TF2016 DAY 8

28 July | £11 Day Pass

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Rosana Cade – The Origin of the World, in collaboration with Will Dickie

created in His own image from the golden egg she ate the apple that sinful maiden and nothing went before this there is no beginning no end and He was the creator and all life stems from His body His body opened up and we were born the purpose of the universe unfolds in linear direction and in the illusions of time we begin where we started as God opens His eyes and closes them again time space BANG space time again them closes and eyes His opens God as started we where begin we time of illusions the in and direction linear in unfolds universe the of purpose the born were we and up opened body His body His from stems life all and creator the was He and end no beginning no is there this before went nothing and maiden sinful that apple the ate she egg golden the from image own His in created.

The Origin of the World is a 24 hour performance experiment involving labia lip syncing to male voices explaining the beginning of life and time. Through repetition, cyclical rituals and giant images of a talking vulva the performance is a queering of the idea of origin and linearity, and an undermining of patriarchal narratives running throughout many creation theories across cultures. The painting in the image is L’Origine du monde by Gustave Courbet.

Thur 28 July  – 

Gillian Jane Lees & Adam York Gregory – Present Tense

Present Tense is a task-based performance that creates and examines tension in an enclosed space.

Gillian moves through the space carefully setting several hundred conventional wooden mousetraps on the floor. Her hands and feet are bare and vulnerable being close to the trap mechanisms. She continues until she is backed into a corner. She then begins the process of skilfully moving through the set traps to exit the space.

Gillian and Adam aim to create a cumulative physical tension through the spring loaded traps and observe if it equates to a growing sense of emotional tension in anyone witnessing the piece – whether the repetition of a task that contains an inherent physical danger becomes more tense when performed repeatedly.

This marks the premiere of the full length version of this artwork.

Gillian Jane Lees is Co-Artistic Director of Proto-type Theater and a freelance performer and collaborator. Adam York Gregory is a scientist, visual artist and film maker. Together, their practice seeks to explore the notion of ‘the imagined ideal’ through subjective performance, objective experimentation, documentation and observation.


Richard Herring – Me 1 vs. Me 2

As a lonely schoolboy Richard Herring wiled away many hours playing himself at snooker on a 6ft by 3ft table and providing his own commentary. As an adult he decided to recreate this battle for a podcast whose avowed aim was to continue until it no longer had any listeners. It started with 30,000 subscribers but over the years and approaching 100 frames that has dwindled to less than 5000 die hard fans, who are as determined to make Herring continue as he is to punish them with sports based tedium. It is a bold attempt to waste his own time and that of the people who listen to it, but it has much to say about the human condition: the tripartite (or more) nature of the soul, the battle for control over your own impulses, the ultimately unwinnable contest that is your own life, the pointless ways we try to fill our time and the fragile nature of our mental balance. The random nature of the cascading balls, plus the inadequacy of Herring as a player, commentator and referee add an improvisational element and means each frame is truly spontaneous. And the amazingly equal skills of the two main players (one a happy, if dull family man, the other a more volatile and unpredictable force) mean that the contest is usually incredibly tight. Herring says, “This is not an art exhibition, but a genuine sporting contest. I am annoyed that I will be sharing my sporting arena with a load of pretentious artists, doing poos in bowls and making their genitals perform karaoke. Frankly they should all grow up. If they want real danger they should try playing snooker against themselves in a basement for five years and see how they come out of that. But at the moment the sporting authorities are trying to freeze out the whole sport of self-playing snooker, preferring to promote the clearly inferior two person version. So I am reluctantly taking the only stage that has thus been offered me, even if it is by people that I abhor.” “The first and greatest victory is to conquer yourself; to be conquered by yourself is of all things most shameful and vile.” Plato supporting


Tim Bromage – Shift

‘The vehicle sat on the red bock driveway, squat and sullen. The ritual should have been simple… but there was so much he did not know, he had not observed it for so long, and now fear, coupled with a sense of obligation had led to an unexpected cry for help. After all you heard horror stories, heard of those moments when a vehicle died with no warning, at eighty mile an hour…out on the great tarmac. One moment hurtling forward, and then…nothing. Not a whisper, nor cough, taut pedals suddenly lifeless, pumping helplessly up and down. Coasting mockingly to a halt, never to move again’ from ‘The Driver’ by Gordon Lang 1945

Tim Bromage presents a new performance scored for Tempting Failure. The work draws upon Greek mythology, in particular the practice of the Delphic Oracle. Combining a wide variety of disciplines, including music, prose and other activities, the work explores truth, fiction, and FATE. Its not all doom and gloom though, There’s alternate realities, mind reading, and possibly even an appearance by Bobby Darin.

Photo Credit: Marco Beradi

Natalie Ramus –  16000:2 TEETH(OF)MY CHILDREN

A fascination with the materiality of the body has led Natalie to question its edges and boundaries. Her children’s teeth came into existence inside her body and left inside the bodies of her children. As her children lost their teeth they came back into Natalie’s possession; with those teeth as material, a meditation through action will consider where the mother’s body ends.

This performance is the second instalment of a long term project in which Natalie makes use of a stack of paper which equates to her body’s height. This stack will be used to explore and document the body through action- the traces of which will be captured and documented. creating an archive of time, memory and body.

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