PAWA 2018

Adam Ben-Dror is an artist currently residing in Tāmaki Makaurau. He makes installations, objects and performances. And is currently interested in the relationship between physical matter and invisible energies like electricity, radio waves and emotions. Adam holds a Post Graduate Diploma in Fine Art from Elam School of Fine Arts and a Bachelor of Design Innovation from Victoria University of Wellington. He has performed as part of the NZ Fringe Festival, Wellington and The Performance Arcade, Wellington and has exhibited internationally including at the Barbican Center, London, Tekniska Museet, Stockholm and Science Gallery, Dublin.  

Binge Culture is a contemporary performance company who make immediate, funny and playful devised performance that dissects and subverts our culture and society. Founded in 2008 by a group of Victoria University graduates, Binge Culture has been nationally recognised as leading innovators of New Zealand performance.

From unauthorised audio tours of Te Papa, to fictionalised whale strandings, to durational improvised break ups – our work is playful, satirical and rigorous. We are committed to forging new ways of engaging with the audience, and giving them real stakes in each performance. We play with theatrical form and modes of delivery – including genre bending and durational performance and audio and digital platforms – leading to a wide variety of works for all kinds of spaces, but all united by humour, immediacy, and the risk and reward that comes with experimentation.

Binge Culture is multi-award winning and has toured nationally and internationally. In 2017 we took three shows to the Edinburgh Festival Fringe, where we were nominated for a Total Theatre Award for Innovation, Experimentation & Playing with Form.

“not only immensely enjoyable and satisfying, but a type of performance rarely experienced.” – Dominion Post

Caitlyn Cook is a South African-New Zealand multidisciplinary artist working across performance, digital, video and installation. Her work centres embodiedness and explores themes of freedom, authenticity, intimacy, and enchantment.

She’s interested in finding new ways to derobe, unmask, see and be seen. Her work seeks to create space for possibility, taking risks in the unknown and supra-rational knowing. Caitlyn’s influences are broad, including shamanism and sexual alchemy, acting, psychodrama, mindfulness, embodied Geography, the senses, movement, her mother (the female David Bowie) and ritual.

Caitlyn is also a mindful sexuality and shamanic healing practitioner and facilitates 1:1 and group work.

Caitlyn has presented group shows and performances internationally. She’s presented at Darwin Visual Arts Association (2015), Month Of Performance Art-Berlin (2015), George Paton Gallery (2015), Victorian College of Arts (2014), Remedy Performance (Margaret Lawrence Gallery, 2014) and Signal Live Arts Festival (Melbourne University, 2014). Caitlyn has also presented multiple group and 1:1 works in Australia, New Zealand, and South Africa in non-gallery contexts (2016-to date).

Zahra Killeen-Chance is a graduate of the New Zealand School of Dance and an award winning choreographer and performer based in Aotearoa, New Zealand. Zahra has produced and choreographed works throughout New Zealand and Asia Pacific, and she has also performed and exhibited at public and private galleries within New Zealand. Zahra has won several awards including Supreme winner of the Short and Sweet Festival, Auckland Outstanding Choreography by DANZ, and Best Emerging Choreographer by Metro Magazine. Zahra has undertaken several residencies including Artspace NZ, MAP Research Series, and Asia NZ Foundation at Taipei Artist Village. In 2015 she won a Postgraduate Full Fee Scholarship at the Auckland University of Technology to undertake a Master of Performance and Media Arts (First Class Honours).

(My) Woman’s Body is a “DISRUPTIVE POWERHOUSE” (Gorman (Holstein), 2017)

“i was asked recently post-performance what it felt like to bleed live out of my vagina and imbibe the menstrual blood. In that moment? it felt warm. i tasted warm. that was it…not about horrifying sacred spaces”

Virginia Kennard is an explicit body performance/live artist, creating queer works that intersect with feminist theory and abstracted autobiographical practice. She trained as a classical, commercial, and contemporary dancer, whose labour “is nothing else than to constantly embody, disembody, and re-embody” (Lepecki, 2016: 15). Whose output could be a whole greater than the sum of its Euclidean parts. Whose body could be “a body of agency that can politicize something” (Gorman/Holstein, 2017).

Virginia’s focus on body-based practice began with my work as a life model, encountering notional and practical differences in sexualised, objectified, and commodified bodies. She is, and have been, a sex worker, cheerleader, promo girl; these inform/become her art practice. Acknowledging that her earning power benefits from #ciswhitewoman privilege, she realises that her work is limited and complicated by (dis)empowerment, normativity, agency, ethical consumption under capitalism, and neoliberalist bodies-as-art. Virginia uses Amber Hawk Swanson’s ‘Making-Of Amber Doll’ and Adrienne Truscott, Ursula Martinez, and Zoë Coombs-Marr’s ‘Wild Bore’ to situate her work within notions of complicity in a consumerist cultural narrative that continues to place cis white women as the object of the gaze.

