Performance Matters (resubmission)

Lead Research Organisation: Goldsmiths College
Department Name: Visual Cultures

Abstract

Performance Matters seeks to explore the contemporary values associated with performance at a time when it has increased resonance as a cultural phenomenon, and as a concept and metaphor in critical discourse. Against the backdrop of the contemporary institutional, theoretical and market embrace of performance, the project asks whether performance is now being taken seriously in culture more broadly, how it has come to be affirmed, and how it may possess the potential to refashion the very ways in which we perform the ascription of value.

Profound shifts in the cultural status and presence of performance have recently been manifested through a number of related phenomena including the museological, archival and curatorial assimilation of live art; an increased profile of performance aesthetics within visual arts, theatre and contemporary dance practice; a 'performative turn' in critical theory and cultural studies; and a re-evaluation of performance phenomena that have hitherto been excluded by, or marginalised within, critical consideration. Performance Matters will address and intervene in this context by pursuing a sustained research collaboration between key national and international academics, performance curators and practitioners. The project will be co-directed by Dr. Gavin Butt (PI) and Prof. Adrian Heathfield (CI), scholars and writers whose work jointly covers constituent disciplines in the performance field. Convened between a Department of Visual Culture and a Department of Drama, Theatre and Performance Studies, the investigation will move between different academic traditions, as well as crossing HEI and cultural sectors, with the active partnership of the Live Art Development Agency, working as co-curators in key public venues.

Within its three and a half year span, the project will move through three themed years of interlinked research activities. In its first year, working under the title Performing Idea, it will investigate the shifting relations between performance practice and discourse, event and writing, by staging critical and creative exchanges between leading international figures in the performance studies field. In its second year, under the title Trashing Performance, marginal and degraded performance practices will be explored through similar research methodologies with new international collaborators, in order to produce critical and cultural innovations through non-institutional manifestations and informal disseminations. The final year of the project, framed under the theme Potentials of Performance, will culminate its processes in a major publication that will focus on questions of performance affect, political and cultural possibility.

Performance Matters employs a series of inter-related research methodologies to explore performance as a research driver. The project combines the following modes of investigation: dialogic and creative research processes between carefully selected artists and academics; discursive exchanges in public symposia; two PhD studentships on subjects related to the project's overall themes; and educational workshops with vital artistic figures in future cultural scenes. It also ensures and extends the legacy and critical impact of these processes through a substantial and broadly disseminated publication.

The project secures a wide reception of its ideas and practices of performance research, and of performance-as-research, through these multiple forms of public dissemination. They will be of interest to an array of scholars, artists, curators, cultural workers and audiences across the fields of visual art, performance, theatre and dance. By addressing, and reaching, such a diverse and broad audience in this manner, Performance Matters seeks to generate a new field of possibilities for research on, and as, contemporary performance; one which will find further fruit in the future practices of new generations of artists, performers and theorists.

Publications

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Burrows J (2013) Moving Writing in Choreographic Practices

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Butt G (2012) The Common Turn in Performance in Contemporary Theatre Review

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Butt, G. (2010) Performing/Knowing

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Groom Amelia (2013) Time

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Heathfield, A. (2012) Durational Aesthetics in Taipei Fine Arts Museum Journal

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Heathfield, A. (2010) In het moment zijn in Etcetera

 
Title Angola Project, Part II 
Description Friday 8th October 2010 Based on Jeremy Xido of Cabula 6's true life adventures of trying to make a feature film in Angola, the Angola Project was a performance lecture that took the spectator on a dizzying journey through the history of colonial Portugal, the Travelogues of Burton Holmes, the films of Bruce Lee and Jim Kelly, the Detroit race riots/rebellion, Berlin documentary film crews in Africa and the blood-thirsty mechanisms of international film finance. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact
URL http://www.thisisperformancematters.co.uk/performing-idea/cabula6.html
 
Title Approximating the Art of Stuart Sherman 
Description Wednesday 6th October 2010 Artist: Robin Deacon A series of re-enacted performances based on the works of the late American artist Stuart Sherman (1945 - 2001), a seminal though underexposed figure in the history of performance art. Described as "the Buster Keaton of linguistics", his performances involved complex manipulations of objects that explored time, place, language and meaning. This piece explored the conundrum of Sherman's methodology through Robin Deacon's transcription and physical re-enactment of the artist's performances from the original documentation. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact
URL http://www.thisisperformancematters.co.uk/performing-idea/robin-deacon.html
 
Title Backstage Drama 
Description 29 October, 2011 Artists: DAG - the Disabled Avant-Garde. Part of Trashing Performances Programme A appointment-based performance interaction between the artists and individual members of the public, exploring the ethics of engagement between differently-abled bodies in fraught circumstances. From 25 to 29 October 2011, Trashing Performance presented an International Programme of Shows, Talks, Films and Workshops across Toynbee Studios, Tate Modern and Bethnal Green Working Men's Club, London. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact
URL http://www.thisisperformancematters.co.uk/trashing-performance/DAG.html
 
