PSX

a decade of performance art in the UK


After ten journeys around the sun - our bodies soaked in blood, sweat, tears, eco-glitter - we are celebrating our 10th anniversary by looking to the past, present & future(s) of performance art in the UK. Through a series of screenings, talks, performances, exhibitions, bursaries, workshops and residencies, PSX invites everyone to celebrate this decade of performance art with us.

PSX is intergenerational. PSX is queer, Trans*, POC & womxn to the front. PSX is international and local. We are working with 39 artists through April to August, across three locations: ]performance s p a c e[ (Folkestone), VSSL (Deptford, London) and Ugly Duck (Bermondsey, London).




10 films


We will be screening 10 films, a collection of significant ]ps[ archival documentation, as well as more recent ]ps[ Associate Artist commissions.

Double bill screenings will take place on the last Friday of each month (April through August) during Last Fridays Folkestone.

The films will be offered online for the month following the live screening.
current

Ash McNaughton

Nathalie Anguezomo Mba Bikoro


forthcoming

Va-Bene E. Fiatsi [crazinisT artisT]
Keijaun Thomas
selina Bbonelli
Kira O'Reilly
Leo Devlin
Bean & Benjamin Sebastian
Martin O'Brien
Joseph Morgan Schofield
Carlos Martiel


︎︎︎ PSX: a decade of performance art in the UK





Live on Friday 30th April and online until Thursday 27 May


Ash McNaughton & Nathalie Anguezomo Mba Bikoro



Ash McNaughton, Salvage Festival, 2019. Videography by Joel Snowman.


Ash McNaughton (B.1990 / Scotland) is an action-based artist currently situated in Folkestone, UK.

Their practice is a process-led exploration of materials, gesture, movement, and sound.

Site-responsive, durational, and ritualistic in nature; Ash implements methods of endurance, repetition, and resistance to access altered states of being while reaching out into the spaces in-between. Their actions encourage a synergetic exchange between their physical, psychological, and spiritual body and the environments they inhabit.

This practice is an attempt to articulate that which escapes us. A poetics of a fluid presence in a fixed world.

Ash is a co-organiser of SITE - a platform for collective site-responsive art interventions, and a member of the international Anam Cara collective and the Encountering A New Normal community. They are Project Assistant at ]performance s p a c e[ (Folkestone) and facilitate workshops which hold Performance Art practice at its core which have been hosted by Grays School of Art, Tate, Whitechapel Gallery, and Middlesex University. They obtained their BA Hons in Sculpture from Grays School of Art (2013) and MA in Performance (Contemporary Art Practice) from the Royal College of Art (2018). They have performed within the UK and Europe including The Aberdeen Art Gallery (Aberdeen, Scotland, UK), Haddo House Arts Festival (Ellon, Scotland, UK), Tramway (Glasgow, UK), Venice International Performance Artweek (Venice, Italy), Electrocamp Festival (Mestre, Italy), Revolve Festival (Uppsala, Sweden), Whitechapel Gallery (London, UK), Tempting Failure (Croydon, England, UK), and Salvage Festival (Folkestone, England, UK)

www.ashmcnaughton.com
Species, Nathalie Anguezomo Mba Bikoro, ]performance s p a c e[ +++ArtEvict, 2011. Videography by Vago Tedosio.

Nathalie Anguezomo Mba Bikoro's work analyses processes of power & science fictions in historical archives critically engaging in migrational struggles & colonial memory focusing on queer indigenous and feminist biopolitics. The artist creates immersive performative environments for alternative narratives and future speculations of colonial resistance movements led by African women of the German diaspora and indigenous communities. Sedimented in narratives of testimonial Black queer experiences of sonic nature archives, revolt, queering ecologies and postcolonial feminist experiences towards new monuments which reacts to the different tones of societies shared between delusions & ritual. The work offers complex non-binary readings pushing  new investigations about the architectures of racisms in cities, the archeologies of urban spaces & economies of traditional systems by exposing the limitations of technologies as functional memory records.

She has developed frameworks of rituals and healing in performance work that often reveal the entangled colonial histories of migration at site-specific spaces to dismantle prejudices and organise accessible levels of consciousness through testimonial archives of local communities to build independant emancipatory tools for liberation, education, consciousness, intimacy and healing.

