On Saturday 2 April, ]ps[ are hosting Tiding, a day of performance art across historic sites in Folkestone and Romney Marsh.


Writing




]ps[
has always worked to foster  critical and poetic contexts for performance art. We are slowly making our collection of commissioned writings available online.






]performance s p a c e[ works to act as a home for UK and international artists, and we often host guest performances, workshops, residencies and artist talks.






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








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





Tiding

Saturday 2nd April 2022


Tiding, meaning a communication, or an announcement, or to drift with, or as if with, the force of the waves.

Tiding was a day of performance art taking place at two historic places of worship in Folkestone and Romney Marsh. Tiding was a celebration of the spring, the return of life after the retreats of winter and lockdown. Tiding also marked the last public programming ]performance s p a c e[ organised in Folkestone.

]ps[ has made a home for performance art and artists on Tontine Street since 2016. We have organised festivals, hosted residencies, curated exhibitions, and worked in collaboration with our peers and communities. Across this time, we have remained in dialogue with the remarkable landscape of the Kent coast, and so it is fitting that Tiding occured at both the Parish Church of St Mary and St Eanswythe in Folkestone, and St Augustine’s at Snave, a remote church in Romney Marsh.

People have met to worship at St Mary and St Eanswythe since the 7th Century, and at Snave since the 13th Century. In inviting James, Kelvin, Léann, Lynn, Monstera, and Sandra to make works in dialgoue with these two old churches, we spoke about religion, and the histories of violence, exclusion and loss which these sites call in. At the same time, as we prepared the churches - negotiating space, sourcing materials, collecting dust - we  thought about the spiritual funcitons of performance art - as a place for gathering, meditation, celebration and reflection.

Thank you for joining us at Tiding.




Credits


Tiding is curated by Benjamin Sebastian and Joseph Morgan Schofield, and produced by ]performance s p a c e[. The project is supported by Ash McNaughton and Marcin Gawin.

The project is funded by ]performance s p a c e[, Kent County Council, Creative Folkestone and Roger De Haan Charitable Trust, and Kent Wildlife Trust.

Contact: joseph@performancespace.org













Sandra Johnston. Photos by Tristan Broers.

Day time session in Romney Marsh

St Augustine at Snave




The day began with a vegan picnic at St Augustine in Snave, a 13th Century Church in Romney Marsh, where artists Sandra Johnston, Lynn Lu and James Jordan Johnson presented performances across the afternoon.



Likkle More: A Walk, A Plot(ting), A Land, James Jordan Johnson. Photos by Manuel Vason.

“We Must return to the point from which we started. Diversion is not a useful plot unless it is nourishedby reversion: not a return to the longing for origins, to some immutable state of Being, but a return to thepoint of entanglement” – Glissant

Likkle More: A Walk, A Plot(ting), A Land is a multi-site-specific performance. The work is a way to think about how a (raw) material and subject becomes an art object, what process must take place so that it becomes something it was not previously? How does a desire for singularity and removing a “point of entanglement” become a necessity for the knowledge system and culture that pertains to the art object?

The work, which uses the method of walking, video, public intervention and participation begins withinLondon pertaining to three distinct areas; Stratford, Lewisham & Deptford. The route breaks away from London, a departure followed by a destination of St Augustine’s Church at Snave, Romney Marsh.
James Jordan Johnson (b.1997, London) is an artist working in site-specific performance and sculpture. He is interested in thinking about illegible knowledge systems surrounding material and geological Black histories by using methods of mundanity, slowness, walking, site interventions, and found as well as chosen objects.

︎︎︎ www.jamesjordanjohnson.com




 The Impossibility of Return, Lynn Lu. Photo by Manuel Vason.

"The past 2 years have left us collectively shattered. We don’t stay broken, however, and as we put ourselves back together, this work proposes that we wear each of our distinct scars as a mark of beauty in the face of a chaotic universe."

You are invited to bring Lynn a cherished object that has been broken, and to engage in an intimate exchange. Your broken object – ideally ceramic or porcelain – might be in pieces, or simply chipped or cracked. Lynn's offering during Tiding will be a one-to-one exchange invol ving these items.

Over the next months, Lynn will resurrect these items using kintsugi*. Stanford research scientist Amy Price has described the practice of kintsugi as “radical empathy in action” (2021), representing resilience and the regaining of function with new splendour. Each restored object will be photographed then returned to their owners.

