Bbeyond (2001 – 2021) Celebrating 20 Years of

Promoting Performance Art Presents


(Recorded Action Web – Exhibition)

Exhibition Schedule

Opening Friday 15th January 6PM

Organised by

Sandra Corrigan Breathnach

Selection Panel:

Alastair MacLennan – Brian Patterson – Eleni Kolliopoulou

Sandra Corrigan Breathnach – Sinéad Breathnach Cashell


Bbeyond (2001 – 2021) are very happy to announce that the first work to be shown ‘The Water Tank Sessions I’ by Verónica Peña (Spain) with Sound by Tara Gladden (U.S.) received the highest score during our adjudication process both Artists will be invited to take part in one our our Anniversary events later this year.


The Exhibition Can Be Viewed Via Our Vimeo Channel Bbeyond Vimeo Channel





The Water Tank Sessions’, curated by Verónica Peña, is a series of long-distance audio-visual collaborations that invites professional musicians, singers, and sound artists to play while being inspired by the submerged body. For the first enactment, sound artist Tara Gladden, and underwater performance artist Verónica Peña, collaborate live from different states of the U.S. Hosted by Grace Exhibition Space, NYC, the artists use an online platform to present the audience with a unique live audio-visual experience that combines respirations and hypnotic sounds with the enchanting of the suspended body. The video features raw excerpts of the performance in chronological order.

Verónica Peña is an interdisciplinary artist and independent curator from Spain based in the United States. Her work explores the themes of absence, separation, and the search for harmony through Performance Art. Peña is interested in global issues such as migration politics, cross-cultural dialogue, peaceful resistance, liberation, and women’s empowerment. Peña has performed/exhibited internationally. In the US: Pioneer Works (*2020-postoponed due to pandemic), Smack Mellon, Queens Museum, Hemispheric Institute, SAIC, Times Square, Armory Show, among others. She was selected for the Creative Capital Workshop, received a Franklin Furnace Fund, and is the founder of “Performance Art Open Call”, with a Facebook Community of more than 13,000 members.

Tara Gladden is currently Director and Curator for Kohl Gallery at Washington College in Chestertown, MD. She began her curatorial activities in New York City, where she co-founded the NYC Anarchist Art Festival from 2009-2012, a monthly, collaborative, interdisciplinary, experimental art happening held at The Living Theatre on Manhattan. In 2014, she began as Galleries Manager at Salisbury University where she was responsible for operations in one off campus, and 2 on campus galleries. During her tenure as Galleries Manager at SU, she curated and/or co-curated over 20 regional, national, and international exhibitions and events in all media across all three of SU’s Galleries, and in additional project spaces.



In this site-specific performance Surya Tüchler is using dried and fresh branches of Japanese knotweed. The branches are coming from the outside into the interior and feel into the space. Nature gives her a sense of security – it’s like a protection by nature while staying at home during the Corona crisis. On the other hand, the cracking of the material shows the fragility of the human body.

Surya Tüchler (*1980) is a performance artist living in Hamburg/Germany. In 2006 she started with performance art while attending the performance class of Bartolomé Ferrando in Valencia. She has studied fine arts and performing arts at the University of Fine Arts in Braunschweig/Germany, where she received a master’s degree in fine arts in 2010. Tüchlers live performances and video performances were shown at various festivals and in exhibitions in Germany and abroad. Surya Tüchler usually develops her performances site-specifically to the given context. Materials are her starting point – covering her body and masking become her artistic tools. By covering herself with natural materials – trying to become one with the material – she explores animalistic sides of her personality and physicality. Archaic images arise that can oscillate between human and animal, creation and destruction or beauty and disgust. A mysterious energy appears which let us think of our own being.




Into my arms’ was made in the fall of 2019, as I was sailing North along the coast of Norway. Every day, the weather decided whether I would sail on or stay. Early December during a long Autumn storm, I stayed on the Island of Træna for almost two weeks. Everyday during the few hours of light just South of the Polar Circle, I went out and made short performances between the weather and me. Into my arms is one of them.

Sarah Gerats (1983, NL) After finishing her Postgraduate at the HISK in Ghent in 2011, Gerats decided to move to Brussels, with the plan of making this vibrant city her base. A few months later however, she accidentally visited Svalbard, an island at 78 degrees North, and stayed. The nature of the North soon became the base for all her performative work – documented through photos, videos and stories. Gerats focuses on the strong individual presence, our relation to what is around us, and our experience of the sublime. The sublime has never been a place to enter, it is meant to be observed from a safe distance. The viewer would experience through the observer. However, living in the fastest warming place on earth, the experience of the sublime is shifting. Fast. We can no longer be the person observing, we are experiencing the sublime with wide open arms.





Intimacy’ Diptych December 2018. With two artists, over one week, one in Paris and one in London, each for three days, where we shared time and space together. Together, we created a temporary reflection of our encounter and the way we structure our own intimacy. In Paris I collaborated with the artist Chen Cohen. Intimacy is expressed at the point of meeting. When one body pushes against the other, it casts and defines the space which we are, and which we are in. It holds the pain that accompanies the intimate point. In London I collaborated with the artist Jasper Llewellyn. the gaze in to each other easy becomes a solid life line, between a body under the shock of icy water in the late December, about to freeze, and a hanged body restrained to move, about to fall.