She is lecturer in Curating Black Visual Cultures & Philosophy at TransArt Institute New York & Fine Arts practice at the University of Liverpool, artistic & curatorial supervisor of the Artists in Training Programme at the UdK and the University of Bergen Norway. She is Artistic Director of Lukulule e.V. and Nyabinghi_Lab collective, recently curating the performance programme 'Radical Mutations' at Hebbel Am Ufer Theatre Berlin with Wearebornfree! Empowerment Radio. She moderates the annual Berlinale Film Festival & currently has an Artistic Fellowship from the Goethe Institute In Bahia Salvador.

www.anguezomo-bikoro.com




10 conversations



]performance s p a c e [ is nothing if not its relationships; a dynamic constellation of  thinkers, feelers & makers, reimagining our world(s). Throughout PSX, ]ps[ director Benjamin Sebastian will host a series of 10 conversations with artists and culture makers from our   p a s t   who have influenced our ongoing work.

Podcast conversations will be made available online on the last Friday of every month (April through August). 


Nathalie Anguezomo Mba Bikoro
Katy Baird
Ron Athey
VestAndPage
Lois Keidan
Keijaun Thomas
Jade Montserrat
Rocio Boliver
Esther Neff

Bean and Joseph Morgan Schofield


︎︎︎ PSX: a decade of performance art in the UK



Live from Friday 30th April


Bean and Joseph Morgan Schofield 






Bean, 2014. Photo by Monika Sobczak.

“I make performance work that incorporates live voice, installation and film. I like using technology as a malleable material, testing & pushing it through live moments; from my earliest works playing super 8 films through my vagina, to recent works digitally tracking my body to live-edit sound. Through my work I often 'speak' of things silenced in daily life, or attempt to undo language used in mass media/ normative pop-culture. I make performance as an act of transformation, a catharsis through sound, a reclamation & refusal of the body.”

Bean is the co-founder and (former) co-director of ]performance s p a c e[.

www.beaninthearchive.com


residencies



As part of our 10th anniversary celebrations, ]ps[ looks to the f u t u r e of performance art in the UK. Throughout the month of June (and the first week of July) ]ps[ will play host to a duo of contemporary performance artists, Jade Blackstock and James Jordan Johnson.

Working with our London platform partner, VSSL Studio, ]ps[ continues our investment in the future of performance art in the UK through two studio bursaries at VSSL, working with Adriana Disman and Kelvin Atmadibrata.

The bursary artists will be working from now until the end of June at VSSL Studio.

Residencies: Jade Blackstock and James Jordan Johnson

Studio Bursaries: Kelvin Atmadibrata and Adriana Disman


︎︎︎ PSX: a decade of performance art in the UK



in residence at ]performance s p a c e[


Jade Blackstock & James Jordan Johnson



Cummndazz, Jade Blackstock, 2020. Image courtesy of the artist.

Jade Blackstock (B. 1993, Birmingham, UK) is a British Jamaican performance artist. Her work explores questions of the body and identity in relation to historical, cultural and personal events and experiences. Her practice is particularly anchored in exploring Afro-Caribbean customs, rituals and material, and attempts to discuss how prejudices and colonial histories continue to impact the lives and current representations of Black people and people of colour. She seeks to highlight how the body, material and space have shared capabilities of holding, transferring and embodying collective pasts or memories, which bears importance in our understanding of selves and each other. Themes of race and Black identity, feminism, ownership, class and loss are present in her work.



James Jordan Johnson. Photo by Alex Gulino.

James Jordan Johnson (b. 1997, London, UK) is an artist working in performance and sculpture. He explores how personal/collective memory and mythmaking informs historical experiences within Black life (specifically Afro-Caribbean life). Through this, he uses his practice as a way to think about the embodiment and unnamable ties between objects and people within life-cycles.

www.jamesjordanjohnson.com


studio bursaries at VSSL studio


Kelvin Atmadibrata & Adriana Disman




Forcing Hyacinth, Kelvin Atmadibrata, 2019. Helsinki. Photo by Julius Töyrylä.

