m&de 2007 participants
The selected artists for m&de@dartington 2007 were:
Kate Ashman (UK) |
Annie Pui Ling Lok (UK) |
Antoine Fraval (France) |
Alison Rootberg (USA) |
Alice Tatge (UK) |
|
Juliana Hodkinson (Denmark) |
Barnaby Tree (UK) |
Petra Johnson (Germany) |
Esther Venrooy (Belgium) |
Ellen Kilsgaard (Denmark) |
Douglas C. Wadle (USA) |
Sri Louise (USA) |
A choreographer/performer currently studying for an MA in choreography at Dartington College of Ars focusing on the performer/audience relationship and what happens when the performance space is shared by the audience, creating the potential for watching and being watched. I am working on performance that involves exploring intimacy, the private/public binary and investigating ways of creating a dislocating, and highly engaged space for both performers and audience.
As a choreographer, I have collaborated with artists from other disciplines including video and installatin, working on methods to create work in which the different art forms are of equal importance to the whole.
After completing a BA hons Theatre at Dartington College of Arts, Antoine went on to teach French language to adults. Antoine’s current area of research lies in devised theatre. He works visually and textually with a particular interest in movement based theatre.
Antoine was a founder member of the theatre company Deer park with whom he still works and has performed and devised context specific multimedia performance with Bristol based company Polar Produce. In his current position as performer/maker with Lone Twin Theatre, he has explored durational dance performance and devised theatre.
Lone Twin Theatre has performed extensively as a company across Europe and the U.K.
Since graduating The Royal College of Art in 1998 I have been working as an artist in east London. Whilst most of my work is painted I have made objects and occasionally intergrate performance into my practice. I have worked with 39 and Consequences- both collaborative art projects. I have sang with several bands and more recently been experimenting with improvised rock with Blip, Kerb Drill and The Tufty Club.
I take my inspiration from a range of historical depictions of women, in art, pornographic photography or suggestive advertising imagery. The original sources are all alike in that they idealise women in various levels of submission these women are all sexualised objects packaged for the male admirer.
I force the viewer to look at the image in different ways - by imitating these poses, i manipulate their reading forcing the viewer to expect a certain interpretation, then disarming with the knowing look of the subject who loses her innocence as with the knowledge of power.
The lack of information in my painting style adds to the unease instilled in the work. There is no variance in the blocks of colour, little texture in the surface of the paint. All the detail is in the sexualised areas, the eyes, mouth and feminine decoration.
I have consistently used the duplicity of vulnerability and dominance - creating a dichotomy present in all the work, showing innocence and threat, the classic female roles of temptress and redeemer.
Juliana’s background is in classical music composition, and in philosophy and Japanese studios. Her work has developed within contexts such as intrumental theatre and situational work, through close collaboration with performing and visual arts.
Major productions include:
“All The Time” – a performance for matches wrapped clavichord, electric guitar, firecrackers, oboe, feathers, theorbo and exploding lightbulbs’
“Maps” – a music theatre text installation performance devised in collaboration with the Australian composer David Young sand Danish theatre-maker Louise Beck.
“I greet you a thousand times” – a concert for amplified symphony orchestra with sound and video projection, devised in collaboration with visual artist Joachim Koester.
Petra began her artistsic career as a toymaker and went on to expand into frames and mirrors. She has won several awards for her work in these fields, she holds a BA (Hons) in Humanities from the University of Wolverhampton (2002) and has lectured at Dudley College (2002), Shanghai University – China( 2002 – 2006), Nanjing Normal university – China (2004), Ningxia University –China (2004) and the National University of Tokyo (2006 - 2007).
Between 2005 and 2006 she worked as an artist mentor for Artist Link, a pioneer programme run by Arts Council England facilitating residencies in China and the UK.
In March 2006 Petra was appointed co-lead researcher alongside Tracey Warr for an artist documentation project (website and hard copy) of selected Chinese and British artists. (A collaboration between Shanghai University and Dartington College, UK funded by the Arts Council, UK) She is currently attending an MA course in Choreography at Dartington College of Arts.
Since graduating from School for New Dance Development in Amsterdam in 1999, Ellen has worked in the field of dance and performance as freelance maker, performer and teacher. Her last performance, a duet with violin, is a dance piece, a tightly structured improvisation, which focuses on presence and the act of listening.