‘VALSA’ 2020

A ‘valsa’ (waltz) with my grandmother (Rosina PJ Cardoso). She plays a Waltz by Rosa de Lúcia de Arouca Laynes dedicated to Rosa Lopes Pereira Jorge, my great grandmother in 1957. I use their hair props.

Cardoso Amato – Studied performance art in Berufsverband Bildender Künstler, BBK (Berlin, 2014). Participated in performance art workshops with Margit Leisner, Fernando Ribeiro, Monica Galvão and Ricardx Nolascx (Brazil); Tamar Raban, Gili Inglis and Anat Schen (Israel); Alexander del Re, Verónica Cruz and Héctor Ibáñez (Chile) and Marilyn Arsem (USA). Eduardo Cardoso Amato did residencies in Bauhaus-Universität (Weimar, 2010), Hochschule Wismar (Wismar, 2013) and Pivô (São Paulo, 2020). Participated in the ZAZ performance Festival at Bamat Meizag (Tel Aviv, 2017), Curto-Circuito de Performance, (Chapecó, 2018) the 25th anniversary of the Bienal Internacional de Curitiba (Curitiba, 2018), Temporada de Performance – Festival de teatro (Curitiba, 2019) and Festival Temporal (Asunción, 2019). Created Soma Galeria in 2014 and Festival SABRA Brasil Israel (2018) a project of interchange between the two countries. Runs PF space for performance art in Curitiba – Brazil.

Through performance art I propose active transformations mediated by the contradictions between content and form, recognizing issues related to language and translatability. I am interested in secular non-dogmatic rituals, the archetypes of art history, literature, and holism.



The grotesque Oneness.

Bones and fat breastfeeding the inner beast.

The animal scream devouring stillness.

When divinity and the demonic becomes the Same…

Marina Barsy Janer x Isil Sol Vil (Puerto Rico x Catalonia) are performance artists, curators, pedagogues and researchers. Directors of the cultural centre MATERIC.ORG. and curators of MAR DE ISLAS performance encounter of the Caribbean and EMPREMTA international festival of performance. They begin their joint work in 2015 following a philosophy of Subversive Love and eXtreme Care. They have presented their work in galleries, museums, universities, symposia, festivals and urban spaces around Europe, the Americas and Asia.

They explore alternative sensitivities that challenge the historical chronologies imposed while suppressing the male/ female dichotomy. They are not two bodies, they are not two artists; they are the body in a space, in a time and in a presence. Their point of union, as vanishing point, is a constant pulsation where the plural presence of the body, the border destruction and the decolonization of the mind-body is an act of rebellion and subversion.



SINK’ 2020

SINK’ is my look and reaction to isolation and restrictions.

Noel Molloy studied Limerick School of Art and Design 1978 – 1982.

Degree in Fine Art 1982. Works in sculpture/mixed media and performance art. He has exhibited and created performance extensively throughout Ireland, Western and Eastern Europe and the U.S.A.

Awards: Creative Ireland/ Roscommon Arts Office 2020. Culture Ireland/ Roscommon Arts Office 2017-2019 . Arts Council of Ireland awards from 1991 to 2006; Americans for the Arts 1998 residence Banana Factory Bethlehem Pennsylvania; Cultural Relations Committee Dept. of Foreign Affairs Travel award 1993, 2003; Exhibition awards, Individual Bursary Roscommon County Council/ Arts Office from 1999 to 2020. Organised ‘Crossroads Symposium ‘95’ 1994- 1995. Organised ‘Arts Cabaret’ numbering 20, from 1997 to 2020. Founder of Working Artists Roscommon 1990 artists group and administrator to present. Member Visual Artists Ireland. M2 time-based artists group. Lives and works in Roscommon Ireland.

Thomas Wells (ENGLAND)


‘Hiya… and applause’ from Part of Your World III (New Horizons) 2019. A video performance to accompany the live performance Part of Your World III (New Horizons) in 2019. POYW is an ongoing series of photo and live works exploring the treacherous waters of growing up and self discovery all set to a soundtrack of popular music. First performed at Array Studios InCube residency in 2019, POYW III was also part of the NI Mental Health Arts Festival in the same year at the 343. These works to camera start and finish the performance, greeting the audience to the space and then a self initiated applause to mark the end.

Thomas Wells works with narrative to explore embedded theories of identity. They are driven by the dissolving of truth into fiction through the collating of stories, resulting in the evolution of myths. Wells draws parallels between place through connections to post-industrial history. This is explored through a variety of ways sometimes devised performances integrate video, through movement and dialogue and sometimes curated events which start with a personal narrative rooting the audience in the particular context of time and place. Born in Manchester (1987), and graduating from The Glasgow School of Art: Sculpture and Environmental Art course (2009) and King’s College London (2014) after a Masters in Education. They are currently based in Northern Ireland working with Household, Belfast N.I. and are a member of Array Collective Northern Ireland. Supported by The Freelands Foundation Artist Programme with PSsquared Belfast N.I. (2019-2021) and the Arts Council of Northern Ireland SIAP and Travel Award 2019 and 2020. Wells is currently a co-director of Catalyst Arts, Belfast N.I. (2019-2021)



The Boat II’ 2019

The Boat II was Made on Svalbard winter 2019, This video is from my project “The Boat”. I started restoring an old wooden boat in 2018. It had been on land for more than 40 years drying out. Seven months later it was ready. I brought it into the Arctic winter landscape. The Boat as a project ended October 2020. In this video I am using one fixed camera. I enter the frame from the left and I slowly push the Boat through the frozen Arctic landscape before I exit the frame on the right side.

