21 May 2016 | 1.30pm—9pm
22 May 2016 | 12pm—6pm
Day pass £15 / Weekend pass £25
Concessions: Day pass £12 / Weekend pass £20
Booking via email@example.com
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Siobhan Davies Dance and Independent Dance jointly present the 6th edition of the WHAT festival series.
What remains…celebrates the way in which the practice of others stimulates, refracts and transforms our own ideas, attitudes and processes. Inspired by French forensic scientist Edmond Locard’s basic principle that “every contact leaves a trace”, each of the featured works examines the anatomy of an artist – their methods, inspirations, influences, biography, or their actual physicality. Among the chosen subjects are Kate Tempest, Fred Herko, Samuel Beckett and Steve Paxton.
Contributing artists were selected following an open call for ideas in autumn 2015. Over the course of the festival weekend, each of the artists will offer their investigation of their chosen subject, through performances, installations, interventions, a workshop and a film screening.
The 2016 festival commissions are:
We shall see the sky by Julie Cunningham
We shall see the sky explores what happens between words and the moving body through physical explorations of poems by Kate Tempest.
Song by Rajni Shah (co-created with and performed by Natacha Bryan, Collin Clay-Chase, Emma Frankland, Kazuko Hohki and Sheila Ghelani)
A series of small performances scattered throughout the festival. Like a song that is passed between people, each performance echoes the others but is defined by the voice and body of the performer.
Nor I by My Johansson
Nor I is a solo work based on the use of stillness and repetition in Samuel Beckett’s work. Investigating the impact of repetition on the human body, and its traces in stillness.
Being Mr X by Michaela Ross and Olga Masleinnikova, co-created with Mr X and Josip Lizatovic
Masleinnikova and Ross present the work of Mr X, an artist resident at the Bethlem Royal Hospital. Mr X uses his own body to determine the scale of each work, using arm and leg measurements as basic units, operating within the constraints (visible and invisible) imposed on him by the space and staff.
My name is Janez Janša presented by Matthias Sperling
Matthias Sperling investigates the work of Slovenian artists Janez Janša, Janez Janša and Janez Janša by presenting a screening of their film, My name is Janez Janša, which documents their collective act of legally changing their names to that of the then Slovenian president in 2007.
surface/sphere by Katrina Brown and Rosanna Irvine
surface/sphere brings Steve Paxton’s exercises from Material for the Spine into contact with the methods developed by the artists in their 2015 performance installationwhat remains and is to come.
Possibilities for a Pleasant Outing by Jamie Atherton
Possibilities for a Pleasant Outing is an exploration of dancer and choreographer Fred Herko (1936-64). Herko appeared in several Warhol films, including the now-lost Roller Skate (1963). Atherton has gathered together traces from Roller Skate to be retold whilst he himself attempts to roller skate.
M-em by air field (Ian Spink, Bill Thompson and Alan Paterson)
Multidisciplinary group air field creates a live performance piece featuring film projection made from moments of their previous work, objects of movement, image and sound. View M-em here
Our White Friend by Colin, Simon & I
Tim Wise is an American authority on white racism. The workshop and performance Our White Friend explore Wise’s craft in public speaking, his authority on race, and what might happen if we were to imagine that he is an artist.
The Telling by Carolyn Roy
In The Telling, Carolyn Roy takes the daily walks of Allan Kaprow’s ‘nameless artist’ as her starting point to create a soundscape.
Please note: Some of the works within the Festival include adult themes
With thanks to the Bryan Robertson Trust and The Thistle Trust.
‘...an impressive and tightly packed programme of events for the sixth edition of London’s WHAT festival.’ LondonExhibitions.co.uk
‘Wherever he steps, whatever he touches, whatever he leaves, even unconsciously, will serve as a silent witness against him. Not only his fingerprints or his footprints, but his hair, the fibres from his clothes, the glass he breaks, the tool mark he leaves, the paint he scratches, the blood or semen he deposits or collects. All of these and more bear mute witness against him. This is evidence that does not forget. It is not confused by the excitement of the moment. It is not absent because human witnesses are. It is factual evidence. Physical evidence cannot be wrong, it cannot perjure itself, it cannot be wholly absent. Only human failure to find it, study and understand it, can diminish its value.’ Paul L. Kirk (1953) on Edmond Locard’s principle ‘Every contact leaves a trace’
Siobhan Davies Studios
85 St George's Road
London SE1 6ER
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