Title In Silence 
Description Artists: Tim Etchells and multiple correspondents One of the commissioned Dialogues of the Performing Idea strand, Etchells' research project In Silence convened a series of encounters with experts and professionals whose daily work and life practice leads them to an interest and investment in silence. Silence - death to the comedian, transcendence to the priest, a right in the eyes of the law - is after all not the negative space of speech but rather a complex piece of social communication, which functions in contexts as a statement, as transitional state (instrumental route to something) and indeed as a goal or objective all of its own. In a series of conversations Etchells explored the diversity and complexity of silence as it is constructed and read, investigating both its utility and its blankness. This dialogue resulted in the In Silence performance-dialogue as part of the Performing Idea Symposium. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact
 
Title Memory Island 
Description 29 October 2011: A live performance piece, incorporating screened video, exploring the legacy of artist and performer Jack Smith. Part of Trashing Tate series at Tate Modern. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact
URL http://www.thisisperformancematters.co.uk/news.post109.html
 
Title Moving - Writing 
Description One of the commissioned dialogues of the Performing Idea strand. Over the last few years, choreographer Jonathan Burrows and writer and curator Adrian Heathfield have developed a dialogue around the relationship between writing and dancing. Mostly the dialogue took place in artist's workshops where they found some ways to experiment with elements of speech and movement in performance processes with performers. They were interested in exploring the creative tension between the distinctive affects of embodied actions and spoken words, investigating their different roles in the making and receiving of meaning. They were fascinated by those moments of intensity - unforgettable yet unspeakable - where something of life is disclosed between sense and sensibility. For their dialogue as part of Performing Idea, Jonathan and Adrian initiated a process of creative exchange, sometimes working with others, sometimes together, sometimes alone, where they are able to push these questions further. The letters arising from this process of collaboration are published on the Performance Matters website at: www.thisisperformancematters.co.uk/performing-idea/words-and-images.26.html The dialogue also resulted in a separate performance: "holding them in front of you". 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact
URL http://www.thisisperformancematters.co.uk/performing-idea/dialogues.html
 
Title Musical Pieces / I Wanna Be in That Show 
Description Tuesday 5th October 2010 A double bill by Augusto Corrieri & Owen Parry Part of an ongoing investigation into solo performance, Musical Pieces explored the deceptive qualities of perception and attention offered by the theatre, playing with different forms of on-stage concealment and trickery. I Wanna Be in that Show was a performance about wanting to be in a performance. It drew on the feeling of seeing a performance and recognising one's own desire to be in it or to have created it. It was about art that drives you to make more art, to revel in its forms and textures and to question the bodies that occupy it. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact Part of PhD studies and career development for the performers. 
 
Title Party for Freedom 
Description A filmic artwork that emerged out of Oreet Ashery's workshop, 7-11 September 2011, undertaken as part of Trashing Performance. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact .. 
URL http://www.thisisperformancematters.co.uk/trashing-performance/Workshops.html
 
Title Performance Doesn't Matter 
Description A specially commissioned, variety-style performance event exploring the themes of Trashing Performance by the performance collective Eat Your Heart Out. 26 October, 2011. Part of From 25 to 29 October 2011, Trashing Performance presented an International Programme of Shows, Talks, Films and Workshops across Toynbee Studios, Tate Modern and Bethnal Green Working Men's Club, London. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact
URL http://www.thisisperformancematters.co.uk/trashing-performance/shows-2.html
 
Title Performance Matters Archive 
Description G.Butt, A.Heathfield, L.Keidan (eds.), Performance Matters Archive, Live Art Development Agency, London & The British Library, 2013, ISBN 978-0-9570149-9-2. A boxed DVD archive of all Performance Matters events (45 DVDs and contextualising texts), recorded by the British Library Sound Archive and located at in 14 archives globally: LADA and the British Library, London; Tanzquartier Vienna, Austria; Getty Research Institute, Los Angeles, USA; School of the Art Institute of Chicago, Chicago, USA; Centre for Performance Research, Aberystwyth, Wales; Asia Art Archive, Hong Kong, China; Live Art Archives, University of Bristol, UK; Theatre Institute Netherlands, Amsterdam; University of Sydney, Australia; Maska, Ljubljana, Slovenia; Museo Nacional Centro de Artea Reina Sofia, Madrid, Spain; New York University libraries, USA; Ashkal Alwan, Lebanon. 
Type Of Art Artefact (including digital) 
Year Produced 2013 
Impact
 