Stein Henningsen (1962), is a performance artist living in the Arctic archipelago of Svalbard. He has presented his work at various biennials, festivals and events in Scandinavia, Europe, North America and Asia since 2005. Henningsen is influenced by photography as traditional media, often thinking of his performances as vivid images. His work addresses political, social, financial and climate issues in a contemporary context. He is currently working on several new major projects that will continue to address issues that focus on the current state of our planet. Henningsen is the founder of Arctic Action ( He has curated five series in Svalbard, one each year since 2015, inviting performance artists to create works that are inspired by its landscape.



A twenty-minute action shortened to three. Lohan stands still in a tray of mud. She walks in a circle. Her footsteps are imprinted on the floor. She returns to the tray and stands still for some time. Repeat. Each time she steps off the tray she breaks her stillness, and it is like she is born. As she walks and the strength of her imprint becomes weaker it is like she is walking through life itself. Each time she steps back onto the tray it is like she has died. Each time she steps off she is born again.

We live in a society that is becoming ever disconnected with nature. How can we use art as a remedy? Lohan is a multidisciplinary artist, currently in her final year of her BA in Contemporary Art, CCAM, Galway, her work centers around the natural and the spiritual world. She believes that making art with natural materials can reconnect us with the earth and in turn the spiritual. Her practice is ritualistic and is her way of attempting to understand the unknown. Lohan’s work poses questions such as: Where did we come from? Where do we go when we die?

Instagram: Emily Lohan




This video belongs to the series “Domestic territory” in which the duo Beltrán & Déniz are currently working. In this project they intend to occupy the open space decontextualizing domestic activity and incorporating the environment into the narrative. They transfer these domestic situations as a couple in order to obtain a deconstructed landscape. The choice of this volcanic, arid and harsh landscape bathed by the sea, but at the same time so loved, is no accident. This scenario reinforces the action and ironic about the relationship itself. The artists also work on the concepts of “relationship”, “love” and “everyday life”.

The duo Beltrán & Déniz is formed by the artists Analía Beltrán i Janés and Pedro Déniz. Their work, in spite of its long individual trajectory, has a short journey as a team: since 2013. Their line of work focuses on the couple as a microcosm, it is a reflection of social relations in a broader scope, which allows them to analyze different complex social structures. From an artistic point of view this is a metaphorical analysis, which can be read in different directions: as a paradigm of society and also as the Gestalt interpretation of “the couple as a mirror of the self” and the consequences of the same. The balance is desirable in both cases and the complicated thing is to achieve it.

BeltranyDeniz Facebook


SMUDGE’ 2019

Smudge’ was a series of seven performances during which seven white dresses were turned black through the performers interaction with paper, powder graphite and movement. The movement sequence is derived from a dance exploration which aims at awakening the skin through friction with the ground. The dresses were made by the Catizone and the videos were filmed during every daily performance, gradually building into a long sequence of filmed actions. Embodied drawing was the methodology used. Notions of female purity and impurity were suggested in the work. This work was time based; the installation, consisting of the dresses and the video, changed during the week, with one white dress turning black every day and with the video expanding daily to include every new performance.

Paola Catizone is a visual artist, an arts educator and a yoga, movement and embodiment facilitator. Catizone is originally Italian and she has lived and worked in Ireland for many years. She holds a BA and MFA from the National College of Art and Design in Dublin, Ireland. Embodied awareness and the interconnectedness of all life underlie this artist’s work. Drawing, sculptural performance and installation are central to her practice. She has combined the immediacy and physicality of drawing and the directness of Performance Art to produce a series of drawing performances and inter- disciplinary collaborations spanning the last decade. Catizone’s interest in contemporary environmental philosophies and practices inform her work. She believes in the need for collective and collaborative approaches to sustainable living on this planet, and in the power of art to effect change.




Melancholia’ (2016 – ongoing). ‘Melancholia’ is a photography, video performance project and poetry texts as well. In 2016, the beginning of this project was a mood disorder and project has been taken as a reflection of my experience in a poetic form. I come back to this project from time to time because I find inspiration in it.

The mediums I most often work with are photography and video art, but painting, sculpture and mixed media as well. As an artist, I work with different themes. Depending on the theme and concept, the aesthetic decision I take on a project changes. The theme of mood disorders and psychological trauma are ones that I have often explored in my art. I believe that art can help us understand and transform our perception and experience of it. Overcoming in own way issue of a stigmatization, silence, and fear in particular. Accordingly, my works also explore the interconnection between the personal and the public.



During lockdown I have been making short performances to camera using the body and voice. This piece is a response to a quote, sent to me as a challenge, from which to make a piece of work. ‘It is at this point that the mirror, as an accomplice, becomes an agent of demystification.’ (Foucault, M. (2001) Madness and Civilization, A History of Insanity)

I recently completed a practice based PhD at Oxford Brookes University researching if and how text can work as the main focus of performance art. After a long period of concentration on one area I wanted to expand my practice and have started to experiment with simple bodily actions and vocalised sound to accompany them, which can be carried out at home and alone.




