It has been a lovely way to end the year! We have had a chance to touch on a few ideas which will be expanded further by the next work in progress showing at Vitalstatistix in April 2019.
This week I will be performing at Artbank in Sydney. Eleanor Scicchitano has curated a new exhibition ‘A Vacant Space’. Bridget Currie’s work ‘Spooky action at a distance’ will be installed as part of the exhibition and I will perform the work we co-directed ‘Things meeting now’ with her forms for opening night Thursday 22nd November 6pm onward.
5 weeks in Singapore to create and premiere a new work with Raw Moves dance company! It has been amazing to work with the company and I’m excited to premiere this week(!) before heading home to Adelaide to do it again one week later at OzAsia Festival ! Discount code for blog post followers to our Adelaide Season is CLOSEOZ hope you can come along
It was an interesting, sometimes painful and ultimately greatly rewarding challenge to perform in 'Concrete Impermanence' at The Substation in Newport, Victoria. Luckily Harrison Ritchie-Jones was brilliant to work with learning Lewis Rankin's role while he is touring with Gravity and Other Myths. It was nice to be on stage with Harrison and Stephen Sheehan and to have Carlie Angel assisting us from the outside. It was a lot of work, but great to know we were able to successfully re-stage it for a different shape and feeling venue. Thanks to Brad Spolding and Rob Sowinski at The Substation for supporting this, Alisdair Macindoe and Matthew Adey for adapting their sound and lighting designs for this space and Andre Vanderwert for operating. It was great to get positive feedback from deaf audience members about Jason Lam's visual representation of sound and wonderful to present work in Naarm / Melbourne for the first time in 10 years! Thank you for the invitation Brad! And the ongoing support of Jason Cross and Insite Arts
Some images by Sam Roberts and link to a nice review by Grace Lowry below: https://melbournecritique.com.au/concrete-impermanence-2/
Adelaide now has a dance festival and The Human Arts Movement and I will be presenting a new interpretation of 'Creatures' in response to Aldo Iacobelli's exhibition 'A Conversation with Jheronimus' currently viewable at the Samstag Museum of Art. By remaking 'Creatures' in response the the exhibition it is in conversation with a conversation and you can also join us after the performance for another conversation - between the artists.
The performance takes place 5:30pm Wednesday 11th July at the Samstag Museum of Art bookings: https://www.eventbrite.com.au/e/alison-currie-creatures-tickets-45881988262
A conversation with Christchurch based presenter Adam Hayward in 2012 started my thinking and concept development of Concrete Impermanence. We had our first studio development in 2014 and the past four years have involved working with a talented team of artists each of whom has added to the strength of the project.
For the past three weeks performers Amrita Hepi, Lewis Rankin and Stephen Sheehan, sound designer Alisdair Macindoe, lighting designer Matt Adey, creative assistant Carlie Angel, producer Jason Cross and I have been in residence at Restless Dance Theatre studios completing the work ready for premiere this week!
It has been exciting, challenging and rewarding process to complete this work after four years of thinking, writing and working on it! We look forward premiering in Adelaide on the 17th and 18th of May. Another work I Can Relate is currently screening in the Space Theatre Foyer to coincide with the premiere of Concrete Impermanence at the Adelaide Festival Centre.
and more development of 'Concrete Impermanence' in the studio at Restless Dance Theatre and online, on the phone, in the lounge room, in my mind. So much still to do. Look out for the premier https://www.adelaidefestivalcentre.com.au/events/concrete-impermanence/ in May 2018!!
It was exciting to see this in print this week! 'Concrete Impermanence' my current choreographic project and next major work is now on sale as part of the 2018 season at the Adelaide Festival Centre. https://www.adelaidefestivalcentre.com.au/events/concrete-impermanence/
Huge thanks to everyone involved so far.
Choreographer and director: Alison Currie
Creative Assistant: Carlie Angel
Dancers: Jessie Oshodi, Lewis Rankin and Stephen Sheehan
Creative Producer: Jason Cross
Sound: Alisdair Macindoe
Lighting Design: Matthew Ade
Set consultation: Stephen Hayter
Design consultation: Morag Cook
Technical sound support: Sascha Budimski
Produced: Insite Arts
When you view it in the gallery you can change your relationship to the screen to see the various ways the sculpture captures and distorts the video. Kaboom Studios aka Jason Lam and Adam Synnott with help from Brad Williams have created a online 3D version of the work where you can do the same... You can have a look and a play here:
'I Can Relate' was originally commissioned by Carriageworks for 24 Frames Per Second a major exhibition of 24 commissioned screen-based works by 18 Australian and six international artists. More information about 'I Can Relate' can be found here http://www.alisoncurrie.com/icanrelate/
We had 30ºC the previous weekend so had planned for a sunny day with a friendly dog walking audience and some beautiful sunset images. The reality was a lot colder 11ºC and more overcast.
I had some dedicated audience members and some more transient walking audience. Perhaps due to the fact that they were walking quickly past in the cold, I soon realised that in order for my actions to be noticed I needed to perform for longer so chose to work with all four of the rocks at each performance - I had initially planned to increase the rock size throughout the day and only perform with each rock once, so it ended up being a very gruelling day.. see relief below post final rock lift!
