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