Life is Bound in Secret Knots is the documentation of a live performance which took place before the opening of Home Truths in the Cornstore, Galway City in December 2020. In the performance, Phillips tied and twisted 100 pieces of used red clothing into a long knotted cable around her body. The acts of knotting explore how we tie the knot of a relationship or tie ourselves up in knots. Muscles knot and become swellings in tissue, tight constrictions that must be undone for well-being. Legal knots are complicated regulatory and enforced problems that require patient unpicking and sorting out. Knots are obstacles that can be untied and untangled, even if it takes a long time. Home Truths was an exhibition by Engage Art Studios that focused on the testimonies of women who had endured domestic violence and the Irish Legal system.

Áine Phillips is a performance artist based in Galway. She exhibits multi-media performance works, sculptural installation and video in Ireland and internationally since the late 80s. Her work is socially engaged and she has created work for multiple contexts; public art commissions, diverse community contexts, the street, festivals, galleries, museums and club events. Her films have been shown at international film festivals and her work is represented in the Collection of the Arts Council of Ireland. Philips is Head of Sculpture at Burren College of Art and lectures on performance at N.U.I. Galway.


ROOMS’ 2020

Rooms’ is a collaborative work with artist Yohei Kina. We took the video in our house about doing individual performance in each room. We basically don’t see what you do in the next room, but we sometimes we react to each other’s actions. This piece was also streamed Miami Performance International Festival 2020 Facebook Live Streaming which took place on the 3rd Sept 2020.

Born 1982 in Nagano Japan Kitayama studied Painting at Tokyo Zokei University and Musashino Art University. From the time of students, she managed the artist’s initiative gallery. She started performance in 2008 and participated performance festival in Japan and internationally. She recently participated in Responding: International Performance Art Festival and Meeting(2018, Japan) SIPAF2017Philippines)、Performance Resources Orchestra2017SingaporeGUYU Xian Performance Art Festival (2017ChinaNIPAF (2017Japan). Kitayama is a member of Independent Performance Artist’s Moving Images Archive. Through performance art, she tries to think about suppressions and resiliency between you and me. These days she curated some online performance events on this coronavirus situation. It explored the boundaries between art and our life.



+ 5 – 3 = 2’ 2020

What does it mean: “being able to perceive distance”? Is there any contact in distance? Is our presence bound by our physical body?

The logical thinking of the human being collapses under the huge epidermal knowledge, where it finds its true malleable, body-related dimension that overcomes distance, space, vacuum, and division. Overcoming distance is a standpoint in Ambiveri-Lodola’s performative work, who, in this particular historical and political era, declare themselves against social, sexual, and racial separation; and defend the sense of humanity as an essential and basic right.

Marta Lodola (Borgosesia, 1985) and Valerio Ambiveri (Bergamo, 1962) have been collaborating since 2011. Their research investigate duality, twin bodies, identity and alter ego. There is no separation of roles, both sides act in order to find truthfulness within human relationships. Together they share the relationship with reality and the understanding of relational dynamics within society. They analyse the inner and intimate dynamics of human relationships. Duality exists within every human being, as two parts of the same individual. As a duo, Ambiveri – Lodola create performative actions, videos, and photographic pictures.



Changes of state’ binds to the concept of passage understood as transformation from a natural element to another, as from one emotional state inner to outer one. The surface of the mirror fogs up and doesn’t reflect the image of the face, leaving only a suggestion; the intervention is to reshape, re- imagine the face unseen, recreate through imagination and blink reflex the own “SELF” that is no longer only exterior image. Through the sight the finger traces the primary lines of the face but the experience is tactile to record information from the real.

Citron | Lunardi is a collaboration between two different personalities: Selene Citron (1986) passing from digital fabrication to performance and Luca Lunardi (1980) who works with video and writing. Their artworks take a critical view of social, political and cultural issues. Often they arise from a very urgent suggestion of the society’s problems. The artworks become a hybrid that mixes the pixel framework, the 3D print, the performance and the environment. Their works have participated in national and international exhibitions.



HEADS’ 2018

We sometimes work about the idea of recurrence, how something that could be “nice” or even a “caress” could become after many, many repetitions something out of control, something that can be a nightmare. This is something that happens “privately” but also happens in a social context.

In 2002 a performance commando unit was sent to prison for a performance they didn’t commit. These performers promptly escaped from a maximum security stockade. Today, still wanted by their captors, they survive as “performers of fortune”. If you have a Performance Festival, and if you can find them, maybe you can hire them. They are ABEL LOUREDA & NIEVES CORREA.

We both shared the same concept about performance: simplicity, no technology, every day objects and ideas…. The process of creation in our work always involves our life, our hopes and our love as an unconscious reflection on our own process of knowledge between us and yourselves. The chance, as so often in our lives, is the determining factor that controls the time and the solution of most of our performances.

Abel Loureda Facebook

Nieves Correa Facebook



Chair+Man, I entered Tiananmen Square with a conference chair and sat on the chair for a moment.

Yu Yangb.1991Graduated from School of Chemical Engineering at North Minzu University, Yinchuan, China in 2015. Yang now lives and works in Dundee, Scotland.

My works are mostly based on everyday activities and objects as raw materials, questioning the nuances between private and public, inside and outside, symbolic and real. Involving a variety of media such as installation and performance, I am on my way of exploring notions of boundaries, examining the tendency of systematic and structured existence in society from the perspective of inclusion and exclusion by subtly intervening and distorting specific spaces.



