KAPUTT, A Transgenerational Manifesto of Destruction,
Online from 24 May
KAPUTT: The Academy of Destruction was a collaboration between LADA, Sibylle Peters of Theatre of Research and Tate Families & Early Years that took place at Tate Exchange in Tate Modern, in October 2017.
“We are not supposed to speak too loud, to write on walls, to eat too much sugar, to tear our schoolbooks apart, to smash the china, to cut ourselves, to step out of line. We are not supposed to destroy anything. We are supposed to be productive and creative and safe. Children, adults, all of us. Strangely, while we try hard to be good, we see all kinds of things around us being destroyed. So, who decides what is destruction and what is not? Who has permission to destroy?” Sibylle Peters, Theatre of Research.
KAPUTT: The Academy of Destruction explored these questions through a transgenerational team of six children and six adult artists as equal members.
KAPUTT’s academicians were Sibylle Peters, Heike Roms, Zoe Laughlin, Martin O’Brien, Malik Nashad Sharpe, Ansuman Biswas, Sam (Jazsam), Rubie (Gurrubie), Splendour & Najiba (Splenjiba), Tolu (Principal Tolu the G.O.A.T.), Ruqiya (R.P.H.D.) and Chese (Red Pool). The academicians were supported by the KAPUTT faculty members Hester Chillingworth, Katharina Duve, Zainab (Fidget Zalla) and Tyrell (the acrobatic zombie killer).
Together, they created a Transgenerational Manifesto of Destruction, in the form of a film created by Katharina Duve that we are showing in our LADA Screens series in May.
This LADA Screens is launched as part of Kids, Families, Gender and Live Art, an evening with Liz Clarke and her son Felix, LADA’s Thinker in Residence Hester Chillingworth, Colchester Arts Centre’s Anthony Roberts, artist Abi Roberts and their son, the performance artist Reggie Roberts (age 10), to discuss the role of Live Art in creating new spaces, contexts and processes to engage with kids, young people, non-binary identities and non-conformist families. 24 May 2018, 6.30pm.
Banner image credit:
Tate Modern, October 2017, Image © Tate Photography
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