Kelvin Atmadibrata (b.1988, Jakarta, Indonesia) recruits superpowers awakened by puberty and adolescent fantasy. Equipped by shōnen characters, kōhai hierarchy and macho ero-kawaii, he often personifies power and strength into partially canon and fan fiction antiheroes to contest Southeast Asian masculine meta and erotica. He works primarily with performances, often accompanied by and translated into drawings, mixed media collages and objects compiled as installations. Approached as bricolages, Kelvin translates narratives and recreates personifications based on RPGs (Role-playing video games) theories and pop mythologies.

www.kelvinatmadibrata.com

Thresholding, Adriana Disman, 2019. Photo: Mike Zenari.

Adriana Disman is a performance art maker, thinker, and writer. Her practice searches for minor modes of resistance as she seeks liberation – an interdependent and as yet un-imagined state – through refusing to adhere to the logics of power. Often engaging with self-wounding, her work is minimal, poetic, and intense.

Disman’s writing on performance can be found in both academic and arts publications, and she is currently co-editing a book entitled "50 Key Performance Artists" for Routledge with T. Nikki Cesare Schotzko. Currently a PhD candidate at Queen Mary University of London under Dominic Johnson, Disman writes on the pathologisation of self-wounding performance art.

www.adrianadisman.com

workshops



Maintaining our future focus; PSX invites 3 mentor artists to run workshops at ]performance s p a c e [ this summer. Each mentor will invite (by open call), 3 participants to undertake a 3 day in-person residential workshop at ]performance s p a c e [.

Workshop participants will be paid an honorarium to participate.

Rubiane Maia
Julia Bardsley
Sandra Johnston


︎︎︎ PSX: a decade of performance art in the UK



Rubiane Maia


residential workshop
21st-23rd May 2021, Folkestone

please direct any questions to joseph@performancespace.org

The call out for particpants is now closed.

This is an in-person workshop. We will be working with Rubiane and the workshop participants to navigate our personal and collective responsibilities during the pandemic.

The workshop is for three participants.

]ps[ will offer each participant a £100 honorarium, accommodation during the workshop, £10 per diems for the three workshop days, and a £20 travel stipend.

Aerial Studies, Rubiane Maia. Photo by David Dynes.

Transfguration, Rubiane Maia. Photo by Manuel Vason.

Layers of Time


The notion that the past is a vital force that moves incessantly inside and outside us, coexisting and actualising itself through our bodies continuously has been a fundamental aspect in my current artistic production. I am particularly interested in the idea that the moment a memory is actualised through an action, it ceases to be a memory and becomes perception. In this sense, we could consider the body as a channel with infinite layers of time - a primordial device that never stops to launch us towards the future.

My proposal is to develop an immersive and practical study around collective and individual memories using empirical exercises of telepathy and telekinesis. Throughout the workshop we will be practicing actions that involve acuteness, permanence and physical-mental resilience.

-Rubiane Maia


O Jardim, Rubiane Maia, 2015. Photo by Hick Duarte.

Rubiane Maia is a Brazilian visual artist based in Folkestone, UK. She completed a degree in Visual Arts and a Master degree in Institutional Psychology at Federal University of Espírito Santo, Brazil. Her artwork is an hybrid practice across performance, video, installation and text, occasionally flirting with drawing and collage. She is attracted by states of synergy, encompassing the invisible relationships of affect and flux, and investigates the body in order to amplify the possibilities of perception beyond the habitual. More recently, she has been researching the concept of memory and its resonances in our way of existing.

In 2015, she took part at the workshop 'Cleaning the House' with Marina Abramovic and participated at the exhibition 'Terra Comunal - Marina Abramovic + MAI', at SESC Pompéia, São Paulo with the long durational performance ‘The Garden’ (2 months). In 2016, she worked on the project titled 'Preparation for Aerial Exercise, the Desert and the Mountain' which required her to travel to high landscapes of Uyuni (Bolivia), Pico da Bandeira (Espírito Santo/Minas Gerais, BRA) and Monte Roraima (Roraima, BRA/Santa Helena de Uyarén, VEN). In the same year she completed her second short film titled 'ÁDITO'. Since 2018 she has been working on the creation of a ‘Book-Performance’, a series of actions devised in response to specific autobiographical texts particularly influenced by personal experiences of racism and misogyny.






Julia Bardsley


residential workshop
28th - 30th July 2021, Folkestone

Please direct any questions to joseph@performancespace.org.

Call out for participants will be announced soon.