1.12.2020’ 2020

The action could be called PAN(DEM)IC, which sounds great, but it seemed easy and obvious to me. As I did the action on December 1, I decided to call it “1.12.2020”. The action was carried out during approximately 11:20 to 12:30 and edited in a video of 2’17 “. The subject is one of my ways of thinking about these times of emergency. Carrying a black bag in my hand, inside are the masks and shirts that I used. The action was simple in its dynamics, but I felt it as a concentration of emotions.

Growing up among magazines, newspapers, comics… in the family news-stand, in a village lost in the country side of deep Ciociaria, between Rome and Naples, aroused in me curiosity, the need to know and live a full life. It was mid-50s early 60s. Travelling to discover the essence of life, human relationships, to know myself through the others. Living the life in which art occupies a decisive place, where the failure it means learning. Since 1992 I am living in Bilbao with whole family, making pizza in our shop, Pasta y Pizza Grossi. I am retired now. Cooking, communicating, making evident things of daily life that normally go unnoticed and some more matters, are the essence of my live in art. Definitely art is for me like breathing, it is something natural, something I need to live, to feel alive, to be what I am: a human being.

Fausto Grossi Facebook



Ladra [ = thief] feminine adjective and feminine name
1. It is said of a woman who stole or steals habitually. female name 2. Stick or cane to pick fruit. I always lived in big cities but recently I moved to a little village in the countryside. Since then I started making video performances with materials provided in my garden. ‘Ladra- the fruit thief’ is deeply grounded in my back yard and in my daily routine. In this work I create an imaginary portrait of a woman with no face, assuming anonymity by the agglutination of identities that may mirror others. Ladra is a woman and an object.

Patrícia Corrêa (b. 1978, Lisbon l Portugal) I am a visual artist and social researcher with a focus on performance and live arts. My work is durational, ritualistic, and feminine. Being interdisciplinary, multi-sensory, site, and context responsive spanning from the performance art, to sound video and installation. I exhibited and performed in public spaces, galleries, festivals, and museums, such as Grimmuseum (Berlin, Germany), São Tomé Art and Culture Biennial (Sao Tome and Principe), Circle of Time Performance Festival (Toruń, Poland), International Performance Festival (Nicosia, Cyprus), Visual Arts Festival (Bielsko-Biała, Poland), Biennial of Performance Art (Bogotá, Colombia), International Forum of Performance Art (Drama, Greece), Interakcje Performance Art Festival (Piotrków Trybunalski, Poland) and National Museum of Contemporary Art (Lisbon, Portugal). I am currently based between the city and the countryside, allowing nature into my works. I found & curate YAM Performance Art Festival (in Belgium) and the Portuguese Performance Art Platform (in Portugal).
Patricia Correa Facebook



‘9 & DINE’ 2018

9 & Dine’ nine holes of golf in an urban area followed by Dinner, Regina Saskatchewan 2018

John G. Boehme identifies as a Cisgender white male of German and Scottish heritage currently living in Victoria, BC Canada the Lekwungenspeaking homeland of the Esquimalt, Songhees peoples. His early art practice included painting, sculpture, performance video and digital technology, installation and photography. Boehme describes recent work as “trans-disciplinary”often employing performance, video, audio and objects in a number pieces simultaneously, Boehme is not constrained to any particular creative mode and therefore utilizes integrated approaches to realize the work.

What interests me is the ongoing reformulation of a set of key interests. These interests are drawn from my observations of Western society’s less considered compulsions. Exploring the performance of gender, specifically masculinity, the valorization of labour, the pursuit of leisure, and the marshalling of amity. I explore language and paralanguage, that is, both the spoken and gestural aspects of human communication.



The awkwardness of dancing by yourself in front of an old rusting plant machinery in a disused quarry. (In the artist Gillian Wearing’s 1994 piece; Dancing At Peckham, her flailing dance moves contrast sharply with the passers’ by contained movement) This is a contemporary homage, in a deserted space to reflect our pandemic affected surroundings, where the artist’s actions appear small and suitably insignificant. The act of dancing prompted a thousand memories of long ago when I used to go to clubs and gigs and dance all night. Not out in the open, in the cold wind, mid-morning, middle-aged, by myself.”

Rachel MacManus is an artist living and working in Co Clare, Ireland. Her practice centres around drawing and performance art. Her drawing practice focuses most recently on community-based site specific work and exploratory mark making. Her performance work addresses themes around endurance, repetition and physicality. MacManus’s recent performance work addresses the theme of using physical action as a form of relief from anxiety and stress. “I am interested in how our personal relationship with our body and our body’s physical ability, what we are physically capable of, can change as we age. I employ my body as a tool to make work. I don’t underestimate my body’s ability to carry out physical actions. I use physical movement as a way to experience extremes, from endorphin based joy to exhaustion induced pain. Rachel has a BA in Visual Communications from N.C.A.D. Dublin and an MA in Fine Art from O.C.A., UK.




The project vertical purge is inspired by the location-scape of the body within a restricted area. In the presence of the radical signs of the Corona Pandemic, consequences and emotional effect become transparent on a daily basis. Processes of several performances for the camera further began to shape with the beginning of the Project in March 2020, ( campaign initiated by anna.laclaque, artist in Braunschweig to collect international art work contributions from all over the world.

Dagmar I. Glausnitzer-Smith 2000 graduated from Royal College of Art London in 2000 (MA), Goldsmiths’ College in 1994 (BA). 2000-2003 Picker Fellowship Award Kingston University. Art foundation Germany 2005-2010, organizing international Performance Art Workshops/Residencies, producing international performance event transitstation in London 2003, Berlin 2005, Edinburgh 2006 and Copenhagen 2010. 2002 – 2017 Senior Lecturer Kingston University, London specializing in Performance Art, 2017 – 2019 support in Performance Art and Art Practices for people/artists with disabilities, Germany.



