27 March 2014
To celebrate the work of contemporary live art performance, the National Centre for Craft and Design has commissioned Beacon Art Project to curate a programme of performance and film to complement their current exhibition Creating A Scene.
Friday 11 April, 6-8pm
Launch Event and Film Programme
An evening of short films featuring artist performances incorporating theatricality, props, costume and speech.
Amanda Coogan, Gillian Dyson, Doug Fishbone, Wayne Lloyd and Bob and Roberta Smith.
Saturday 12 April, 12-4 pm
A sequence of performances by artists that are being re-staged specifically for the unique space of the Terry O’Toole Theatre. You will be served lunch, be engaged and enthralled by a range of exciting artist performances.
Amelia Beavis-Harrison, Clare Charnley and Vanessa Grasse, Gillian Dyson, Marcia Farquhar with Ella Finer and Kitty Finer, Fabiola Paz, The Postmethodists.
Terry O’Toole Theatre,
NK Centre, Moor Lane,
North Hykeham, Lincoln LN6 9AX
Book tickets: http://www.terryotooletheatre.org.uk/events/seen-created/
Seen Created is a curated sequence of performances by artists that are being re-staged specifically for the unique spaces of the Terry O’Toole Theatre. It is a celebration of the work of contemporary live art performance and complements the exhibition Creating A Scene currently open at the National Centre for Craft and Design in Sleaford. http://www.nationalcraftanddesign.org.uk
Each of the artist’s performances makes specific references to the spectacle of the theatre through its use of props, costume, lighting and speech.
In a reversal of the spatial layout of the theatre the audience will be seated around tables on the stage and served lunch by the Postmethodists. Who will regale the audience with descriptions and memories of an evening in November 2011, the last time this performance took place.
On returning to the auditorium the audience will be treated to the spectacle of Clare Charnley and Vanessa Grasse, standing either side of the stage, playing catch with a dictionary. As they do so its pages separate and slowly float to the ground as the drama of the disintegrating dictionary unfolds as we follow its trajectory from hand to hand.
Enter Gillian Dyson who will be spinning a number of plates on the stage floor endeavouring to keep them all spinning together. But as more plates start spinning some collide and smash whilst others stop spinning and rattle to the floor. All the while the audience willing the plates to maintain their momentum until there is only one plate spinning.
Look up to see towering above us Fabiola Paz unravelling lengths of black fabric that are handed to her. Which she then wraps around her waist to create a floor-length gown into whose exaggerated form the she then escapes.
Out of the darkness we hear the sound of an out of tune violin played by Amelia Beavis-Harrison. Moving in and out of darkness she follows a trail plotted by the theatre spotlights the sound emanating from the violin building to a crescendo before darkness and silence returns.
Until we hear Marcia Farquhar conducting a three-way debate between her selves moving between and occupying one of three conjoined wheelie bins. During the course of the performance Ella Finer and Kitty Finer will enter the stage and contribute to the debate. These makeshift pulpits providing spaces from which three ideologically opposed speakers will move further and closer to each other in space, time and paradoxical speech.
Amelia Beavis Harrison
Amelia Beavis-Harrison is an artist based between the UK and Norway, her practice is explored as an expanded performance where inter-related mediums create works that originate from the performance practice. Amelia has exhibited and performed predominantly in the UK and Europe. In 2013 Amelia began a new series Costumes for Curators which saw work performed at Performing Paper, Paper Gallery, Manchester, 2013; Dance 4 Tour, Dance 4, Nottingham, 2013; Past is Prologue, Women’s Art Library, Goldsmiths, London, 2013. In 2013 Amelia also performed and exhibited at PIP Show, Kunsthøgskolen i Oslo, Oslo, 2013; Pump House Open, Pump House Gallery, London, 2013; Inaugural Proposal, Gallery Steenstrupsgate, Oslo, 2013; Dimanche Rouge Festival, Helsinki Art Museum, Helsinki, 2013; Lot No, Lionel Dobie Project, Manchester, 2013; Pot Luck 7, curated by Accidental Collective, Limbo, Margate, 2013; Live Art Dogging, curated by Daniel Oliver, Reactor Halls, Nottingham, 2013. In 2012 amongst other exhibitions Amelia took part in the renowned SPILL Festival of performing art with a touring piece that also showed at World Event Young Artists in Nottingham.
For some time visual artist Clare Charnley has been working around issues of translatability and the politics of language. Leading to a series of collaborative performances in other countries including The Casino, Luxembourg: Dashanzui Festival, Beijing: Performance Art Platform, Tel Aviv: Bengal Gallery, Dhaka: Castle of The Imagination, Poland: National Eisteddfod of Wales: Ex Teresa Arte Actual, Mexico and NYLO, The Living Art Museum, Reykjavik.
Much of her current work is with Brazilian artist Patricia Azevedo, with whom she generates a series of encounters, games and stories to do with the act of communication itself. Living in opposite sides of the globe, they make Skype performances to camera. Their joint work has been shown at The Bluecoat Gallery, Liverpool: Belfast Exposed Gallery, Belfast: Project Space Leeds: Johalla Projects Gallery, Chicago: Binaural, Portugal: PNEM Sound Art Festival, Netherlands.and Platforma, London.
Gillian Dyson is a visual, video and live artist, based in Yorkshire. Her work explores site, process and memory and has been exhibited internationally, including National Review of Live Art, Glasgow; VIsualeyez Festival, Edmonton, Canada and Kaapeli Helsinki, Finland. Dyson’s research currently focuses on the use of the object in performance. She is the Course Leader in BA hons Performance with Leeds Metropolitan University.
Marcia Farquhar is an artist working in performance, photography, painting and object-making. Her site-specific works have been staged and exhibited internationally in museums and galleries, as well as in lecture theatres, kitchen showrooms, hotels, pubs, parks and leisure centres.
Farquhar’s performances are conceptual in nature and often precariously balanced between the prescribed and the unpredictable – socially open, broadly embracing of circumstance, and resolutely focussed in the live and unrepeatable moment. They have also made frequent and subversive use of popular cultural forms such as TV cookery, pop-psychology, the Punch & Judy show, the fashion catwalk and the guided tour.
Fabiola Paz was born under a beautiful waning gibbous in South America. She is now based in London, UK. She has exhibited her work nationally and internationally at Arnolfini, Bristol and ArtEvict and Performance Space, London. Her work has also been presented at the National Review of Live Art in Glasgow’s Tramway and FIX07 in Belfast, as well as AMA festival in Majorca (Spain) and Rifrazioni in Anzio (Italy).
Fabiola’s art practice is about the political power of a body in transition, it’s an inquiry into the scars of displacement. This practice is intrinsically autobiographical formulating a highly diverse and very organic methodology; ranging in media from drawing, to object making, and video to performance. These are used to transpose her memories of a past, temporal state onto the present and allow a window of personal, emotional experience to the audience.
The Postmethodists are a group of artists living and working in converted Methodist Chapels in rural Lincolnshire. Needing to experience the type of visual art activity to which they had been accustomed whilst living in busy urban environments, yet appreciating that the way visual art is presented and experienced is necessarily different in a rural context, new approaches were required. The Postmethodists aim to make the experience of viewing their contemporary art interventions and activities easily accessible. Both Chapels are at the centre of their villages as well as being located on the Viking Way.