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  • 'Our Palace of the Intestines' at Queering Ritual, York St John University, 4 November 2017

    'Our Palace of the Intestines' will be my 10 minute provocation for Queering Ritual at York St John University on Saturday 4 November 2017.

    Other provocations in the form or interforms of live performance, poetry, electronic writing, real-time media, film, participatory event, academic paper, experimental lecture, or other, will be by Nathan Walker, Cassandra Davis, Fulla Abdul-Jabbar, Sebastian H W, Lucy Cash, Crisis and Denial, Liesl King, Amble Skuse, Louie Jenkins, Virginia Kennard, Alexandros Papadopoulos, Jessica Worden.

    The provocations were proposed with the term Queering Ritual in mind either together as a phrase, or separately Queering/Ritual. The provocations will be shared by those interested in performance making and/or composition/intertextual/intermedia practices and from both makers and theorists.

    We identify with the term queering ritual in relation to a fluid heterogeneous attitude toward performance making and the practice and aesthetics of contemporary, multidisciplinary performance work. Queering ritual is also a lens in which to think through the composition of materials to create hybrid, subversive, augmented and indeterminate bodies, subjects, and territories.

    Queering Ritual on Friday 3 November 2017 will include performances by ATOM-r (Anatomical Theatres of Mixed Reality), Gary Winters and Claire Hind (Gary and Claire), and Saturday 4 November will include keynote by Roberta Mock (Professor, Performance Studies, University of Plymouth) followed by invited provocations on the theme. Chaired by Dr Kimberly Campanello.

    Tickets and further information:

    https://www.eventbrite.co.uk/e/queering-ritual-tickets-36514777683

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  • Performing at Housework/Artwork, part of Art Licks Weekend 2017

    I will be performing a new piece, Acts of Evocation: Re-Writing Skin and Hair 2017, at the show, Housework/Artwork, curated by Sarah Gillham, Mindy Lee, Catherine Morland, part of Art Licks Weekend 2017.

    Acts of Evocation: Re-Writing Skin and Hair 2017

    In the bathroom, I will be bathing with an old parchment indenture, a legal document where land or property is bound to bodies, washing away its past. Then sewing lengths of my hair into the surface, I will re-inscribe the tissue with new texts, conjuring the special powers of hair to summon the cutis, or living skin, from the pellis, the dead, flayed hide.

    The performances will be from during the opening night, Thursday 28 September, 6-9pm and on Saturday and Sunday afternoons, 2-4pm.

    Opening times of the exhibition: Thursday 28 September, 6-9pm Friday 29 September – Sunday 1 October, 12-6pm.

    Housework/Artwork is at Number 13, 13 Cambrian Close, York Hill, SE27 0BS

    Reproductive labour (work performed within the domestic sphere to sustain a household; cleaning, cooking, childcare, raising the next generation, and looking after the elderly) is the starting point for this exhibition. Housework is time consuming, uncompensated and not generally recognised as work. Repetitive and endless it can be viewed as an obstacle to creativity. Politically speaking it can be seen in a similar way to artistic work: neither is economically valued and both remain outside the social framework of value-labour. For this exhibition artists were asked to respond to the theme of Housework/Artwork. The everyday material reality of reproductive labour will be presented and exhibited as art. Throughout the weekend there will be demonstrations, performances, and hands on workshops. Curated by artists Sarah Gillham, Mindy Lee, and Catherine Morland, the aim is to create a space for art and social engagement within the domestic sphere of a South East London home.

    Artists:

    Sarah Gillham, Carl Gent, Sigrid Holmwood, Fritha Jenkins, Mindy Lee, Catherine Morland, Paul Vivian, Paul Hazelton, Tom Walker, Amanda Couch

    Curators:

    Sarah Gillham, Mindy Lee, Catherine Morland

    http://artlicksweekend.com/2017/events/housework-artwork/

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  • The Oxford Food Symposium Podcast's 2nd episode is THE LIVER IS THE MESSAGE.

    The Oxford Food Symposium Podcast's 2nd episode is THE LIVER IS THE MESSAGE.

    What kinds of questions would you ask if you practiced the ancient Mesopotamian art of 'haruspicy'- fortune telling with a liver? English artist and scholar Amanda Couch tries to answer the big ones, from mortality to Brexit by reading the lines and lobes on a sheep's liver.

    https://oxfordfoodsymposiumpodcast.podbean.com/e/episode-two-the-liver-is-the-message/

    Produced by Anna Sigrithur. Mixed with help by Thomas Krause. Editorial Help from Naomi Duguid and Fiona Sinclair. Music by Bicycle Face and Freesound.org.

    The Oxford Food Symposium Podcast: Delicious and thought-provoking stories about food, served fresh from the Oxford Symposium of Food and Cookery.