She has regularly worked as performer for other choreographers/directors. The last project was the completely text based performance ”According to Plan” directed by Adelaide Bentzon.
She was (together with Marianne Langenegger and Donovan Flynn) founder and member of the Amsterdam based performance group Side Hotel. Their work have been skinless and vulnerable and in the same time had a provoking roughness. Their pieces was shown in several cities in Europe. They have however not made work together recently.
She received a two-year working grant in Denmark and travelled to South India where she studied the regional martial art ”Kalaripayattu” which has become central in her physical training.
Since 2003 she worked for longer and shorter periods as teacher and leader of the New Dance and Performance line at Vrå Højskole, where she had taught, choreographed for and made performances with students, as well as conducted larger multidisciplinary projects.
She is founder and co-organiser of rcdp, Research Centre for Dance and Performance, which at the moment offers residencies, lectures related to the groups in residency, performances of their work and occasionally workshops. The initiative is currently housed at Vraa Hojskole. The founding group are continuously re-thinking the form of which the rcdps will function as a forum for artistic exchange.
Sri Louise is a freelance contemporary dancer and yoga instructor. Since moving to Europe from San Francisco in the summer of 2004, she has been a featured yoga teacher at Impulstanz, Vienna and has taught yoga to various contemporary companies such as Chris Haring and Need Company. She has also trained dancers at the Ballet of Monte Carlo and the Cullberg Ballet. In addition to collaborating with visual/sculptural artist Kate Randal on a feature length solo that is both docu/drama and spiritual phrophecy, Sri is currently in creation woth Sidi Larbi Cherkaoui for ‘Myth’, which premiers in Antwerp at the De Singel in Jun of 2007.
Her previous work with Sidi Larbi includes:
Choreographic Assistant: ‘Mea Culpa’ for the Ballet of Monte Carlo, 2006
‘End’ for the Cullberg Ballet, Stockholm, 2006
Physical Coach: for Sis Larbi in his production ‘Zero Degrees’, London, 2005
Other performance highlights include Barbara Krauss’ ‘Fuck All That Shit’ (2006), Kim Epifano’s ‘Einstein’s Daughters’ (2003) and a collaborative trio with Kathleen Hermesdorf and Patricia Jiron (2002).
Annie’s work aims to test the boundaries of the performer/audience relationship, preconceptions around space and location, and the possibilities of working across artistic disciplines. This reflects her training in dance and interdisciplinary collaboration and her subsequent work exploring site-specific, installation, live and screen-based performance. She has worked as a performer and choreographer with film artists, visual artists, sound artists and dancers and has worked and studied in Europe, India, Japan, the U.S.A, Canada and the U.K Annie holds a BA hons in Dance and Visual Art from Brighton University and a PG Dip/MA Choreography from London Contemporary Dance School.
Alison Rootberg is an interdisciplinary artist whose primary focus is in dance and video. She completed her MFA in Dance and Integrated Media at the California Institute of the Arts. Rootberg also has a BFA in Dance and a BS in Inter-Arts and Technology from the University of Wisconsin – Madison. Her work has been presented by the Apple Store SOHO (NY), the Association for Dance and Performance Telematics (ADaPT), Bellingham Electronic Arts Festival (BEAF), the Consumer Electronics Show (NV), the EL Rey Theatre (CA), the International Computer Music Conference, The Kitchen (NY), the MacWorld Conference (CA), the International Conference on New Interfaces For Music Expression (NIME), San Diego State University, St Marks Church (NY), and the University of Cincinnati. She is a board member for the New West Electronc Arts and Music Organization (NWEAMO) and also serves as a committee member for the Los Angeles Dance Resource Center.
Alice was born in 1981 in Italy. In 1987 she began training in Ballet and in 1993 was introduced to Graham technique. In 2000 she trained in the U.S, A, mainly at Hampshire college, Massachusetts and in New York. In 2004 she completed BA (hons) Dance and Theatre at the Laban centre, London.
Her choreographic and performative work deals with the possibility of juxtaposing pure dance and the emotional and physical content that it evokes with other forms of art.
Alice has performed with Site-Specific companies such as Punch Drunk Theatrical Experiences and Stacked Wonky Dance Company.
