The Aesthetica Art Prize is now open for entries from artists working in all media from across the world. The annual award is now in its eighth year, given by the international art and culture publication Aesthetica Magazine. The prize is a celebration of excellence in art and offers artists the chance to showcase their work to wider audiences and further their involvement in the international art world.

Artists may submit their work into any one of the four categories: Photographic & Digital Art, Three Dimensional Design & Sculpture, Painting & Drawing and Video, Installation & Performance.

There are two awards that artists can enter; the Main Prize and the Student Prize. Both prizes come with a cash reward, group exhibition and coverage in Aesthetica Magazine.

For more information and to apply, visit Aesthetica here and see their FAQs section here. Submission fee applies.

Deadline: 31 August

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May Meet In Mutual centres around the exhibition of newly developed sculptural and performance work by Sogol Mabadi, Emma Reid and Craig Thomson, in the Park Ranger Centre in Baxter Park, Dundee. The exhibition will be open to the public for the Open Install and Preview on 29 August (3-9pm) and continues on 30 & 31 August (10am-4pm). The project, May Meet In Mutual co-curated by Katie Reid and Emma Reid, seeks to explore the potentials and complexities of site responsive practice, a method of artistic production where artists respond to physical, social and/or historical conditions of a particular location, in this case Dundee’s Park Ranger Centre in Baxter Park.

Emma Reid – Hole Video Installation – New Contemporaries 2013

May Meet In Mutual, showcases new work by Mabadi, Reid and Thomson. Responding to the situation of the Park Ranger Centre within Baxter Park, the artists share a common interest in boundaries, edges, and the in between and how these affect peoples’ interaction and relations.

Sogol Mabadi – The Family Transmission Gallery 2014 – Photo: Tor Jonsson

Mabadi’s sensitive work explores intimacy through a directness of the experience with the audience. Her performances and sculptural work often generate a sense of being at once near the edge of something whilst becoming a part of a shared meeting place. Reid is also interested in relations between people and investigates these through the notion of playfulness or performativity that is often present in our being in the world. Through clever positioning of live-feed cameras and monitors, combined with use of the Park Ranger Centre’s ground to ceiling glass windows, Reid takes the visitor to a place of inquiry whereby their watching, acting and manoeuvring of the space is distorted and revealed to them. Reid also takes her work outside the Park Ranger Centre, temporarily marking the large pillars so that they become an abstract signpost to the event within the space. Thomson’s sculpture underplays the power of the wrought iron fences. Through an exact replica of a portion of the fence made from wood, Thomson transposes the fence into a functional coat rack to be gifted to the Park Ranger Centre after the exhibition.

Craig Thomson – The Storm, 2014

May Meet In Mutual exploits its temporary nature through an events series, beginning with a Micro Residency on 27 & 28 August by Scottish artists responding to an Open Call to take part in a two day residency in the Park Ranger Centre to research and/or make work in response to the site. This Micro Residency acts as a fast-paced test bed to open up discussion surrounding site responsive practice.

Emma Reid – Hole Video Installation – New Contemporaries 2013

More Information about the Events Series:

- Open Install: 3-6pm, Friday 29 August. Join the artists and curators as they finalise the installation of new works by Mabadi, Reid and Thomson in the Park Ranger Centre.

- Preview with Open Stage: 6-9pm, Friday 29 August. Preview of the exhibition May Meet In Mutual, including an Open Stage event with performance, spoken word, screenings and music presented by the artists of the exhibition and those who contributed to the Micro Residency earlier in the week.

- Conversation Over Coffee: 3-4pm, Saturday 30 August. This relaxed discussion event on Saturday afternoon encourages further inquiry into the nature of site responsive practice. Invited speakers Annie Crabtree and Beth Savage, alongside artists and visitors will join or listen to this Conversation Over Coffee navigating the potentials and complexities of site responsive artistic/curatorial practice and what it might mean to work in this way today.

For further information about May Meet in Mutual which runs from 29 to 31 August in Dundee’s Baxter Park, see their website.

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Ahead of their next performance Cargo, Camera… Action!, Central Station caught up with the Glasgow based sound/art/performance collective 85A.

When did 85A start?

Our first event was in 2008. We didn’t have a name until 2010. There’s been nineteen shows we’ve done together. We have a problem saying no…!