    Copyright 2017 Oxford Symposium on Food and Cookery.

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  • Reflection on Digestion 2012 included in 'Prescriptions: artists’ books' at the Templeman Library, Canterbury

    Reflection on Digestion 2012, the small, limited edition artist book, produced with bookRoom is currently exhibited at 'Prescriptions: artists’ books' at the Templeman Library, University of Kent, Canterbury, curated by Stella Bolaki, Egidija Čiricaitė, Elspeth Millar, and Helen Blomfield.

    The exhibition runs from 1 August until 17 November 2017.

    More information can be found at this link:

    https://blogs.kent.ac.uk/templeman-exhibitions/2017/07/27/prescriptions-artists-books/

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  • 'A Woman Holding a Liver' in Offal: Rejected and Reclaimed Food - the Proceedings of the Oxford Symposium on Food and Cookery 2016 is out now.

    Offal: Rejected and Reclaimed Food - the Proceedings of the Oxford Symposium on Food and Cookery for 2016 is published now, July 2017.

    My contribution develops the performance-lecture, ‘A Woman Holding a Liver’, in which I explore, contextually and artistically, the practice and history of haruspicy or liver divination, giving a brief overview of the ancient practice, and some examples of where it has been represented in art and material culture.

    From the perspective of an artist, I also outline my interest in it, and how I am using in it my art practice, and discuss selected contemporary artists whose practices use divination and chance as strategies. The paper then reports on the examination of a sheep’s liver performed at the conference.

    The theme – offal, rejected and reclaimed foods – when taken in the broadest sense is a subject well-suited to the explorative ethos of the Oxford Symposium, not least because there’s no universal agreement on what actually qualifies as offal. Each culture has its own views on whether foods are acceptable or merit rejection. Even in neighbouring countries, differences run deep. For example, English ‘offal’ is linguistically related to the Dutch word ‘afval’ which means unambiguously ‘garbage’, a designation that includes most animal-intestines and extremities. The negative connotation of the word indicates automatic rejection of offal by the native Dutch. Nevertheless, within the nation, differences can be observed. In modern times, consumption of most varieties of organ-meats, traditionally unusual in The Netherlands, is having a come-back thanks to newcomers from all parts of the world. Goatheads, chickens-feet, blood, liver, testicles, stomach, udder and heart, are all available if you know the right butcher.

    Offal: Rejected and Reclaimed Food - the Proceedings of the Oxford Symposium on Food and Cookery for 2016, publishedm July 2017, by Prospect Books. ISBN: 978-1-909-248-55-7; 400 pages: 174 x 246 mm; paperback, b & w illustrations and charts; Price: £30.00.

    https://prospectbooks.co.uk/products-page/oxford-symposium/offal-rejected-and-reclaimed-food/

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  • FEAST: The Meal is Live Today!

    The new issue of the online journal, FEAST: The Meal is live today. My contribution is Reflection on Digestion Performance Dinners, 2013-16, in the form of three audio excerpts edited from live recordings, and images made from photographs taken prior to, and during the performances, accompanied by a short written introduction. Access is free. Go to http://feastjournal.co.uk

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  • 'Reflection on Digestion: A Performance Dinner' contribution to FEAST: The Meal, out June 2017

    I have nearly finished my FEAST contribution to the upcoming third issue, The Meal, which is out in June 2017.

    In the online space of the journal, I will be re-presenting documentation from the Reflection on Digestion Performance Dinners, 2013-16, in the form of three audio excerpts edited from live recordings, and images made from photographs taken prior to, and during the performances, accompanied by a short written introduction.

    For more information, go to http://feastjournal.co.uk

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  • Forthcoming Paper: ‘A Woman Holding a Liver’, in The Oxford Symposium on Food and Cookery Conference Proceedings, July 2017

    My paper, ‘A Woman Holding a Liver’, will be published in the forthcoming Oxford Symposium on Food and Cookery Conference Proceedings, edited Mark McWilliams, published by Prospect Books, London, in July 2017.

    For the 2016 Oxford Food Symposium’s theme Offal, I presented a performance-lecture, A Woman Holding a Liver, which contextually and artistically explored the practice and history of haruspicy or liver divination, followed by the divination of a lamb’s liver.

    It began with an outline of the ancient practice of haruspicy. I showed examples of liver divination represented in art and material culture, and contextualized the practice from my personal and artistic perspectives, as well as in relation to chance strategies in art history. I outlined my methods for performing an examination of a liver, drawn from a wealth of classical scholarship, before undertaking an inspection of a lamb’s liver. The paper then reports on the examination, and findings in relation to the question collectively decided by the audience-participants.

    For more information, go to https://www.oxfordsymposium.org.uk

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