As a queer person, Virginia refuses “to accept identity as a static or singular aspect of subjectivity” (Jones, 2016: 4). As a feminist she commits to provisional essentialisms and fixities, where her role as a #ciswhitequeerwoman is to destroy misogyny and patriarchy. Quite a major dichotomy, she is just starting to make art that reflects these nuances, knowing that she is an unsubtle feminist brute, unapologetically, bewilderingly “aggressive”.

As a feminist, Virginia writes about fangirling and fanart as a feminist practice, even writing fanfiction. She complains ironically about resisting neat categorisation of her art obstructing programming of her work. She is discovering no-one writes about building safe spaces to create ensemble explicit performance, so she has to. She has no time for pearl-clutching, knicker-twisting moral panic – she is the Shit Filter. Virginia queers rituals, horrifys sacred spaces, radically menstruates, disrupts matrimony and hopes that her work is ground-breaking and relevant in order to make unfathomable scary exciting future “queer feminist art history…as a form of critical resistance” (Doyle, 2016:68).


[1] THE LATTER PERFORMANCE CONCLUDES WITH “THEY ARE CLOTHED IN THE PRIVILEGE THEIR WHITE SKIN AFFORDS THEM” FROM THEIR ONE TPOC PERFORMER, A DAMNING SELF-REFERENTIAL CRITIQUE IN THE MOST META WORK I HAVE EVER TRIED TO WRAP MY HEAD AROUND. #LIFEGOALS

[2] “My work is undefinable” vs “No-one understands my work!” Woe is me!

References:

Doyle, J. (2016). ‘Just Friends’. In: A. Jones and E. Silver, ed., Otherwise. Manchester: Manchester University Press, p68.

Gorman, S. (2017). Interview with Lauren Barri Holstein. [online] readingasawoman. Available at: https://readingasawoman.wordpress.com/2017/11/09/interview-with-lauren-barri-holstein/ [Accessed 26 August 2017].

Jones, A. (2016). ‘Introduction: sexual differences and otherwise’. In: A. Jones and E. Silver, ed., Otherwise. Manchester: Manchester University Press, p4.

Lepecki, A. (2016). Singularities: Dance in the Age of Performance. Oxford: Routledge, p15.

“Negative effects of mass media, consumerism, and people’s neglectful tendency towards the environment proved to be my artistic stimulants. These led me to mess around with a wide variety of media to share my visions, including video installations and performance art. My aim is to create works that play with the senses through sound, images, spaces and atmosphere to remind us that something more profound could lurk behind the simulated reality of popular media and that we are constantly at war with images and useless things that want to dominate our lives.”

RV Sanchez (b. 1992) is a visual artist based in Cebu City, Philippines. He earned a B.F.A. from the University of San Carlos College of Architecture and Fine Arts. He has experimented with a wide range of media including painting, photography, video installation and performance, addressing various issues in contemporary society. He likes to perform and install videos on spaces that are considered bane for artistic expression, juxtaposing uncouth images and sounds to produce an uncompromising vision of the truth.

He has participated in numerous group exhibitions and art festivals in the Philippines, and held his first solo exhibition at Halad Museum in 2014. His video work ‘Piege’ was included in Pulses and Pauses, an international video art exchange program at Marrakesh, Morocco in 2016. He is one of the founders of Beta Operations, an ongoing collaborative project between artists based in Cebu City that explores new tools for artistic exhibition and production

Rewa Fowles. Known as Authentic RMF Creative on Social Media a.k.a RMF Creative. New Zealand Born but not Raised. A Bachelor of Arts graduate in Dance and Drama. Massive Theatre, Massive Nui Ensemble member. Lover of the Chilli.

Rewa is an Artist of multiple forms. Dance, Watercolour & Ink illustrations, and Theatre. Intertwining these forms as she pleases creating multimedia works to ignite and sooth the soul.

Rewa’s work explores many parts of her identity and everyday experiences. Thriving on creating pieces that motivate and support others who share the same identities and similar experiences. Identities and concepts such as: Mental Illness, Mixed Ethnicity (Maori & Pakeha), Young Woman, and Adult TCK (Third Culture Kids). Using art as a tool for representation and promoting social awareness of these experiences and identities.

