Being In PublicEncounters | Outer Place / Inner Space
“The freedom to make and remake our cities and ourselves is, I want to argue, one of the most neglected of our human rights.” David Harvey
The Symposium will investigate the interconnected role of the performative collective/action and the citizen in the making and changing nature of public space/s and thereby changing and transforming individual citizens themselves.
The Symposium starts on the basis of an openness about public space as a social and political realm essential to democratic life and as a place of physical design. It is informed by the political and moral philosophy of Hannah Arendt, and her position that this realm is where citizens negotiate, mediate and take collective action for the common good. Modernity she contends, has manufactured “distracted citizens” alienated from the public and the ‘common world’. It is this social and political terrain that initiates the open ground and framework for the Symposium
It proposes to examine the potential of contemporary performative art practice in the public realm as an activating ‘temporary community’ which by expanding the field of performative practice can interrogate public being and space in the wake of modernity’s psychological and economic ‘effect.
05. 04. 2017 | Launch | Ulster University Belfast
16: 30 h | Same Difference Equinox to Equinox Film | Kim Gurney – Keynote 18 h New Imaginaries Film, South Africa
19:30 h | Panel | Kim Gurney | Cherie Driver | Sandra Johnston | Chumpon Apisuk Guy Sioui Durand | Alissia Kleist | James Hennessey | Marita Bullmann
06 – 07. 04. 2017 | Symposium – Open Space Technology | Girdwood Community Hub | Belfast | 10 – 16.30 h
07 – 04. 2017 | Panel | John G Boehme | Marilyn Arsem | Adrian Hall | Artur Tajber | Kim Gurney | Fausto Gracia | Elvira Santamaría Torres | Karin Meiner | Belfast Interface Project | Pavana Reid | James King |Joint Chair – Brian Connolly + Cherie Driver
For the facilitation of the symposium we are using Open Space Technology which is a methodological tool that enables self-organizing groups of all sizes to deal with hugely complex issues in a very short period of time.
Kim Gurney works independently across research, writing and fine art. Kim is affiliated as Research Associate to African Centre for Cities (ACC) at University of Cape Town, and to the Visual Identities in Art & Design (VIAD) Research Centre at University of Johannesburg. Her writing covers a range of topics and modalities. She is author of ‘The Art of Public Space: Curating and Re-imagining the Ephemeral City’ (Palgrave, 2015). Her second book is a work of creative nonfiction that tracks artwork journeys from a Johannesburg atelier into the world, to tell an interwoven story of transition (Fourthwall, in press). Kim’s own art practice deals with disappearance of different kinds and makes restorative gestures, while engaging other practitioners through curatorial initiatives. She lives in Cape Town, South Africa.
Dr. Chérie Driver trained as a painter at Ulster University and a Social Anthropologist at Queens University Belfast before completing her PhD on the ‘The writings of Griselda Pollock, Ireland, the ‘feminine’ and visual representation’ at Ulster in 2005. As a researcher she has worked on a number of collaborative research projects in the area of ‘art and its locations’ and specializing in art in contested spaces and art and documentation. Appointed Lecturer in Art Theory in 2010 Chérie teaches on Foundation, BA Hons Fine Art and the MFA Fine Art as well as supervising PhD’s.Chérie curated the Catalyst Arts: Collective Histories of Northern Irish Art X which was the tenth instalment of Golden Thread Gallery’s Collective Histories of Northern Irish Art Series, a project that forms a significant archive of Northern Irish Art from 1945 to the present. The exhibition centred on the artist led initiative established in 1992. The exhibition examined the role mainly Belfast based artists, collaborative projects and performative actions and events have played in dissolving individualistic notions of the artist, pushing boundaries of contemporary art practice, and appropriating curation as an artistic practice and critical collaborative process.Cherie’s research is related to Feminist theory and practice in the visual arts and is concerned with the role of art as research, its function in public space and its possibilities for transformation in contested or divided cities.
