Body Politics Season 2
Bus Projects presents ‘Body Politics Season 2’ a workshop series that invites artists into the gallery space to experiment and explore the dynamics of performance. Body Politics is facilitated by artist mentors who share elements of their own practice and research to use gallery spaces in performative ways. Season Two of Body Politics is focussing on The Voice and will be facilitated by Archie Barry, Amrita Hepi, Jo Lloyd, Steven Rhall, and Lilian Steiner whose practices engage with the cultural and political histories of performance through speaking. Devised and convened by artist and curator, Zoë Bastin, this program aims to respond to the growing interest in performance within the gallery space and to foster emerging performance-based artists.
Tickets are provided at the following scale
$40 full price
$0 if you are unwaged
You are welcome to purchase tickets to individual sessions, or purchase a ticket for the whole season at a discounted price.
Dates for Body Politics will be announced soon. To register your interest in this series and get early access to tickets please email: firstname.lastname@example.org
All bodies are welcome to every workshop. There is no pre-requisite experience required in either dance or performance. Bus Projects is a wheel chair accessible space. If you have other access requirements please email Zoë at email@example.com
In this workshop we’ll activate our imaginations as a process for accessing an improvised dance/choreography. We’ll believe in what’s not tangibly there, in order to produce convincing contributions to the space we occupy and for the eyes who watch us.
Word dance - a physical session attending to ways of involving words, both non verbally and verbally, whilst dancing. Attempting to identify, then erase the use of words from the dance, to find what stimulates or glitches for each individual.
Through a series of guided sequential exercises we will use our voices to communicate affect without words through groaning, sighing, growling, humming and singing. We will practice unlearning language and encountering vocal dexterity to repair and release a spectrum of voices within.
Workshop participants will explore the potential in performative practice within the context of exhibition and art framing devices including and extending outwards from both the artist and public body. This workshop explores ideas of traditional exhibition modalities and aims to shift associated bodies in response to various locations of power and agency.
In this workshop we will be looking at how dance can come from the voice and the voice from dance. We will be engaged in doing dancing, imporvisation and singing. A willingness to improvise vocally and physically is a must for participation.
Amrita Hepi (b. 1989, Townsville of Bundjulung/Ngapuhi territories) is an award winning artist. Her practice is concerned with dance as a social function performed within galleries, performance spaces, video art and digital technologies. She engages in forms of historical fiction and hybridity —especially those that arise under empire— to investigate the bodies’ relationship to personal histories and archive. Amrita is represented by Anna Schwartz Gallery, is a current artist in residence at Gertrude Contemporary and lecturer at VCA. She studied dance at NAISDA and Alvin Ailey New York.
Born and raised along the ocean harbour and coastal regions of the Eora Nation/Sydney in 1990, Archie Barry is an artist whose practice spans performance, video, music production and writing. Their work takes form as autobiographical, somatic and process led, cultivating a genealogy of personas based on personal histories of power and mortality. Moments of intense connection with audiences are created through disquieting bodily gestures, doubled voices, de-formed and re-formed language. Barry’s work has been presented in a range of solo and group settings including The National Gallery of Victoria, The Australian Centre for Contemporary Art, The Museum of Contemporary Art, Heide Museum of Modern Art and Contemporary Art Tasmania amongst other spaces. They have given performance lectures and artist talks at The Centre for Contemporary Photography, The National Gallery of Victoria, Parsons and The New School, Minneapolis College of Art and Design and Monash University Museum of Art.
Jo Lloyd is a Melbourne dance artist working with choreography as a social encounter, revealing behaviour over various durations and contexts. A graduate of the Victorian College of the Arts, Jo has presented work in Japan, Hong Kong, New Zealand, Dance Massive, Liveworks, Mona Foma and the MCA. Recent works include; Archive the archive for the NGA, the award winning OVERTURE, Melbourne Festival 2019, DOUBLE DOUBLE with Deanne Butterworth, Tina Havelock Stevens and Evelyn Morris, CUTOUT at ACCA and Confusion for Three (Arts House and PICA). Jo has worked extensively with Choreographers Shelley Lasica, Sandra Parker and Gideon Obarzanek, and collaborated with artists; David Rosetzky, Stephen Bram, Alicia Frankovich, Nicola Gunn, Speak Percussion and Liza Lim, Ranters Theatre and Back to Back Theatre. In 2016 Jo was Resident Director of Lucy Guerin Inc and in 2018 received an Australia Council Fellowship. Jo is resident artist at The Substation.
Lilian Steiner is a choreographer and dancer/performer whose practice champions the deep intelligence of the body in movement and its unique ability to reveal and comment on the complexities of contemporary humanity. Her interests extend into visual arts and experimental sound practices where the body is the base for questioning and expression.
Lilian’s choreographic work has been presented in Australia, France, Italy, Switzerland, Spain and Hong Kong. She is a long-term performer-collaborator with Lucy Guerin Inc. and has worked on numerous projects with choreographers Phillip Adams, Shelley Lasica, Melanie Lane, Brooke Stamp and Rebecca Jensen amongst others. She frequently collaborates with artists working with sculpture, film and experimental sound performance.
Steven Rhall is a post-conceptual artist operating from a First Nation, white-passing, queer, cis male positionality, geographically located on neighbouring Woiwurrung and Wathaurung lands. Rhall’s cultural background consists of Taungurung and colonial heritages – a state endemic to living in a colonised society – but goes by Taungurung when asked. His alter-ego Blak Metal is less defined and uses they/them pronouns.
Rhall’s art practice finds expression in ideas of institutional critique, interrogating modes of representation, classification and hierarchy both within and external to the art world(s). He works across various forms and interventions, including installation, performance, process-led methodologies, curatorial projects, sculpture, and art within the public realm. Many of his projects propose, explore and critique the exchange of economic and cultural capital found in the matrix of relations and intersections of First Nation art production, presentation, and encounter
Zoë Bastin (b. 1992) is an artist, curator, sometimes writer and self-described rat-bag. As an artist who makes performances, sculptures, videos, photos and runs a radio show she’s fascinated by the porousness of the body, where it starts and ends and how culture inscribes ideas of gender and sexuality onto our physical form.
Bastin recently completed her PhD at RMIT University, where she was researching gender by transforming patriarchal hierarchies in bodies and objects. Bastin has previously exhibited and performed at Bus Projects, The Substation, Wyndham City Council, SEVENTH Gallery, MADA Gallery at Monash University, Testing Grounds, School of Art Gallery RMIT University, Tinning St Presents, c3 Gallery and BLINDSIDE.