Experiments and Texts

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inability

inability crew is a project initiated by Ivan Mijačević, attempting to overcome the inability of meeting in space and time. Inaugurated in Köln, Germany, the first inability festival took place in 2014. Subsequent iterations took place in Maribor, Slovenia and in Köln in 2015 and 2016. I contributed as dramaturg, writer and performer.

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Bellyflop Mag

Between 2014-2015 I contributed a series of blog posts for Bellyflop Mag, as well as reviews. Bellyflop was an online magazine for contemporary dance and performance in the UK. (web page expired – will upload old texts soon)

https://somethingothertemp.files.wordpress.com/2018/12/so-corresp-ali-image.jpg
Ink Welling

In 2018, I contributed a piece of prose, ‘Ink Welling’ to chapter 7 ‘On Correspondence‘, curated by SomethingOther, a website on performance writing by Diana Damian Martin, Maddy Costa and Mary Paterson.

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Acerage

In 2011, I created the head-phone piece ‘Acerage’ for the Lo-Fi Festival at Smoke Farm, a 360 acre former dairy farm, north of Seattle, USA. The theme was ‘Not to Scale.’ This audio recording was made to be listened to walking in the grounds there. It overlayed aspects of Long Acre, Covent Garden and the Devil’s Acre (a 19th century slum,Westminster) onto the rural farm land.

The Value of Repose

In 2012, I made the text-based chair-sculpture ‘The Value of Repose’, presented in the group exhibition and performance festival Bush Bazaar, with the support of Theatre Delicatessen. It was an homage to the ways the body repairs itself and the value of doing nothing.

In 2013 I made experiments drawing from Laban Movement Analysis in a project called ‘Attune, Observe, Report’. Invited by curator Rebecca Bligh, I analysed 5 movement workshops, presenting my findings in the frame of the Bold Tendencies festival, London. Invited by Donald Hutera, I performed in his GoLive! festival in response to several other performances in the festival.

In 2013, I contributed a movement score ‘Changing Positions’ as part of a symposium curated by Bellyflop called Cue Positions. It asked players to speak and move their sense of their position within the field of dance in London: 5 years ago, now, and 5 years hence. (image: Denishawn, c.1915).

In 2011, I made the text-based sculpture ‘Upend’, presented in a group exhibition Equilibrium, in a gallery in east London. It explored inner sensations of unrest.

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