VA13 Performances 

As part of Venice Agendas workinprogress and Arts Pavilion Bournemouth have commissioned a series of performances respectively, to take place in different locations.

There are three strands to the performances. Jenni Cluskey will be making a three durational works throughout the morning events at CZ95, Aaron Williamson will be performing in different parts of Venice and The Girls, Marcia Farquhar and Tim Russell will be performing at Palazzo Zenobio.

workinprogress invited artists Jennifer Cluskey and Aaron Williamson to respond to Venice in relation to its site, context and identity.  Cluskey’s new work explored the politicisation of culture through the action of ‘peaceful protest’ using the traditional art form origami.  For Williamson the letters ‘J, K, W, X, Y’ which only appear in the Italian alphabet through imported words, form the basis of his performance in the streets of Venice.  

Jenni Cluskey

Aaron Williamson: Venice Invasions


Venice Invasions is a new work by Aaron Williamson, where he explores the Biennale in relation to the cities own defenses against an international cultural invasion. The Biennale occupies Venice over a period of six months in order to promote a global culture of art led by national representatives. As the city that was built to withstand siege is taken over by more than 300,000 art-visitors into an area with under 50,000 residents, can this biennial event be considered an invasion of sorts? 

Williamson proposes to explore this notion through a series of public performances.  According to ‘Invasion Theory’ there are three stages for a successful invasion: infiltration, conflict and pacification. Williamson’s performances along the waterfront between the Venice Biennale at Giardini and the Columns at the Molo, will draw upon these three theoretical stages for material.  Each stage will be presented separately over three consecutive days.

Wednesday 29th May, 2 – 4pm; along the waterfront between Giardini and the Molo

Stage 1: Infiltration – This can be achieved more effectively through stealth rather than sudden aggression

Thursday 30th May, 2 – 4pm; along the waterfront between Giardini and the Molo

Stage 2: Conflict – Conflict is often accompanied by the pitching of markers around the gained territory

Friday 31st May, 2 – 3pm; Various locations

Stage 3: Pacification – Having successfully taken over the territory the invaders’ chief aim is pacification of the local populace. The ideal is to reach a condition of stasis so that they may remain in the territory for as long as possible.

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Jenni Cluskey’s work explores the politicisation of culture through the performative action of ‘peaceful protest’ using the traditional art form origami.  Over a period of three mornings, Cluskey proposes a series of exchanges as durational live art works.  Each event aims to open up a dialogue with the audience and invites them to take part or take away pieces of work made during the performance as tokens or an exchange.  

Wednesday 29th May: at CZ95: Symbol Exchange focuses on the value and economical exchange of symbols. Starting with a paper gun Cluskey transforms this heavily imbued symbol into two peace cranes.  The peace crane is handed out to guests – one peace crane to keep, the other to give away.

Thursday 30th May: at CZ95: Currency exchange sees Cluskey invite guests to exchange currency on a like for like value.  Approaching the artist in pairs the audience is invited to exchange €2.50 each, which in turn is exchanged for a €5 note that the artist cuts in half and turns into a lotus origami piece.  

Friday 31st May: at CZ95: Gifts is Cluskey’s final performance and will see the artist give away what she refers to as Gifts in handmade origami boxes. Each Gift is a box, which contains the lowest denomination of the euro currency, a 1cent coin; the gift is the coin, the box is just the packaging – the recipients can decide which is more valuable.



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Diamonds & Toads performance by The Girls (Zerelda Sinclair & Andrea Blood)



Palazzo Zenobio, Fondamenta del Soccorso, Dorsoduro 2596, Venice, Italy

Wednesday 29 May - Sunday 2 June

Arts Pavilion Bournemouth present Boîte-en-valise by The Girls (Zerelda Sinclair and Andrea Blood), Marcia Farquhar and Tim Russell.  Appropriating and transmuting Marcel Duchamp’s Boîte-en-valise and responding to Venice Biennale Art Director Massimiliano Gioni’s theme of The Encyclopedic Palace, each of the selected artists has been asked to pack work in a suitcase and travel to Venice for presentation.  Boîte-en-valise is co curated by Carol Maund, Stephanie James and Mark Segal. 



VA13 Venice Discussions


The Alternative Art Scene

“Visual art production at International Events and on the Alternative Scene: a possible dialogue? Cultural production in times of financial constraint. Production, Networking, alternative cultural policies. What is going on and what can be done to improve, the conditions of work in Venice during the Biennale“

Chaired by Vittorio Urbani with Elisa Genna, Francesco Ragazzi and Francesco Urbano.


Are the International Biennales and international art events becoming the sites for the production of artworks rather than just the places to consume and view art? The fringe events are acquiring more and more relevance around the stage of official cultural events and in many cities hosting international events, a flowering scene of spontaneous non for profit institutions has appeared in recent years.

