.galeriaoff.pl www.accionmad.org

Les Subsistance
Lyon, France
throughout the season
www.les-subs.com

With the support of the Cultural Programme

2007-2013 of the European Commission.
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