* Kintsugi is the Japanese art of repairing broken pottery by mending the breakage with lacquer dusted with precious metals.
Lynn Lu (PhD, AFHEA) is a visual artist from Singapore, trained in the US, France, Japan, and Australia.

Her research-led multidisciplinary practice emerges from her interests in context and site specificity, participation and collaboration, and the poetics of absurdity. Engaging vigorously with the present reality of all that is here-and-now, the meaning of her works often manifests in the resonant relationships created between herself and her audience, and between the audience themselves.

Lynn exhibits and performs extensively worldwide. Selected venues include National Gallery Singapore (2022), SFMOMA (2021), Staatlichen Kunstsammlungen Dresden (2019), Framer Framed (2018), Science Gallery London (2017), Saatchi Gallery (2017), Palais de Tokyo (2015), The Barbican (2015), Perth Institute of Contemporary Arts (2013), Tate Modern (2010), Beijing 798 Art Zone (2009), and Singapore Art Museum (2007).

Lynn lives and works between Singapore and London. She is a Visiting Artist at London College of Communication, University of the Arts London, Associate Lecturer at Nanyang Academy of Fine Arts, and Associate Artist at ]performance s p a c e [.

︎︎︎ www.lynnlu.info




Sandra Johnston. Photos by Manuel Vason.

Sandra Johnston has been active internationally as an artist since 1992 in the field of site-responsive enquiry into ‘contested spaces’ working predominantly through performance art and video/audio installations. Johnston has held several teaching and research posts since 2002, including an AHRC Research Fellowship at the University of Ulster, Belfast, investigating issues of ‘trauma of place’. In 2007 she was the Ré Soupault Guest Professor at the Bauhaus University, Weimar. Between 2012-2021 she was joint-lead on the BxNU MFA programme at Northumbria University, England. Currently, she lectures at Ulster University in the Photography & Video Department. In 2013, Johnston published her Ph.D. research project entitled ‘Beyond Reasonable Doubt: An Investigation of Doubt, Risk and Testimony through Performance Art Processes in Relation to Systems of Legal Justice’. Additionally, she has been committed long-term to exploring collaborative processes of improvisation, facilitating workshop encounters, alongside engaging with the development and sustainability of creative networks.




Monstera Deliciosa. Photograph by Jana Astanov.
Kelvin Atmadibrata, Deepthroat, 2017, Kolkata Performance Festival, Kolkata, IN. Photo by Fajar Kunting

Evening Session in Folkestone

The Church of St Mary & St Eanswythe






Tiding continued into the evening in Folkestone at the Church of St Mary & St Eanswythe, a site of worship since the 7th century, with more vegan food and a further three performances by Monstera Deliciosa, Léann Herlihy and Kelvin Atmadibrata.





Kelvin Atmadibrata. Photos by Manuel Vason


A Knight No More is a site-responsive work involving a body performing a (silence-d) gesture of grass whistling. He seemingly answers a series of occasional screams but remains muted throughout the performance. Accompanying him are four stacks of paper scattered around the site with a segregated script for the prologue of Square Enix’s 2007 Final Fantasy Tactics: The War of the Lions- which the screams are also borrowed from. Adopting elements of masculine identities, death and potentially violence, the presence of the work in The Church of St Mary & St Eanswythe unintentionally echoes with the church’s Unknown Soldier.

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 the masculine meta and erotica in Southeast Asia. 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







Léann Herlihy. Photos by Manuel Vason


Léann Herlihy is an artist and researcher based in Dublin. The methodological fulcrum of their practice pivots around academic studies in queer theory and feminist epistemologies which they utilise in tandem with live action, performance, video, sculpture and text. Pairing gestural action with in-depth research, their practice employs an emancipatory paradigm that actively destabilises gendered and sexualised dichotomies in an overtly heteronormative society.

Originally from Waterford, Léann Herlihy holds a MA in Gender Studies from University College Dublin and a BA in Sculpture, Performance and Spatial Awareness from the University of Arts Poznań, Poland. They were the artist-in-residence for Steak House Live Residency Programme, London [2020] and Assembly #2, Simiane-La-Rotonde, France [2019]. Solo exhibitions include the middle of nowhere, Project Arts Centre, Dublin [2022]; STUNTMAN, ]performance s p a c e[, London [2020]; Trojan Horse, STROBOSKOP Art Space, Warsaw [2019]. Select group exhibitions and festivals include Slow Sunday, Artsadmin, Toynbee Studios, London [2020]; Foreign Bodies, Zachęta National Gallery of Art, Warsaw [2019]; Biennale Warszawa, Mokotowska, Warsaw [2019]; ZABIH Performance Festival, Lviv, Ukraine [2019].