Chumpon Apisuk 1948: Chumpon was born on 7 November in Nan, a northern province in Thailand.Studied Art At Changsilpa School, Silapakorn University / Bangkok and at the Museum School of Fine Arts / Boston, Massachusette, USA.1968-70: He studied with Tang Chang a famous Thai contemporary poet/painter.Since 1986 he has been active in promoting performance art practice in Thailand and SE Asia region. Co-organized Wethi-Samai (Contemp-Tre) at Bhirasri Institute of Modern Art – an inter-disciplinary event which marks the first movement to performance art in Thailand. 1989-91 Organized Tap Root Society in Chiangmai, where action art, poetry, open-theatre, music were encourage to mixed and experiment together.1993 – Co-founded Concrete House / Art and Community Action; and now is a museum of EMPOWER Foundation: This is Us Museum – a sex work history and organization in Thailand.1998 – present: He led the organization of Asiatopia International Performance Art Festival in Thailand. Since 2012 he set up Asiatopia performance residency program in Nan, province in the northern part of Thailand.He is currently representing artists network at the board of Bangkok Art & Culture Centre Foundation (BACC), Bangkok, Thailand.
Guy Sioui Durand (born in Wendake near Quebec City in 1952) is a member of the Huron-Wendat nation. He is a sociologist of art (Ph.D.), independent curator, lecturer and author. He has worked in Native American art and current art since 1978.He has been involved in publishing and writing numerous books, L’Art as an alternative, Networks and Practices of Parallel Art in Quebec 1976-1996. Déclics, art and society: Québec in the 1960s and 1970s. The Very Rich Hours by Jean-Paul Riopelle in 2000.The Art of a Superior Trapper. Indianity 5 and Indian Art 6 and Indian Games is one thing, being an Amerindian is another one in the journal Recherches amérindiennes au Québec When natives express their dispossession. Arts, Humanities, Theater 7 . He wrote the Indians Indians Indios file of the magazine Inter number 104 in 2010 8 .In 1978, Guy Sioui Durand cofounded the current art magazine Inter in Québec. In 2006, he was guest curator of the 24 th Baie-Saint-Paul Symposium and in January 2008, he was working with the organization of the 400th anniversary celebrations of the City of Quebec as councilor for the 400th space for First Nations and visual arts activities during the celebrations.In 2011, he gave the course Regarding current art to the bachelor of arts in interdisciplinary arts at the University of Quebec in Chicoutimi . In 2013, he was an advisor for the new edition of the Musée de la civilization de Québec ‘s exhibition . First Nations and Inuit of the 21st century . On January 25, 2013, the Museum of Contemporary Art in Baie-St-Paul awarded him the honorary membership for his involvement in the institution and the organization of the 24 th Symposium held seven years earlier. A year later, he was responsible for the seminar at the Master of Sociology of Culture and Cultural Practices in the Department of Sociology at Laval University .To date, in 2016, Guy Sioui Durand teaches as a lecturer in Initiation to Modern and Contemporary Indigenous Art at the Kiuna Institution in Odanak and is the current chairman of the board of directors of Interventions .
Sandra Johnston is a Northern Irish artist working internationally since 1992 in the areas of site-responsive performance actions, installations and drawing. Since 2001 she has developed an extensive body of practice-led research exploring creativity in relation to the aftermath of social trauma, in particular issues of ‘contested space’ and empathetic communication.The artworks are experiential in nature, based on processes of improvisation and assembled using mainly found objects. In some respects the actions exist as propositions, whereby, audiences directly observe gradual accumulations of images and the emergence of latent relationships. Gestures are offered as ‘provisional behaviours’, existing like relics salvaged from a forgotten moment – flawed, inexact and silent. Within these situations, the artist’s body is located as an entity arrested in its sparseness and mutability.Johnston has held several University teaching and research posts including an AHRC Research Fellowship at the University Of Ulster in Belfast (2001-2005), investigating issues of ‘Trauma of Place’. In 2007 she was the ‘Ré Soupault’ Guest Professor at the Bauhaus University, Weimar. In 2013 she published her PhD research entitled, Beyond Reasonable Doubt: An Investigation Into Concepts of Doubt, Risk and Testimony Explored Through Consideration of Performance Art Processes In Relation to Systems of Legal Justice, with LIT, Germany. Currently, she is a Senior lecturer in Fine Art at Northumbria University and Course leader of the MFA course. Additionally, she has been a co-founder and committee member of various artist-run collectives in Belfast, namely: CATALYST ARTS, BBEYOND, and AGENCY.
