Body: Language is a series of public conversations in which choreographers and artists consider the role of the body in their work. This edition features a conversation between series curator Guy Cools, Jonathan Burrows and Matteo Fargion about the musical body.
In 2014 Project O (Alexandrina Hemsley and Jamila Johnson-Small) began working with Charlotte Cooper and Kay Hyatt on a show called SWAGGA. The work is rooted in dance and draws on other performance traditions, including a live soundtrack by Trash Kit and original compositions by Verity Susman. This collaboration was remarkable because it featured untrained dancers with the kinds of political bodies – fat, queer, older – that are rarely treated as creative, expressive or worthy choreographic subjects. Over two years SWAGGA was refined and performed for audiences around the country. Katarzyna Perlak documented the process and in 2016 created SWAGGA: A Study On Camera, a creative response to the live performance. The result is an extravaganza of mess, antisocial emotions and intersectional feminist sensibility.
SWAGGA: A Study On Camera was first screened by the Live Art Development Agency in 2018 as part of the LADA Screens programme, a series of online screenings of seminal performance documentation, works to camera, short videos, films and archival footage.
Manning extends her previous inquiries into the politics of movement to the concept of the minor gesture.
One of the contemporary art world’s most acclaimed mixed-media & performance artists, is the subject of this smart, sassy documentary that showcases her spectacle-rich approach to explorations of gender, racial identity, and sexuality. Bonus features include two deleted scenes.
The second volume of the landmark trilogy consent not to be a single being.
Documentation from the 672 Hour Live Process Performance in Istanbul, 2018. Includes the poster, individual videos of performances, and a document with details on all performances.
Pleading in the Blood: The Art and Performances of Ron Athey presents the first critical overview of this major artist’s work. It demonstrates how Athey foresaw and precipitated the central place afforded they body and identity politics in art and critical theory in the 1990s and beyond.
Second edition of Material concerns itself with in/visibility in contemporary artistic practice, especially dance.
Publication on a new entity of events as part of ANTI Festival, where the artists shortlisted for the International Prize of Live Art present their work.
In English and Finnish.
Publication made as part of a choreographic work investigating the relationship between theoretical, aesthetic and performing aspects of an artistic work. Includes two essays: ÆØÅ and Pointing back.