Can we state these two actors are more and more co-related and collaborating? Is it possible to create a real network between institutions, biennials and non profit, that goes on also when biennials are shut down?

1) SECRETARY: Vittorio Urbani - Venezia
2) Penelope Curtis - London
3) Magda Guruli - Tibilisi 4) Salwa Mikdadi - Abu Dhabi 5) Branko Franceschi - Zagreb 6) Beral Madra - Istanbul 7) Ruben Arevshatyan - Yerevan 8) Ala Younis - Amman 9) Reem Fadda - New York 10) Noura al Sayeh - Manama, Bahrain 


Emerging scenes are modifying the Biennial model at different levels: how are projects involving educational institutions and residencies, alongside these

'main events' able to change the habits of a globalized art world where values and formats are intended to be exportable and repeatable?
Venice Biennial is a collection of National pavilions that don't get in contact each other; this is a loss of opportunities and enrichment. How can we supply to this?

1) SECRETARY: Francesco Urbano and Francesco Ragazzi - Venezia 2) Antonia Carver - Dubai
3) Aaron Cezar - London
4) Marina Fokidis - Athens
5) Georg Schöllhammer - Wien
6) Yasmina Reggad - London
7) Hoor Al Qasimi - Sharjah
8) Kathrin Becker - Berlin
9) Stefanie James - Bournemouth



When times are hard and museums and sponsors are cutting back what can be done? Are there innovative forms to engage sponsors in cultural production, minimizing the risk of a control by the sponsor on the cultural content? What is the role of society in this process? Can we state that art should consider thesocial environment and try to involve local artists and the community hosting the stage for the artworks? Maybe a new collaboration between Institutions and Non Profit Sector could offer an answer to the current crisis. In which ways these two sectors could collaborate? And which kind of strategies can be useful for this purpose?

1) SECRETARY: Elisa Genna - Venezia
2) Maria Hlavajova - Utrecht/Amsterdam 3) Deniz Erbas - Istanbul
4) Jinny Yu - Venezia and Ottawa
5) Kalliopi Lemos - London
6) Terry Smith - London
7) Franco Gazzarri - Venezia
8) Agnes Kohlmeyer -Venezia
9) Aurora Di Mauro - Padova

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Live Art - Are you here? Were you there?

As performance art becomes increasingly visible in the programmes and collections of major museums and galleries, this event aims to evaluate the current status of performance and live art. Through a series of brief presentations by artists and professionals, as well as performative interventions, it will ask whether this inclusion kills the element of risk that is often related to performance or if live practices enable institutions to challenge their audiences as never before. The session will also consider the unintended performer and raise issues that encompass disability and gender.

Chaired by Jean Wainwright, speakers included Kathy Battista, Tony Heaton, rAndom International, Lois Keidan, Lauren A Wright, and artists Marcia Farquhar, Joan Jonas, Marta Jovanovic, Andrea Pagnes and Verena Stenke.

Risk - and contexts for risk - what might risk mean for an artist and what might risk be for an institution. Different forms of risk - risky practices or dangerous ideas, issues around the 'right to fail' and the risk of 'new work'

Documentation - what documentation is and can be, the privileging of the object (the document) over the experience (the live work) and how this influences and disrupts the histories of performance etc. Shifts in artists' approaches to documentation (now embrace it within their practice) and the forms it can take - including writing about/as performance.

Audience and participation - huge shifts in recent years in relationships between artworks and their audiences. As Joshua Sofaer puts it "Contemporary culture is marked by the emancipation of the spectator and the transformation of the audience from passive recipient to active participant."

Alternative spaces/institutions - the recent institutional embrace of performance in relation to the independent-risk-taking-under the radar alternative space - what do these different contexts offer artists and audiences.



VA:13 Speed Dating

Networking / twitter / facebook / YouTube

Social networking has become a means to communicate your lunch menu or a means to start revolutions and riots.

Connecting is important. It is essential to share and develop links with others to make the world a more interesting place, where ideas can be exported and imported without boundaries, where we can bypass political and cultural borders and create new pathways.

Discussions and talks are important catalysts for further debate. Often, one to one conversations can be the most informative. This model of discussion plays with the idea of speed dating and the notion of working the room - to dissolve the idea of the audience where every participant is an active part of the session.

In this speed dating experiment, we will pursue the idea that sharing on a basic level our interests in many subjects from painting to poetry, from stamp collecting to football we all share an interest in the wider world. The questions are designed to open up possibilities and to play with the idea of a blind date where each becomes the inquisitor and each must face their own nemesis.

