Foucault talks about “ working at the edge of an un-thought, slowly building a language in which to think it” (Fisher and Fortnum, 2013,72) 

While making art I see myself 

                                             walking rather 

                                                                  than working,

                                                                                     

                                                                                     at the edge of  the un-thought 

                                                                                                       as if it where a cliff

                                                                                                       trying to find a way 

                                                                                                                         to think 

                                           

                                                                                                                                 it.

Waiting for.... Godot?

Earlscroft Farm, Sibsey Road, Boston, Lincolnshire. 23rd November 2015. 13.30hrs.


I walked into the muddy field carrying a wooden chair on my back/shoulder.

As I walked I felt my feet sink into the soft mud. Some bits where softer than others. I walked a long time … I wanted to be almost equidistant from any obvious border.

The wind was cold

I placed the chair on the ground and I sat on it. I felt the chair sink into the mud.

I looked around.

I saw Gogo and Didi in my mind’s eye.

I was very aware of my surroundings.

I started to write what I could remember of Beckett's Waiting for Godot in my notebook.

I remember my eyes and ears very opened to my surroundings… There were some birds flying and making a noise. A train went past; I could hear the cars gushing by on the nearby road. I tried to incorporate these into the play but felt couldn’t describe those sounds properly on the paper. I scribbled them out.

I was trying to get the right rhythm of the play on the paper.

I started to get cold.

I stood up and walked away from the chair…. As I walked I remembered the character’s of the play, specially Gogo as he, at one point walks around the field, looking at the landscape. I was very aware of the mud under my feet.

I sat down on a clump of mud and wrote some more.

I stood up again and walked and ran back to the chair. I could feel the cold wind.

I sat down on the chair and resumed the writing. I was feeling quite cold but I new that I had more in my mind that I could write on the paper.

I started to get my lines mixed up. I couldn’t remember complete sentences but I could remember the gist of things so I noted it down.

I thought I would carry on for a while yet.

I suddenly felt very cold.

I suddenly felt very tired.

I was cold,

I was tired,

I was hungry.

I felt a bit ill.

I decided that this was the time to end with the sentence that said  We will go there on our honey moon.

Tiredness, cold and sadness got hold off me.

I stopped writing.

I thought of Gogo and Didi, I thought of immigrants nowadays … that they walk and walk and travel and travel… not being sure when the next meal, the next bed, the next warm place to be safe and comfortable will arrive.

I felt sleepy

I walked back to the house.

I placed my self near the fire. The cold was rushing inside me making me feel sad and ill.

I slowly became myself.

No one but Kate saw the performance.

                                   
                                     

                                                     

                                       Photography by Kate Buckley

Rotuli at X Church

ROTULUS

 Rotulus was performed for Drafting on 21st March 2015 at Baltic 39, Newcastle.

Drafting brought together 18 Artists to investigate drawing through performance.

Photographs by Nathan Walker and Denys Blacker.

My body is a book overflowing with stories...

My body is a book overflowing with stories… by Joana Cifre Cerdà  is an intimate durational performance that can be experienced either on screen or directly on a one to one basis.

The work explores emotional barriers raised for protection and layers created by lived experience.

This piece was performed as part of NewVolutions Festival at LPAC, Lincoln on 25th January 2014.

Boidae (sketch) by Kate Buckley is a video piece in its own right and is an edited version of the documentation of this performance

Flor d'Ametler (sketch) by Kate Buckley is a video piece in its own right  and is an edited version of the documentation of this performace.

Vase

 Vase is a performance by Joana Cifre Cerda  in response to the painting The flagellation of Saint Barbara by Master of the Vienna Schottenstift. The piece was commissioned by The Collection Museum for the exhibition Masterstrokes: Great Paintings from York Art Gallery.

Vase aims to draw attention to issues of objectification and to question society's changes in the choices available to women in the past and the present.

Performance dates and times:
May 24th: 19.00-20.00
June 14th: 13.00-14.00
July  13th: 13.00-14.00
August 13th: 13.00-14.00
August 26th:  13.00-14.00

Photography by Marina Andrews-Cifre

A.S

Art is not a private nightmare, not even a private dream; it is a shared human connection that traces the possibilities of past and future in the whorl of now✵.

Here I WRITE

              a

few  key words 

 in  

     terms of how

                         I      SEE

             

        and                               MAKE art  :

                                                                                                                                                                   

                                          Beingthinkinglookingdiggingintrospectinglearningunderstanding

living.

        Dialogue,viewers,others,intimacy,questions.

                                                                              Baggage,knowledge,experience,

differentereadings,

multiplicity. 

                  Emotions, identity, sexuality, social norms, live art, my body, collaboration, intuition…………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………..UNEXPECTED,VISCERAL<ENCOUNTER>

     

                                           

✵Jeanette Winterson, Art Objects. Essays on Ecstasy and Effontery. (London: Vintage 1996). Pg. 117.