In this long lasting performance work, Julie-Isabelle Laurin proposes to link the poetics and politics of water. By exploring different containers such as the swimming pool, the plastic bottle or the human body, she approaches blue gold as a means of sharing and communication. First in solo and then with other women, she aimed to create a whirlpool inside the public pool. Inspired by this experience, she then performed other types of canalisations with the collaboration of students whose mission was to collect their home tap water in a container and to offer her during this gathering. This performance was presented as part of Le Raid Poétique du Cégep du Vieux Montréal 2017. Videographer: Jonathan Miron Roy

Julie-Isabelle Laurin (Montreal, Canada) is actively interested in nomadic artistic forms, observing the mobility of identity, territory and object in a site specific approach to performance and sculpture. In her practice, she explores various forms of performative monuments, playing with collective memory, archives and narratives. She has participated in performances, exhibitions and artists residencies in Canada (Langage Plus, DARE-DARE, articule, La Centrale, Skol, Le Lobe artist run centers, VIVA! Festival, Visualeyez Festival, Duration and Dialogue Festival), Spain (CeRCCa Residency), Portugal (Walk and Talk Festival), India (Healing Hills Art Space, university of Rajasthan and Jamia Millia Islamia University). She completed a Master’s degree in Visual and Media Arts at UQÀM University (Montreal) in 2018. She is a part time teacher in Edouard Montpetit college where she teaches visual arts.




Paper Study #26_ Stage Presence’ was performed in the Guggenheim, Bilbao, created in reaction to female stage performances. The music edited contained intro’s from female performers like: Loreen, Beyoncé, Black Pink, Madonna, Cardi B and Megan Thee. In her latest performance series Paper Study’s #, this basic material paper, gives her the opportunity to put the formal material in contrast with the intuitive body. The performance was part of MEM festival Bilbao Spain with the Curator Txema Agiriano. Paper doesn’t interest me because of what it is, but more of what it is not. Some say paper is a blank sheet, something that could become something new, or even a new beginning. You can’t erase your features, or your background. A body is harder to transform than paper, that’s why I like to use paper. It can be strong and fragile like a feather…”

Jolanda Jansen (NL) graduated from the Royal Academy of Art in The Hague (2005) followed by post graduate studies at the Dutch Art Institute in Enschede (2007) She is founder and organizer of Performance Site P.S.- performance art events in The Hague. In her carefully constructed but direct performances and video installations, Jolanda submits her body to various transformations, or rather deformations, to engage with the possibility of self-reinvention and release from cultural determinations. Her work often stages the passage from a sexualized female body to an animal-like corporeality as a way of challenging constraining definitions of self and of femininity. Her approach to performance art is finding a balance between studying formal material in relation to the body in movement and its uncontrolled stages.



‘DisChord Action’, video version, performed and edited at the end of November 2020 is part of training that Tajber has been executing every week over the last several months, via (Teams, online) with a group of younger artists, mostly his students, to organise the time, to draw a structure, and to concentrate on chosen subjects and themes. 

Artur Tajber, performance artist active from mid-seventies of XXth century… Living in Krakow, Poland

Artur Tajber Facebook




A Legal Tentative To Be Together is a video performance produced as a reaction to limitations in public space in the context of the COVID-19 pandemic. During a moment, the artist attempted to produce a legal gathering with the dead of the cemetery of Sainte-Luce, Canada

CEO of the company Legal Human Trafficking Goods And Services™, Guillaume Dufour Morin (Québec, Canada) is a performance and conceptual artist in contemporary visual arts. His production is at the intersection of action art and conceptual writing and is exhibited in a diversity of supports. While his actions includes collaborative performances, interventions in public space and invisible art, his actions extensions materialize by video art, installation, artist book, text, sound and digital printed media. His work has been presented, within the frame of festivals, artist residencies, collective exhibitions and collective screenings, in Québec and international (United States, Latin America, Europe and India) several times. He is also a curator, educator and writer.



This video is one part of a series of performances between three bodies; Stonestreet’s non-binary body, ice and concrete, which took place between March and September 2020. Performances take place in ice time, but Stonestreets mind is in tectonic time. The work is quiet. In the slow progress there is an offering for you to be a witness, to join, to make connections, to be radically slow despite or because of the encroaching city time.

Kate Stonestreet (b. 1992, Bury, UK) is an artist, musician and writer. Their practice is informed by their visual art background, having studied Sculpture and Environmental Art at Glasgow School of Art (2012-2015). Currently, they find performance the most urgent technology of communication and Live Art the most fitting context for their actions.

Stonestreets work is an embodiment of radical softness. It is an attempt at finding new ways of being. The modes they inhabit allow for slippages into different paces; a slower, but playful meandering. Stonestreet is interested in ideas of queer intimacy and siblinghood. Holding. Holding hands, holding space, holding up, holding to stop from falling. The work rejects the spectacular for the subtle. They describe their works as ritual actions, queer esoteric traditions that fold into life and unfurl in practice.