Marita Bullmann, born 1982, Munich, lives and works in Essen, Germany,2004-2011 studies of Photography at the Folkwang University, 2008-2009 Bezalel Academy of Arts and Design Jerusalem, Israel, 2011 Diploma with distinction at the Folkwang University of the Arts, Essen, Germany. Since 2011 Co-founder of Aktionslabor PAErsche (with Boris Nieslony a.o.), Cologne, Germany. Since 2013 Organiser of the Performance Art festival Interval in Essen with artist from Europe and China.Her work has been presented in Europe, Turkey, Israel, Russia, China, Singapore, Thailand and USA. For more Info: www.maritabullmann.de
James Hennessey MA(Hons) MA CMLI is an Urbanist and Chartered Landscape Architect based in Belfast, Northern Ireland. He is a Director of The Paul Hogarth Company, a practice responsible for numerous awarding winning public realm and regeneration projects across the island of Ireland and Scotland. These include the Connswater Community Greenway in Belfast, Living Places: An Urban Stewardship and Design Guide for Northern Ireland and the internationally recognised Wild Atlantic Way. James’ placemaking work and that of the practice is known for its use of participatory engagement techniques, placing members of the public at the centre of design and planning processes. James is also an Expert Advisor to the DfC Ministerial Advisory Group and an active academic, studying part time at Queens University for a PhD on streets and their definition as spaces through language.
Alissa Kleist – Curator / Director Household Belfast Household is an organisation that develops and shares inspiring and thought-provoking projects with people in the public realm. We produce activities for and with communities of visual artists, writers, curators, residents of – and visitors to – Belfast that take place across the city. Household focuses on telling untold stories, asking unspoken questions, and revealing hidden narratives through creative visual arts programming. We have worked with emerging and established practitioners in creating new public projects in domestic spaces, city neighbourhoods, parks, empty offices, football stadiums, streets, and other unexpected places. In addition, Household organises events that encourage networking, shared learning and art sector development. Our events have included the delivery of two art festivals (Household Festival 2012 & 2013) in over 80 domestic spaces and public sites in collaboration with over 170 artists and local organisations; a six-week art and residency programme across disused city-centre premises for the Cathedral Quarter Arts Festival; a series of citywide interventions, talks, commissions and events in collaboration with local and international partners such as Belfast City Council, British Council, Arts Council Northern Ireland, PLACE (Belfast), Creative Time (New York), Art Angel (London); Checkpoint Helsinki, and creative practitioners for Out in the Open (2015); and a range of presentations, discussions, debates and get-togethers in Belfast and elsewhere in partnership with organisations such as the Irish Museum of Modern Art (Dublin) and the Visual Arts Workers Forum 2015 (Limerick).Household was nominated for the prestigious Paul Hamlyn Breakthrough Award in 2013. Most recently, in partnership with Belfast City Council, we presented The Imagined City, a programme of public events considering the role of art and artists in urban environments. The Imagined City included new commissions from Belfast-based artists, and presentations, a masterclass and discussions featuring speakers such as Claire Doherty (Situations, Bristol), Sarah McCrory (Glasgow International), Alistair Hudson (mima), Kamiel Verschuren (BAD/NAC Rotterdam) and John Wakeman (East Street Arts, Leeds).
Artur Tajber has exhibited his work since 1974. He has been involved in the performance art movement since the mid-1970s. In the late seventies he began organizational, curatorial and union activity as well as travelling abroad, mostly in France.In 1980 he returned to Poland and began his cooperation with the Regional Board of the NSZZ Solidarno－Małopolska. Member of the Company Committee (komitet zakładowy) of the Independent Self-Governing Trade Union of Artists and Designers “Solidarność” at the Regional Board of the ZPAP [Union of Polish Artists and Designers] in Krakow (the first one artistic board of Solidaność in the whole country). During martial law (announced by the communist regime 13th of December 1981) he was one of four founding members of the KONGER performance art formula (with Wladek Kazmierczak, Marian Figiel and Marcin Krzyzanowski) and became an assistant at the Department of Visual Arts of the Faculty of Industrial Design, Academy of Fine Arts in Krakow. Toward the end of the eighties he was involved in the reactivation of the ZPAP, founded and ran the gt gallery in Krakow; from 1989 he was a Vice-President of the Regional Board of the ZPAP and artistic manager of the Pryzmat Gallery.In the latter half of the 1980s he was elected president of the Fort Sztuki Association (Fortress of Art) and continued his artistic and curatorial activity in Poland, Norway, Canada, Ireland, Great Britain and many other countries in Europe, Asia and both Americas, where he also presented his own work, mainly in performance art.He is the co-author of a unique programme of education in intermedia (2001). In the second half of 2007 he was appointed head of the Department of Intermedia formed at the Faculty of Sculpture, Academy of Fine Arts in Krakow, where he also runs Poland’s first Performance Art Studio (BA, MA, PhD). Since 2007 he has also lectured on performance art at the Jagiellonian University and has worked at the Polish-Japanese Institute of Information Technology (PJWSTK). In 2012 he was the instigator of the Faculty of Intermedia and became its first Dean.
