Performance archive
A depository for documentation of performance work (live and for camera) by other artists that I have performed, adapted, interpreted and/or directed.
Workshopping new work by composer Cameron Dodds with London based choral collective Musarc, March 2023
Performance Two
Performed at PINK, Manchester, 2022
Solo performance
Performance Two was created in response to witness statements I recieved from audience members present at Performance One, a live piece by dancer Rachel Krische. Using only these texts, which combine literal descriptions of actions, sounds and movement with viewers’ personal interpretation of the work, my task was to re-stage a work I have never encountered firsthand: to reenact a reenactment, reproduce a reproduction, interpret an interpretation of an interpretation. Commissioned and curated by Elysia Lukoszevieze.
Performed at PINK, Manchester, 2022
Solo performance
Performance Two was created in response to witness statements I recieved from audience members present at Performance One, a live piece by dancer Rachel Krische. Using only these texts, which combine literal descriptions of actions, sounds and movement with viewers’ personal interpretation of the work, my task was to re-stage a work I have never encountered firsthand: to reenact a reenactment, reproduce a reproduction, interpret an interpretation of an interpretation. Commissioned and curated by Elysia Lukoszevieze.
John Cage: Maybe Even Beyond the Delta
Performed with An Assembly at the Lowry, Salford, 2019
Listen to a recording of the exhibition on NTS
Performed with An Assembly at the Lowry, Salford, 2019
Listen to a recording of the exhibition on NTS
WILD LANDS by Amy Lawrence
Created in 2019 in collaboration with Rowland Hill, Juliet Davis-Dufayard and Joe Whitmore
I performed in and co-created this interactive video performance, combining gaming mechanics and choreography to lead women and gender-fluid performers through a pocket of urban wild-space at night.
Created for Second Nature - What is Nature Anyway? exhibition at The Portico Library, Manchester, curated by James Moss.
Created in 2019 in collaboration with Rowland Hill, Juliet Davis-Dufayard and Joe Whitmore
I performed in and co-created this interactive video performance, combining gaming mechanics and choreography to lead women and gender-fluid performers through a pocket of urban wild-space at night.
Created for Second Nature - What is Nature Anyway? exhibition at The Portico Library, Manchester, curated by James Moss.
Poem for Chairs, Tables, Benches, Etc. (1960) by La Monte Young and Work for Wounded Furniture (1965) by Alison Knowles
Performed with An Assembly and Musarc at London Contemporary Music Festival, Ambika P3, London, 2019
“There was an emphasis in their movements in establishing boundaries, defining a space and direct representation of common activities. It was the closest the festival came to the heart of its theme of witchcraft....the space was given over to Fluxus, with the combined forces of Musarc and An Assembly performing Alison Knowles’ Work for Wounded Furniture, segueing into La Monte Young’s Poem for Chairs, Tables, Benches, etc. Again, common objects and simple actions were presented plain, with Knowles giving us inadvertent theatre and music through establishing a new frame of reference for observing the partial destruction and ineffectual repair of household objects, while Young gives a new focus to unintentional sound, and to the inherent theatricality of making music.”
- Boring Like a Drill LCMF Highlights Part 2
Performed with An Assembly and Musarc at London Contemporary Music Festival, Ambika P3, London, 2019
“There was an emphasis in their movements in establishing boundaries, defining a space and direct representation of common activities. It was the closest the festival came to the heart of its theme of witchcraft....the space was given over to Fluxus, with the combined forces of Musarc and An Assembly performing Alison Knowles’ Work for Wounded Furniture, segueing into La Monte Young’s Poem for Chairs, Tables, Benches, etc. Again, common objects and simple actions were presented plain, with Knowles giving us inadvertent theatre and music through establishing a new frame of reference for observing the partial destruction and ineffectual repair of household objects, while Young gives a new focus to unintentional sound, and to the inherent theatricality of making music.”