Tuesday 17th and Tuesday 24th of October I will perform Sara Morawetz's work 'Survey' alongside Carlie Angel.
Saturday 21st of October I will perform my own work 'Sisyphean Action' on O'Sullivan beach near the boat ramp at 7am, 11am, 3pm and 7.15pm
Some more information about SUE
SUE – SERIES OF UNEXPECTED EVENTS
Commissioned by the City of Onkaparinga
13 – 31st October 2017
SUE is a creative festival of performance based interventions. SUE explores how innovative art events within outer suburban locations, spaces not normally associated with contemporary arts practice, can produce fleeting moments of difference, interest and intrigue to daily routines.
SUE explores the curatorial themes of the unexpected, wonder and play to open-up a fluid and playful space for artistic strategies that can surprise, startle and astonish the public through uncommon and extraordinary activities. SUE gathers a group of artists whose practices employ performative, installation & time based outcomes, strategies not normally represented within the City of Onkaparinga public art framework, to create a suite of unexpected interventions across 20 selected sites.
Whist the City of Onkaparinga has recently seen a dramatic increase in the creation of permanent public art works, SUE recognises how the temporality of unexpected performance based interventions can add another creative dimension to public art strategies that explore and celebrate the diversity of culture, community, geography, history and land in the area.
SUE will take place across the 5 wards of the City of Onkaparinga and include the creation of 10 new works by established local and national Australian artists. The diversity of sites will offer the artists and curator alike a fertile space for experimentation and innovation within form, practice and content.
The Human Arts Movement is an Adelaide-based contemporary dance training and performance collective. I have been working with them throughout the month of September with the following dancers as seen in the image below: Cazna Brass, Rita Bush, Cayleigh Davies, Petra Szabo, Georgia Timperon, Peter Vayne, Kendal Winton, Greta Wyatt.
Through collaborative task based making, improvisation and taught choreography we have created a short work which will be shown at a work in progress showing on Monday 25th September at Restless Dance Theatre.
It is rare to work with eight dancers as an independent choreographer in Australia and so all of the ideas I had wanted to explore with a larger group have come up in this process. We began working with patterns and rhythms and with my interest in gradation and the gradual change from one movement to the next.
The working title 'Creatures' came in part from attempting to fit in the smallest floor space with the dancers and various creature like images which emerged from that point; cell division, evolution, flocks and packs etc.
An approach to the composition of particular moments in 'Creatures' was taken from a work 'THE MAIN EVENT' that Solon Ulbrich and I co-directed at Adelaide College of the Arts in 2009.
The Light Moves 2017 festival is on 31 October - 5 November in Limerick. The program was launched the other night and some of the 24 Frames Per Second films will screen including 'I Can Relate' which I made with Rodeo - Tobin Lush and Sam Chisholm, Carlie Angel, Jason Cross, Alisdair Macindoe, Stephen Hayter , Gemma Stocks and Insite Arts for Carriageworks. Light Moves are even making a new screen for the occasion! Wish I could see it. http://www.lightmoves.ie/
Last weekend Alisdair Macindoe, Lewis Rankin and I had an amazing four day development as part of Adhocracy 2017 at Vitalstatistix. The focused atmosphere of Adhocracy (where several groups of artists from across the country come together to work, share and discuss ideas) provided a perfect space for us to experiment with the early stages of this new Idea. Alisdair Macindoe and I have collaborated across several projects over the last 10 years, yet this was our first time Co-directing a work. The working title is Solo for (Hu)man and Foam and we are certain that we would like to keep developing this work with Lewis Rankin, though we are less certain about the title.
"This new dance work (in progress) uses the materiality of the waste product Styrofoam to explore the fragility of the human – in performance and in the biosphere. At its most frivolous Solo for (Hu)man and Foam is a playful dance experiment; at its deepest it reflects the possibilities and limits to individual change in the face of environmental disaster." - This was the marketing text for our project at Adhocracy and remains quite accurate. -http://vitalstatistix.com.au/residencies/solo-for-human-and-foam/
FRAN Festival is happening in Adelaide at the moment. FRAN stands for the Feminism Renewal Art Network and as well as being an exciting female focused festival, marks a significant anniversary - "Forty years ago Adelaide was host to one of the largest Australia-wide exhibitions of women’s art, The Women’s Show of 1977. The Women’s Show exhibited over 400 works, and included the work of established and emerging artists as well as those who had been overlooked, lacking institutional and commercial support." Read more about the festival here.
As part of the festival there was a call out for posters made in response to "What it means to be a woman today, what contemporary issues/parallels with the past effect you?" this was my contribution:
The South Australian Living Artists (SALA) Festival is held each year in August. I realised this year that I have performed in SALA Festivals fairly consistently since 2005. Other than realising my age I felt quite proud (?) or amazed or something to realise I have been treading the boards as a dancer and choreographer at this festival for the last 12 years!
Here is an image from the most recent and the least recent performances: