Nilofar Rezai, Germany. IPA Summer Istanbul, 2013. Photographer: Jürgen Fritz
Nilofar Rezai, Germany. IPA Summer Istanbul, 2013. Photographer: Jürgen Fritz
IPA Bristol are excited to announce the confirmed workshop artists who will be attending the artist residency in Glastonbury this Autumn. Those artists are coming from all over the world ready to work together, exchange practices and make new work. In Bristol, for three days, they will create a series of performance interventions in the city. Performances will take place in contrasting areas that resonate with Bristol’s history of migration, society, identity and culture.
I name myself Montaña (mountain in English) as it is for me a symbol of quiet but constant transformation. It is transformed by events happening around it. I cannot separate what I do from who I am or how I am as, like Buddhist principles, I do believe everything is connected and is changing constantly.
Because of that I think everything is relevant in a performance: from sound and music to light and performer presence, movement, space, emotions, audience, etc. I do not like to categorize what I do as music, performance, theatre or poetry; I prefer to say that I do alive poems using space, time, my body, emotions, words, sounds and music in order to express myself.
My work deals with identity and language. Identities of the being, through the impact of various writings (philosophy, anthropology and sociology essays, art theories, gender studies, novels, poetry, and so on) and more recently through my travels and residencies. My body is often put forward, used as a material and continuation of my reflexion : it is an essential part of my practice, during my performances for instance, but also when I have to hold a camera for hours without moving an inch, or when my hand draws repetitive designs on a sheet of paper.
Spawned in the depths of East Anglia Oozing Gloop is an artwork and an artist; who founded of The Yeast London Cabaret, offline only zine “Serious Fun” & art fest “Painted Ladies” (devoted to the queer commonalities in tattooing and drag.)
Enthused with an undeniably charming viscosity she slides between disciplines; only taking on identities to disrupt them. This phlegm fatale is on a search and destroy mission for the hierarchies being uncritically being reproduce via a stale social aesthetic and stalks his prey wearing only a smile.
Hardaker’s practice highlights a constant inevitable rhythm, recollecting a supposed co-existing consciousness and memory aided by the curation of a space and the highlighting of the senses. He forms his own likeness, memories and emotions around himself; the audience is a malleable entity who can choose to become part of this dialogue, they are not forced into experiencing a set of emotions, yet are guided by the artist into singular, fleeting moments of involvement. The body becomes a vessel for intimacy and reaction, works are impossible but necessary tasks, full of supposed contradictions.
Sam doesn’t know where to start
or when to begin.
He is trying to find out what’s within
there comes a time when one must begin
for what’s inside has no friend.
My work is an exploration of human consciousness, in particular the areas of memory, visual perception, and states of consciousness that defy reason and elude language. Research draws from the fields of philosophy, mysticism, psychology and alchemy, in relation to trauma and transformation, the wound and healing. Through performance and site-specific installations I seek to create contemplative, dream-like images and spaces; thresholds via which we may extend our understanding of the nature of reality and our potentialities for being in the world.
I am a theatre maker whose work has moved from physical and visual theatre, to explorations in interactive and participatory performance. I have directed extensively and created several solo shows, predominantly autobiographical. I have moved away from character based presentational performance towards preoccupations and aesthetics more prevalent in live art and performance practice. I want to deepen my understanding of ritual within performance, of durational modes of expression and performance art in general. I learn through doing. My work explores themes including ritual, mourning, community, ethics and equality. I want to deepen my practice, refining my unique forms of expression.
Taz is a new performance artist, with experience in directing, writing, and producing theatre. She is currently working on creating her first performance art piece – an autoethnographical project which is also the basis for her Masters thesis, where she explores the state of being between cultures, using her Japanese family roots and cultural heritage as a means of understanding layers of memory.
For me Art is the medium to find myself, find my center and to look around where am I standing in this world.
I am an actor and performer. My practice is based on unconditional acceptance, confronting irrefutable challenges, questions and working on the edges. It might be personal or social.
As it gives me so much power and freedom I consider, it puts some responsibilities on my shoulders. Rather questioning all the time I try to find out some answers through my work. For instance, I recently develop interest in clowning.
I feel there is already lot of pain outside, so instead of adding pain I will try to spread some happiness or to give some smile on the faces. I am strongly driven by the ideology of humanism and Performing is the medium I know..
