Do Not Be Afraid_Photo by Neil Wissink
This month, I am getting new projects going and also catching my breath after an exciting and busy last few months:
Last month, I premiered my new solo performance Effective Dance: healing procedure for a German Expressionist object at New Walk Museum & Art Gallery (Leicester), who commissioned the work with support from Siobhan Davies Dance and Dance4. Curator Hugo Worthy invited me to work in relationship to New Walk’s extraordinary German Expressionist collection - the largest in the UK - and the commission coincides with the launch of the new display Expressionism: The Total Artwork. Watch this space for documentation of the work and further performances coming soon.
Also last month, it was great to perform collaborative project Table of Contents in London again, as part of the ICA Offsite programme for Frieze Art Fair. Table of Contents is a live performance and installation co-created by Siobhan Davies, Andrea Buckley, Helka Kaski, Rachel Krische, Charlie Morrissey and myself, each using our own history as choreographers and performers to question how dance is archived and how different art forms build on their own history.
Before that, I enjoyed performing To hand, the durational solo performance that Siobhan Davies and I made together in 2011, at the Henry Moore Foundation in Hertfordshire, as part of the exhibition Body & Void: Echoes of Moore in Contemporary Art. Click here to read a short piece I wrote about it for the Foundation, here to read the Guardian's review of the show and here for more images of To hand amongst the show's incredible collection of works by Henry Moore, Damien Hirst, Richard Deacon, Sarah Lucas and many others.
It was also great to see the recent UK premiere of Turn Your F^*king Head, the documentary film of Deborah Hay’s final Solo Performance Commissioning Project, in which I participated. Along with 19 other dance artists from around the world, I commissioned Deborah Hay to create the solo choreographic score "Dynamic", which she transmitted to us during the intensive 10-day project documented by the film. I then began a practice of performing the score daily for a minimum of nine months, in a gradual process of developing my own adaptation of "Dynamic", which I first publicly performed at Tate Britain in November 2013.
Last but not least, I invite you to visit the online homes of my ongoing discussion project Dance So You Think You Can, first presented at Nottdance Festival 2013, inviting people to join in conversations about what dance is and about the relationship between dancing and thinking.
With warm wishes,