Léann Herlihy is currently supported by the Arts Council [Visual Arts Bursary 2021; Agility Award 2021] and Temple Bar Gallery + Studios [Project Studio 2021-2022].

︎︎︎ www.leannherlihy.com



Monstera Deliciosa. Photos by Manuel Vason and Tristan Broers

“Hey there, Monstera here. Good on you for reading this! Since you’re here, I thought you should know that (spoiler alert) the majestic photograph exhibited is by Andrea Abbatangelo and portrays the gorgeous friend and icon Keijaun Thomas as she graced the banks of the Warren right here in Folkestone. Today we’re also taking contributions for her funding campaign for her upcoming gender affirming surgery: keep an eye out for the collection trays passed around during the performance or do approach us if you wish to make a donation otherwise. Happy to take your email address and send you a receipt of the donations transfered. Ah, to top it all of, you might also be hearing, seeing, sensating (traces of) works by ARCA, SOPHIE and Bence Magyarlaki - bring on this moment of trans and queer excellence and thank you for your soulful presence today!

My name is Monstera Deliciosa. I am no artist, but have inhabited spaces and practices that some would call artistic. A she-they kind of womxn, I live through the joys of insurrectionist trans-feminism, the perils of visibility and the paradoxes - physical and philosophical - that existing outside of the gender binary brings (hi dysphoria!). My performance endeavours try to articulate this all - be it through the minutia of applying lipstick while hanging from a 10 meter high balcony or the grandeur of a sticky breath imprinted against a gallery window front. Neither here nor there, but mostly all over, Monstera tries to unsettle what is perceived as spectacular. I derive pleasure in problematising voyeurism, castrating viewership while activating participation. She’s usually not in it as a token for your diversity quota, so spare her from the tiresome limitations of the white-cube and pay me to pick up her one heel and wobble down the streets (or hills).  Hope you still like her, if you hate me!”

︎︎︎ www.monsteradeliciosapresents.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


︎︎︎ workshop: FUTURERITUAL - Mythic Time, September 2021


This residential workshop, hosted by VestAndPage and Joseph Morgan Schofield, explores the (re-)invention of spiritual practices, the sacred, rites and rituals through performance art.

︎︎︎ ]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.

upcoming




]ps[ is in a development phase.


This means we won’t be undertaking any public programming for the time-being. We continue to act as producers, advocates and artistic comrades in the meantime, and we look forward to announcing ways to feed into our development in the coming months.

︎︎︎ full statement on organisational developments 

In the meantime, check out documentation of our most recent curatiorial projects:

︎︎︎ Tiding
︎︎︎ PSX

online


Our online offerings are currently closed, although we invite you to look back through documentation of our most recent programme: PSX: a decade of performance art in the UK.






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











Writings

]ps[ has always worked to foster  critical and poetic contexts for performance art. We are slowly making our collection of commissioned writings available online.







This text is one of three commissioned works produced in response to PSX: 10 Hours, a durational performance event held at Ugly Duck in London in August 2021.

PSX: 10 Hours was the culmination of PSX: a decade of performance art in the UK, a celebratory programme marking the 10th anniversary of ]performance s p a c e[.


PSX: 10 hours // words of witnessing

by Lateisha Davine Lovelace-Hanson




~ part 1: remembering is a work ~


I’m here
It’s been 204 days since i was at ‘PSX: A Decade of Performance Art in the UK’ - 10 Hours of durational performance at Ugly Duck

I’m here
It’s been 4,891 hours since i watched, since i attended, since i witnessed the unfurling and crossing of realities

I’m here
It’s been 6 months since i first asked myself ‘how do i write this? How can I document a space built to contain the imaginings of others? performances of the present, presence and the unpresented? Was the event a representation of this thing we call ‘performance art’? Was the event a figment of my own imagination? Was i, Lateisha, even there? How do i take in all this s p a c e?’