My work stems from my experience as a refugee, and now as an immigrant living in Canada. I explore ideas of belonging, remembering, identity and memory. As a person born in the former socialist Yugoslavia under the president Tito, I am also interested in intersections of aesthetic and politics and the role artistic gesture plays in this tension/relationship. Consequently I deal with questions of humanist socialist politics, Nonalignment, feminism, nationalism, participation, and alienation.
Over many years Pete Kennedy has invented countless characters. Now his Performance Art has begun to reflect these personae in his persona.
He has been looking at those who dress up behind masks and make up since his first visit to the circus & fair with his dad as a five year old where he was fascinated by the clowns’ antics, facial masks and costume. Also those strange sculptured faces into which you placed ping pong balls in order to win a goldfish. Cowboys like Cisco Kid, Hopalong Cassidy & The Lone Ranger brought the wild west into his front room and Red Indians painted their faces and chests. Later on Pete discovered the Hopi People of Peace (who make ‘Kachina’ masks and costumes), the Quero and other peoples like the Kogi who reveal the fallacy behind the classic Western idea that the red injuns were savages.
The focus of my art project is the concept of ‘body’ and perceptions of body in contemporary world. Even not body itself, but corporeality how it exists and functions in contemporary society.
What is it that circumscribes this site called “the body”? Are our identities inextricably linked to our bodies? Before it was considered as integral, inseparable, unfathomable fact as it is but now body had become something else. Now, it is occurs as an object of social activity, as tools of creation and measuring, as scientific subject and so on.
Where did “the body” come from? Which body qualifies as “the” body?
Being a companion to the flux ;
-on its right side, on its left side, in front of it, at the back of it, above it, under it, inside of it and outside of it –
It is a longing for a bird, which is usually depicted through short circuit.
With its precession, it bends and evolves.
“As the dream at a state of existing for itself”
Making work is a journey. The starting point rarely indicates potential encounters and processes along the way and the end point, therefore, is often impossible to predict. My practice is primarily an investigation into material. I incorporate processes that combine the creating of formal objects with the performative qualities involved in making. I continually test, play and experiment with materials whilst also investigating the historical and cultural associations certain materials or objects, that I am using may have. What becomes evident is the underlying potential disruption of the familiar within the new work.
In her carefully constructed but direct performances and video installations, Jolanda submits her body to various transformations, or rather deformations, to engage with the possibility of self-reinvention and release from cultural determinations. Her work often stages the passage from a sexualized female body to an animal-like corporeality as a way of challenging constraining definitions of self and of femininity.
And it is not only her own controlled body that the artist hopes to disorganize and transform; her performances also intend to provoke viewers out of their routine bodily behaviors. To do so, she often uses the camera as a tool to invade the viewer’s personal space and engage with issues of voyeurism and gender power relations.
In 2009, Jansen was selected to participate in the Mentoring Program for emerging artists and curators of Cultuur en Ondernemen where she worked with as mentor, the artist Ulay.
Debbie is an Irish artist from Galway in the West of Ireland. Guinnane is currently based in-between Newcastle upon Tyne in the UK, and Ireland. Since October 2014, she has been awarded a full-time studentship to pursue a practice-based PhD with Northumbria University, in Newcastle.
Lives and works in the Netherlands. She graduated from the AKI, ArtEZ Academy of Fine Arts Enschede in 2003.
After her studies she obtained a stipend for one year from the BKVB. She has been active as a performance artist for several years and has shown her work in China, Finland, Spain, in different performance art events.
She made performances in collaboration with choreographers, musicians and dancers and created an object theater production through a production house called Feikeshuis. Next to her practice as a performance artist she organizes a performance event program called PAE set in Rotterdam and she is part of the collective Trickster.
Anthropologist, dancer, performance and video artist. Investigates the embodiment in contemporary society and its relation with time and existence. Her work addresses various issues related to being in time and space, how we are affected by our social, political and natural environment, and how we transform it simultaneously, constantly with every single action. Lives and works in Mexico City.
“Only those who will risk going too far can possibly find out how far one can go.” Amateur performance artist, wannabe political activist, and actor when it suits me. My training is predominantly theatre-based; however, the traditional stage concept does not satisfy my artistic hunger. I currently indulge in immersive, interactive pieces which dabble with taboo subjects packaged in a satirical wrapping. Unfortunately, as a fresh, young graduate, I am somewhat lacking in a catalogue of credentials, so instead, I’ll yell that I’m a fanboy of: PINA BAUSCH. MARINA ABRAMOVIC. PETER BROOK. Gods help me…