Speed-date with Kathy Battista, Sacha Craddock, Tony Heaton, rAndom International, Brett Littman, Beral Madra, Richard Mosse, Andrea Pagnes, Verena Stenke, Hilde Teerlinck, Hans Ulrich Obrist, and Jinny Yu among others. See biographies below: 

Kathy Battista

Kathy Battista is Director of Contemporary Art at Sotheby’s Institute of Art, New York and Senior Research Fellow of the Centre for Global Futures in Art, Design and Media at the Winchester School of Art University of Southampton. She is author of Re-negotiating the Body: Feminist Artists in 1970s London (IB Tauris, 2012) and the forthcoming New York NewWave (IB Tauris 2013). Kathy is a regular contributor to the journals Art Monthly, Art Untitled, The Brooklyn Rail and RES Art World as well as She has taught at Cornell University; Birkbeck College; The London Consortium (University of London); Kings College; the Ruskin School of Art, Oxford University; and Tate Modern.

Sacha Craddock

Sacha Craddock is a freelance critic and curator. Director of Programme at Max Wigram Gallery 2011- 2012. Co founder and curator of Bloomberg Space 2002- 2011 and active Chair of the Board of New Contemporaries from 1996. Chair of Braziers International Workshop; co-founder of Artschool Palestine, a Public Art Advisor for the Royal Borough of Kensington and Chelsea, Member of the Curatorial Board of Fondazione MACC, Sardinia, Member of Council Abbey Awards for British School at Rome. Also a post-graduate tutor at the Royal College of Art. Recent essays include those on Angus Fairhurst, Richard Billingham, Edgar Davids, Mustafa Hulusi, Heri Dono, Rosa Lee, Art and Youth for Turner Contemporary and London in the 1970s.

Tony Heaton

Tony Heaton Chief Executive of Shape, London. From 1997-2007, the Director of Holton Lee, a 350 acre campus with short stay residential facilities for Disabled people. During this led the commissioning and development of the award-winning Faith House Gallery and the Stables Studios. Initiator of the NDACA (the National Disability Arts Collection and Archive), Heaton is a sculptor and first exhibited in 'Out of Ourselves' in 1990, with fellow disabled sculptor Adam Reynolds.


rAndom International

rAndom International create artworks and installations that frequently explore behaviour and interaction, often using light, sound and movement. Founded in 2005 by Stuart Wood, Florian Ortkrass and Hannes Koch, the studio utilises raw fragments of artificial intelligence to encourage relationships between the converging worlds of animate and inanimate. A particular interest in naturalphenomena, intuition and the human form can be seen across rAndom’s body of work. The studio is based in a converted warehouse in Chelsea, London and today includes a growing team of diverse and complementary talents. Their Rain Room installation is currently being presented at MoMA as part of EXPO 1: New York, a large-scale festival of exhibitions and events organised by MoMA PS1, which addresses pressing ecological concerns of the 21st century.

Brett Littman

Brett Littman has been working in the non-profit arts field for more than fourteen years. He is the Executive Director of The Drawing Center, based in New York, since May 2007; was the Deputy Director at P.S.1 Contemporary Art Center, a MoMA affiliate from 2003 – 2007; from 2001 – 2003 he was the Co-Executive Director of Dieu Donné Papermill in SoHo, New York and from 1995 - 2001 he was the Associate Director of UrbanGlass in Brooklyn, New York

Beral Madra

Beral Madra is curator and art critic, founder and director of BM Contemporary Art Center (since 1984), Partner and artistic director of Honorary President of AICA Turkey (2003), Mentor of the Berlin Senate Residency for artists in Istanbul (1995- 2013); Director of Visual Arts, Istanbul Cultural Capital of Europe 2010. She has curated the 1st and 2nd Istanbul Biennale (1987-1989), Pavilion of Turkey(1991, 1993, 2001, 2003, 2005) Central Asia (2009) and Azerbaijan (2011) in Venice Biennale.


Andrea Pagnes

Andrea Pagnes translated among others Jurassic Park into Italian, and has been working as independent curator, writer, founder of culture magazines, painter, glass sculptor, and artistic director of a Murano glass factory. His publications have been translated into German, Italian, English, Spanish, Hindu, Chinese and Finnish. He has been awarded among others with the Strasbourg Robert Schuman Silver Medal (1990), Millennium Painting Award in representation of Italy (Windsor & Newton, 2000), and the literary prize Storie (Rome, 2008). Pagnes works with Verena Stenke under the name of VestAndPage in Performance art, filmmaking, visual art, writing and as independent curators since 2006

Verena Stenke

Verena Stenke is trained in dance, athletics, martial arts and as makeup artist. Her performance Speak That I Can See You has been rewarded with the Art Kontakt Prize (Tirana, 2007). Her videos have been rewarded with the Treviglio Video Poetry Prize (Italy, 2011) and the Nassauer Kulturpreis (Germany, 2011) and her art films presented on numerous festivals. Verena Stenke works with Andrea Pagnes under the name of VestAndPage in Performance art, filmmaking, visual art, writing and as independent curators since 2006

Hilde Teerlinck

Hilde Teerlinck lives and works in Dunkerque, France. Teerlinck was artistic director of the Mies van der Rohe Pavilion in Barcelona. After a short stay in Perpignan, where she founded an arts-centre linked to the local Fine Arts School she directed since 2002 the Rhenish Centre of Contemporary Art (CRAC) of Alsace in Altkirch. At the same time she remained active as an art-critic and a free-lance curator. Since September 2006 she has been the director of the FRAC (Fonds Regional d’Art Contemporain) Nord-Pas de Calais in Dunkerque. The FRAC NPDC has one of the most prestigious public collections of international contemporary art in France.