I am, very much, here right?
You, are, reading this, right?
I must rite what i write, right?
Okay, i call myself in
To remember what i must, what i can, what i feel
I let go of what i choose, what i do not have space for, what 1,000 words can not contain with the care i must centre, behold and write with

See, i was invited
To do more than watch, attend and witness
I was asked, to remember
To bring ritual knowledge to the practice of re-memory
Because i too,
Had to invite
Had to archive
Had to hold on to what can not be lost
Speak into myself
To open
10 hours
Issa long time
To remain steadfast, vigilant
To take note to the changes of air, tone
To free write out of my skin what i want to hold, protect and un-forget
Memory work
Is grief work
When your body has been mis-remembered
Invisibilised
Thrown into water
When your body, is made of flesh, earth and fire, songs and starlight
All Black skin and dream visions
All life and survival
Speak into myself
To remember is not always easy
To remember is not always allowed
To Remember is not always a given in this world

For it has done everything it could possibly do, to tell us, to tell me, to tell you, that the ways of the writer - the soothsayer - the griot - the witch - the grandmother -  the storyteller - the prophet - the holy - the guide - the healer - the masquerader
the spirit workers of enslaved peoples who gathered in shadows to learn the spell of their own name
For they all knew, the cost of the word is a price we still pay
The Written
Said,
“Speak into myself”
So here i am
Here
i am


~ part 2: Some Thoughts That Came To Me On The Day ~


Rubiane Maia // i think we share a knowing. We share cloth and hair texture. Did you know i was a coming? Did you know you were going to be witnessed? You pour water: soft memory + vessel. They point lenses at you, you ignore it. They cross your paths, your space, because it is not yet a complete circle. You do not perform. In performance, you set yourself free. Clay of Earth. All that matter is putty in your hands. You are moulding + shaping a new universe. i see those ghosts eating away at your back. A resurrection? A seance? A burial? No, a cleansing. A clearing.
An invitation

Anne Bean //
She shatters all these acts of intimacy
Reflections
And it hurts
To see her, hear her, feel her
Break
Her portals
Her entry points
Her requests for play
Step 1:
Make eye contact
Step 2:
Mirror her moves
Step 3:
Stay connected
And begin again
All curiosity and a lingering smile
It’s going now
She takes it all away
She is breaking
and we watch,
We do nothing but
Watch



~ part 3: because both of you ~


And you anchored me - both of you
Chinasa Vivian Ezugha
All smoke and a clearing
Rubiane Maia
All clay and an undrowning
You kept me close
Kept me safe in the space
Because you knew what needed to be done
We always know, don't we?
In whatever space we find ourselves in
In whatever lifetime
In whatever story
It must be done
The shattering, the breaking, the un-fixing of a time that was never designed with our hands in mind
So we call in our gods, our ancestors, our spines and open-hearts
Call it all in
Call in, the returning of the gaze
And you looked right back
And I saw you
Both of you

Return to the smoke
Return to the clay
And i know,
And i felt,
To hold you
With my two eyes and body leaning against the wall
A heart break underneath my hoodie, my ribcage, my role in the space
I know you went there Rubaine
10 hours of ceremony, funeral rite and knowing
The Other place
Steadfast in ritual
Each foot
The unsevering,
Each foot,
A memory

How could they do that? How could they cut a foot, a hand… for rubber. For cocoa. For cotton. For sugar.
These plants did not ask to grow from our blood
They did not ask for our stolen names
Each foot,
A holding
Each foot,
A ship
Each foot
Took me a step closer to a future
Where our grief
With all its righteousness
All it’s reckoning
Will have a place
To be released

Into the Earth
Matter
Clay
Were you hot in that boiler suit?
Because you brought the fire
To the waters of what is still so hard to say
Tears don’t make sense here
Not in this space
I need to put this somewhere inside of me
Keep it safe
Come back to it later… in 6 months maybe
In 4,891 hours
In 204 days
I can cry now
For there was a vessel etched into your back

And She
She came with Black smoke
Incense
And a clearing
She
Black mother
Creator of this world
Baby suggs knew her name
The Ada knew her name
I,
Knew her name
Chinasa Vivian Ezugha
For she
Came with tools
To clear
To cleanse
To create space
To move energy like the old ways
To burn it to the ground
To move in and out and around
Specific times to come through and from
2pm
She came
5pm
She arrived
8pm
She entered
Covered in Black smoke
And bare feet
And 10 mins at a time
Protection looks like that sometimes
A ‘brief’ appearance
A ‘happening’
A guidance:
Even when they broke the mirrors in your pathway. You rose. No more of your blood will be shed.