When we make work, especially with Chernozem, the film we made, the idea comes from a few people and then expands. In that case, we expanded it to make a theatre performance before the film had finished. Then we screened the film with another theatre performance around it. It’s almost like a season or something. Our audience gets really excited. They can see it and then come back and participate with it again. It allows them to experience the story or the thematic content in various ways by physically being part of it or watching it.

How did you come up with the name 85A?

It was on the submarine in one of our early shows. We were doing a show about a submarine and then we decided we needed a name and we looked no further than the name on our submarine. It’s the submarine’s ident.

Looking back, what do you think inspired you to start a collective?

We’ve never had so much time for reflection. We keep moving forward. Things just get thrown our way that are too exciting to say no to. It’s been consistently less shows and bigger shows but still about five a year. We do a summer season and we work on a London based circus each summer as well. So that’s another project we do together and we live together in different shapes and forms. It’s a family now!

How do you describe yourselves and what you do?

That’s a big question. We’re a multi-disciplinary artists collective. We work across disciplines and there’s generally, in no particular order, music, puppetry, masks and audience interaction. We like to work site-specifically and put on our own events. We work with film as well and a lot of us have a visual arts background but a lot of us have been moving gradually away from it in multiple directions.

We combine the forces of visual arts, design and music to create performative event based works that could almost be seen as durational. Often, they roll into a party so we can have a more focused performance which would then turn into a music event towards the end.

You often work with masks, costumes, and other disguises so how does anonymity relate to your work?

There’s a freedom to it and also a reaction to a lot of the current climate of arts, business and personal hype. Everything is attached to a face. People as well as artists seem to really be in a look-at-me phase, sharing everything and getting everyone to take a look at themselves. Often behind the mask or image, there’s not much. We’re trying to make a counterpoint to it, where we‘re a lot more secretive about who we are and the way we do things, but when people come to our event, there’s a lot of us. We’re very generous and there’s a lot of us to be with!

On the same note, you often ask your audiences to wear masks. How does this add to the performance?

It blurs the lines between the crew and the audience. The audience start to feel like they can act up, like they’re crew. Because you’ve got that anonymity, wearing a mask allows you to be something other than the face that you project. If you go to quite a lot of art shows or the pub, you can’t really relax. You have to keep this pretense up. If you have a mask on, you can do whatever you want and nobody can see it’s you. There’s a certain freedom within that.

Dark Behaviour looked like so much fun, can you tell us a bit more about your experience making it?

We’ve done about five masquerades now so it’s almost like we’re developing a bit of a scene. Each time, people experiment more with their costumes and masks and movement. We’ve really noticed the effort that people go through, especially the last two masquerades. People probably dress like this for other things, but now they’re really finding out about what we’re doing and using that as a platform for their own costume. The masks were great at Dark Behaviour. In Edinburgh the costumes were really good as well.

Do you have a core group of people you work with?

There’s twelve of us who are in an e-mail thread with each other. When we come to do projects, our numbers go up. We also have associate artists who we’ve been working with for about five years now who are growing with each project. We’ve been headhunting other artists that we want to work with, performers or people who can build etc. We’ve never advertised or asked for volunteers. We just kind of find people. You get fed if you work with us, and you get a patch or a t-shirt!

On your website, you call yourselves ‘cultural agitators.’ How are you disrupting the norms related to visual and contemporary art practice?

We’ve successfully removed ourselves from it. Before 85A, quite a few of us were involved in a gallery called Lowsalt, where we would organise group exhibitions. We were asking artists to collaborate with one another, to share a space, and we would always encourage a performative element on the opening night and really play to the event. Within that, we found each other as a group. Through being a gallery working mainly with solo shows, we got a really good response from the Arts Council and funders in general. We did GI a few times. We always gave too much, we would be given some funding and put on three giant shows, one gallery based, one all around the city, and then some inflatable sculptures which was also city wide.

We decided we wanted to work together as a group anonymously. Then suddenly, we were getting turned down from funding and we felt that the new direction we had chosen for ourselves wasn’t fitting with what was on offer for artists. We just decided to take it somewhere else and haven’t really looked back. We’ve ended up getting permission from so many other organisations whether it be NVA who asked us to create something for an urban food festival, or Govanhill Baths to do a music festival, music festivals outside of Scotland, film festivals.

There are a lot of multi-disciplinary visual artists in the fine arts scene, but their work is only multi-disciplinary to a point. That’s where a collective is different because there are people within that who themselves are working multi-disciplinarily and you’ve all got a different base or background and that allows the work to shape shift and become malleable. All of these elements create something that we’re quite happy to feel is outwith the bubble of visual arts.