- Boring Like a Drill LCMF Highlights Part 2
we shall run by Yvonne Rainer (UK premiere)
Performed with An Assembly at London Contemporary Music Festival, Ambika P3, London, 2018
Programme text:
“The evening begins with the marking out of a performance area: in Yvonne Rainer’s We Shall Run (performed by An assembly) a perimeter of speakers blast out a movement from Berlioz’s Grande Messe des morts, while the ensemble jogs around the space in a series of circuits that break apart and recombine, mapping an invisible spirograph across the floor. This initial act of consecration ‘empties out’ the space by pushing the audience to its peripheries, while redrawing it as the intersection of abstract planes: the width and length of the venue’s total area, cut across by the vertiginous and precarious dimension of height, represented by the ladders and the Damoclean cymbal, the threat of imminent collapse.”
Performed with An Assembly at London Contemporary Music Festival, Ambika P3, London, 2018
Programme text:
“The evening begins with the marking out of a performance area: in Yvonne Rainer’s We Shall Run (performed by An assembly) a perimeter of speakers blast out a movement from Berlioz’s Grande Messe des morts, while the ensemble jogs around the space in a series of circuits that break apart and recombine, mapping an invisible spirograph across the floor. This initial act of consecration ‘empties out’ the space by pushing the audience to its peripheries, while redrawing it as the intersection of abstract planes: the width and length of the venue’s total area, cut across by the vertiginous and precarious dimension of height, represented by the ladders and the Damoclean cymbal, the threat of imminent collapse.”
The Master’s Tools will not Diasmantle the Master’s House, Babe by Rosa Johan Uddoh
Performed with Rosa Johan-Uddoh and Gabriella Hirst at Tate Britain, London, 2018
Comissioned by Bolanle Tajudeen for Art in the Age of Black Girl Magic
Performed with Rosa Johan-Uddoh and Gabriella Hirst at Tate Britain, London, 2018
Comissioned by Bolanle Tajudeen for Art in the Age of Black Girl Magic
Tape Piece by Maya Verlaak and Andy Ingamells (2012)
Performed with June Lam at Body as Archive, Woburn Centre, London, 2018
Performed with June Lam at Body as Archive, Woburn Centre, London, 2018
Visible Speech by the DAVE group at Manchester Deaf Centre with Rowland Hill
Performance at the Portico Library, Manchester, 2018
Performance at the Portico Library, Manchester, 2018
Why are all my tutors white, baby? by Rosa Johan Uddoh
Performed with Gabriella Hirst and Rosa Johan Uddoh for Widening the Gaze Conference curated by Zeinab Sale, Slade Research Centre, London, 24th March 2018
Performing allyship through backing dance.
Performed with Gabriella Hirst and Rosa Johan Uddoh for Widening the Gaze Conference curated by Zeinab Sale, Slade Research Centre, London, 24th March 2018
Performing allyship through backing dance.