Title Promises 
Description Artists: Joe Kelleher and multiple participants One of the commissioned dialogues of the Performing Idea strand, saw JOe Kelleher engage in a roving research process around multiple scenes of European experimental theatre and Performance. The author writes: "The dialogue begins with the appearance of the work. A 39 year-old theatre festival, for example, in a town without a theatre; a festival that breaks with four decades of tradition in order to re-examine and renew that tradition; that addresses the urban texture not as a void that needs filling but a space of generation; that imagines a spectator in motion, whose trajectory is governed, as curator Chiara Guidi writes, by a sensation of lost powers, and by tiredness perhaps, but who may be capable of conjuring from this trajectory 'a place filled with promises.' Or else the emergence of a new practice, work still in its nascence, work being done with the young, for example a company dedicated to the non-spectacular rigours of collective dance, and to mining the minimum pause, tracing the presence of a rhythm, as director Claudia Castellucci puts it, between one beat and another. But also then the channels, the forums, the platforms of exchange through which events and practices such as these and many others are debated over and contested and sustained, by a self-reflexive critical writing, and also by a commitment, as the editors of the journal Art'O: culture and politics of the scenic arts put it, to the idea of a future of performance even in those spaces most emptied out by current ideology." This dialogue resulted in the Promises performance with Giulia Palladini and Silvia Bottiroli as part of the Performing Idea symposium. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact
URL http://www.thisisperformancematters.co.uk/performing-idea/words-and-images.25.html
 
Title The FeMUSEum 
Description One of the commissioned dialogue projects for Trashing Performance. FeMUSEum was a collaborative project between four femme performers which resulted in the production of a live performance event and an accompanying 'museum' installation. It explored the problems of archiving forgotten or overlooked femme muses; http://www.birdlabird.co.uk/femuseum.php. Performance dates: 28 & 29 October 2011 Part of programme 25 to 29 October 2011 when Trashing Performance presented an International Programme of Shows, Talks, Films and Workshops across Toynbee Studios, Tate Modern and Bethnal Green Working Men's Club, London. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact
URL http://www.thisisperformancematters.co.uk/trashing-performance/shows-2.html
 
Title The Inhabitants of Images 
Description Saturday 9th October 2010 Rabih Mroué presented his latest video-lecture: The Inhabitants of Images (2009), a playful complex analysis of the use and misuse of images for political and ideological purposes in Lebanon and the Middle East. A coproduction between Tanzquartier-Wien, Bidoun Magazine and Ashkal Alwan/Beirut. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact
URL http://www.thisisperformancematters.co.uk/performing-idea/rabih-mroue.html
 
Title The Open University 
Description 27-29 October 2011 at the Toynbee Studios (outside). Artist: Marcia Farquhar An open-mic style performance piece in which invited guests and members of the public were invited to step up to a lectern, specially installed in a skip in the venue car park, and to 'trash' sacred cows or 'recycle' a subject already trashed by conventional wisdom. The Open University composed of a functioning outdoor lecture theatre constructed in a roadside refuse skip, as well as an ad hoc lecture series of variable proportions, presented in situ therein, on the subject of what is and what is not trash. The University's wooden furnishings can be installed in any skip, and include parquet flooring, a lectern and stepped seating. As the creator, curator, and hostess of this forum, Marcia Farquhar extended a standing invitation to a range of experts and would-be experts from a variety of cultural and academic fields, including music (both popular and classical), psychology, theology and cultural theory. This invitation was intended to solicit lecture contributions on as wide a range of subjects as possible, within the leading theme of what is, what should be and what should never be considered trash. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact
URL http://www.thisisperformancematters.co.uk/trashing-performance/marcia-farquhar.html
 
Title This is Not a Dream 
Description One of the Performance Matters dialogue projects. A feature-length documentary, directed by Gavin Butt and Ben Walters, edited by Tom Frederic with music by Morgan Quaintance. A creative documentary exploring artist's DIY use of moving image technology, from use of the Portapak in the 1970s to that of pervasive media in the 21st century. Through the moving, funny, provocative and inspirational stories of 12 unique figures, This Is Not a Dream charts a path across four decades of avant-garde experiment and radical escapism. It traces the influences of Andy Warhol, John Waters and Jack Smith to the perverted frontiers of YouTube and Chatroulette, taking in subverted talk shows and soap operas, streetwalker fashions and glittery magic penises along the way. The film is based on exclusive interviews shot in London, New York and Berlin with Dickie Beau, Dara Birnbaum, Nao Bustamante, Vaginal Davis, Cole Escola, Vincent Fremont, Alp Haydar, Holestar, David Hoyle, Kalup Linzy, Glenn O'Brien, and Scottee. The video revolution of the 1970s offered unprecedented access to the moving image for artists and performers. New worlds began to unfold: you could talk back to the mainstream by hijacking its images and upending its values; you could reach out, through the camera, to fellow freaks; and you could create dreamscapes to explore other ways of being. This Is Not a Dream charts the lineage of this revolution and its continued impact on contemporary art and performance. Gavin Butt & Ben Walters (Dir.), This is Not a Dream, Live Art Development Agency, London, ISBN 978-0-9570149-8-5, November 2013. 
Type Of Art Film/Video/Animation 
Year Produced 2013 
Impact sales/reviews? 
URL http://www.thisisperformancematters.co.uk/this-is-not-a-dream---gavin-butt-and-ben-walters.html
 
