50111-004-B29FBB40 Upcoming Dates 50111-004-B29FBB40

Lost you for a sec, 15th – 30th September (opening 14th 6-9pm), solo exhibition with Paul Hughes and EunJi Sung, Phoenix Leicester.

Here’s to, 2nd October, performing for Tate n Lyle, David Roberts Art Foundation at KOKO, London.

We Happen To Be Dancing, 6th – 10th November, collaboration with Orley Quick, Emerge Festival at The Space, London.

50111-004-B29FBB40 Current Projects 50111-004-B29FBB40

We Happen To Be Dancing

A new collaboration with Orley Quick. Working their way through a careful and indulgent selection of borrowed choreographies from YouTube, the duo (re)consider  their relationships to dancing, composition, authenticity and one another.

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Incognito

An intervention into the peculiar dynamics of ‘the dance scene’. I attend dance performances ‘incognito’, in wig, overcoat and sunglasses. This unconvincing disguise only increases my visibility; raising questions about the role of presence and participation in a small dance scene. Incognito persists as a strategy to protest of the banalities of professional obligations to attend, to speak, to be seen.

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The title is the date

A collaboration with Tate n Lyle. Each week of 2019, a new photo-collage will be available to download as a desktop background. Working with strict formal constraints, each week is an intervention in the last; a choreography of body, object and space within this digital frame.

More info soon.

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During 2019 I will be developing a new choreography – of rage, luxury and bitterness –fueled by my experience of working as a nanny and personal assistant to families of significant wealth.

A duet between me and a king-sized inflatable mattress – my partner simultaneously a crash-pad, a stage, a refuge, a costume, a duet partner, a punching bag, and a minimalist sculptural object with a legacy in post-modern dance. Working with the gestures of grappling and strandedness, I seek to find personal, political and artistic agency in interrogating the entitlement of –  and my complicity within – the 1%. As I test in practical and immediate ways how my body dances and impacts upon this (slowly deflating) surface, I will question the relationships between professional dance practice and those wealthy enough to be philanthropists and patrons; and the common labors of action, gesture, entertainment and care within these overlapping fields.

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50111-004-B29FBB40 Things I’d like to make but can’t prioritize right now 50111-004-B29FBB40

Forty or so dances, some better than others

A solo practice and improvised performance exposing a bare process of dance and thought.

What Have I Got To Show For It? asked how I could maintain a professional choreographic practice: this project delves into my uncertain relationship to dancing. How, when and why might I continue to dance?

Set within a field of tangled microphone cable, I introduce to myself and my audience a series of dances. Observing my emerging movements, gestures and positions, both dancer and viewer sit with the question: ‘is this good dancing?’. The ensuing improvisations unfold from this attention, through processes of delving, refining, persisting, developing, transforming, struggling, testing, settling, or quitting.

Performance: Sam Pardes
Dramaturg: Paul Hughes

Initial R&D with the support of Sheffield Theatres.

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Arrangements

Arrangements is a durational solo performance by Sam Pardes and Paul Hughes, in which a figure continually reorganizes a collection of found objects. With each repositioning, a new logic becomes apparent. The unpredictability and rebelliousness of these materials cause problems for the rule at hand, forcing the performer to resort to increasingly unlikely solutions.

Performer: Sam Pardes
Choreographer: Paul Hughes

Initial R&D with the support of Sheffield Theatres.

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