Ritual Game (12th January 2016)

Method

  1. Research and create a list of participants
  2. Approach participants with questions regarding their rituals
  3. Get input from participants
  4. Develop ritual from input
  5. Invite participants to ritual
  6. perform ritual
  7. Get feedback work from participants

Question for participants

What motivates your sexual ritual?

  • Particular clothing/materials
  • Memories of childhood
  • Particular people
  • Fantastical events
  • Ambitions for your body
  • Shameful or guilty ideas
  • Music
  • Sounds
  • Races, creeds, social position
  • Sadistic or masochistic behaviours
  • Loss or frustration
Categories: Chelsea | Séance (Dec 2017)

Created: 11th June 2018
Edited:

After the Ball

Some old song about deconstruction, set to something Hank Codeine Williams might have used…

3/4

(C) After the ball was over

She took out her glass (G7) eye

Put her false teeth in the water

Hung out her hair to (C) dry

Placed her false leg in the (C7) corner

(A7) Shook off her nails and (Dm) all

(G) Then what was left went to (C) bye byes

(F) Af… (G) …ter the (C) ball

 

Categories: Invisible Salon (Jan 2018)

Created: 20th April 2018
Edited:

What is it? (Looking at Robyn and Margaret’s Salon)

So far the critical response to my loosely gendered experiments have been pretty accurate, “Stop thinking you’re fooling us and show us something.” I think the question resonating at the moment is how the aggression and frustration can become manifest. And why? I’m not sure what or who I’m angry at, and that is not the point. Perhaps the difficulty of the work is that it suffers three-fold: Two artists try to find their feet in a dance that they have little experience of; An angry and frustrated forty-year-old tries to convince others of a spectral world that he scarcely believes himself; the audience for any spectacle bring so much interference with them they refuse and are not encouraged to look or think (or be confronted or moved).

It is fair to say that at the moment there are only a handful of actual audience members, mainly Robyn and Margaret themselves. This is OK by both of us, but the relationship must spread, or be given the opportunity to spread by an approach. We have both felt that the strongest performances so far, have been those shared with the audience; performances where the struts and gaps are on display and allow the audience room to settle within.

Categories: Written

Created: 16th February 2018
Edited:

Performance Workshop #3 – Thomas Wells

Thomas Wells: Stage Fright and Anxiety: engaging new audiences through performance methodologies. Performance seminar 2017. Chelsea College of Art, London

Thomas Wells has just completed a residency at Array Studios, Belfast. He came to visit us and explore some of his outcomes from his time at InCube. Armed with string, cups, pegs, balloons, and other odds and ends, Tom led a group exploration, generating work through random conjunction and event.

Tom’s blog – myspecialistsubject.tumblr.com

GIF courtesy of Thomas Wells

 

Categories: Performance Workshops

Created: 29th January 2018
Edited: 11th June 2018

Performance Workshop #2 – Noisy Workshop

Robyn and Margaret both enjoy a bit of sound making. Joined by two participants we explored different vocal harmonies and sounds, made up some words and noises, and discussed the different experiences of noise-making (eyes open, eyes closed, in harmony, out of harmony, soft and loud).

Categories: Performance Workshops

Created: 29th January 2018
Edited: 11th June 2018

Performance Workshop #1 – Game Show

For the first performance workshop we asked people to help us develop some ideas around playing. We were particularly looking at winning, losing, and the politics and power of these silly games. We explored a few traditional kids games, and thought about things that don’t make sense about game shows, or can perhaps challenge the sense of game shows. The workshop was used to develop some material for Game Show.

Categories: Performance Workshops

Created: 29th January 2018
Edited: 11th June 2018

Salon Magazine #1

 

Categories: Invisible Salon (Jan 2018)

Created: 27th January 2018
Edited:

Invisible Salon

Who will you never be?

The Invisible Salon is a place to think about the people you will never be, the answers you will never have, and the dreams you will never fulfil.

Qu

Setting yourself up to fail

Finding the limits of your ability

Dreaming

Singing about the life you didn’t have

Fucking as the person you weren’t

Being haunted by the never-lived

Categories: Invisible Salon (Jan 2018)

Created: 24th January 2018
Edited: 27th January 2018

Chelsea Cabaret – About

Chelsea Cabaret was our first opportunity to stick a lot of things together, on our own terms, and see what worked. We wanted to enjoy it, and for everyone we liked to enjoy it too. The word queer was bandied about freely, and we felt we had begun the process of forming a dialogue with our allies. Securing the support of Rubyyy Jones and Lavinia Co-op on reduced fees showed the faith people had in the project, and, on the whole, we walked away feeling pretty good about it. Social-media time is dense time, many leaves of a book flipping at great speed. It is easy to think that cabaret has been in the ascendency for ages, and that we were offering something conventional. But the familiarity of Chelsea Cabaret didn’t fool us. We knew the work we’d put into it to make it seem light, and that the development we were experiencing was the way of practicing together in relation to performance as a critical dialogue. Critical of expectations (subversive queering), critical of our own practice (labouring too much or overthinking), and critical of a socio-political context (the too-broadly-labelled queer scene, bleugh).

The bits that mattered to us most about Chelsea Cabaret as a work, were the details intended to please us. The bar running as a performance of its own, the banning of recording devices, the use of an awkward institutional space, and the invite of Dr. Owen Parry to un-contextualise the event (we effectively paid him to get drunk and lend us his title); all these and more developed from a growing idea of sabotage as a tool.

The cabaret offered us a progression of former work by instilling a simple and lofty mantra: If we’re not having fun, we shouldn’t be doing it. This was obviously not a straight directive, and continues to challenge each project after. How do you have fun, when each project is imbued with stress, precarity and a potential for failure?

Categories: Chelsea Cabaret (May 2017)

Created: 23rd January 2018
Edited:

No Poster for Chelsea Cabaret

Categories: Chelsea Cabaret (May 2017)

Created: 23rd January 2018
Edited:
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