Plans for Art14 Performances will be announced later in the year.

See below for details on Art13 Performances.

Alice Anderson (b.UK), From Performance to Sculpture (3 hours) Riflemaker

Anderson’s performances and installations explore the relationship between humans and objects. In 2012 Anderson began to “mummify” personal objects and furniture in her London studio with copper thread.

Performance to Sculpture, was a three-hour durational performance involving a number of performers continuously weaving copper thread over and across objects. The performance revealed the essence of gestures and explores human experience in relation to objects – a reflection and also a vision about the time we are living in.

Myriam El Haik (b. Morocco), Still Working… (40 mins) Galerie Vincenz Sala

Trained as a composer El Haik’s practice is marked by the (poly)rhythmic themes of her compositions. Her works reflect and mediate on the clashes between Moroccan and French cultures as defining aspects of her life and artistic work.

Based on a recent composition, Still Working… saw the artist use movement, mark and gesture to map and re-define points on a large floor and wall composition.

Tony Morgan (b. UK), Beefsteak (Resurrection), 1968, Double Happening, 1970 and Düsseldorf ist ein gutter Platz zum schlafen, 1972 Richard Saltoun

This short screening presented three films produced by Morgan between 1968 and 1972. Morgans rich oeuvre of video works depict both everyday and staged performance and happenings, providing a bleak but humorous reflection of social and political change. The only historical and archival work to be featured in Art13 Performances, the screening operated as counterpoint to the live performances, blurring and questioning the distinction between documentation, performance and film.

Feiko Beckers (b. the Netherlands), Accident with Red Car (24 mins) Yeo Workshop

Beckers’ videos and performances recount and stage personal stories revolving around personal failures, accidents and embarrassments experienced by the artist.

Accident with Red Car took the form of a performative lecture consisting of a video showing the artist crashing a small red car into a block of concrete, combined with the artist telling the story of its making, explaining why the dangerous act of crashing into a block of concrete actually makes a lot of sense.

Helena Hunter (b. UK), Conversation Piece (55 mins) Jerome Zodo Contemporary

Hunter’s work incorporates the body and movement in order to explore the tensions that exist between imagination and reality, desire and language, gender and representation.

Conversation Piece was a new one to one performance by Hunter in which the audience was invited to participate in an intimate dialogue using a writing device from the Victorian era known as the planchette – traditionally used in séances to draw out messages presumed to come from the spirit world. The development of each interaction depended on the dynamic each individual brought to the encounter.

Juneau Projects (b. UK), The Infocalypse Stack (15 mins) Ceri Hand Gallery

Formed in 2001 by Philip Duckworth and Ben Sadler, Juneau Projects work includes projection, sound, music, animation and installation to reflect on the rapidly increasing speed of technological development, and its associated obsolescence. ‘The Infocalypse Stack’ took the form of a live radio play, in which a text written by the artists considered the possible means of artistic production in a post-apocalyptic society. Set against the duo playing electric guitars and homemade instruments, the play was punctuated by sound effects and a drone-based soundtrack, offering an atmospheric snapshot of an imagined society.

Plastique Fantastique (b. UK), Welcome Neuropatheme Feedback Loops (20 mins) IMT Gallery

A collaboration between artists David Burrows and Simon O’Sullivan, Plastique Fantastique is a ‘mythopoetic fiction’, investigating aesthetics, the sacred and politics through the production of comics, performances, text, installations, shrines and assemblages. Welcome Neuropatheme Feedback Loops was a visceral and ritualistic performance consisting of Plastique Fantastique avatars. Covering their heads in honey, sequins and incense, and with microphones placed in their mouths, the performers bodies were transmuted into sculpture and site, turning into feedback loops, which produced repetitive and abstract sounds.

Myriam El Haik (b. Morocco), Still Working…(40 mins) Galerie Vincenz Sala

Trained as a composer El Haik’s practice is marked by the (poly)rhythmic themes of her compositions. Her works reflect and mediate on the clashes between Moroccan and French cultures as defining aspects of her life and artistic work.

Based on a recent composition, Still Working… saw the artist use movement, mark and gesture to map and re-define points on a large floor and wall composition.

