2018-19

Wednesday 27th February 2019 

Martin O'Brien Poster final

 Image: Marco Berardi

Abstract:

In this paper, I chart a journey from running through the forests of Eastern Poland in the middle of the night to being suspended by hooks in a gallery in Downtown Los Angeles ten years later. The journey is my own and begins as a performer for the Theatre Association of Gardzienice and ends with my collaboration with the infamous performance artist Sheree Rose. I use the two experiences of ‘collaboration’ to consider the politics of the sick body in performance and do this by thinking through the different forms of endurance that they both demand. I frame the two practices as forms of what I am calling cultic performance, which opens up ways of understanding issues of submission and agency in performance practices that demand particular lifestyles. In my collaborations with Rose, it is through our staging of the BDSM contract in rituals for a newly formed parodic church: The Saint Bob Flanagan S&M Chapel. In my work under the director of Gardzienice, Wlodzimierz Staniewski, it is through an absolute insistence on training as a way of life. Having been a devotee of the Pain Guru and the Theatrical Messiah, I’m able to reflect on the construction of the sick body within these two radically different life/art projects.

 

Biography:

Martin O’Brien is an artist, theorist and zombie. His performance and video art uses physical endurance, long durations, and pain based practices in order to examine what it means to be born with a life shortening disease. Martin has cystic fibrosis and all of his work and writing draws upon this experience. He has developed a cult following and is best known for his long durational solo performances and his collaborations with legendary body artist Sheree Rose. He has performed throughout the UK, Europe, USA, and Canada. In 2018, the book Survival of the Sickest: The Art of Martin O’Brien was published by Live Art Development Agency. He co-edited a special issue of Performance Research ‘On Medicine’, was artist-scholar in residence at ONE National Gay and Lesbian Archives, LA, and is currently writing a critical biography of the infamous artist duo Bob Flanagan and Sheree Rose. Martin has published extensively on illness, endurance and performance and is currently a lecturer in Drama, theatre and Performance at Queen Mary University of London. He recently surpassed his life expectancy and is enjoying life as a zombie.

 

Wednesday 27 February 2019, 18.00

RR2 Arts One Building (Mile End Campus)

Everyone welcome

Refreshments will be served

Free admission

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With best wishes,

QUORUM Committee 2018-19

Vanessa MacAulay, Genna Gardini, Sarah Harper, Tatjana Kijaniza

Wednesday 13th February 2019 

 

Laura Cull Oģ Maoilearca Poster-1

Poster image: Sheep Pig Goat. 2017. Image courtesy of Wellcome Collection

 

 Abstract:

Consider philosophy an expanding circle.

Consider performance an expanding circle.

Thinking alongside François Laruelle’s non-philosophy and Fevered Sleep’s “creative research studio”, Sheep Pig Goat (2017), this talk will circle around the questions of how performance might transform philosophy, and how performance might be transformed by the animal.  Laruelle’s non-standard aesthetics and Fevered Sleep’s approach to interspecies performance are considered as two possible models for a “radical equality” of knowledge – an embodied movement of thought that seeks to break the cycle of both the application paradigm and what Una Chaudhuri calls “the anthropocentric grammar of the normal”.

Biography:

Laura Cull Ó Maoilearca is Reader in Theatre & Performance at the University of Surrey, where she is also Director of the Centre for Performance Philosophy. Originally trained in visual art, her current projects see her collaborating with a number of performance companies including Fevered Sleep, Every house has a door, and the puppet company Brunskill & Grimes. Her books include Theatres of Immanence(2012) and Encounters in Performance Philosophy (2014).

Wednesday 13 February 2019, 18.00

RR2 Arts One Building (Mile End Campus)

Everyone welcome

Refreshments will be served

Free admission

 

With best wishes,

QUORUM Committee 2018-19

Vanessa MacAulay, Genna Gardini, Sarah Harper, Tatjana Kijaniza

Wednesday 30th January 2019 

screen shot 2019-01-25 at 13.02.18 (1)

 Abstract:

This talk is not at its outset about those with the means to act, but subjects of a logics of expulsion who found themselves on the wrong side of a door when a Docklands theatre closed, and the developers moved in. I wrote a book about that theatre (and my participation in it) 25 years ago called Theatre & Everyday Life but nowhere mentioned bankruptcy. As a small corrective to that omission, I would like to think now towards a ‘general economy’ of performance, and to historically situate that endeavour characterise an interregnum, that in the UK starts in April 1974, the week after the ending of the OPEC oil embargo, with the screening of the first ‘fly on the wall’ documentary, The Family directed by Franc Roddam. These in-between times are now marked by ‘our’ own discernible morbid symptoms of drifting dictatorships amongst a multitude ‘on the social’ who form what I call the performatariat, floating islands of Crusoe castaways with equal taste for care and cannibalism that are no less elusive than the proletariat that preceded us.

