Breaking The Rules – The Wooster group

Audio recording of Live Art Development Agency event B Is for Blood: Nastja Säde Rönkkö in Conversation With Gemma Rolls-Bentley.

‘B is for blood in our veins, blood in our belly, between our legs, the flow of life within.’ – from Survival Guide for a Post-Apocalyptic Child

Survival Guide for a Post-Apocalyptic Child is a multidisciplinary project by award-winning video artist Nastja Säde Rönkkö, employing video, sculpture, text and workshops to explore strategies of survival in a world of contiguous crises.

Shot in a breath between lockdowns in 2021, these teeming forms is a sensate and mythic film, imagining a process of wilding – of entering the land and being opened by it. Memory and desire, history and loss, future and fantasy become porous, contributing to a textural and sensate meditation on living.

Commissioned by ]performance s p a c e[. Presented by ]ps[, ICA (London), VSSL studio, Chisenhale Studioes (2021) and Venice International Performance Art Week (2023). Funded by Arts Council England.

Single-channel video work; duration: 28.33

Nuidey is a short film made on an iPhone. It depicts three middle-aged queers, two of them fat, dancing in the Western Isles in slow motion in June 2024. They are naked.

There is a soundtrack of twangy music and reflections by the performers, which are subtitled. The reflections concern the place, light, rationale; fat subjectivity; what it is to be seen in real life and online; illness and decision-making. The conversation is intimate, the performers know each other well.

The film was conceived of and made by Charlotte Cooper as an expansion of her book Fat Body Work (2025 33editions).

The film was screened as part of Live Art Bookshop: Fat Body Work Launch at LADA on Wednesday 29 October 2025.

Miranda Whall’s performance practice employs crawling as a tool that enables her to embody, inhabit and understand a place and its narratives from a four-legged rather than two-legged perspective. So far she has crawled through mountains, woodland, rivers, seaside promenades, tidal mudflats an island and urban centres. On Saturday 6th November 2021 she crawled with a 6-year-old potted Scots Pine on her back through the centre of Glasgow – from the Glasgow Sculpture Studios on Dawson Road to the COP26 Green Zone in the Science Centre on the Clyde Waterfront Regeneration area. Passers-by ignored, laughed, stared, cheered and filmed as the tree and Miranda silently and determinedly made their way through heavy rain and high winds to reach their destination. The intention of Miranda’s heroic/tragic/comic slow and gentle art activism is an expression of her grief, despair and outrage with a world dominated by corporate and personal greed and an insistence that non-human nature, and in this case trees, be put at the centre of discussions on how to mitigate the climate emergency and ecological crisis. Animals, plants, trees, air, earth and oceans should be, metaphorically, sitting at the discussion table with heads of government and delegates.

Miranda’s hope is that crawling to the COP26 United Nations Climate Change Conference carrying a tree, that was equal in size to her body, might inspire human beings to re-think and re-align their relationship to trees, seeing them not only as a resource to use and abuse but as an ally and a vital source of knowledge. She believes that we all literally need to get down from our human centric, two-legged, dominant and hierarchical position and start recognising our non-human vegetal others as equals, and as sentient beings with a voice – that we crucially need to listen to if we are to find a way out of our human made catastrophe.

Crossed Paths – Scots Pine premiered as part of LADA Screens and was available to watch online from 4 July until 4 August 2022.

This video was screened as part of Land, Material, Memory at Tate Britain on Saturday 28 February 2026.

The world’s biggest and only autistic green Drag Queen, Oozing Gloop is back and inspiring people to re-imagine the structures that govern their lives. Defying usual understanding of meaning and belonging, this world to come is run via a new economy of government – Commucracy!  (But what the fuck is Commucracy? Read the manifesto.)

Follow Oozing Gloop on this epic trip, where you’ll find psychoactive solutions for psychopathetic citizens trapped behind the very screens that are there to help them communicate. From the highest to the lowest Oozing Gloop will seek to link the universal to the particular to revive the democratic impulse and pose the communist hypothesis.

Commucracy Now! is a companion piece to Glooptopia!, Oozing Gloop’s latest theatre show, and is a direct challenge to the notion that people with Autism “struggle with social imagination”, and also to the simple fact it’s easier to imagine the end of the world than the end of capitalism. We have a wealth of apocalyptic omens, disaster movies and critique; but zero 21st century post-capital-culture. Oozing Gloop defies this with revolutionary zeal and determination to open radical new spheres of imagination and fantasy! Just as we got through that, we can get through this!

This video was screened as part of Land, Material, Memory at Tate Britain on Saturday 28 February 2026.

F A U L T L I N E S (2022) is a performance video from SITE, screened at LADA as part of Fringe! Queer Film & Arts Fest exhibition The Body Is a Thing in Time, curated by kane stonestreet.

peacefully if we can, forcibly if we must (2024) is a video by Joshua Woolford, screened at LADA as part of Fringe! Queer Film & Arts Fest exhibition The Body Is a Thing in Time, curated by kane stonestreet.

cock~salt (2025) is a performance to camera by Claye Bowler, screened at LADA as part of Fringe! Queer Film & Arts Fest exhibition The Body Is a Thing in Time, curated by kane stonestreet.

Video documentation of an interactive talk from artists Danielle Brathwaite-Shirley and Symoné. It explored agency and spectatorship in the intersections between live art and gaming.

An online event to celebrate the launch of artist and writer Tara Fatehi Irani’s new book Mishandled Archive, published by LADA. Hosted by Rachel Mars, the event features an excerpt from Tara’s performance of Mishandled Archive with Pouya Ehsaei, a performative presentation by Diana Damian Martin, Mary Paterson, Jemima Yong, Maddy Costa and Holly Revell and special appearances by Giulia Palladini and Joe Kelleher.

Writer and academic Dominic Johnson hosts a rare UK appearance by the US (French based) artist Skip Arnold. They screened a selection of Skip’s videos and other documents, and discussed the body, duration, intervention, commitment, and documentation.

Bonnie Ruberg pushes the concept of queerness in games beyond a matter of representation, exploring how video games can be played, interpreted, and designed queerly, whether or not they include overtly LGBTQ content.