Title This is Not a Dream - Theatrical presentation 
Description One of the Performance Matters dialogue projects. Theatrical presentations of a creative documentary exploring artist's DIY use of moving image technology, from use of the Portapak in the 1970s to that of pervasive media in the 21st century. 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact Theatrical presentations: • Bethnal Green Working Men's Club, 27 October 2011 as part of Trashing Performance • BFI London Lesbian and Gay Film Festival, 26, 27 March 2012 • Suvilahti Performance Centre, Helsinki, April, 2012 • Outfest, Los Angeles, July 19 2012 • Dirty Looks, The Kitchen, New York, July 21 2012 • Gaze festival, Dublin, 6 August 2012 • MIX Festival, Copenhagen, 20 October 2012 • Hackney Attic, London 28 and 29 November 2013 • Leslie-Lohman Museum of Gay and Lesbian Art, New York, April 2014 • Hallwalls Contemporary Arts Centre, Buffalo, April 16 2014 • Hammer Museum, Los Angeles, April 23 2014 • CUNTemporary Pride Festival, MIRO Kitchen Bar, Cyprus, 22 May 2014 • Spill Festival, Ipswich Film Theatre, 2 November 2014 • Just Like a Woman festival, Abrons Arts Center, New York, October 25 2015 
URL http://www.thisisperformancematters.co.uk/this-is-not-a-dream---gavin-butt-and-ben-walters.html
 
Title This is Performance Art (Part Two): Experimental Theatre and Cabaret 
Description A live performance and video documentary commissioned as a Performance Matters dialogue project. It comprises an imaginative history of performance, irreverently exploring intertwined narratives of experimental theatre, live art and cabaret. Artists: Mel Brimfield and Various Collaborators Brimfield's research project is based on production of the film This Is Performance Art: Part Two - Experimental Theatre and Cabaret. An accompanying live work will reconstruct and describe aspects of an extraordinary fictional live art cabaret. Within the narrative of the piece, it will be revealed that only fragments of archival material survive - these may include a number of isolated photographic documents, portions of a musical score, partial audio or film recordings, costume, prop and set elements, and interviews with artists and critics discussing the seminal nature of the work. These fragments will be produced in association with actors and performers over the course of the research project, and will be activated in various ways throughout the live work. The narrative trajectory and staging will be developed in parallel to this process. Stylistically, the piece will ape the style of 'An Audience With' TV specials, such as ITV's Kenneth Williams 1980s programmes. A monologist adopting the style of a fading performance art star accompanied by a pianist will deliver an evening of reminiscences and anecdotes about the cabaret interspersed with various live and filmed interventions, including song and dance numbers. Early stages of production will be structured around contriving staged archival material with comedy actress Joanna Neary and students of the National Youth Theatre, dance theatre company New Art Club (Tom Roden and Pete Shenton), artist Bruce McLean, and the Beaux Belles dance troupe. The cast will expand and contract as the piece takes shape 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact
URL http://www.thisisperformancematters.co.uk/trashing-performance/dialogues.html
 
Title Trash Salon: How to Do Things with Waste 
Description 25 October 2011: A salon-style event curated by the two Perfromance Matters studentship holders, and featuring work by associated PhD researchers from Goldsmiths, University of London, University of Roehampton, University of Bergen, and the Theatre Academy, Helsinki. Performance Matters Researchers and Associate Researchers kick-started the Trashing Performance Public Programme with a Trash Salon at Toynbee Studios, London. How to do things with waste? Researchers and artists shared, discussed, reflected on and presented 'wasted works': what to do with these would-be or could-be works? Does showing wasted work imply salvaging it from the trash heap? How might we think about the ways we present such waste? 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2011 
Impact
URL http://www.thisisperformancematters.co.uk/trashing-performance/phd-research.html
 
Title Writing Not Yet Thought 
Description Hélène Cixous in conversation with Adrian Heathfield, Paris, September 2010. The film records an exchange between the acclaimed and prolific author Hélène Cixous and Adrian Heathfield. Cixous discusses the practice of writing - considering fiction, theatre, the essay and poetry - alongside its relation to painting, music and philosophy. As the dialogue with Heathfield evolves, writing emerges as a site and instrument for encounters with other voices and otherness, mortality and mystery, the infinite and the 'not yet thought'. Recorded in Cixous' home in Paris, the conversation is punctuated by various interruptions and affinities (animal and familial) that are taken into the movement of her thought. Cixous' discourse flies between subjects as diverse as the song of the poetic, the temporality of invention, the re-thinking of the tragic, and the word becoming flesh and air in theatre. The film was first screened publicly as part of the Performing Idea Symposium and has subsequently been screened at Sophiensaele Berlin, IDans Istanbul and the Whitechapel Gallery, London. 
Type Of Art Film/Video/Animation 
Year Produced 2011 
Impact Writing Not Yet Thought is available as a DVD. 
URL http://www.thisisperformancematters.co.uk/writing-not-yet---thought-helene-cixous-with-adrian-heathf...
 