We’re also independent in the sense that we are in control of all the logistics. We have vehicles, we can take over a space. We have all the equipment to put on a show, sound, video, lighting. We’re a production company so in that sense, it’s beyond multi-disciplinary.

85A’s Voltage and Vitalism at The Kelvingrove Museum, Glasgow 2012

A lot of inspiration seems to come from German Expressionism and Victoriana, is there a reason you have a particular affinity to these and/or other periods?

Expressionism has been a big player in the aesthetics of a lot of our work which is down to one of our members who does all our graphics. It’s been a big influence. There’s a kinship beyond the stylistic element with the Weimar Republic and the Constructivists and times of political upheaval. There was a lot of interesting art being created back then.

The Victoriana theme of the Kelvingrove event was scientific times. That show was about electricity and the inventions were really exciting. They asked us to be part of an event that already had that overarching theme. We were making work to poke a stick at the ideologies that are so celebrated, like imperialism and make some work that was brought these quite interesting or slightly backwards thoughts to the forefront.

It’s not all about the past though. We’ve got other influences and they’re quite diverse. Industry, maybe in music or in film. It goes a bit beyond that. It’s not just artistic influence either. We’ve been working in festivals quite a lot, music festivals and arts festivals in the outdoors. You do see quite a lot of something on another scale that mixes all of that and that’s another influence. People who are travelling and parties have brought in autonomous elements like subcultures that have taken hold in the festival scene in the UK.

Do you have specific emotions or reactions that you’re trying to invoke from the outset?

There are elements within each show where sometimes there might have been an undercurrent from the start or they might protrude later on as quite an obvious statement that you could read something into but it’s never been forced.

We think of ourselves as the audience and what we would like to do. Whether we’ve been whizzed around on a ghost train or ‘yeah! let’s get crushed by some kind of god of the party’. I think we come at it from a participant’s point of view and through devising it, you feel it.

The drama and the emotion happens. There’s ten of us talking like this. You feel the emotion in the room. You feel the response. If we’re talking about something like The Orzel, it equates to a certain chapter in history, World War II. This is not really the kind of message that we feel passionate about more than any other. We like the story and the treatment and we want to stay true to the intention of the piece. We pick up the emotions as we go along.

We do say something like, “we’re going to do a rain or shine show and it’s going to be for everybody. All Ages.” There is a difference but within that you can still have a somber emotional context. We think about our audience, whether we’re given an audience or we’re going out to find one. There are emotional political elements within everything we do because that’s the kind of people we are. We’re not going to not say things but we maybe will say them in a different way to a family audience. We’re not going to put them through some horrific experience if there are children there. We’ve always kept hold of that.

Even when we’re at a festival and it’s fun during the day, we’re still crushing people, we’re still sacrificing people because that’s the humorous grotesque stance we have. It’s about not taking everything so seriously but it is about having something to say. There’s an absurdity in what we do. I think that’s there as well and sometimes it can be really dark but tinged with humour so it’s never overwhelmingly dark. We’re not just jesters, we’re serious in our absurdity.

85A’s The Crusher at Secret Garden Party Festival in Cambridge

With so many different elements going into performances, how do you control them when the performance is underway?

There are roles that are formed within that. We stage manage each other and people will head up departments for props or costumes or food, driving. Experience of working together also builds that and working with so many people.

We’ve experienced madness and anarchy. When you’re at a party, a festival or a demo or self-organised you become familiar with the crowd’s reaction. You want to encourage people to let go but you want to keep things safe. These are the rules and regulations of such spaces and technical things that you should or shouldn’t do. At the same time, you know that you need to be able to get your audience to feel that it’s totally mad but really it isn’t. You need to have experience of both worlds, the entertainment industry and the world of total chaos and seeing how far you can connect the two and have them coexist in one space. If it’s mega official and everything has got to be done by the book, we’re really good at doing risk assessments now and knowing regulations. Some other place they might not care so much and we can do the same show with four times less effort because there is less paperwork.

We work a lot with performers where we’re improvising.I think a lot of that comes through trust and practise together. If you can improvise together and discuss and have a laugh and say stupid things and then party together and then create work, there is a trust. Yes, you have an overall direction or scene but within that there will be a few improvised elements that you kind of give to people and they do great work. That’s why we all work together.

Stay tuned for more from 85A next week when they talk about Cargo, Camera…ACTION!