Marilyn Arsem has been creating live events since 1975, ranging from solo performances, to large scale, site-specific works incorporating installation and performance. Arsem has presented work at festivals, conferences, alternative spaces, galleries, museums and universities in 28 countries in North and South America, Europe, the Middle East, and Asia. Many of her works are durational in nature, minimal in actions and materials, and located in peripheral spaces in the context of larger events. Viewers discover the work on their way to seeing other performances. Arsem has focused on creating works in response to specific sites, engaging with the immediate landscape and materiality of the location, its history, use or politics.Arsem is a member of Mobius, Inc., a multi-disciplinary collaborative of artists, which she founded in 1975. She taught at the School of the Museum of Fine Arts, Boston for 27 years, establishing one of the most extensive programs internationally in visually-based performance art.
John G Boehme Weaned in the Windansea of La Jolla, California a product of boarding schools and graduating from Army and Navy Academy. John G. Boehme’s 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. John continues to have exhibitions, screenings and participate in festivals across, the Americas, Australia, Belarus, Canada, China, Europe, Serbia, Singapore and the United Kingdom. John is a continuing faculty in the Visual Arts Department at Camosun College.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.Live artwork presents a direct relationship with material, with action and process, with human interaction, as I understand it. Physical involvement is the most embodied way in which to create meaning. Through durational works both the artist and the audience gain access to the experience uniquely available through such commitment. This is of course the archetypal modality of ‘performance art’, an experience that unfolds through an extended period of time. Nothing can replace that learning, that specific duration of being. Although there is no alternative to the durational aspect of performance per se, I remain interested in the question of representation of performance. The very clear and obvious problem of making the ephemeral available to a larger audience at a different time. Using video to “reconstruct” an event makes publication and discourse possible. Despite its material concerns I believe that art is rendered ultimately in the social domain.With regard to multi-disciplinary works, I prefer the alternative term “trans-disciplinary”, as it refers to integration between media, as opposed to, say, a sequential use of different forms. For instance, I employ performance, video, audio and objects simultaneously in a number of my pieces. I am not constrained to any particular mode; rather, I utilize integrated approaches within my practice.
Elvira Santamaría-Torres was born in 1967 in México City. She studied art in Mexico City in the former “Esmeralda”. In 2009 she finished her Master degree in the School of Art and design of the University of Ulster in Belfast. In1993 She participated in the First Month of Performance Art in the University Museum El Chopo with the piece One sleepless night. In 1994 she won the First Prize of the 3rd Performance Art Month Award with the piece Donation for an igneous force and she was also invited to the Rencontre International de Art Performance in Quebec. Since then, Elvira Santamaría has shown her artwork in Festivals, Art Centres, galleries, Museums, theatres and public spaces in Mexico, Europe, North America, Latin America and Asia. Santamaría has been member of Black Market International performance art group since 2000. She has organized and curated various performance art events like the International Performance Art Encounter in Yucatán, 2002-2006; Actions on Route, Interventions in Mexico City 2001 and 2003; InterSERO, International Action Art Encounter 2009 in the Carrillo Gil Museum of Art. In 2007 She made Urban Actions project in Bogotá. Since 2010 she has been committee member of Bbeyond, Performance art Organization in Northern Ireland. She was nominated for the Artraker Award, 2013, Awarding Creativity in Art and Conflict in London. Her artwork has been published in books, catalogues magazines and Internet, such as: Inter Review, Art Actuel 2011; Revista Efimera publish by Acción!MAD in Madrid 2011; Art & Agenda, Political Art and Activism by Gestalten 2012 y Double Exposures 2014.