Title holding them in front of you 
Description Monday 4th October 2010 : Adrian Heathfield and Jonathan Burrows presented this performance as a result of their ongoing dialogue project on the relationship between writing and dancing. They asked: What are the relative weights of gestures and words in a performance space? How can each open to the other? What place does music occupy in a negotiation between muted movements and sonorous words? What might be some principles of composition for a generative relation between creative writing and choreography? 
Type Of Art Performance (Music, Dance, Drama, etc) 
Year Produced 2010 
Impact .. 
URL http://www.adrianheathfield.net/project/holding-them-in-front-of-you/
 
Description The project made three key contributions to rethinking the shifting values and status of performance in the contemporary cultural landscape.

Firstly, Performance Matters organised a wide and diverse range of contributors to foreground creative practices which fall beyond the scope of work routinely programmed and exhibited in cultural institutions such as museums and galleries. This demonstrated the agendas of performance practices somewhat remote from institutional legitimation, and re-located the values of performance in work sometimes overlooked or dismissed as being too open-ended or process based, too difficult, and / or too popular and trashy to warrant 'serious' consideration. It also brought unlikely contributors into dialogue in order to facilitate cross-disciplinary and cross-cultural explorations of the values of performance.

Secondly, as a creative research project, Performance Matters exemplified multiple innovative modes through which the values of such an expanded field of performance practice can be demonstrated and disseminated. Foregrounding live and transactive encounters, alongside forms of creative and scholarly output such as films, events, and journal publications, the project embodied the possibilities of performance itself as a practice of knowledge. Its diverse types of outputs reflect the different ways in which performance values what it knows.

Thirdly, as a public-facing research project, Performance Matters located its findings in trans-active exchanges between the academy and public culture. It involved contributors and performance audiences that hitherto had been remote from academia, thereby expanding the stakeholders of contemporary performance research to those beyond HEIs, whilst simultaneously authorising creative dialogue and performance processes as research methods within the academy.
Exploitation Route .
Sectors Creative Economy,Education

URL http://www.thisisperformancematters.co.uk/
 
Description Public-facing knowledge transfer activities over a three year period investigating the cultural value of performance, hosted by major cultural sector partners. Numerous multi-form research exchanges (through creative workshops, collaborative dialogue processes, symposia, talks, screenings and performances) involved an international array of leading academics, artists, activists and curators, significantly influencing prevailing professional discourses and creative and curatorial practices across arts sectors. Specific professional development effects were delivered for a select culturally diverse group of early-career artists. Impact was also noted for the main non-academic partner-organisation, LADA, through the development of its educational and archival activities and expansion of its user community.
First Year Of Impact 2010
Sector Creative Economy
Impact Types Cultural,Societal,Policy & public services

 
Description Crossovers: A Performance Matters DVD series
Amount £95,000 (GBP)
Funding ID AH/K003461/1 
Organisation Arts & Humanities Research Council (AHRC) 
Sector Public
Country United Kingdom
Start 02/2013 
End 02/2014
 
Description Performance Matters with the Live Art Development Agency 
Organisation Live Art Development Agency
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution A three year programme of creative research events - involving symposia, workshops, commissioned dialogues, screenings and performances - on the cultural value of performance. The public programme across the three years was curated in collaboration with cultural sector partner the Live Art Development Agency.
Collaborator Contribution LADA were the key public-sector collaborator on Performance Matters providing directorial, programming, publicity, planning and many other kinds of expertise and in-kind support.
Impact See all outcomes associated with Performance Matters as a whole.
Start Year 2009
 
Description Performing Idea Archive with Whitechapel Gallery 
Organisation Whitechapel Gallery
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution Saturday 2nd to Saturday 9th October 2010 10am to 6pm daily (closed Monday) Whitechapel Gallery A small sound and video archive looking at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas. Marina Abramovic Performing Body, Live Culture (2003, 118 minutes) John Baldessari Sings Lewitt (1972, 13 minutes) Jérôme Bel The Last Performance (2004, 80 minutes) Mel Brimfield This Is Performance Art ? Performed Sculpture and Dance (2010, 35 minutes) Tania Bruguera Tatlin's Whisper #6 (Havana version, 2009, 53 minutes) William S. Burroughs Lecture on Public Discourse (1980, audiotape, 90 minutes) Marcia Farquhar To The Shelter (2010, 10 minutes) Goat Island Lecture in a Stair Shape Diminishing (2001, audiotape, 62 minutes) Guillermo Gómez-Peña Live Culture Symposium Lecture (2003, 60 minutes) Raimund Hoghe Throwing The Body Into The Fight (2000, 75 minutes) Lone Twin Walk With Me, Walk With Me, Will Somebody Please Walk With Me (2000, 70 minutes) William Pope.L Live Culture Symposium Lecture (2003, 26 minutes) John Waters This Filthy World (2007, 86 minutes)
Collaborator Contribution The Whitechapel Gallery provided a venue for the display of this activity, in-kind support, and housed the video collection in its archive.
Impact Saturday 2nd to Saturday 9th October 2010 10am to 6pm daily (closed Monday) Whitechapel Gallery A small sound and video archive looking at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas. Marina Abramovic Performing Body, Live Culture (2003, 118 minutes) John Baldessari Sings Lewitt (1972, 13 minutes) Jérôme Bel The Last Performance (2004, 80 minutes) Mel Brimfield This Is Performance Art ? Performed Sculpture and Dance (2010, 35 minutes) Tania Bruguera Tatlin's Whisper #6 (Havana version, 2009, 53 minutes) William S. Burroughs Lecture on Public Discourse (1980, audiotape, 90 minutes) Marcia Farquhar To The Shelter (2010, 10 minutes) Goat Island Lecture in a Stair Shape Diminishing (2001, audiotape, 62 minutes) Guillermo Gómez-Peña Live Culture Symposium Lecture (2003, 60 minutes) Raimund Hoghe Throwing The Body Into The Fight (2000, 75 minutes) Lone Twin Walk With Me, Walk With Me, Will Somebody Please Walk With Me (2000, 70 minutes) William Pope.L Live Culture Symposium Lecture (2003, 26 minutes) John Waters This Filthy World (2007, 86 minutes)
Start Year 2010
 
