transitstation news

Or is it just filling in the blanks right now?’ I remarked that I really missed the physicality/the hapticality of live performance in real life and although during my Zoom performances I do bring in physical props to perform with i.e. the cassette tape recorder in Clever, I was starting to feel that real urge to ‘get back’ to performing in the real word proper.

For transitstation voice #3, part of the poetry I perform talks about the scrapbook I refer to in my film LET RIP: TEENAGE SCRAPBOOK (2022). I printed out digital copies of pages of the scrapbook to use throughout the performance, the first time I had done so. I did not anticipate before the performance started exactly what I would do with them. The moment in the performance where I start to play with the pages of the scrapbook bought an exciting physicality back into the digital space – these pages that conjured up so many (difficult) memories for me.

Pages of the scrapbook appearing digitally on screen as the green screen effect complexified by me engaging with the pages physically. Up to that point, much of the performance in terms of what I said and did, had been rehearsed but this moment with the pages was a breakthrough moment of off-the-cuff improvisation, serendipitous play, of exploring for the first time in front of an audience. I remember co-curator Charles Ryder’s’ comments about how this moment created a different texture within the performance. Up to that moment the audience could hear pages being ripped, they could see images being ripped as part of the green screen (or in actual fact, being smudged out and replaced). The moment in the performance where I then ripped the physical pages seemed (even more) violent but for me it felt like a real moment of emancipation/potentially finally freeing myself from these images/from the memories

— Lee Campbell 2022

leecampbellartist.blogspot.com

‘Home’ takes the viewer on a discovery journey of separate parts of Self through the artist's enclosed surroundings of her home, i.e., her extended self. The work draws parallels between two states of occupying one's home and occupying one's body. It investigates the materiality of the body within the home, and the home within the body, in relation to the performer's spiritual, physical, and psychological states.

The work explores the performer’s limitations and abilities in conjunction with the performative capability of the camera’s eye and its direction, defying the use of traditional cinematography techniques.

— Katya Petetskaya and Patrick Colozzi 2022

This intuitive approach flows from and through my life, giving a greater sense of connection and being, which I have found invaluable during the last couple of years, which have been strained to say the least by Covid restrictions. During this locked down period following the initial frustration and angst, performance via Zoom became a life line, out of which a new mode of performance developed, which is still ongoing even as we currently live under less restrictions, widening possibilities of connection and events albeit via digital means. As we are living in a world that is interconnected beyond our understanding there is still a real time connection to be felt in my experience in creating and watching live online performance. 

I am Co-Chairperson of the performance art organisation Bbeyond, I initiated and organised a new Bbeyond video performance event R-A-W (Recorded Action Web-Exhibition) in which 40 recorded performance’s were exhibited online in 2021. I am currently working with Alastair MacLennan on an upcoming collaborative performance installation.

— Sandra Corrigan Breathnach, 2022

sandracorriganbreathnach.com