This is an in-person workshop. We will be working with Julia and the workshop participants to navigate our personal and collective responsibilities during the pandemic.

This is a three day in-person workshop hosted at ]performance s p a c e[ in Folkestone. We will be working Julia and the workshop participants to navigate our personal and collective responsibilities during the pandemic.

The workshop is for three participants.

]ps[ will offer each participant a £100 honorarium, accommodation during the workshop, £10 per diems for the three workshop days, and a £20 travel stipend.


An Apian Paradox, Julia Bardlsey, 2019. Photo by Manuel Vason.


Nativity Kings Bearing Gifts, pinhole photo by Julia Bardsley.


REVERIES on VISIBLE THINKING


Process as Performance – Thought as Action – Reverie as Method

“A proposition for three days of process, generating visual vocabularies and spatial grammars of materials, actions, mark-making, objects, body, maps, diagrams, sound, space and time.

Each participant will bring their own discrete practice and aesthetics into dialogue with a common set of provocations - working individually but within a coexistent frame.

We will be accruing our coexistent thinking in the space and over time, through processes of - generating + disturbing | layering + disrupting | erasing + collision”

-Julia Bardsley




Medea Talk, Julia Bardsley, Brazil. Photo by Marcelo Evelin.

Julia Bardsley is an artist working with the interplay of performance, pinhole photography, video projection, sculptural objects, psychological garments and hybrid personae. Works include: The Divine Trilogy: Trans-Acts, Almost The Same (feral rehearsals for violent acts of culture) and Aftermaths: a tear in the meat of vision (London, Glasgow, Portugal, Spain, Slovenia, Croatia, Belgium, Italy); meta-FAMILY (Brazil, UK, Belgium, Slovenia) and Medea: dark matter events (Brazil & London). A book of her pinhole photographs, u See The Image Of Her i, was published in 2016.
In a new phase of work, under the creative umbrella The House of Wonder & Panic, she has developed a series of durational process events entitled Reading Rooms. The Reading Rooms have repurposed a political, a philosophical and an entomological text. The third of the series, An Apian Paradox, conjures an apicultural world that offers a feminine ecology of creativity, pleasure and female bee-ing and has been presented in London, Lisbon and at Fierce! Birmingham.

Her work tests coexistences and antagonisms across the nature/culture & animal/human spectrums. She is currently exploring ways of appropriating and folding rewilding principles of disturbance and succession into her creative process.








Sandra Johnston


residential workshop
25th - 27th August 2021, Folkestone

Please direct any questions to joseph@performancespace.org.

Call out for participants will be announced soon.

This is an in-person workshop. We will be working with Sandra and the workshop participants to navigate our personal and collective responsibilities during the pandemic.

Full details will be announced shortly.


Open Season, Sandra Johnston, 2019. Photo by Joan Laage.

Explain, Sandra Johnston, 2019. Photo  by Flávio Ribeiro.

Re:STORE (trust)


“In the current circumstances where interpersonal connections have been negatively impacted, how can performance art be reconfigured to address a more body-phobic social consciousness? One of the core aspects that gives performance art agency as a practice, is the range of intimacies that can be tested and opened up between artists and audiences. In this workshop we will explore together various ways that trust might be reconstructed, or restored between self and others in both private and public space. Moving between a scale of viewing distance, touching distance, breathing distance, with the aim not to rupture, but to respect the parameters of how we sense these sensitive borders. Can intimacy be redefined with audiences? Furthermore, can we still trust ourselves?”

-Sandra Johnston 


CURRENCY, Sandra Johnston, 2014. Photo by Bjørkum Bjarte

Sandra Johnston’s practice involves developing strategies of performance art improvisation, as a means of engagement with imbedded issues of social trauma within selected contexts. She utilises improvised actions as a form of porous interaction with the actuality of environments, open to interference, adjustment and connective responses. The somatic physical aspects of the work develop from an ethos of attrition – consciously attempting to use a minimum of available resources, intersecting with a desire to leave no trace on the surroundings. This approach of ‘provisionality’ insists upon a speculative relationship to the emergence of narratives and meanings being formed directly, and conjointly, between the artist and audience. A key impetus for the work arises from recognition of the implications of social trauma and the ensuing cultures of silence, finding in performance methods a humble means to provide alternative forms of live testimony and mediation.