Inspired by the collateral, incompatible and sudden world described in Louis MacNiece’s 1935 poem Snow, each World is Sudden event brings together a breadth of live practice, spanning performance, music and sound alongside disparate moving image works, internet video phenomena and archival material. Staged in a specially designed set the works included will be presented as a continuous sequential flow resisting the tyranny of prescribed thematics and embracing “the drunkenness of things being various”.
Terry: Inevitably, Terry likes to make a noise. Drums, guitars and all his voices come into play, making a solid raft for Terry’s melancholic musings to navigate the languid rapids. This all unravels at its own pace, conducting a conversation with the commonplace. Divide him into four and you get Al Montfort, Amy Hill, Xanthe Waite and Zephyr Pavey.
Kathryn Elkin: In Dame 3, Elkin looks at a televised event which has historicised mainstream sexist attitudes in Helen Mirren’s early career. Kathryn Elkin works with performance, video and writing. Her work often manifests through siting a referent – for example another artwork/artist/writer/performer, upon which she applies a set of highly personal methods of translation, transcription and representation.
Giles Bailey: Bailey presents a new performance, 5 or Magic That Hath Ravished Them, developed from a video teaching aid demonstrating training for an experimental student production of Christopher Marlowe’s Dr Faustus from 2008. Attempting to re-stage moments of awkwardness and embarrassment the work seeks proximity and intimacy with the performers in the place of uneasiness or cringes.
Rene McBrearty: Rene McBrearty will perform a new work entitled, A lesson in theology. Her performances and installations typically investigate issues surrounding gender identity, power play, race and the idea of the artist as divine. A frustration at the inadequacy of language – words can be misunderstood and body language misconstrued.
Hi-Octane (1994) was a short-lived Comedy Central series created by Sofia Coppola and Nicoletta Munroe, hosted by Coppola, Zoe R. Cassavetes, Thurston Moore and staring a myriad of walk-on guests. The series was edited on Avid’s Open Media Framework (OMF) – the first file format that allowed the sharing of video media files digitally.
S I M P S O N W A V E (2012-15) is an internet genre of videos, which began on Vine in October 2015. Less than a year later it was declared dead in a final video post to Youtube by Lucien Hughes – a British university student who coined the genre. Collaged clips of Simpsons footage are slowed-down, sped-up or looped, a purple filter added with digitally-made glitches that mimic analogue video and TV distortion.
Love Immersion (2016): is Susie Green & Simon Bayliss’s first video. Inspired by a shared romantic sensibility and a love of ‘90s dance music, Green performs smooth and commanding vocals over Bayliss’ undulating Acid House basslines. The video ‘Love Immersion’ features the artists dancing in swimwear, together but alone, punctuated by clips of hands smacking bare backsides.
Eleanor Wright: Developed as a mutable setting for the series of events programmed by Giles Bailey & CIRCA Projects, Catcher Pressure Pusher takes the choreographed space that we negotiate every single day as a starting point. Very much positioned within the larger programme of live events, the installation itself consists of a number of over-sized and human-scale architectural sculptures. Assembled from theatrical rigging and cut pieces of felt, the work moderates the relationships within the space which, as such, dissolves distinctions between stage, set, performers and audience and is instead conceived as one shared space.
The sculptural choreography reacts to the particularities of each space within the programme and what the performers and viewers bring with them each night. It is animated through the participation of people. Within this arena, the installation generates spaces and situations that allude to both theatrical and architectural sceneries while remaining essentially abstract. During the events the sculptures can be accessed and used by everyone in the room for example as a protective screen, a meeting point, an obstacle or a support structure, to name a few. Catcher Pressure Pusher distributes the attention across the room conjugating a variety of parallel aesthetic experiences rather than pointing towards a singular centre of attention.