Hans Ulrich Obrist

Hans Ulrich Obrist is Co-director of the Serpentine Gallery, London. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville, Paris. Most recently, he has curated 13 Rooms at Kaldor Public Arts in Sydney. In 2012, he co-curated Jonas Mekas, Thomas Schütte Faces and Figures, Yoko Ono TO THE LIGHT, Herzog & de Meuron and Ai Weiwei Pavilion and the Memory Marathon at the Serpentine Gallery, London; To the Moon via the Beach, LUMA Foundation, Arles; Lina Bo Bardi, Casa de Vidro, Sao Paulo; A call for unrealized projects, DAAD and e-flux, Berlin. Obrist’s recent publications include A Brief History of Curating, Project Japan: Metabolism Talks with Rem Koolhaas, Ai Wei Wei Speaks, along with new volumes of his Conversation Series.

Jinny Yu Born

Jinny Yu Born in South Korea, lives and works in Canada and Italy. A painter, she has shown in New York, Venice, Seoul, London, Kyoto, Montreal and Toronto. Associate Professor of Painting and former Graduate Program Director, Department of Visual Arts, University of Ottawa. Winner of Laura Ciruls Painting Award from Ontario Arts Foundation and Mid-Career Artist Award from Council of the Arts Ottawa, and a finalist for the Pulse Prize New York.


VA13 Audio Works


Chantelle May Purcell: Out of many one people

Duration 1.41

Within Chantelle Purcell’s work there is a continual rewriting and revising of image and text, that works together to create a cacophony of meanings that explore the authenticity within historical representation. The ephemeral nature is inherent within the work through utilising materials that are non-permanent, exploring the mediums of sound, film and performance and placing importance on the role of documentation.

Taking its cue from the symbolic motto ‘Out of many one people’, the piece explores the rich history of Jamaica and the prevalence placed on storytelling. Delving into the infamous legend of ‘The White Witch of Rose Hall’.

 The audio extract that the audience hears are the songs of 8 participants who were asked to sing transcripts from a previous performance that explored the patterns that emerge when a legend was passed along a transmission chain. The participants were instructed to emphasize the words that were carried along the transmission chain the furthest to create a heightened and monumental version of the narrative.  Played in unison the songs collectively join in a cacophony of voices. This piece explores how fact and fiction interweave within history.


Bill Furlong: Ughms & Aghs (1989)

Duration 3.07   

Through the tape editing process, the Uhms and Aghs, (which are often a characteristic of human speech), are removed and saved and then edited together to form an orchstrated sequence. Uhms and ahs normally represent thinking pauses in speech; moments when thoughts are organised and ideas formulated. Far then from being redundant mannerisms, uhms and aghs could be regarded as succinct audial equivalents to thought outside of language.

William Furlong was part of a generation of British artists of the 1960s-70s including Gilbert & George, Richard Hamilton, Bruce McLean, Paul Richards(whose Nice Style performance group was the first pose band) who were consciously moving from traditional art forms to conceptual art, performance, new media, cheap materials, in a dematerialized and process-oriented ethos.[1] Furlong is now a sound artist with sound installations exhibited in Lisbon (Walls of Sound, 1998), Bexhill on Sea, Sussex (Anthem, 2009), Genillard Gallery, London (Possibility & Impossibility of Fixing Meaning, 2009).

With the acquisition of the Audio Arts archive by Tate in 2004 (itself a long-time subscriber to Audio Arts cassettes releases), over 200 boxes of master tapes used to edit the magazine are now secured for future researchers. A selection was exhibited at Tate Britain March–August 2007. The archive is now being catalogued, digitized and preserved there.

In October–December 2006, a retrospective exhibition curated by Lucia Farinati took place at Rome’s Sound Art Museum showing a selection of Audio Arts releases and adding a new sound art by Furlong: Conversation Pieces, a reworking/remixing of preview Furlong interviews, making famous interwiewes respond to each other by the magic of cut-up.

William Furlong’s Audio Arts project was featured in the See This Sound (Promises in Sound and Vision) exhibition, curated by Cosima Rainer, August 28, 2009 to January 10, 2010, Lentos Kunstmuseum, Linz, Austria.