She has also performed in NY Norksdans, Norway and toured in Wales for The Welsh National Theatre. Other performance work includes performance projects set in gallery contexts in London, Italy and Iceland.
Alice has taught improvisation, Release and Graham technique as well as Ballet in Italy, London and Iceland.
She has recently joined the Birbeck college staff and Roehampton University as a tutor of contemporary technique.
I am driven to see what can be done with the bare bones, with just the body and acoustic sound; just air between the performer and the audience. The physicality of song; the sweat and blood of the noise. I have performed in any which way, as a dancer, a poet, a backing vocalist and will keep experimenting. The work I am focused on at present is moving in and out of roles, from a musician to poet to dancer to pilot to hunter and back. The space I need is an open, focused, small theatre kinda place. My work revolves around songs I have written and improvised for cello,piano and voice. www.barnabytree.com
Esther studied classical saxophone at the Hogeschool voor de Kunsten in Arnhem, followed by a composer in residence programme at the European Dance Development Center. During this period she started using digitally manipulated sound in dance and performance-oriented pieces. She coordinated and developed a "tryptich" dance piece based on the works of Francis Bacon called Three Movements for a Figure. Venrooy has explored digital sound processing techniques at the Institute for Psycho-acoustics and Electronic Music (IPEM) in Ghent, Belgium where she still resides. She also collaborated with the international contemporary music ensemble "the Barton Workshop", with whom she recorded and released "the fives" by John Cage in October 2002.
Esther has explored digital sound processing techniques at the Institute for Psycho-acoustics and Electronic Music (IPEM) in Ghent, Belgium where she still resides. Her research at the IPEM resulted in a public performance in Ghent where the various pieces were presented to the audience through an 8-channel sound system.
While initially functional, Esther Venrooy's music has evolved into a more independent means of expression. She combines traditional composition techniques with personal working methods: "my compositions are created very much in the way that films are edited ... juxtaposing aural images and snippets of noise into an overall impression". Found sounds are digitally manipulated and combined with electronically generated noise, deconstructed speech patterns and traditional instruments.
Venrooy has performed her work on such concert stages as Beursschouwburg, Ancienne Belgique (Brussels), Vooruit, Ha' (Ghent), Radar, La Casa Encendida (Madrid), Paradiso (Amsterdam) and Scorecologne (Koln) A concert at deSingel (Antwerp) was broadcast live on the radio show Mixtuur, Klara. She released the cd 'to shape volumes, repeat' (2003) and the collaboration with classical pianist Frederik Croene "HOUT" (2005) on Roborecords (BE). For the Happy New Ears festival she developed a piece entitled "shift coordinate points" which utillizes recordings of spy transmissions, released on Entr'acte (UK) in 2006. Currently, Venrooy develops the piece "Vertigo", based on Hitchcock's masterpiece and the architecture of the Concertgebouw Chamber Music Hall (Bruges) where it will be performed.
Douglas is a composer/improviser/trombonist. He holds an MA in Ethnomusicology from the University of California, Los Angeles, and is completing an MFA in Music Composition at the California Institute of the Arts, where he has studied with James Tenney, Christian Wolf and Marc Sabat.
He is part of an interdisciplinary quartet of research-oriented improvisers under the direction of choreographer/poet Simone Forti and has worked extensively with choreographers, video artists, and theatre artists in North America and Europe.
He also performes as a trombonist specializing in experimental and improvisational work. Wadle’s work has been released on Exit Records, and his writings have been published by Beyond Baroque Books.
Katja graduated from the European Dance Development Center (EDDC), Arnhem, Dusseldorf in 1998. She has a broad range of training and across areas such as Music composition, voice training, Alexander technique, Theatre and performance, set design and video technology with a strong emphasis on Dance and choreography.
Her professional work includes “Blick Von Nirgendwo” (view from nowhere), (2007) a collaborative piece exploring issues of perception that was created in a laboratory situation., “Meeting Point 70” (2005) a movement and multimedia based autobiographical performance, and “Prometheus – Trilogy” (2004), a series about Greek myths and their relevance to contemporary processes. In addition to her commissions for choreographies she has worked in movement training for actors in the field of theatre and drama.
Her research is currently focused on the body, as a perceiving entity and an expressive medium, and movement, as a tool to learn about the world and as a way to interact and communicate with others.