More: Website

Photos courtesy of 85A. Interviewed by Madeleine Schmoll.

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Innovative textile artist, Nina Falk is from Stockholm but is now based in Edinburgh. Here, she guides us through her work process:

My work often breaks the boundaries between fashion, textiles and art – moving away from the labels that we are often given. This is something that I find really interesting – the labels within art are something that I often come across when I exhibit my work.

Even though I have shown my work at places such at Moscow Museum of Modern Art to New Designers in London I always find myself justifying what I do. Is it art or is it design?

Rend Birth 2011

Rend it 2011

Studying ‘Fashion and Tailoring’ in Stockholm, ‘Textiles’ at Norwich University of the Arts in England, ‘Textiles art’ at Osaka Seikei University Faculty of the Arts in Japan and a Masters in ‘Contemporary Art Theory’ has influenced my work and my process.

I am currently living in Edinburgh where I am running a Contemporary Textile Collective with a group called Kalopsia. Kalopsia brings attention to the field and sees textiles as a distinct artistic practice which opens up the debate on “What is Textiles”. I see Textiles as a social, historical, and cultural artefact and as an instrument to show emotions, experiences and thoughts.

Playing hard to get 2012

Alteration 2012

The way I work and the tools I use, the process and the thinking comes from my past in the ballet. I started dancing when I was three or four years old and I was quickly drawn into the world of ‘perfection’ and the strive to push oneself. You can always be better; be the best! You are brought up thinking ‘what is the point otherwise?’ and without having this mentality, you fail. It wasn’t until I was a teenager, having been a dancer at the Royal Swedish Ballet School and done pliés for, what felt like 100 years, that I realised that it wasn’t for me. I quit a few years later and the only thing that stayed with me was the constant realisation of the pushing – the perfection. I have never found that perfection and I am now moving towards the fragmentations of it. Whatever form my work comes in, it ends up with destruction. The more stains and the more fragmentation I can create, the more satisfied I get. I am a perfectionist, but I know that perfection doesn’t exist.

Alteration – lip 2012

Being diagnosed with MS later came to influence my process and this now has a key impact on my ideas about alterations as it is a constant uncontrollable force, constantly changing my behaviour and my body.

I have tried to capture this in my work and video installations from (Un)Conscious Deformation. The rather painful process of stitching into my own skin is an important aspect. The preparation before penetrating a sewing needle through my skin was filled with adrenaline. I stitched myself in front of a mirror and sometimes with a few people around me. The mirror was there to push me – I saw myself changing and I wanted more – it was very difficult to stop. When was I done? Is there such a thing as a final stitch? When is the time to stop? You always forget the pain and it is difficult to look at yourself in a mirror and say ‘done’. There is always something that you can alter.

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Alpha-­ville EXCHANGE features a day programme packed with presentations, talks and social events alongside a music programme in the evening for attendees to network and enjoy. Sougwen Chung (鍾愫君) is a Canadian-­born, Chinese­-raised, and Brooklyn­-based artist who will present work at EXCHANGE. Here she tells us more about her practice.

I am an interdisciplinary artist exploring the intersection of art and technology. My artistic practice is informed by my background as a violinist and fine artist and explores ways in which artistic expression can be augmented through technology.

I am interested in inventing new processes of making by hybridizing emerging and established art-forms. To date, my work spans installation, sculpture, still image, drawing, and performance. By working within these mediums, it is my intent to grow a multi-faceted approach to experiential art.

My practice iterates on the expressive agency of form catalyzed with software, sound, light, and space. Recently, my focus has been on creating installations involving multiple layers of light on intricate structures, taking a variety of media and transforming them into spacial experiences.

My work has been featured in exhibitions in North America, Europe and Asia. Recent venues include the Museum of Contemporary Art in Geneva, Switzerland and 319 Scholes in Brooklyn, New York. Additionally, Chung has been featured in The New Yorker, Dazed and Confused, Cool Hunting and The Creators Project.

Please visit here for the full Alpha-ville Exchange programme.

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I’m Calling by Sarah Hardie – RSA New Contemporaries 2012 (excerpts of sound installation and performance).

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Artistic Director of the 19th Biennale of Sydney, Juliana Engberg has revealed details for the Asia Pacific’s largest contemporary visual arts event, to be presented free to the public from 21 March until 9 June 2014 at five venues across Sydney.