Monique Yim and Wiency Wong were a same-sex couple. Same-sex marriage was not legalized in Germany when they presented this work. They started the performance at a church called Herrfurthpl, taking turns to carry each other until they became too tired to walk forward. They looked romantic, yet represented the hardship of same-sex couples in their relationships, and the slowness in achieving progress towards equality. They walked for half an hour. Same-sex marriage was eventually made legal in Germany in June 2017. Monique was awarded “Visual Art Performance Made in Public Space” prize for this work by the Kassak Centre. This performance took place at the ‘4th International Performance Art Week-end’, Herrfurthpl, Berlin, Germany. (Artist Wiency Wong Assisted the Artist Monique Yim by Collaborating in this Performance)

Born in 1984 and based in Hong Kong, Monique Yim is an interdisciplinary artist, independent educator and curator who received her MA in Central Saint Martins, London. She mainly engages in performance art, mixed media art, public art, participatory art and community art. Her works address social, cultural and gender issues. Since 2006, she has been presented her works in about 200 exhibitions, festivals and residency programmes in over 30 cities across Asia, Europe, North America and South America, such as Hong Kong, cities in China, Taiwan, Singapore, United Kingdom, Germany, Switzerland, Netherlands, Sweden, Poland, Czech, Hungary, Slovakia, Serbia, Cyprus, Canada and Chile. She was awarded the “Visual Art Performance in Public Space” prize at Kassak Centre. She curated the “Performance Art Marathon” in Hong Kong. She has given many performance art workshops and lectures at various local and overseas universities, schools and organizations.



A dense construction site was stopped during the quarantine. People discovered and appropriated this place for its air and space. We grasped a unique view on the sunset and from there on us. The horizon made us see ourselves in a vacant space through a common sensitivity towards the manifestation of nature. But now a building arrives while eye contact gets lost. In order for the cracks, fissures, ‘deconstructions’ to be productive, the theme of rupture is envisaged by this action in an attempt to observe and experience this underlying memory which continues to live despite the apparent opacity of the surfaces.

Laurence Beaudoin Morin is a performance artist from Montreal, Canada. In her work, she intends to initiate a reflection on the practice of gathering by celebrating the complexity of its praxis. She aims to create circumstances conducive to the sharing of knowledge through the political vitality of the process. Working primarily in urban vacant lots, she offers a liminal understanding Of these places, where moving bodies delineate their relational landscape. The theme of rupture is envisaged in her work. How performance, in the face of a destabilising moment, can spatialise the transgressive and creative potential of moments of social, cultural and political rupture. Laurence presents performances and organizes gatherings in Montreal, Sudbury, Toronto, Detroit, Brussels and Berlin since 2012. She is the co-founder of the project of the auto-workshops for performance art and is part of the Performance Art Studies team.

Instagram: laurencebeaudoinmorin



‘365 DAYS PROJECT’ 2020

The 365 days project is a recording of my life through my uncut growing hair and beard, it is a record of time through my face, as well as the surrounding area, which would remind me of where, why and what at the time or day(s) when I take the photograph of myself each day.

It is a statement of life and how I live my life as an artist, as well as as human being; especially at the time of 1 year under COVID-19 situation.

Chumpon Apisuk Facebook



‘Surgical Site’ performance consists of a large-scale biopsy on a slag heap which is little mound made from coal extraction waste at Charleroi’s terril des Pigess. Slag heaps represent a multidimensional space, where cultural activity and a new nature can inhabit the land together. Over the years, many of these mounds have become home to a unique ecosystem, created by the inversion of the Earth’s layers, new biotypes developing from the overturned soil. In this performance we collected small samples to create a connection between humans and non-humans in mind to take care of our environment. (The artist who assisted Henry in the performance is Stefan Tulepo, the video was filmed by the artists Irina Favero-Longo, Nathan Lerat and Lucie Antoine)

Marion Henry is a design graduate from Université du Québec à Montréal (UQAM) and Master’s degree from La Cambre in Brussels. During her studies, she developed a great interest in the urban environment, specifically in interstitial spaces, non-places and ambiguity in the city. Through this interest, and a project to publish a design publication, she met performer artist Laurence Beaudoin-Morin who introduced her to the ‘’Auto-workshop au terrain vague‘’ a performative workshop that took place on a specific wasteland in Montreal. Although it was her first time taking part in a performance, she fell in love with the field and is currently working on a collective artist’s residency in North America. Marion is the co-founder and Editor of Echelles, the first Environmental Design magazine in Quebec. She is also the co-founder and designer of the design library at UQAM’s School of Design.

Instagram: Marion Henry




An unusual way to explain my work.

I’m interested in the image of my body, the structure of the space, the properties of the material. By putting those three elements into a relationship, I’m looking for unusual, somewhat minimal actions which stimulate the interpretation of the audience. I’m following my intuitions, in the belief that they will translate my way to live in this world now. I’m interested in the perceptions by the body and the creation by improvisation, because for art I trust body, intuition and improvisation more than mental reflexion.

Born in 1979, I live and work in Brussels. I studied theatre (graduating in 2004) and did some visual and experimental theatre in Belgium. My artwork has been mainly focused on performance and video since 2006 (queer performance then more visual and site specific performance), then also on drawing and installation with paper (since 2014). It has been presented in different countries.