Joel Yuen (b. Singapore), Anthem (20 mins) 2902 Gallery

Yuen’s wide-ranging practice incorporates photography, video, and performance art. Anthem, sees the artist covered in red body paint, clad only in a pair of black running shorts and skipping on the spot for 20 minutes, to the soundtrack of crowds jeering and cheering. Reminiscent of live spectacles such as parades, the Olympics and mass political demonstrations of protest, the performance operated as a critique on the political, institutional and societal indoctrination within the Asian and Southeast Asian context, using action and repetition, colour and perspiration to debunk the aura of secular rituals.

Bedwyr Williams (b. UK), Expedit (20 mins) Ceri Hand Gallery

Williams’ work draws on personal narratives, utilising humour to reveal both his own and our collective neurosis and idiosyncrasies. His recent work furthers his investigation into individual and cultural mythology and identity, reflecting on desire, memory, loss and mortality. Expedit was a darkly humorous and dysfunctional monologue written and performed by Williams describing a break-in into a designer’s house. Williams described the ransacking of this designer’s apartment and how his font directories got defecated in, how his pantone swatches were burnt in his repro toaster and how his Eames chair was spatch- cocked on his maple floor.

Helena Hunter (b. UK), Conversation Piece (50 mins) Jerome Zodo Contemporary

Hunter’s work incorporates the body and movement in order to explore the tensions that exist between imagination and reality, desire and language, gender and representation.

Conversation Piece was a new one to one performance by Hunter in which the audience was invited to participate in an intimate dialogue using a writing device from the Victorian era known as the planchette – traditionally used in séances to draw out messages presumed to come from the spirit world. The development of each interaction depended on the dynamic each individual brought to the encounter.

Tom Benson (b. UK) with Manuela Barczewski, Claudia Doms, Kati Kärki, Kyra Kordoski, Mary Rinebold and Beatrice Schulz, Tones, Terms, Tracks (1hr 45 mins) Hidde van Seggelen Gallery

From musical reinterpretations of soul classics from the sixties, to performative readings, each consecutive performance programmed by Benson plays with the idea of the voice, language and writing in performance.

Hugo Dalton (b. UK), Movement and Mark (45 mins) The Fine Art Society Contemporary

Rooted in observational drawing Dalton’s Volition: Movement and Mark was a series of moving psychological diagrams in which Dalton drew with a pencil on to paper with the resulting marks projected instantaneously on a large screen. Working with a dancer from the English National Ballet the relationship between artist and dancer, movement and architecture was configured through a series of four choreographed sequences.

Tony Morgan (b. UK), Beefsteak (Resurrection), 1968, Double Happening, 1970 and
 Düsseldorf ist ein gutter Platz zum schlafen, 1972 Richard Saltoun

This short screening presented three films produced by Morgan between 1968 and 1972. Morgans rich oeuvre of video works depict both everyday and staged performance and happenings, providing a bleak but humorous reflection of social and political change. The only historical and archival work to be featured in Art13 Performances, the screening operated as counterpoint to the live performances, blurring and questioning the distinction between documentation, performance and film.

Ingrid Mwangi Robert Hutter (b. Kenya, b. Germany), The Fourth Stomach (20 mins)
 Alexander Ochs Galleries Berlin | Beijing

Bedwyr Williams (b. UK), Expedit (20 mins) Ceri Hand Gallery

Williams’ work draws on personal narratives, utilising humour to reveal both his own and our collective neurosis and idiosyncrasies. His recent work furthers his investigation into individual and cultural mythology and identity, reflecting on desire, memory, loss and mortality. Expedit was a darkly humorous and dysfunctional monologue written and performed by Williams describing a break-in into a designer’s house. Williams described the ransacking of this designer’s apartment and how his font directories got defecated in, how his pantone swatches were burnt in his repro toaster and how his Eames chair was spatch- cocked on his maple floor.

Rebecca Lennon (b. UK), That thought had a brother (a history of the zero) (10 mins) Ceri Hand Gallery

Rebecca Lennon works with sound, video, collage and live performance, and combines these elements with incongruous technical and hand made props, rambling non-linear texts and scripts in order to subvert and question the role of the viewer and subjectivity in her performances. Lennon’s performance took the form of a 10-minute monologue in which an actor sat behind a screen- sized mirror, whilst a scripted audio was played. The narrator muses and described the history of the number zero. The fantastical and absurd monologue, took in Mayan mythology, global economics, through to mundane encounters. Seated in front of the mirror, the audience saw themselves reflected, while only the narrators legs were visible, his voice deferred to the soundtrack being played.