With more than 90 artists from 31 countries, Engberg commented at an event held at the Sydney Opera House: “At its heart, the 19th Biennale of Sydney celebrates the power of artistic imagination. You Imagine What You Desire is an optimistic biennale that presents an exploration of the world and contemporary aesthetic experience through the inventions and desires of well-known artists, as well as many exhibiting in Sydney for the first time.”

Marah Braye, Chief Executive Officer, Biennale of Sydney added: “Juliana Engberg is curating a much-anticipated exhibition that will be remembered by audiences for many years to come. We are thrilled to be working with a group of exceptional artists, many of whom are developing new projects especially for Sydney.”

In addition to the Art Gallery of New South Wales and the Museum of Contemporary Art Australia (MCA), venues for the 19th Biennale of Sydney include two heritage-listed locations: Carriageworks, a former rail yard; and Cockatoo Island, a former prison and shipyard in Sydney Harbour. The 19th Biennale will also present works at Artspace and include several performative projects in Sydney’s CBD.

Inspired by the exhibition title You Imagine What You Desire, Scottish artist Nathan Coley is creating a new multi-venue work. Known for his thought-provoking text-based installations constructed from lights and scaffolding, Coley’s works will be installed at various Biennale locations across the city.

Eglé Budvytytė, Choreography for the Running Male, 2012, performance, 30 mins.

Areas of the city will be infiltrated during the Biennale’s opening weeks with a range of performative works and events designed to alter the sense of the everyday. Lithuanian artist Eglė Budvytytė will activate busy streets with her work, Choreography for the Running Male (2012–14), in which a group of men run through the city gesturing emotions ranging from shame to seduction.

Douglas Gordon, Phantom, 2011 (video still), stage, screen, black Steinway piano, burned Steinway piano, monitor, dimensions variable.

At the Museum of Contemporary Art Australia, the double-height gallery space will feature a site-specific video installation by renowned Swiss artist Pipilotti Rist, commissioned especially for the 19th Biennale. Elsewhere at the MCA, the Biennale will feature the work of acclaimed Scottish artist Douglas Gordon, the first artist to win the Turner Prize in the field of video. Gordon will present a large-scale, mixed-media installation featuring the haunting voice of musician Rufus Wainwright. The dramatic installation, Phantom (2011), takes the audience on a rapturous journey. Darkness and light, tragedy, and salvation through redemptive love are the ideas and emotions encountered here.

In 2014, the Biennale takes over the newly expanded space at Carriageworks, with works that explore the language, materials and narratives of the theatre and film worlds from which contemporary artists take inspiration for reinvention.

Artists at Carriageworks include Austrian artist Mathias Poledna; Israeli-born Yael Bartana; and Dutch artist Gabriel Lester. Working on a new commission and large-scale work, Lester will speak to the cinematic and its penchant for seductive illusion using modelling techniques and the unique architectural interior of the space. The Biennale of Sydney and Carriageworks will also co-present the world premiere of a new work by celebrated British artist Tacita Dean.

Artspace returns as a venue partner for the 19th Biennale, presenting work from artists including Ugo Rondinone, Maxime Rossi and Henna-Riikka Halonen.

See the full list of exhibiting artists here.

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1. Highland Fling Poster Image for Scottish Ballet by Eve McConnachie

2. Drift by Goat

3. Kathak by Arti Agarwal

4. Five Tangos by Claire Quigley

5. Excerpt Electric Woods by Iona Kewney

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Three Points of Contact Residency (TPCR) Photo by Saule Zukaityte

Being asked to take part in the residency as a former student of GSA (undergrad/MFA) was a bizarre fantastic challenge. I don’t have a studio. I do performance. I don’t need one. I don’t really know what to do in them apart from making hippy tea and trying my best to annoy the crap out of other people. But the appeal to venture back into the Mac building and use that as a ‘studio’ was far too tempting not to of taken part. I’ll admit I never liked the Building as a 1st year student (red haired 18 year old, in black, mildly depressed). It was dark, oppressive and occasionally reminiscent of the Goblin King’s castle in Labyrinth… you know Bowie fiddling with balls… that bit with all the stairs.

