This year we mark the 10th anniversary of ]performance space[ with PSX: a decade of performance art in the UK, a celebratory programme unfurling across the summer months. 






Save the dates: programmes curated by ]ps[, and encounters hosted by our guests.







]performance s p a c e[ works to act as a home or hub for performance artists based in the UK and internationally, and we often host performances, workshops, residencies and artist talks.







Our digital exhibition space, for screenings, talks and other work.




Image: Kira O’Reilly, WAKE, 2017. Photo by Luke Jones.



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).





Until the Last Breath is Breathed, Martin O’Brien, 2018. Still from video by Suhail Merchant.
Horizon, Carlos Martiel, 2017. Image by Terry Smith.

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.


online now, until 30th September

Martin O'Brien
Carlos Martiel



︎︎︎ watch online


recent

Ash McNaughton

Nathalie Anguezomo Mba Bikoro

Va-Bene E. Fiatsi [crazinisT artisT]

Leo Devlin, Benjamin Sebastian and Bean

selina bonelli
Kira O'Reilly

Keijaun Thomas

Joseph Morgan Schofield






Rocío Bolíver, Fierce Festival, 2017. Image courtesy of the artist. 


Katy Baird, Poppers Boudoir. Image courtesy of the artist.

]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). 










Chinasa Vivian Ezugha, 2016. Photo by Monika Sobczak. 
Alastair MacLennan, 2020. Photo courtesy of the artist.

Rubiane Maia, 2015. Photo by Hick Duarte.
What dreaming of performance art in the UK would be complete without a durational live event? In August this year we invite you to be   p r e s e n t   and hunker down with us as 9 exceptional artists present new commissions across 10 hours.

The 10 hour performance took place at The Ugly Duck (London) on Saturday 21st August.

︎︎︎ Run Riot: Performance artist Poppy Jackson takes us on a journey to the  ritualistic underworld of visual culture

︎︎︎ Run Riot: Performance artist Joseph Morgan Schofield “One of the special magics of performance art is the vibrant possibility of the live encounter”

Anne Bean
Alastair MacLennan
Chinasa Vivian Ezugha
Elvira Santamaria
Joseph Morgan Schofield
Martin O'Brien
Poppy Jackson
Rubiane Maia
selina bonelli






Elvira Santamaria, 2018. Photo courtesy of the artist.
 


Anne Bean, 2020. Image courtesy of the artist.
Martin O’Brien, 2017. Still from video by Suhail Merchant.


Joseph Morgan Schofield, 2020. Photo by Fenia Kotspoulou.
Poppy Jackson, 2014. Photo by Carrie Ruckle.

selina bonelli, 2019. Photo by Ana Escobar.


Transfiguration, Rubiane Maia. Photo by Manuel Vason.


Nativity Kings Bearing Gifts, pinhole photo by Julia Bardsley.

Maintaining our future focus; PSX invited three mentor artists - Rubiane Maia, Julia Bardsley, and Sandra Johnston, to run workshops at ]performance s p a c e [ throughout the summer. Each mentor invited participants (via open call) to undertake a three day in-person residential workshop in Folkestone.



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






Layers of Time by Rubiane Maia


residential workshop featuring Chinasa Vivian Ezugha, Pierce Starre, and Sylvia Morgado, with Ash McNaughton and Maria Clara.
 
21st-23rd May 2021, Folkestone

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.

www.rubianemaia.com




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

Images: The Table, ‘Layers of Time’ workshop outcome, Rubiane Maia, 2021. Photos by Manuel Vason.







REVERIES on VISIBLE THINKING by Julia Bardsley


residential workshop featuring E.M. Parry and Adrian Coto, with interventions by Ernst Fischer.

28th - 30th July 2021, Folkestone

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.



Process as Performance – Thought as Action – Reverie as Method


x1 provocateur + 3 artists over x3 days
= coexisting in a real-time process room of mulling + mapping


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


Images: REVERIES on VISIBLE THINKING workshop outcome, Julia Bardsley, Adrian Coto, E.M. Parry and Ernst Fischer, 2021. Photos by Manuel Vason.






CURRENCY, Sandra Johnston, 2014. Photo by Bjørkum Bjarte


Re:STORE (trust) by Sandra Johnston


residential workshop
25th - 27th August 2021, Folkestone

Applications for Sandra’s workshop have now closed.
Please direct any questions to joseph@performancespace.org.

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.