Description Performing Idea Public Programme with Toynbee Studios and Whitechapel Gallery, London 
Organisation Whitechapel Gallery and Toynbee Studios
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution 2nd to 9th October 2010 Performing Idea was a programme of events at Whitechapel Gallery and Toynbee Studios that investigated the shifting relations between performance practice and discourse, event and writing. The programme comprised a five-day symposium with leading writers, thinkers and artists; a series of new performance lectures and redos by UK and international artists; and a sound and video archive of seminal performance lectures. The programme was curated by the Performance Matters Directors with Prof. Heathfield as lead curator on Performing Idea.
Collaborator Contribution They provided a venue and in-kind support.
Impact .
Start Year 2009
 
Description Potentials of Performance - White Building 
Organisation The White Building
Country United Kingdom 
Sector Private 
PI Contribution Potentials of Performance centred around a series of commissioned Dialogue Projects by Associate Researchers, which were then staged during P o P through innovative workshops, chat shows, round-tables, lectures, screenings, installations, performances, and a Materials Room. P o P also included staged responses from respondents working across the creative and critical fields of performance, and an evening programme of events by special guests.
Collaborator Contribution The collaborator the venue for some of the above activities and in-kind support.
Impact P o P (27-27 October 2012, London) consisted in a two-day public programme of hands-on performance research, exploring and exploding the Potentials of Performance. The programme revolved around three main components: staged Dialogue Projects by the Associate Researchers, an evening programme of works exploring the unrealised potential of performance, and a final closing event with creative responses by invited guests. Venues: The Yard Theatre, ]performance s p a c e [, The White Building in Hackney Wick, London
Start Year 2012
 
Description Potentials of Performance - Yard Theatre 
Organisation Yard Theatre
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution Potentials of Performance centred around a series of commissioned Dialogue Projects by Associate Researchers, which were then staged during P o P through innovative workshops, chat shows, round-tables, lectures, screenings, installations, performances, and a Materials Room. P o P also included staged responses from respondents working across the creative and critical fields of performance, and an evening programme of events by special guests.
Collaborator Contribution The Yard provided a venue for some of the above activities and in-kind support.
Impact P o P (27-27 October 2012, London) consisted in a two-day public programme of hands-on performance research, exploring and exploding the Potentials of Performance. The programme revolved around three main components: staged Dialogue Projects by the Associate Researchers, an evening programme of works exploring the unrealised potential of performance, and a final closing event with creative responses by invited guests. There were 3 venues: The Yard Theatre ; ]performance s p a c e [; The White Building, in Hackney Wick, London
Start Year 2012
 
Description Potentials of Performance, ]performance s p a c e [ 
Organisation Performance Space
Country United Kingdom 
Sector Public 
PI Contribution Potentials of Performance centred around a series of commissioned Dialogue Projects by Associate Researchers, which were then staged during P o P through innovative workshops, chat shows, round-tables, lectures, screenings, installations, performances, and a Materials Room. P o P also included staged responses from respondents working across the creative and critical fields of performance, and an evening programme of events by special guests.
Collaborator Contribution ]performance s p a c e [ provided a venue for some of the above activities and in-kind support.
Impact P o P (27-27 October 2012, London) consisted in a two-day public programme of hands-on performance research, exploring and exploding the Potentials of Performance. The programme revolved around three main components: staged Dialogue Projects by the Associate Researchers, an evening programme of works exploring the unrealised potential of performance, and a final closing event with creative responses by invited guests. Venues: The Yard Theatre, ]performance s p a c e [, The White Building in Hackney Wick, London
Start Year 2012
 