Mark Harvey is an Aotearoa -based artist of Pākehā/Māori descent working mainly in performance art and video. His practice is conceptually driven and often tests out notions of minimal endurance with a focus on constructions of idiocy, social justice, environmental politics, political dynamics, public social psychology and cultural contexts by drawing on visual arts and choreographic influences.

Some of the galleries and related events he has presented in include the Anti Festival, Koupio, Finland (2018), Anna Leonowens Gallery, Halifax (2018); Physics Room, Christchurch (2002, 2006, 2017, 2018); Museo de Arte Contemporáneo, Santiago, Chile (2017); Te Tuhi Auckland (2012, 2014, 2016); Carmo Archaeology Museum, Lisbon (2017); New Performance Turku Festival, Finland (2014, 2016); Prague Quadrennial (2015); Te Uru, Auckland (2016, 2017); the 55th Venice Biennale for Visual Arts, Maldives Caravan Show (2013); TEZA, Letting Space, Porirua, (2015), Christchurch (2013); City Gallery Wellington with Letting Space, New Zealand Festival of the Arts (2012); Trondheim Kunstmuseum, Norway (2012); Govett-Brewster Art Gallery, New Plymouth (2006); the Pärnu International Video and Film Festival Pain in the Class, Estonia (2006); Blue Oyster Project Space, Dunedin (2006, 2015); Enjoy Public Art Gallery, Wellington (2003).

Harvey has also written in a number of publications such as The Live Art Almanac (2013), Performance Research (2013), and The South Project (2013). He has also co-curated exhibtions suach as at Ramp Gallery (2014), Te Uru Gallery, and Chiado (Lisbon, 2018, with Paris, Poland and Guss Fisher Gallery re-showings). He lectures at The University of Auckland and has a PhD in practice from the School of Art and Design at AUT.

Louie is a queer artist whose costume and performance practice blossoms from the abruptness of being defaulted to man or woman. Louie’s performances ponder how clothing and adornment contribute to embodied social situations: “I have to question the limits. What do they tell me to wear? How can I move my body?” Louie’s costumes make queerness ultra-visible; they liberate, in a spectacular unity of body and textile.

Louie’s works feature here in Wellington, as well as at previous shows in Germany at Greenhouse Berlin and at an artist residency at The Custom House in Hokitika, New Zealand.

Kosta is a dancer that choreographs, makes performance art, and writes things.

Kosta graduated from Unitec Institute of Technology with a BA in Performing and Screen Arts a few years ago. He’s performed nationally and internationally with a number of companies and independent choreographers since then. A couple years ago he beat one of New Zealand’s most celebrated choreographer’s push-up record during a performance in the latest restaging of Michael Parmenter’s Insolent River, a whopping 123 consecutive push-ups!

He is currently working on moving dance outside of the theatre and bringing his practice closer to people (talking to the audience beforehand, exchanging stories) to make the dance show a more special, intimate affair with a community.

Josie is a freelance performer, dancer and choreographer currently living in Christchurch, New Zealand.

She values embodiment and somatic practices and is inspired by the post modern dance movement of 1960’s New York. Her choreography uses movement to evoke human empathy and a shared experience of time, space, and the body. She attempts to demystify contemporary dance by pairing back theatrical devices to reveal process and context.

Josie has been an artist in The Tiny Festival, Performance Art Week Aotearoa, Festival of Transitional Architecture, NZ Fringe Festival, Auckland Fringe Festival, Tempo Dance Festival and Asia Tree New Wave Festival.

She often collaborates with her partner Kosta Bogoievski. Their projects together include: ‘Dance Danced Dancing’ (awarded Best Dance of Auckland Fringe 2018)  and ‘Josie and Kosta’s Dance Show’.

Her solo work Josie’s Solo was awarded Best Dance of Auckland Fringe in 2017.

Josie has been an artist in residence at SpaceVac in Seoul, South Korea, Healing Hills Art collective in Morni Hills, India and The Physics Room in Christchurch, New Zealand.

As a performer Josie has worked with artists Olive Bieringa, Michael Parmenter, Zahra Killeen Chance, Jennifer Lacey and Wally Cardona, and Christine Bonansea.

“My work acknowledges the fluidity of otherness within the dynamic of performance art. I am interested in the expression of our uniqueness and identity through vulnerability and intimacy. I explore how the artist and the audience come together to perform a caring community”

Ivan Lupi (born 1972, Ferrara, Italy). Masters in Queer Studies in Arts and Culture from the Birmingham University. Since 2001 Lupi has been an active member of the collective Amae with which he has taken part in various collaborations and exhibitions in Asia Europe, Switzerland, Lithuania, United Kingdom and United States. The most relevant events: ‘The Voice and the Lens’ – Whitechapel Art Gallery (London 2014), ‘The Slip of the Tongue’ – Palazzo Grassi Punta della Dogana (Venice 2015), ‘Transformations’ by LiVEART.US – Queens Museum (New York 2016), ‘Visualeyez Annual Festival of Performance art’ – Latitude 53 Art Gallery (Edmonton 2017).