Filmed by Jeremy Millar
Tape Piece by Maya Verlaak and Andy Ingamells (2012)
Performed with Jack Sheen, part of 'New Intimacy I', London Contemporary Music Festival, Ambika P3, 7 December 2017
“...Tape Piece (2012)...achieved something meaningful for both ears and eyes as these two composers rolled around the floor, ripping sellotape off each other’s (clothed) bodies. The falsetto squeals of the sellotape launched fragmentary melodies into the air. This piece was witty and fun.” - Frieze, Searching for a New Intimacy at London Contemporary Music Festival 2017
EAR ACTION by Neo Hülcker and Stellan Veloce (UK premiere)
Performed with An Assembly at London Contemporary Music Festival, Ambika P3, London, 2017
“Hülcker / Veloce's EAR ACTION is performed one-on-one, one performer playing on the ear defenders of one audience member, harnessing the effects of the ASMR phenomenon to create personalised sound worlds.” - LCMF 2017
Performed with An Assembly at London Contemporary Music Festival, Ambika P3, London, 2017
“Hülcker / Veloce's EAR ACTION is performed one-on-one, one performer playing on the ear defenders of one audience member, harnessing the effects of the ASMR phenomenon to create personalised sound worlds.” - LCMF 2017
Book Concerto by Elizabeth S. Clark
Performed with An Assembly at London Contemporary Music Festival, Ambika P3, London, 2017
Performed with An Assembly at London Contemporary Music Festival, Ambika P3, London, 2017
Turtleneck Dreams
Made in collaboration with Scout Stuart after Turtle Dreams by Meredith Monk
Flux Factory, New York City, 2017
Made in collaboration with Scout Stuart after Turtle Dreams by Meredith Monk
Flux Factory, New York City, 2017
Brgy residency
Performed with Jack Sheen at Brgy, London
2017
Performed with Jack Sheen at Brgy, London
2017
I have never been anywhere so long
by Rowland Hill and Jack Sheen
Performed in 2016 at Emergency Festival, Z Arts, Manchester, 2016
by Rowland Hill and Jack Sheen
Performed in 2016 at Emergency Festival, Z Arts, Manchester, 2016
Side Step
Residency with Legroom (Amy Lawrence and Juliet Davis Dufayard)
The Royal Exchange Theatre, 2016
LEGROOM created SIDE STEP a ‘work-in-progress’ piece of interdisciplinary performance as part of the Royal Exchange Theatre’s ‘REACT’ commission of 3 local emerging companies. Working alongside LEGROOM invited artist – Josie Hepplewhite, a community dance practitioner and performer based in Manchester, SIDE STEP was created over 5 days in February at the theatre and culminated in an informal sharing with the producers, fellow artists and a small public audience.
Residency with Legroom (Amy Lawrence and Juliet Davis Dufayard)
The Royal Exchange Theatre, 2016
LEGROOM created SIDE STEP a ‘work-in-progress’ piece of interdisciplinary performance as part of the Royal Exchange Theatre’s ‘REACT’ commission of 3 local emerging companies. Working alongside LEGROOM invited artist – Josie Hepplewhite, a community dance practitioner and performer based in Manchester, SIDE STEP was created over 5 days in February at the theatre and culminated in an informal sharing with the producers, fellow artists and a small public audience.
Residency at Museum of Science and Industry with composer Anna Meredith,Supported by Brighter Sound, 2016
Fleck Flop Flob by Joe Snape
Co-director and script advisor
2015
Fleck Flob Flop is an hour-long piece for mixed four-piece ensemble, electronics, sound recordings, and live text projections. A fantastical story about three pairs of protagonists - an Old Lady and her husband, a Bird and a Fish, You and Our Hero - Fleck was commissioned by Sound and Music for the UK ensemble ACM.
Filmed by Ismar Badzic, recorded by Sam Hanlan, at Vivid Projects, Birmingham.
First performed at Apiary Studios, London, and toured on 9 dates throughout the UK and Europe in summer 2015.
Co-director and script advisor
2015
Fleck Flob Flop is an hour-long piece for mixed four-piece ensemble, electronics, sound recordings, and live text projections. A fantastical story about three pairs of protagonists - an Old Lady and her husband, a Bird and a Fish, You and Our Hero - Fleck was commissioned by Sound and Music for the UK ensemble ACM.
Filmed by Ismar Badzic, recorded by Sam Hanlan, at Vivid Projects, Birmingham.
First performed at Apiary Studios, London, and toured on 9 dates throughout the UK and Europe in summer 2015.
Tape Talk by Rowland Hill and Michael Cutting
Performed with Michael Cutting
2015
Performed with Michael Cutting
2015
OWTRSH
Performed with Tom Rose and Otto Willberg
Fluxus Festival, Contact Theatre, Manchester, 2014
Performed with Tom Rose and Otto Willberg
Fluxus Festival, Contact Theatre, Manchester, 2014