Description Trashing Performance Public Programme with Tate Modern, Toynbee Studios, and Bethnal Green Working Men's Club 
Organisation Bethnal Green Working Men's Club
Country United Kingdom 
Sector Private 
PI Contribution This comprised the public presentation of three Trashing Performance dialogue projects, two artists workshops with early career researchers, a flim programme, a programme of specially commissioned performances and events, and a four-day symposium comprising lectures, in-conversations, and round-tables. These events were curated by the Performance Matters directors, with Dr Butt as lead curator, in collaboration with Tate Modern, Toynbee Studios, and Bethnal Green Working Men's Club.
Start Year 2010
 
Description Trashing Performance Public Programme with Tate Modern, Toynbee Studios, and Bethnal Green Working Men's Club 
Organisation Tate
Department Tate Modern, London
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution This comprised the public presentation of three Trashing Performance dialogue projects, two artists workshops with early career researchers, a flim programme, a programme of specially commissioned performances and events, and a four-day symposium comprising lectures, in-conversations, and round-tables. These events were curated by the Performance Matters directors, with Dr Butt as lead curator, in collaboration with Tate Modern, Toynbee Studios, and Bethnal Green Working Men's Club.
Start Year 2010
 
Description Trashing Performance Public Programme with Tate Modern, Toynbee Studios, and Bethnal Green Working Men's Club 
Organisation Toynbee Studios
Country United Kingdom 
Sector Private 
PI Contribution This comprised the public presentation of three Trashing Performance dialogue projects, two artists workshops with early career researchers, a flim programme, a programme of specially commissioned performances and events, and a four-day symposium comprising lectures, in-conversations, and round-tables. These events were curated by the Performance Matters directors, with Dr Butt as lead curator, in collaboration with Tate Modern, Toynbee Studios, and Bethnal Green Working Men's Club.
Start Year 2010
 
Description Trashing Tate with Tate Modern 
Organisation Tate
Department Tate Modern, London
Country United Kingdom 
Sector Charity/Non Profit 
PI Contribution A specially commissioned film programme for Trashing Performance. It was curated by Performance Matters directors and Stuart Comer, Curator of Film at Tate Modern, London. Vaginal Davis' Memory Island performance (seperately entered) was conceived in relation to this programme.
Start Year 2011
 
Description Janine Antoni With Matthew Goulish as respondent 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Performing Idea Creative Spaces were practical workshops led by the internationally renowned artists Janine Antoni, Ong Keng Sen and Julie Tolentino. Each workshop also featured a respondent to act as witness and/or co-facilitator. The respondents were Matthew Goulish, Tellervo Kalleinin and Ron Athey. Descriptions of each workshop and photographic documentation by Hugo Glendinning can be found below and through their individual threads on the left hand column.

This workshop was designed for artists and researchers working in and on performance and the visual arts with interests
Year(s) Of Engagement Activity 2010
URL http://www.thisisperformancematters.co.uk/performing-idea/creative-spaces.html
 
Description Julie Tolentino with Ron Athey as respondent 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Performing Idea Creative Spaces were practical workshops led by the internationally renowned artists Janine Antoni, Ong Keng Sen and Julie Tolentino. Each workshop also featured a respondent to act as witness and/or co-facilitator. The respondents were Matthew Goulish, Tellervo Kalleinin and Ron Athey. Descriptions of each workshop and photographic documentation by Hugo Glendinning can be found below and through their individual threads on the left hand column.

This workshop was designed for artists and researchers working in and on performance and the visual arts with interests
Year(s) Of Engagement Activity 2010
URL http://www.thisisperformancematters.co.uk/performing-idea/julie-tolentino.html
 
Description Ong Ken Sen with Tellervo Kalleinen as respondent 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Performing Idea Creative Spaces were practical workshops led by the internationally renowned artists Janine Antoni, Ong Keng Sen and Julie Tolentino. Each workshop also featured a respondent to act as witness and/or co-facilitator. The respondents were Matthew Goulish, Tellervo Kalleinin and Ron Athey. Descriptions of each workshop and photographic documentation by Hugo Glendinning can be found below and through their individual threads on the left hand column.

This workshop was designed for artists and researchers working in and on performance and the visual arts with interests
Year(s) Of Engagement Activity 2010
URL http://www.thisisperformancematters.co.uk/performing-idea/ong-ken-sen.html
 
Description Oreet Ashery Party for Freedom A residential workshop in Rishangles, Suffolk 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Continuing Ashery's interest in the apparatus of populism surrounding public figures, developed in her recent body of work Hairoism, this workshop/film shoot focused on the Dutch politician Geert Wilders. The figure of Wilders was used to explore media productions associated with rightwing leaders and parties, such as Wilders' film-collage Fitna. The workshop took inspiration from various sources including political theatre, soaps, Orientalism, speeches and virtuality.

Looking at nakedness, action and sound, this was the last in a series of three workshops exploring performances of liberation and their relationships to the failure of the Left. It did this through exploring the work of disparate avant-garde 1970s collectives including Naked as a Jaybird, Collective Actions and Scratch Orchestra.