INOPPORTUNE is a new performance art and experimental sound focussed duo, made up of Marcus Jackson and Nick Snowball. We are interested in expanding the conception of experimental sound-based performance practises, and curating experiences that are novel within the framework of ‘music’. Our debut concert, ‘DEBUTANTE’, took place on July 6th, 2018, in MEANWHILE Gallery. This featured a range of new approaches to performance in sound art, featuring works by Constantin Basica, Simon Steen-Andersen, Nick Snowball, and Vinko Globokar. We are excited to continue developing our voice within the Wellington performance scene.

Based in Ottawa, Canada, Hélène Lefebvre’s practice is an inquiry into identity and alterity, all the while weaving links between visual art, culture and society. The body in movement and sensorial active listening (epicentre of performance action) are a sustained interest of hers since Les Moissons in 2009. Recently, her work has taken the form of performance, installation and video. Her practice in corporeality takes inspiration from studies in visual art, contemporary dance, and authentic movement, a form in which improvisation is central.

While performing in New Zealand, in the here and now in search of a sensorial connection, Helene will extend and reach the power of linguistic statement, through the sensorial which illuminates and characterises the mechanism of sensation. During this process the profound and specific nature of embodiment will project, emit and rearrange realities of their emitter, of its material and context from which it is able to conceive. The body being a sensorial engine can no longer be assimilated as a fabrication but rather as a fictional power. In this manner her corporal conscience is satisfied.

Antonia Barnett-McIntosh is a composer, performer, sound artist, and sometime curator with an interest in working across disciplines, particularly with speech and language. She is interested in creating communal experiences whereby spectators are welcomed as participants in a compositional process. This implies that listening in itself is active: the audience members are not mere recipients of music as finished form, but drawn into the piece’s compositional questions where listening and spectating can be viewed as a form of composition.

Antonia’s music has been performed in Europe, the UK, Scandinavia, New Zealand, and the United States: by Aurora Orchestra, Phaedra Ensemble, Bastard Assignments, DieOrdnungDerDinge, Chroma, Red Note Ensemble, Riot Ensemble; at the Wigmore Hall, Barbican’s Pit Theatre, Kings Place, Wellcome Collection, Spike Island Gallery, Robin Howard Dance Theatre, Traverse Theatre, Chisenhale Dance Space, Theater im Aufbau Haus (TAK), DAAD Galerie, ausland, Studio8, Galerie Pleiku; at HOFFNUNG3000, City of London Festival, Taste Festival Berlin, Festspillene i Nord-Norge (North Norway Festival), Capital Fringe Festival Washington D.C., 4 Days at Arnolfini Bristol, and as part of Weisslich concert series, Kammer Klang at Café OTO, and BBC Radio 3’s Hear and Now concerts for ‘Why Music?’. She is currently the 2018-19 Creative New Zealand/Jack C. Richards Composer-in-Residence at Te Kōkī-New Zealand School of Music.

Alexa Wilson is an experimental choreographer, performance artist, video artist and writer from New Zealand based in Berlin 7 years. Her works range from solo performance art projects, which are are often political and relational (immersive/interactive) to commissioned group choreographies and video projects either directed or collaborative, also political, interdisciplinary and layered. Alexa’s work while inherently feminist in its underpinnings, relates to intersectional politics inclusive of different themes.

Alexa is interested in activation as a form of socio-political healing, embodying difficult and contemporary themes from subjective and multi-dimensional perspectives. She works with paradox as a generative space for activating hidden “truths” within our societies, with the aim to make space for new understandings. Humour is also present in this respect.

Victoria Abbott is a diarist, case studying herself for 23 years. She draws from sticky experiences and moments to burrow into multi-layered pieces or single image explorations.
Her verbatim and documentary work was honed over three shows with her company Bare Hunt Collective.

Victoria is also an award winning actress, performing in theatres from New York to London, Korea to Australia, Auckland to Gore. She uses the kickback and underbelly of the industry as fodder for personal image making and performative percolation.
Her most recent work, Run Rabbit, was a lyrical, political and historical metaphor drawn from journaled experiences in response to other female artists’ solo performances over the last few years.

“In the blink an eye, the show transforms from parodying to sinister.”

“a well-realised beast of a show, filled to the brim with careful details and theatrical savvy.”

A Huge Thanks
To Our Supporters In 2018