 


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

“In the unfolding circumstances of the past year where interpersonal connections have been negatively impacted by the pandemic, how can performance art be reconfigured to address an uneasy new body-phobic social consciousness? I suggest that one of the central ideas that gives performance art agency as a discipline is the range of intimacies that can be tested and opened up through myriad acts of close witnessing. In this workshop we will explore together various ways that trust might be reconstructed, or restored between self and others, including more-than-human relationships and perspectives. 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, we will consider how intimacy might be redefined. Furthermore, can we still trust ourselves to engage through attuning practices?”

Sandra Johnston


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


hancock & kelly, 2017. Photo by Paul Samuel White.

Keijaun Thomas, 2019. Photo by Andrea Abbatangelo.


recent
28th May - 6th June
]performance s p a c e [, Folkestone.

with live performances on Friday 28th from Ash McNaughton and Lise Boucon.

12th - 19th August
VSSL Studio in London

with live performances on Thursday 12th by Adriana Disman and Kelvin Atmadibrata.

We have chosen 10 epochal photographs from our archive  that typify the energy, attitude and ethos of the artists ]ps[ works with. Explicit, unapologetic & poetic; these images act as portals to various collaborations, geographies and moments from our past, while projecting that energy into our future(s).

Jade Montserrat
Keijaun Thomas
Hancock&Kelly LIVE
Ron Athey
Kris Canavan & Elizabeth Short (performing as Nick Kilby)
Nicholas Tee
Bean
Benjamin Sebastian
Poppy Jackson
Nina Arsenault









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

]ps[ hosts


]performance s p a c e[ strives to act as a home or hub for performance artists based in the UK and abroad, and we often host performances, workshops, residencies and talks by artists etc.



VestAndPage, Still from the film STRATA, Germany, 2021.







Recent


︎︎︎ ]open s p a c e[: Eleanor Dalzell Jenyns and kate stonestreet, May 2021


Eleanor Dalzell Jenyns and kate stonestreet are recipients of ]open s p a c e[ and will undertake a shared residency towards the realisation of their project collective attentions, anarchist actions.

︎︎︎ screening: Ekdysis II, Niya B, Friday 30 April (live at Last Fridays)


Ekdysis is an ongoing project, which is displayed through live actions, moving image and installations. In this iteration, Ekdysis manifests as a single-channel video following an autoethnographic journey in the land that holds the mythological events of metamorphosis.


FUTURERITUAL Mythic Time

a workshop by VestAndPage and Joseph Morgan Schofield, 2021


The here-and-now is insufficient. The fog of the capitalist deadland is ossifying. We demand something more. Faced with distance, anxiety and exile, belonging feels mythic. FUTURERITUAL asks: how can the technology of ritual be deployed in the divination, manifestation and sustentation of something else - of alternative [queer] futurities, wherein states of belonging (in difference) are felt deeply and more readily.

This residential workshop explores the (re-)invention of spiritual practices, the sacred, rites and rituals through performance art.

Monday 20th to Saturday 25th September
in-person at ]performance s p a c e[, Folkestone

There will be a public offering made by the workshop participants on Friday 24th September, 7pm-9pm at ]ps[ as part of Last Fridays.


VestAndPage, Still from the film STRATA, Germany, 2021.

Joseph Morgan Schofield, these teeming forms, 2021. Image by Zack Mennell.




upcoming


live 


Last Fridays

]performance s p a c e[, Folkestone
Friday 24th September, 7-9pm

]ps[ will host a special group performance by the artists particpating in Mythic Time, a workshop by VestAndPage and Joseph Morgan Schofield

︎︎︎ Mythic Time workshop






online


Screens

Friday 27th August to Thursday 30th September

We’re pleased to screen two archival films of works presented by Martin O’Brien (Regimes of Hardship, 2011) and Carlos Martiel (Horizon, 2017).

︎︎︎ PSX screens






online

until Thursday 30th September

These offerings are presented as part of PSX: a decade of performance art in the UK, our 10th anniversary programme.

This month we present documentation of Regimes of Hardship 3, the  final performance of a trilogy of actions undertaken by Martin O’Brien in 2012, and of Horizon, an action performed by Carlos Martiel in Folkestone Harbour at WAKE Festival in 2017.

︎︎︎ PSX: a decade of performance art in the UK


PSX screens

Martin O’Brien

Regimes of Hardship



Martin O’Brien with Sheree Rose, Regimes of Hardship 3, 2012.

Regimes of Hardship was a trilogy of performances shown during a three month period (one each month). Images and materials were developed from one work to the next.

