Talk (Thursday Late only)
About the work
Visitors are able view and engage with each day’s full programme. A morning movement practice – that is open to all – is followed by a day of making and practice, culminating in a daily early evening performance.
This process supports the development of Moran’s long-term project, On The Habit of Being Oneself, which uses perceptual inquiry as a generative, choreographic practice, within a choreographic directive of relentless motion. Dancers engage in perceptual and conceptual puzzles in ways that problematize or complicate their subjectivities, making visible their thinking and practice of dancing, or our habit of being ourselves. Whilst the dancing is complex, the relentless single activity unfolding on stage builds through time in a way that quietly and yet insistently provokes the audience’s attention. The work destablises the established dancing body, the choreographic and the theatrical frame, as well as their attendant notions of representation, to question and unsettle dominant ideas of what a person, body or indeed performance should be.
Joe Moran is a choreographer with a wide-ranging practice incorporating touring theatre works, gallery installation, lecture-performances, and curatorial projects. His work tackles contemporary propositions in dance, performance and critical thought. Recent commissions and touring include Block Universe/fig-2 at the ICA (2015) the first step in a collaboration with sculptor Eva Rothschild, David Roberts Art Foundation (Frieze, 2014), Nottingham Contemporary (2014), Assembly (UK tour, 2014), The Modulated Body (2013) commissioned by Ordovas for its Bacon/Rodin exhibition, and The Place Prize (2013). His first drawing exhibition, Tracks and Lines was presented at Gallery Lejeune (Oct – Dec 2015). Joe’s recent work Arrangement will have its first stand-alone UK and international tour in 2017. As a UK Associate at Delfina Foundation, Moran will consider ways of translating his new work On the Habit of Being Oneself, which explores the surrender of intention and choice making in dance, to the gallery context.
Phyllida Barlow (born 1944) studied at Chelsea School of Art, London (1960–63) and then the Slade School of Fine Art, London (1963–66) where she later became a Professor. Barlow’s work has been presented in solo exhibitions around the world, and she will represent Britain in the Venice Biennale 2017. Her latest exhibitions include the recently opened Artist Rooms at Tate Modern, London (2016) as well as tryst, Nasher Sculpture Center, Dallas, Texas (2015), the Duveens Commission dock, Tate Britain, London (2014) and GIG, the inaugural exhibition at Hauser & Wirth Somerset (2014).
Daniel Felstead is a London based artist and writer. His work addresses the ambivalent relation between choreographic strategies and contemporary modes of production. He has exhibited work in venues such as the V&A Museum (London), Lakeside Theatre (Colchester), Ambika P3 (London), and Biblioteca Nazionale Centrale di Firenze (Florence). He has contributed numerous essays for publications by Tate Modern, Berlin University for the Arts, The Swedish Dance History, Art Selector, and Literary Platform. Daniel is currently completing his PhD at RCSSD (University of London), where he is researching the practice of Tino Sehgal in relation to issues of production, organisation, and materiality.
Kaffe Matthews is a pioneering composer and sound artist who works live with things and places worldwide to make new electro-acoustic music for wide ranging audiences. Violin, theremin, star maps, NASA scientists, sharks, children and the BBC Scottish Symphony Orchestra have all contributed to a growing body of work for sites such as concert halls, sonic bikes, public spaces and the human body. She received a BAFTA in 2004 for Weightless Animals, in 2006 a Distinction, Prix Ars Electronica for Sonic Bed London and a NESTA Dreamtime Fellowship. She is an Honorary Professor of Music at the Shanghai Music Conservatory, is currently Edgar Varese guest professor at TU Berlin and has been releasing solo works on Annette Works since 1996. In 2014 she established The Bicrophonic Research Institute (BRI) and is currently developing interactive compositions for outdoor enjoyment on sonic bikes, having made 10 international bike operas to date.