performed by members of both collectives at the Total Refreshment Centre, London, UK, November 2017
and mouth and
an OpenICE commission for Katinka Kleijn (2017)
And mouth is the front hole in the top part. There are a few of them but that’s the one that others see usually, the one that counts on TV. It’s wet and for eating and information and secret saying. If it wasn’t wet it would go clack clack clack when you open and close. If it wasn’t a mouth it would only be a hole. If something is just teeth and feet is it a mouth? Things depend on wetness things depend on teeth things depend on feet. If you think about them sometimes change one thing and it will stand on its head as the saying goes.
Sometimes there is sound that comes out when you mean it to and sometimes when you don’t mean it. Burps and bubbles. Sometimes kissing. And mouth is a secret and a mystery, when you talk it’s blinking, just like the eyeballs, also wet.
Talk to yourself and it will take on a mouth of its own.
When you want to say about the whole head sometimes you can sing it eyes and ears and mouth and mouth and mouth and mouth and mouth and mouth and mouth and
and mouth and
the situation is changing rapidly
video miniatures (2017)
The Situation is Changing Rapidly
The Situation is Changing Rapidly II
The Situation is Changing Rapidly III
The Situation is Changing Rapidly IV
Photos and stills from video
Featuring (in order of appearance):
Molly and Edie Roth Scranton
a brief parade, etc.
A brief parade, etc. was written in response to Marcel Duchamp’s 12 Rotoreliefs, part of the Art Institute of Chicago’s recent exhibition, Go, and performed in the museum neighboring the exhibit. It is an excavation of the mystical possibilities of the absurd, a mythology of imagination-space. The piece presents the audience with archetypes that reimagine and repurpose the layers of meaning we ascribe to objects. It is a parade without purpose, a fairytale without moral; it allows us to enter an alternate sphere where meanings are shifted, and we can perceive our own reality as through a fun house mirror.
VICTORIA BRADFORD, JESSICA CORNISH, LIA KOHL
Skirts began as a movement research and improvisation project by Victoria Eleanor Bradford and Jessica Cornish and was born with the receipt of a grant from the city of Chicago’s Department of Cultural Affairs and Special Events. These funds allowed the project to progress from a mere idea into a full-fledged research effort, choreographic exchange, and site- based improvisation project.
Bradford spent three months researching skirts and devising movement scores to correspond with each of four selected styles: Hoop (or ballroom), Work (or pencil), Sport (or tennis), and House (or apron). Cornish received these scores and the skirts by mail as prompts with which to go out and make movement. Along with videographers Ania Bilinska and Robin Lee, Cornish took to various sites in Chicago and acted on the scores in each skirt.
Bradford and Cornish continued the project over two months in residence in Louisiana, workshopping duet movements pulled from the video archive, collaborating with cellist Lia Kohl on a sound score, culminating in a work-in-progress show- ing of the newly devised and combined multimedia and live work.
During 2015 the three produced Ghost Skirts, a cocktail mixer featuring live performance and the screening of a new dance film. This work centered on humor, feminine constraint, anachronism, beauty, and public disruption or spectacle. The film and performances were taken from public improvisations that have occurred throughout the city of Chicago and took place as part of Chicago Artists Month at High Concept Labs on November 12, 2015.
SKIRTS, a durational film and dance installation, is a live performance of Cornish and Kohl responding to the dances made in 2013 along with GHOST SKIRT, a dance for camera filmed in 2015.