Food was provided as part of the workshop and participants collectively occupied a church in rural Suffolk, and slept in situ for the duration of the workshop. Footage from the workshop will be made into a film to be premiered in 2012.
Year(s) Of Engagement Activity 2011
URL http://www.thisisperformancematters.co.uk/trashing-performance/Workshops.html
 
Description Performing Idea Public Programme - Symposium 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? Yes
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Tuesday 5th to Saturday 9th October 2010, 3.00pm to 7.30pm daily, Toynbee Studios, London
A five-day symposium with leading writers, thinkers and artists. Each of the five days was dedicated to a specific thematic: Other Durations, Living Archives, Reciprocal Aesthetics, Performative Writing and Dialogues.

The events also included a series of new performance lectures and redos by UK and international artists; and a sound and video archive of seminal performance lectures (entered as separate outcomes).

The symposium brought together contributors from different cultural and

international contexts, and included scholars, artists, activists,

critics, and curators. It addressed its questions through a variety of

forms of engagement including lectur
Year(s) Of Engagement Activity 2010
URL http://www.thisisperformancematters.co.uk/performing-idea/activities.html
 
Description Performing Idea Archive Presentation 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? Yes
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact Thursday 7th October 2010

8.00pm

Zilkha Auditorium, Whitechapel Gallery



Gavin Butt and Lois Keidan presented and discussed a selection of items from the Performing Idea Archive.
Year(s) Of Engagement Activity 2010,2014
URL http://www.thisisperformancematters.co.uk/performing-idea/archive.html
 
Description Performing Idea Laboratory 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Professional Practitioners
Results and Impact Performing Idea Laboratory, Club Row, London, 30 April 2010. With scratch performances by PhD students at Goldsmiths and Roehampton, and with responses from Dominic Johnson, Lois Weaver, and Terry O'Connor.
Year(s) Of Engagement Activity 2010
 
Description Potentials of Performance: Public Programme 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Professional Practitioners
Results and Impact Potentials of Performance centred around a series of commissioned Dialogue Projects by Associate Researchers, which were then staged during P o P through innovative workshops, chat shows, round-tables, lectures, screenings, installations, performances, and a Materials Room. P o P also included staged responses from respondents working across the creative and critical fields of performance, and an evening programme of events by special guests.

The event was held in Yard Theatre, London, and the White Building, Hackney Wick, London, from October 26-27, 2012; comprised presentations about dialogue research by associate project members and performances by invited artists.
Year(s) Of Engagement Activity 2012
URL http://www.thisisperformancematters.co.uk/potentials-of-performance/home.html
 
Description Talking Shop talks Trash 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Public/other audiences
Results and Impact Talking Shop talks Trash, organised by the Live Art Advisory Network in conjunction with Performance Matters, March 16 2011, Artsadmin, London. Open public forum for early career artists with Scottee, Gavin Butt, and Mel Brimfield.
Year(s) Of Engagement Activity 2011
 
Description Trashing Performance Public Programme - Symposium 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? Yes
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact A four day international symposium organised as part of the Trashing Performance Public Programme which also comprised specially commissioned performances, a film programme, and the presentation of the outcome of the Trashing Performance dialogue projects (seperately entered). The four days were thematically targeted around the following sub-issues - Under- and Overwhelmed: Emotion and Performance; Mainstream and Underground; Outsider Actions; and Common.

The symposia brought together contributors from different cultural and international contexts, and included scholars, artists, activists, critics, and curators. It addressed its questions through a variety of forms of engagement including lectures and per
Year(s) Of Engagement Activity 2011
URL http://www.thisisperformancematters.co.uk/trashing-performance/home.html
 
Description Vaginal Davis Framing The Freakazoid 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Professional Practitioners
Results and Impact A rigorous and intense three-day exploration led by Vaginal Davis that culminated in an akshunist installation event with the working title 'Pitching the Freak Tent'.

Through various akshuns, film screenings, discussions and studio visits, the lure and lore of the freak was harnessed for its outsider power and mined for rich territories of creativity. Participants rocked the world of the freakazoid, from musicians like Superfreak Rick James, George Clinton, Sun Ra, Josephine Baker, and Grace Jones to Trespass Cinema greats like Rudy Ray Moore and his Dolemite character, from artists like Kembra Pfahler of the Voluptuous Horror of Karen Black, Yayoi Kusama, the Japanese polka dot lady, and Lucia Joyce, the so-called mad dancing daughter of James Joyce, to the weirdest of them all, poet William Blake.
Year(s) Of Engagement Activity 2011
URL http://www.thisisperformancematters.co.uk/trashing-performance/Workshops.html
 
Description You Have to Laugh: Club Performance and Comedy 
Form Of Engagement Activity Participation in an activity, workshop or similar
Part Of Official Scheme? Yes
Geographic Reach National
Primary Audience Professional Practitioners
Results and Impact A one-day symposium organised as part of the research process for Trashing Performance with papers by Lynne Fanthome (Blackpool) and presentations by David Hoyle and Bird la Bird, held at Goldsmiths, University of London, on 4 December 2009.
Year(s) Of Engagement Activity 2009