“#3 was made in collaboration with Sheree Rose. It was framed by a contract stating that I would submit to her for the duration of the work. The actions included turning me into a food sculpture, keeping me in bondage, and ended with cake being served off my body.”
- Martin O’Brien




Martin O’Brien is an artist and zombie. He works across performance, writing and video art. His work uses physical endurance, long durations, and pain based practices in order to examine what it means to be born with a life shortening disease, and to live longer than expected. He has shown work throughout the UK, Europe, USA, and Canada. This has included at Tate Britain, Spill Festival of Performance (both London), Kapelica Gallery (Ljubljana), Performatorium Festival of Queer Performance (Regina), Venice Week of Performance Art (Venice), In Between Time Festival of Contemporary Performance (Bristol), Grace Exhibition Space, Abrons Art Centre (both New York) and as artist in residence at ONE National Gay and Lesbian Archives (Los Angeles). Martin has cystic fibrosis and all of his work and writing draws upon this experience. In 2018, the book Survival of the Sickest: the Art of Martin O’Brien was published by Live Art Development Agency. He is currently lecturer in Performance at Queen Mary University of London. He recently surpassed his life expectancy and is enjoying life as a zombie.

www.martinobrienart.com

PSX screens

Carlos Martiel

Horizon


Carlos Martiel (born 1989, Havana) lives and works in New York and Havana. He graduated in 2009 from the National Academy of Fine Arts “San Alejandro,” in Havana. Between the years 2008-2010, he studied in the Cátedra Arte de Conducta, directed by the artist Tania Bruguera. Martiel’s works have been included in the 4th Vancouver Biennale, Canada; 14th Sharjah Biennial, UAE; 14th Cuenca Biennial, Ecuador; 57th Venice Biennale, Italy; Liverpool Biennial, UK; Havana Biennial, Cuba. He has had performances at the Stedelijk Museum, Amsterdam; Walker Art Center, Minneapolis, USA; The Museum of Fine Arts Houston (MFAH), USA; Padiglione d’Arte Contemporanea, Italy; Robert Miller Gallery, USA. He has received several awards, including the Franklin Furnace Fund in New York, USA, 2016; “CIFOS Grants & Commissions Program Award” in Miami, USA, 2014; “Arte Laguna” in Venice, Italy, 2013. His work has been exhibited at The São Paulo Museum of Art (MASP), São Paulo, Brazil; The Museum of Latin American Art (MOLAA), National Museum of Fine Arts, Havana, Cuba; among others. His works are in public and private collections such as The Solomon R Guggenheim Museum, New York; The Pérez Art Museum Miami (PAMM), Miami; Museu de Arte do Rio, Rio de Janeiro.





Carlos Martiel, Horizon, 2017. 

"I sit on a leaky boat on the sea. When the boat sinks I go swimming to the nearest shore."
- Carlos Martiel



Image: Ash McNaughton, Salvage, 2019. Photo by Manuel Vason.

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.

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


︎︎︎ PSX: a decade of performance art in the UK





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


Ash McNaughton & Anguezomo Nathalie Mba Bikoro



Salvage, Ash McNaughton, 2019. Photo by Manuel Vason.

ASH MCNAUGHTON (B.1990) IS A FOLKESTONE (U.K.) BASED SCOTTISH ARTIST WORKING PRIMARILY IN PERFORMANCE ART. WORKING WITH THEIR BODY THROUGH ACTION, GESTURE, MOVEMENT, AND SOUND; THEY EXPLORE PSYCHOLOGICAL, PHYSICAL & SPIRITUAL STATES – IN DIALOGUE WITH EVERYDAY OBJECTS AND SOCIAL CONTEXTS – ENTERING INTO SENSORIAL AND SYNERGETIC EXCHANGE BETWEEN INTERNAL & EXTERNAL MATERIALS, SPACE, AND TIME. THROUGH RITUALISTIC ACTIONS THEY SEEK TO DISSOLVE BOUNDARIES BETWEEN THE KNOWN AND UNKNOWN, BY UNCOVERING AND DISRUPTING LIMITATIONS WITHIN OBJECTS AND NARRATIVES, IN AN ATTEMPT TO FIND HONESTY IN THAT WHICH LIES IN-BETWEEN.

www.ashmcnaughton.com
How Many Stones Can Free, Anguezomo Nathalie Mba Bikoro. Photos: Christer Johansson & Christian Berven, courtesy of LiveAction8.

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