Anatomy of an Artist
21 May 2016 | 2pm – 9pm
22 May 2016 | 12 am – 6pm
at Siobhan Davies Studios
About the WHAT festivals
The WHAT festival series showcases artists who are choosing to ask questions through and of dance. It introduces dance, performance and choreography to a wider audience.
What remains…, the 6th WHAT festival, celebrates the way in which the practice of others stimulates, refracts and transforms our own ideas, attitudes and processes, inspired by French forensic scientist Edmond Locard’s basic principle that “every contact leaves a trace”. Who we are, what we do and what we make arises through our encounters with the work of others.
Drawing from a call for proposals, ID and Siobhan Davies Dance commissioned ten new works which explore how excavating another artist’s practice can reveal something about our own. Each of the featured works examines the anatomy of an artist – their methods, inspirations, influences, biography, or their actual physicality. Among the chosen subjects are Kate Tempest, Fred Herko, Samuel Beckett and Steve Paxton.
Over the course of the festival weekend, each of the artists will offer their investigation to the audience through performances, installations, interventions, a workshop and a film screening.
The ten commissions are:
Song by Rajni Shah with Natacha Bryan, Collin Clay-Chase, Emma Frankland, Kazuko Hohki and Sheila Ghelani
Nor I by My Johansson
Being Mr X by Michaela Ross and Olga Masleinnikova
My name is Janez Janša presented by Matthias Sperling
surface/sphere by Katrina Brown and Rosanna Irvine
We shall see the sky by Julie Cunningham
Possibilities for a Pleasant Outing by Jamie Atherton
M-em by air field: Ian Spink, Bill Thompson and Alan Paterson
Our White Friend by Colin, Simon & I
The Telling by Carolyn Roy
Day pass £15 / Weekend pass £25
Concessions: Day pass £12 / Weekend pass £20
Booking via email@example.com
Please note that some of the work may feature adult themes and content.
Edmond Locard’s basic principle of forensics is that “every contact leaves a trace”:
“Wherever he steps, whatever he touches, whatever he leaves, even unconsciously, will serve as a silent witness against him. Not only his fingerprints or his footprints, but his hair, the fibres from his clothes, the glass he breaks, the tool mark he leaves, the paint he scratches, the blood or semen he deposits or collects. All of these and more bear mute witness against him. This is evidence that does not forget. It is not confused by the excitement of the moment. It is not absent because human witnesses are. It is factual evidence. Physical evidence cannot be wrong, it cannot perjure itself, it cannot be wholly absent. Only human failure to find it, study and understand it, can diminish its value.”
(Paul L. Kirk. 1953. Crime investigation: physical evidence and the police laboratory. Interscience Publishers, Inc.: New York)