Adriana Tabalipa 1972 – Born in Curitiba and living in Rio de Janeiro, she currently lives and works between these two cities. Visual artist, performer, recorder, painter, draftsman and free thinker. He began his career in the late 1980s. He participated in numerous collective and individual exhibitions, both national and international. He has won several awards and has his work represented in important public and private collections. Like the one of Gilberto Chateaubriand in the Museum of Modern Art of Rio de Janeiro. One of her most recent individual “The End Factory Project” was curated by the Colombian curator Santiago Rueda and he traveled through several capitals. His works reveal everyday objects and places with direct reference in the relation between them and the human body as well as the energy existing in these relations.
My interests involve the knowledge and experimentation of energy. Whether from the action of the body on the physical world or the energy present in matter and in the immaterial. The impregnation of energy present in intimate everyday objects as an apprehension of a kind “Archaeology of Contemporaneity”. A quantum mechanics of senses and affections, memory, absence and presence. The state of presence that is able to channel the transcendent in the search for transmutation. The reorganization of materials capable of revealing re-significations. The poetic power that resides in the manifestation of a state of presence in the right here and right now. The practice of Performance Art as Art-Life, Life-Art as an engine to drive energy fields in polydimensional layers in a kind of Philosophy in the Art of Living. The “Open-Source” Methodology as a way of being together in the most essential expression of being in the territory of Art.
We are very happy to annouce that the artists chosen by the panel consisting of Lucy Day, Francis Fay, Kate Walsh and Deej Fabyc are as follows
Simona Pavoni (1994), lives and works in Milan where she recently co-founded the art studio Spazio Marea. Trained as a painter and then as a sculptor, she approached video and performance, focusing her interest on the vital functions of a body with its biological, architectural and socially derived manifestations. She has taken part in several exhibitions in Italy and abroad.
I think about architecture as a body, an environment in which everything can be host and everything can live. Architecture makes me reflect on the principle that things exist with their outlines. These outlines aren’t inteded neither as limits nor as definitions. They are filters that bring into communication the outside with the inside, letting elements to pass through. I think about body as an architecture. The performance upsets the dimensional scales by stretching the space. This space starts from the theater’s stage, in which the performace takes its conventional place, to the world, making the art practice free of borders.
Kate Barry is a performance artist whose work investigates queerness, subjectivity, and embodied practice through painting, drawing and video. Barry has performed + exhibited extensively throughout Canada and internationally. She has contributed over 20-years to working in artist-run spaces in Canada committed to the exhibition of artwork outside the mainstream.
From 2011-2014, Kate Barry was a member of the board of directors for FADO Performance Art Centre (Toronto). She was the project manager for More Caught in the Act: An Anthology of Performance Art by Canadian Women and she worked as the archival + research associate for the book, Wordless: The Performance Art of Rebecca Belmore, 2019. She was as the project lead for the MPCAS, an urban screen launched by grunt gallery in 2019. Currently, she is a sessional faculty at Emily Carr University of Art & Design (ECU) and serves on the board of directors of the Mutual Aid and Reciprocity Fund (MARFEC) at ECU.
My work explores the decolonization of the human body through the lens of queerness by investigating performance art as a relational practice. My current research involves queer survival during a global pandemic that combines the conjuring of ancient rituals for protection with contemporary queer performance art. While at Live Art Ireland, I’m proposing a 3-week residency in Nov 2021 where I will create a series of performance-paintings. To do this, I will collaborate with the land and make eco-friendly paintbrushes using sticks, rocks, plants, foliage, and other unexpected items. I will paint on raw, un-stretched canvas on the ground and use my paintbrushes as extensions of my body reenacting prehistoric mark-making methodologies. These performance-paintings will consider the queer body as a contested, political site that links the Milford House and its environs with its demesne history.
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Day Magee is a performance and visual artist based in Dublin. Since 2011, they have performed as part of live art organisations such as Livestock and the Dublin Live Art Festival, before pursuing a BA in Sculpture & Combined Media in Limerick School of Art & Design in 2017, during their time there staging group live art events managing the Evil Collective, and by their third year exhibiting work as part of Galway’s Tulca Festival 2019, in group shows in Dublin and Manhattan, as well as being put forward for the Future Generation Art Prize 2020 by its Irish partner platform Pallas Projects Studios. They are currently commissioned by Arts & Disability Ireland for their 2021 Curated Space programme, and a member of MART Studios.
“My work concerns the subjectivity of a queer sick body: queerness navigated via fundamentalist Christianity; sickness as manifest in chronic pain; the body being the site of self-conception as well as the instrument of self-reproduction. Experience acts as the dynamo, and the ensuing emotional interiority is the well from which I draw. My life is a question, and my work is its answer. Taking the form of performance-centred/performance-initiated multimedia, I perform images drawn from self-mythology. The work hinges on the mutual suspension of disbelief between creator and spectator, acting as stylised rituals, their narration reliable or otherwise, charged by the witness of the audience. Given that my work is confessional, and confrontational, I am asking the audience to believe me.”
Niamh Seana Meehan is a visual artist based in Northern Ireland. Working in-between visual art, performance, audio, sculpture, and written matter based on the slippages involved within the translation of thought to text. Themes include emptiness, silence, ambiguity, and doubt. Niamh Seana has performed and exhibited both nationally and internationally, recent projects include PS2 Short Residencies (2021), Digital Arts Studio Residency (2021), UK New Artists Common Interest Residency (2021), Catalyst Arts Propagate Workshop (2020), CCA~Derry~Londonderry DeMo Reciprocal Residency (2020) and HOUR Bergen International Performance Festival (2020).
My practice spans performative readings, audio, text-based installations, writing projects and conversations based on the slippages involved within the translation of thought to text. I investigate the unknowability of language, its messiness, and how language has the potential to become visual, performative and moveable. Creating sub-language, metanarrative, para text or language that spills onto the other page. I use live strategies to embody the act of decision making. Performative methods reveal moments for the in-between to open-up, there is a sense of getting lost, misunderstanding, stopping, and starting, and doubtfulness. The textual element within my practice investigates how language can be translated into movement, slippery rhythms, gestural fragments, jumpy breathes. Using conversation as props, the textual can take various forms in sculpture, audio or remaining as text. The props always provoke the performative, by means of displacement, presenting traces for the performance event. These often take shape as rehearsals.
