1pm to 8pm
ACTS RE-ACTS 4
Wimbledon College of Arts: Performance Laboratory
Saturday 4 March, 1 - 8.30pm
Venue: Studio Theatre
Performance: Amanda Couch, A Woman Holding a Liver
Couch presents a contemporary manifestation of the ancient ritual of liver divination, in the form of a performance-lecture-demonstration. The piece is in two parts: the first, an introduction to the history of haruspicy/liver divination, and its contextualisation in relation to chance strategies in art. The second is a demonstration.
‘A Woman Holding a Liver’ refers to the fifth century marble relief from Arcadian Mantineia, in the National Archaeological Museum of Greece. In most of the ancient world diviners were usually only highborn men, but in Greece gender or class was no barrier and anyone was able to become a seer. Ancient texts mention divination frequently, however, the Stele of Diotima, as it is known, is thought to be the only representation, visual or literary of a female haruspex in existence.
The liver in ancient cultures was believed to be the seat of the soul. At the moment of sacrifice, it was supposed that the gods merged with the animal, inscribing their communication on the entrails, especially the ‘tablet’ of the liver. The interpretation of this veiled language offers ways of knowing from different perspectives, and challenges the hegemony of mainstream discourses. In a contemporary art context, the piece draws parallels between divination and chance, a key strategy in artists’ investigations of the 20th and 21st centuries, which can be defined as indeterminacy and contingency employed in the creation of, and/or at the point of reception of an artwork. The piece’s relationship to ancient practices introduces the element of chance as a way to disturb linear logic and offers ways to discover truths beyond a Post Cartesian context.
Performance: Kate Lane & Joe Wild, Performance Machine
Kate Lane presents the outcome of her Acts Re-Acts residency at Wimbledon Space. Over five days, Kate and collaborator Joe Wild will transform the gallery into a performance machine. A set of axioms using the unities of - Time - Space - Body – Text will generate the algorithm to drive the machine. Applying pre-determined codes to generate process of movement, sound, word and design, they will explore the effects of polarization of ideas and decision making, while exploring alternatives to current democratic binary choices, going beyond either/or.
This machine will exist both in the real, physical space of the gallery but also in virtual cyber space. There will be testing of the viability of the machine throughout the session and data input from visitors is welcomed.
Kate Lane is a Scenographer specialising in design-led performance and member of collective BraveNewWorlds. Joe Wild is a theatre-maker and lecturer with a specialism in movement and the body, training as a dancer at Laban and as a movement specialist at the Central School of Speech and Drama.
Venue: Studio Theatre
Performance: Denise Ackerl, TAP (technology art performance)
Imitating the famous format of a TED talk, Ackerl’s performance will play with different notions of the digital and liveness. In the talk she takes the perspective of a 21st century performance artist, economist and researcher who looks into digital spaces as areas for performance and cost efficiency.
View a trailer for TAP TALK #1 here.
Performance: Richard Layzell, Korea Town
Richard Layzell presents aspects of Korea Town, his recent research project and exhibition.
Performance: Jennet Thomas, Animal Condensed > Animal Expanded #1
Jennet Thomas presents a new work combining live performance with electronically transposed voices, and video projection.
“What are you?” asks the Authenticity Fetish.
“I am an effect, a casualty of Animal Expanded,” replies the Chicken.
Thomas stages a bite-sized philosophical encounter between what are best described as two post-anthropological agents who, in an attempt to reconcile themselves with the trauma of a mass biotechnoviolation, quiz one another on the origins and ontologies of their species.
Animal Condensed > Animal Expanded #1 confronts our anxieties around transspecies existence and the formulation of farmed subjectivities and stresses the fact that whilst ‘animals as we know them, no longer exist’, our visual culture is struggling to catch up with what today’s life on earth is really like. Far from didactic, Thomas’s approach is oblique, anarchic and playful. Through the collision of meanings and ‘anti-meanings’, her method constructs a mirror that candidly reflects our unstable and open-ended selves.
The location of the action is both on screen and with the audience, somewhere between the virtual and the actual, a place where real objects have been sweet-talked into rendering up digital outcomes, and computer effects are dumbed down and exposed for what they really are.
Performance: John Strutton & Riccardo Carbone, Original Copy
Original Copy is an on-going project that uses an old wind-up gramophone as a drawing machine. The original tone arm has been modified so that the stylus is extended through the cartridge of an ink pen. Paper is placed on the turntable and the pen is lowered onto the revolving sheet, in much the same way as the stylus would on a record, and draws a perfect set of concentric circles, whilst the response of the stylus to the movement of the pen can be recorded directly through the tone reflector. As the drawing is made visual (RGB) information is also gathered through a sensor that creates a signal that in turn generates audio material.
The live performance uses this combination of antique analogue mechanism and current digital technology to create unique soundscapes from the most rudimentary act of drawing.
Venue: Studio Theatre
Performance: Julie Groves, And So I Met My Other’s Other
Groves presents a sound art performance exploring the “cat’s cradle of identification” (Krauss 1990), and dialogic tension created by performance. Spilling outside boundaries, the performance questions the roles of performer and receiver, as the viewer or the viewed through a re-conceived and physically re-composed experience of a familiar event. This performance aims to problematize the Other via the invisibly humming space of entwinement between all protagonists present.
A drinks reception will follow the afternoon’s programme of performance events.
Click here for ACTS RE-ACTS 4: Performance Laboratory - Schedule for Friday 3 March, 2 - 9pm
ACTS RE-ACTS 4
Dates: 20 February - 17 March 2017
Performance Lab: Friday 3 & Saturday 4 March 2017 from 2pm
Denise Ackerl, Lucy Algar & Kirill Burlov, Bruce Barber, Jane Collins, Amanda Couch, Julie Groves, Jamie Harper, Mark Hibbett & Tom Smith, Kate Lane, Richard Layzell, Richmond & Richmond, John Strutton & Riccardo Carbone, Paul Tarrago, Jennet Thomas
About Acts Re-Acts:
“It feels like there is still room for genuine subversiveness within performance [practice]. For someone from Fine Art, part of the excitement and the openness is being the amateur next to someone working with a kind of Theatre.”
Curator Sarah McRory speaking about the work of Marvin Gaye Chetwynd, interviewed by Lois Rowe at ICA as part of Performance Management, February 2016.
Acts Re-Acts, a laboratory of performance, new media, workshops, lectures, discussions, events, interventions, seminars and installations, returns for a fourth year to take place at Wimbledon Space between 20 February – 17 March 2017. This year Acts Re-Acts will take the form of an intensive two-day laboratory of selected performances on Friday 3 and Saturday 4 March. Four week-long residencies will run Monday – Friday between 20 February – 17 March.
The programme will include 'Anecdotal Evidence', the Professorial Platform of Jane Collins, Professor of Theatre and Performance, Wimbledon College of Arts on Friday 3 March.
Curated by the Acts Re-Acts Creative Team: Simon Betts, Jane Collins, Lois Rowe, Esther Armstrong, Peter Farley.
Image: Jennet Thomas, Still from 'Animal Condensed > Animal Expanded #1', 2017
ACTS RE-ACTS 4