Adrian Hall (B. Cornwall, 1943) attended the Royal College of Art, London between 1964 and 1967, where he also studied philosophy with Iris Murdoch. During the “Destruction in Art Symposium” he met a penniless Yoko Ono assisting her in a number of ‘events’, featuring and helping with Film No 4 [Bottoms] (1966), and fabricated work for her first London show at Indica Gallery. In 1967 he moved to the US for further study at Yale School of Art and Architecture, with Robert Morris and Donald Judd and other New York artists. He helped fabricate work for Naum Gabo, who played chess with Duchamp at weekends, while Hall was drilling holes in Corten steel. Hall was visited by Jim Allen of Auckland, N.Z. in New Haven, and later invited Hall from Los Angeles, where he was lecturing at U.C.L.A., to Elam, U. of Auckland, as artist-in-residence (1971-72). Hall’s contribution to Elam was considerable, both as a teacher and as a practitioner. His 1971 exhibition at Barry Lett Galleries – Plasma Cast Iron Foam Co. (P.C.I.F.Co) Presents Adrian Reginald Hall, is remembered as one of the earliest and most thoroughly conceptual projects to be undertaken in N.Z., paradoxically in its use of the most physical of building materials and for the opening action. Hall returned to Europe in 1972, working in the politically-charged climate of Belfast, Northern Ireland, before relocating to Sydney, Aus. in 1978. He lived in London between 1984 and 1986 when he returned to Sydney, to U.N.S.W.. In 1998 he visited New Zealand to recreate one of his P.C.I.F. Co. works, Low Tide, for Action Replay, Auckland. He now works from Aramoana, Otago, N.Z., as he has since 2002. Adapted from catalogue of “Peripheral Relations – Duchamp and N.Z.”, Marcus Moore. 2012. Adam Art Gallery, Wellington, N.Z.
Karin Meiner Born 1958 – living in Burgbrohl/ Germany. 1977 -82 Studies of Educational Sciences, Sociology, Psychology at the University of Bonn;1983 – 84 guest student FIU Düsseldorf with Joseph Beuys and Johannes Stüttgen and Kunsthochschule Cologne with Daniel Spoerri;1981 – 1983 experimental co-operations/ actioneering/ sound performance. Since 1983 working as a professional artist with interdisciplinary skills;1983 – 1990 collective group works: Kunstaktionen & DaDa Cabaret with artist-group Staatl. Breitengrad Ensemble in whole Germany/ with Group Schneblind, Ultra Media Theatre “Bauhaus goes Pop” International Theatre Festivals;1987 and 1990 – Project scholarship & fellowship for an innovative art & psychiatry project;Since 1990 more solo exhibitions and art projects;Longterm projects and activities in the field of Art Performance in public space. 1985 – 1990 exploration in public space „slow motion” in Vienna, Zagreb, Palma de Mallorca, Barcelona, Roma, Milan, Paris, Nice, Cologne, Marrakesh (Jemma el Fna); 1988 – 1996 music-performance on stage with different music-groups in Cologne and Düsseldorf; 1997 cooperation with ASA European Performance Conference Bangkok and Ultimate Academy Social Installation Chiang Mai;1991 – 2008 „Art is…“ interactive worldwide Polaroid-Project as work in progress; Since 2008 engagement in cultural policy and art activities/ Kunstaktionen with socio-political background; 2012 – 2014 organising TISCHTRANSAKTION RLP with Boris Nieslony in the federal state Rhineland-Palatinate with 35 network-partners and wonderful art-projects with tables;2010 Co-founder of PAErsche: 2011 – 2014 organizing the platform for Art Performance in Bonn and since 2013 the platform for interventions Open-Source-Group-Performances with PAErsche and guests in public spaces in rural areas and marketplaces in Rhineland-Palatinate (D). The format is termed “explorative”. 2016 organisation of LiveArt -events in different public spaces in Koblenz as part of “Stadtlandschaft” and part of the worldwide performance day initiated by Bbeyond Belfast “Same difference: equinox to equinox”. Since 2014 initiating, curating, organising the art-space ArtLab in Kunstpavillon Burgbrohl in a rural area for experimental cross overs.
