Double Bill: Two Performances, Confessions of an Idiot and One Man’s Meat

From the artist: This is a neurodivergently true story about neurotransgressive performance (which I call proper performance). It contains some magic green liquid and a bit of an accidental erection.

Image of:
Laconian Statues (crumpled)
Tim Spooner
Watercolour
10x15cm

"TransMission: Sissy TV" is an exploration of the idea of trans archives. And auto-archive of the artist's body, work, costumes, props, hopes, dreams and memories accumulated over nearly three decades of creating queer work.

A photo by Dominic Johnson of Amy Sharrocks' Landscape with Fall of Artist. River Thames, London.

A compilation of images by Anne Bean from Dubinski notebooks. 

A short text and image piece by artist Kira O'Reilly, accompanied by a photo of O'Reilly's "Menopause Gym."

Mixed media textile piece by moa johansson.

In a cyclical feat of endurance and precision, Blood Show is a raw, euphoric choreography between 3 figures and 75 litres of fake blood. A call to action to put what’s inside on the outside and defend against a violent gaze, Blood Show questions rebirth and how we all carry our ghosts with us.

Writing by Shaun Caton surrounded by images of Shaun Caton's analogue montages "Night Life 11" (2024) and "Night Life 30" (2024).

Appears in COMPOST: Issue 2 Accidents and Emergencies

Article and performance photos from artist Eirini Kartsaki.

A poem by artist Tara Fatehi.

Making performance works for four decades, British experimental theatre collective Forced Entertainment has become globally renowned for its singular aesthetic and audacious events, melding narrative fragments with strange acts, broken poetry, audience provocations, and comcial failure. With its low-fi theatre, intimate text-based works, and epic durational spectacles, the group has profoundly influenced the international performance scene, evoking and testing the politics of contemporary life.