TPCR Photo by Saule Zukaityte

With that in mind the first few days I done bloody nothing. It felt like being back at school. My mind as ever floats around like a cloud and as a result I took more notice of the building. The staff. The janitors. The students. The cleverness of Mackintosh. Clever bastard. Though indeed I was still going up the wrong flight of stairs as per usual and ending up in the backarse of an office I clearly shouldn’t of wandered into. But it was starting to be nice to wander about (annoy Jenny mostly) to see what the other (proper) artists were up to. I took Megan to the glory of the Savoy Centre. Great to chat to the coolest lady this side of Sleazys… Rafla about her work and secretly stare at the frightening wonderful talent that is Rachel Maclean. Not in a pervy way. I had never met Mark Vernon before but ended up performing a soundwork in his ‘lightsoutlisteninggroup’ thing. A revelation to perform in the dark. TAap of course tore right into it and exploded with ink, found books and lamp shades/sleeping bags as costume thingys. Stuart Gurden is a secret scientist I think and Von Calhau too are obviously from space and/or a Kenneth Anger film.

TPCR Photo by Saule Zukaityte

I realised that I might have to do something.

I do performances. I do sound. I make cosmic photographs of sexy statues, animals and most usually my face. Unlike a lot of artists in Glasgow I put myself in work. I’m not shying away from it. So I would aim for that during the Residency. Learn new songs. Paint my face golden & glitter, dress up in an evening gown, swan about and become the ‘other’… Its not an alter ego that I’m creating now as was the case in my past work. Its ‘self design’. A concept even, an anxiety that forces one—to confront the image of the self: to correct, to change, to adapt, to contradict this image. We all come under aesthetic evaluation. Of sorts. Movie stars, politicians, facebook profile pictures, bank managers, strippers, terrorists, call centre workers and even us… dear artists. Even those simple unknown tokens of untied shoelaces, tattoos, dirty nails, haircuts and the colour and form of shirts/pants/shoes and teeth signify to the world who and what we are.

TPCR Photo by Saule Zukaityte

A performative identity through the image of the self.

I have developed a strong discourse of Romanticism in my practice and over the past year this has revealed itself from the founding constructs of Cabaret -that is its original purpose to engage, entice and repulse equally in artifice, by using its theatrical beginnings to revolve around a feminized identity in terms of the ‘femme fatale’ or exotic other. Avoiding like hell the ‘live art’ area, dodgy office girl Burlesque and the nonsense of Suicide Girls and Agent Provocateur. They’ll be no getting them out in my work. No.Way.

I (try) to do this by means of vocal performances of appropriated, fragmented songs (chosen for their tokens of masculinity such as Black Hole Sun, Sympathy for the Devil, How Soon is Now etc… basically songs for depressed ostracised teenagers) I sing these with a soundtrack in electronic vein of Laurie Anderson with the sprinkling of the gender bending boundaries of Genesis P- Orridge, Linder and Kalup Linzy. I wear manga contacts, I paint my hair, I wear customised evening gowns in the most Twin Peakism format, I become metallic, ethereal, vocal and ultimately hopefully emotive.

Artspeak over. One day on the second week, I painted my face gold and glitter. It looked amazing. I felt cosmic. I thought I could be the Thin White Duke finally. (NO chance) I’ve started to experiment with stage spotlights. Simple and completely stolen from Lynch of course… so I set up the red light in the temporary darkspace and filmed.

SONNE film still by Michelle Hannah

This became SONNE. A distilled cover of How Soon is Now. My face golden as if staring into the last flickers of a dying star. I change lyrics for my own means. For some godly reason over the past year or so I have become obsessed by the omnipotent force of light. All light. Be it metaphysical, natural, artistic, man made or not. Instead of “Son and Heir” in Morrisey’s vocal pain, this is now ‘I am the Sun and Air”. Ironic really, that I am actually allergic to the Sun…

I made this in a day. It scared me how easy it was. It shouldn’t be that easy. But the wonderful thing about the challenge of this residency (2 weeks, 11-5 everyday) was that it forced me to open up and try things out that I usually would spend just 2 weeks thinking about. Worrying about if folk will accept it. Being on trend. I realise now, to hell with other folk… just embrace what you do and go and bloody do it.

HOW DOES IT FEEL performance photo by Saule Zukaityte

I also done another performance at the closing event. ‘HOW DOES IT FEEL’ In a blue blue electric blue of light. A simple blue spotlight going on and off. I in black costume lamenting… over the distilled New Order song. I liked doing that one. I think other people did too.

I showed Jenny the video. She said it was beautiful.

I think I done well.

Read more about the Residency from The Glasgow Schoool of Art Exhibitions Director, Jenny Brownrigg here.

Where to find out more:
Website

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Rooted collaboration between Glasgow based Iranian artist Haleh Jamali and Edinburgh based performance artist Monica De Ioanni.

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