Biography:

Alan Read is a writer and has worked at King’s College London since 2006, where he has developed the Anatomy Theatre & Museum and the Inigo Rooms as places of play. Read was Director of Rotherhithe Theatre Workshop in the Docklands area of South East London in the 1980s, Director of Talks at the Institute of Contemporary Talks in the 1990s, and appointed Roehampton University’s first Professor of Theatre in 1997. In December 2013 he completed a three-year Leverhulme Major Award project Engineering Spectacle: Inigo Jones Past & Present Performance at Somerset House. Read is the author of a number of books, most recently Theatre & Law (2016) published by Palgrave. He is currently working on a new monograph titled The Dark Theatre: Light Entertainment and Other Cultural Cruelties for publication in 2020 and an unreliable memoir exploring the relations between posthumous amnesia and performance, Man With The Reason of History Missing.

Wednesday 30 January 2019, 18.00

RR2 Arts One Building (Mile End Campus)

Everyone welcome

Refreshments will be served

Free admission

With best wishes,

QUORUM Committee 2018-19

Vanessa MacAulay, Genna Gardini, Sarah Harper, Tatjana Kijaniza

Wednesday 16th January 2019 Poster Amit Rai_RD-1.jpg

Abstract:

In this informal presentation, I attempt to develop a provisionary “virtual” diagram of a set of researches into the politics and processes of Live Art. In an upcoming project, Management Practices and Live Art Organisation, I will develop collaborations amongst artists, QMUL (SBM and Drama), and Live Art Development Agency (LADA). Our initial questions are: “What sort of management and organisation is best suited to artists and organisations committed to experimental practices?” and “What sort of organisation can best help artists and arts organisations in a precarious sector care for and support one another?”

Building a provisional diagram of the overlapping systems of value, sense and force informing this project will be my aim in this talk. I will draw on literature in affect studies (Puar, Clough), performance studies (Harney and Moten), and critical organisational studies (Hanlon, Robinson, Bergson), to further develop aspects of the diagrammatic method experimented with in my forthcoming monograph, Jugaad Time: Ecologies of Everyday Hacking (Duke UP, 2019).

Biography:

Dr. Amit S. Rai teaches creative industries and arts organising at Queen Mary, University of London. He is author of Rule of Sympathy: Race, Sentiment, Power 1760-1860 (Palgrave, 2002) and Untimely Bollywood: Globalization and India’s New Media Assemblage (Duke UP, 2009). His current research is focused on the gendering of affective labor, media practices of commoning, and hacking and piracy ecologies in South Asia. His monograph on work-around practices in Indian urban digital ecologies, Jugaad Time: Ecologies of Everyday Hacking in India, is forthcoming from Duke University Press. His on-going research into the UK and Indian creative, heritage, and cultural industry contexts is tentatively titled the Pharmakon of Creativity.

Wednesday 16 January 2019, 18.00

RR2 Arts One Building (Mile End Campus)

Everyone welcome

Refreshments will be served

Free admission

With best wishes,

QUORUM Committee 2018-19

Vanessa MacAulay, Genna Gardini, Sarah Harper, Tatjana Kijaniza

Wednesday 05 December 2018 

The final Quorum session for Semester 1, which was originally scheduled for Wednesday 05 December, has unfortunately been cancelled.

Wednesday 21 November 2018 

 

Sola poster pdf edit-page-001

Abstract:

Post-dramatic theatre from Africa, especially in the works of Nigerian playwright Femi Osofisan, has been framed within the African heritage of storytelling, songs, music, folktales, history and myth. Osofisan directly transposes Yoruba performance culture to his drama, in particular his re-reading of Shakespeare, whilst incorporating the ancestral masking heritage of egungun and a legacy of keening and poetry to re-engage his audience with the “authentic” Africa in performance. This seminar explores the issue of “authenticity” in recuperating traditional performance culture and using the narratives to translate and adapt Western literature. It locates the interrogation of the postcolony in the dramatic interpretation that questions the encounter between the African orature and Western literature.

Biography:

Sola Adeyemi lectures at the department of Theatre and Performance, Goldsmiths University of London, where he is the Programme Director for MA World Theatre. His areas of specialisation includes African Theatre and Performance, Performance Studies and Culture and Performance. Sola is the Editor of Opon Ifa Review Literary Journal and the Reviews Editor of African Theatre.