EPISODE 4’ 2020

During the fall of 2020, veteran performance artists, Judith Price in Victoria, BC and Johanna Householder in Toronto, established a collaborative improvisational practice on the ubiquitous Zoom platform. Episode 4 is an excerpt from that ongoing research. This performance attempts to restore peripheral vision to a world now condensed into a 2880 x 1800 slab of metals and electrons. The crude imprecision of the technologies through which we communicate flattens geographies and obliterates time zones. It also subtly renders affect ineffective, demanding that we tunnel our visions. All backgrounds appear as virtual. In order to pry apart the digital compression of our formerly multiform lives and regain a sense of humour about it all, we challenged each other to rigorously improvise a new relationality: not speaking, not editing, just doing. With the desire to reach through the screen we approximate each others appearance, gesture, surroundings and intentions, and by doing so, map potential new communicative forms.

Johanna Householder works at the intersection of popular and unpopular culture, making performance art, audio, video and choreography. , she has performed across Canada and at international venues for 40 years. Her current work concerns the vexations of the anthropocene.

Judith Price combines a 30+ year transdisciplinary art practice with a background in modern dance. Her body of work includes performance, video and site-specific installations and short films. She is a founding member of the Open Action performance collective. Price lives in Victoria, BC, as an uninvited guest on the Lekwungen/Esquimalt, Songhees and WSÁNEĆ territory.




A Laboratory for Survival performance during Lockdown period in March 2020 and my reaction as performance artist act as Virologist. A laboratory space created within home confinement in living room with all my collection of laboratory jars. A metaphoric act to understand the invisible virus and fight it, Bringing psychological state of mind, breathing through hand gloves ,feeling breathlessness extending performance to the terrace space wrapping in wrapping foil to protect my body but felt suffocated and breathlessness turned it to paradoxical act. Finally the burning a maquette  of coronavirus, turning it to ashes a surreal, abstract imagination of performing virologist.

I am a multidisciplinary artist from Bangalore, studied in MS University, Baroda; my art practice has developed in Painting, Printmaking and Performance Art. Residencies include Art House Wakefield United kingdom, Space Studio, Baroda, Glasgow Print Studio UK, Printmakers Studio Mumbai, Baroda &Karnataka LKA. National & International Awards -IFA grant(project560), 2014, International Residency, Nigeria 2013 (Prince Claus Fund), First Gold Prix in 7th Engraving Biennale, Versailles 2009, National Award, LKA, Govt.2008, Commonwealth Arts & Crafts Award, UK 2005, Junior Fellowship, HRD, Govt.2001/2. I had solo shows in Glasgow Print studio, Uk., Sumukha Art Gallery & Kalakriti Art Gallery. I have participated in International Exhibitions like Dada Fest International Festival, Liverpool &Massachusetts USA.


DARK – LIGHT, IN – OUT’ 2017

Dark – light, in – out’ was performed in 2017 at the XIX International Art Festival INTERAKCJE, Piotrków Trybunalski, Poland. The performance consisted of two parts – indoor and outdoor. The video shows the first part of the work. It is the most complete public presentation of the performance documentation. The idea of the performance was created during the festival as a response to the architectural environment of the venue, formed as a reaction to other works at the event and reflected Helytovych’s engagement with the particular live moment.

Born in 1989 in Lviv, Ukraine. Helytovych graduated The Lviv National Academy of Arts where he studied painting. Helytovych has been performing since 2015. In 2017, he completed an internship at the Labirynt Gallery (Lublin, Poland) as part of the Gaude Polonia scholarship program. Helytovych has participated in performance festivals both in the Ukraine and abroad. He is the Co-founder of the performance project Zabih (2017). His performances are not always homogeneous in character and form. It is important for Helytovych to work in a live performance setting, to use the tension of the moment, to accept the mistakes, and to avoid predetermined endings. The basis for his performances are often a meaningless associative form, that start from the circumstances of the place, changing during the performance, revealing the hidden cognitive, communicative, and therapeutic potential of a unique situation.

Andriy Helytovych Facebook

Instagram /gelitovichus




An alternative way of wearing my lingerie. This is quite literally, getting into my lingerie. I work for the clothing this time, it does not have to work for me. I struggle but succeed in moulding myself into its position as it is tensely held above ground level with bungee cords. I remain in the lingerie, stuck in its position, for as long as my body will allow me.

Alison Farrelly is a recent graduate of N.C.A.D., Sculpture and Expanded Practice. Farrelly is currently based in the La Catedral studios in Dublin.

I want to break down the cold, lonely barriers that inanimate “stuff” places between us by celebrating their flaws. With tenderness toward rejected items, I focus on one ‘thing’ they can do, outside of their given function. I am generous – allowing them to behave in different ways that do not serve me or anybody else. These objects deserve a break. I go to great lengths to acquire them and find great joy in this seeking-out process. Through rather serious playful acts, I learn about my material and relish in working in conjunction with physical limitations, including them in the process rather than working against them.

Instagram: alifarrelly_work


‘A MATTER OF …’ 2018

VERÓNICA PEÑA is an interdisciplinary artist and independent curator from Spain based in the United States. Her work explores the themes of absence, separation, and the search for harmony through Performance Art. Peña is interested in global issues such as migration politics, cross-cultural dialogue, peaceful resistance, liberation, and women’s empowerment. Peña has performed/exhibited internationally. In the US: Pioneer Works (*2020-postoponed due to pandemic), Smack Mellon, Queens Museum, Hemispheric Institute, SAIC, Times Square, Armory Show, among others. She was selected for the Creative Capital Workshop, received a Franklin Furnace Fund, and is the founder of “Performance Art Open Call”, a Facebook Community of more than 13,000 members.