Belfast Interface Project is a membership organisation developing creative approaches to the regeneration of Belfast’s interface or ‘peaceline’ areas. Belfast Interface Project (BIP) was established in 1995 with a remit to identify the major issues of concern to interface communities in Belfast and, in consultation with community, statutory and voluntary sectors, to assist in identifying effective means of addressing these issues and facilitating these processes where possible. Over the period 1995 – 2000 the project assisted in addressing interface issues through 3 key areas of work: Gathering and disseminating information regarding perspectives on interface issues; Influencing the statutory debate regarding best policy and practice in addressing interface issues through a variety of agency and interagency forums and structures; Acting in a facilitative role in supporting local groups to address inter-community relations issues in a number of interface areas of Belfast. They became a democratically accountable membership-based organisation with charitable status in 2000, and currently have a membership of approx 45 community groups from nationalist and unionist interface areas of Belfast as well as a smaller number (approx 20) of associate and individual members.
Fausto Gracia, born in Queretaro, Mexico 1984, Visual Artist and Performer. Since 2008, his work focuses on process performance and explores the relationship of the body as a tool of expression and communication to context. He has presented his work in festivals, art centers, galleries, museums and public spaces in Mexico, Latin America. and Europe. Examples: International Arts Festival in Montreal, Canada 2009, International Biennial of Performance Deformes in Santiago, Chile 2012, International Exhibition of Contemporary Art Visible Invisibility, Queretaro, Mexico 2013, MPA-B Month of Performance Art Berlin 2014, MOLA Latin Performance Encounter, Salvador, Brazil 2015. It was Beneficiary Incentives Program for Development and Artistic Creation 2012-2013 CONACULTA. He has made artistic residences in Chile and Argentina in 2013, in Spain in 2014, in Brazil 2015 and Argentina – Brazil in 2016. He has taught workshops at the Autonomous University of Queretaro, Mex. 2012, The Institute of Culture and Arts Queretaro, Mex. 2013, National University of La Rioja, Argentina 2013, Artist Research Center “El Patio Martín de los Heros” Madrid, Spain 2014, House Perpendicular Center, MG Brazil 2015 and Artist Research Center AT|AL|609 , Campinas SP, Brazil 2016.
Pavana Reid, born 1963 in Thailand and moved to Northern Ireland, UK in 1988, during the political troubles. She began her Art education from a night class to a degree in Fine & Applied Art in Belfast. She entered into Performance art as a way to express and examine her own shifting identity, using her body to convey her emotional feelings and sense of belonging. She has continued to develop her work in performance, working with wide range of subjects and situations. She has participated in many national and international art events. Pavana is living between Bergen Norway and Northern Ireland. She is a member of Beyond, Belfast, UK and “Performance Art Bergen”, an art organisation in Norway.
James King grew up in Larne, Co. Antrim and has lived in Derry for twenty-five years. Since retiring from his post as Director for Community Drama at the University of Ulster in 2004 James has developed his career as performance artist and sound poet, while maintaining his interest in creative activities with vulnerable groups in the community. He has been practising performance in various forms and genres for thirty-five years; and lectured in Community Drama for thirty of these. During the past ten years he has been expanding his performance art experience; ranging from short, open mic word-play entertainments to substantial durational events. More recently he has been incorporating sound poetry and vocal experimentation in his work. Eg.CAZ, Resound Festival, Penzance, Cornwall.8thJune 2013. Much of his work is organic , spontaneous and site specific. Eg. at the Glass Box for the first Belfast International Festival of Performance Art 2013, Carrick-on-Shannon Generation festival 15th June 2013. And Catch the (H)eart Beltaine travelling residency : Galway, Wicklow, Kilkenny, 2014. James enjoys performing in streets and public spaces, and collaborating with other individuals and groups – making weekly performances in his native Derry, including monthly group improvisations at The Social Studios and Gallery. James is a member of Bbeyond Belfast, performance art collective, and has been a regular contributor to events organised by Unit One, Dublin. He represented Bbeyond in Bergen in 2010 , Spain Bel-Mad exchange 2013 and Bel-Esse Gemany/Belgium exchange, 2014. In March 2015, James participated in the Belfast International Festival of Performance Art. He will be presenting a three day residential at the Dock Art Centre, Carriick -on – Shannon, Leitrim in April, performing at the Edinburgh Fringe in August and at Dublin Live Art Festival , July. In his performance work James is interrogating and expressing how he is in the world. His respect for intuitive spontaneity is an invitation to others to question, challenge and be liberated. Publications include “Furrowed Lives”, a self published poetry anthology with drawings by David Hegarty and ” Moving Pitches”, Yes Publications, 2008.