Wednesday 21 November 2018, 18.00

RR2 Arts One Building (Mile End Campus)

Everyone welcome

Refreshments will be served

Free admission

With best wishes,

QUORUM Committee 2018-19

Vanessa MacAulay, Genna Gardini, Sarah Harper, Tatjana Kijaniza

Wednesday 24 October 2018 

Quorum 2018 and 19_Semester 1_Yvette Hutchison Poster (1)

Abstract:

In this paper I set out to analyse and compare online and live networking, as spaces for artistic and critical engagement both within Africa and beyond, drawing from the research I have conducted through the African Women Playwrights Network from 2015 to the present. It will explore the contexts, benefits, limits and potentialities of technologies in shaping creative and professional networks, particularly for researchers wanting to move away from static or macro approaches to understanding so-called ‘African’ identities and transcend the beleaguered discourses of ‘gender and development’ or ‘empowerment’. In this analysis I particularly reflect on the impact of using Linda Tuhiwai Smith’s approach to decolonising indigenous research methodologies when creating a cross-cultural network. Finally, I compare the efficacy of the different platforms and reflect on my learning specifically and more generally regarding the use of on and off-line spaces for network building.

[1] With thanks to Steve Ranford, Warwick IT for technical advice and help with data collection and analysis.

 

Biography:

Yvette Hutchison is a South African academic and theatre maker, who is a Reader in the Department of Theatre & Performance Studies at the University of Warwick, UK. Her research focuses on Anglophone African theatre, history and narratives of memory, and how intercultural performance practices are challenged by ongoing postcolonial issues. She is associate editor of the South African Theatre Journal and the African Theatre series and has co-edited books with Kole Omotoso and Eckhard Breitinger. Her monograph, South African Performance and Archives of Memory, was published by Manchester University Press in 2013. She has most recently co-edited African Theatre: Contemporary Dance (James Currey, Nov 2018) with Chukwuma Okoye. She has created physical theatre, installation pieces and written theatre for young people.

Wednesday 24 October 2018, 18.00

RR1 Arts One Building (Mile End Campus)

Everyone welcome

Refreshments will be served

Free admission

 

With best wishes,

QUORUM Committee 2018-19

Vanessa MacAulay, Genna Gardini, Sarah Harper, Tatjana Kijaniza

 

Wednesday 10 October 2018 

 

Quorum 2018 and 19_Semester 1_Dominic Johnson Poster

Anne  Bean, Imposters (1971), action with Natasha Lawrence and Malcolm Jones in reaction to the East London Exhibition at Whitechapel Gallery, London. Photo: Martin Von Haselberg.

 

Abstract:

The work of contemporary artist Anne Bean defies categorisation, encompassing performance art, public interventions, videos, and writings, all pursued as a ‘continuum’. Dominic Johnson explores Bean’s ‘life art’ project in the 1970s and considers her efforts to blur the boundaries between art and life in the context of theoretical writings she was working through at the time. This entails a strange or perilous route through the performances of Anne Bean, beginning with the assimilation of her works into a continuum that also includes her life, taking in the theosophy of early 20th-century mystic G. I. Gurdjieff and the (dubious?) critical methods of magic and the occult, and ending up at the persistence of Bean’s refusal to be fixed or found by history.

 

Biography:

Dominic Johnson is a Reader in Performance and Visual Culture in the Department of Drama, at Queen Mary University of London. He researches and writes about performance art, live art and visual art after 1960. He is the author of Glorious Catastrophe: Jack Smith, Performance and Visual Culture (2012); Theatre & the Visual (2012); The Art of Living: An Oral History of Performance Art (2015); and a new monograph, Unlimited Action: The Performance of Extremity in the 1970s (forthcoming from Manchester University Press in December 2018). He is the editor of five books, including most recently Pleading in the Blood: The Art and Performances of Ron Athey (2013); and (with Deirdre Heddon) It’s All Allowed: The Performances of Adrian Howells (2016). From 2005 to 2012, his performances were shown around the world, in festivals, galleries, museums, theatres and clubs, a commune, a dungeon, and a desert, in Copenhagen, Death Valley, Ljubljana, Maxéville, Rome, Toronto, Vienna, Zagreb, and elsewhere, and throughout the United Kingdom, including notably at National Portrait Gallery in London as part of ‘Gay Icons’. He is a Co-Editor of the journal Contemporary Theatre Review, a Co-Editor (with Lois Keidan and CJ Mitchell) of the book series Intellect Live, and a Director of the Live Art Development Agency.

Wednesday 10 October 2018, 18.00

Rehearsal Room 2, Arts One Building (Mile End Campus)

Everyone welcome

Refreshments will be served

Free admission

 

With best wishes,

QUORUM Committee 2018-19

Vanessa MacAulay, Genna Gardini, Sarah Harper, Tatjana Kijaniza

 

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