Tuesday 5 March 2019, 7.30pm
Angharad Davies, Solo Violin and Four Bass Amps, 2018
Angharad Davies, violin
Sebastian Lexer, electronics
Tim Hand, sound
Phoebe Collings-James & Last Yearz Interesting Negro, Sounds 4 Survival, 2018
Curated by Lucy Railton
Phoebe Collings-James‘ practice is intentionally messy and sprawling, focused on how we live with getting bodied. Extracting knowledge from the three islands of Jamaica, UK and Manhattan all and none of which she calls home, she considers the journeying of the sea, pathways and opacity of routes as roots. Taking form primarily in sculpture, sound and drawing with a distinctly corporeal approach. She attempts to burden ubiquitous materials with a process of symbolic layering, all in order to explore emotional connections to the politics and erotics of violence, language and fear. Recent works have been dealing with the object as subject, giving life and tension to ceramic forms. As well as an ambitious new performance commision with Jamila Johnson-Small, Sounds for Survival at the Wysing Arts Centre in England, that asks the question of what an anti-assimilationist practice might look and sound like in 2018.
Exhibitions include Harlem Postcards, Studio Museum Harlem, ATROPHILIA, Company Gallery, New York, Relative Strength, Arcadia Missa, London, Blood on the Leaves Blood on the Roots, Preteen Gallery, Mexico City and Just Give Me A Minute, live at Palais de Tokyo, Paris.
Last Yearz Interesting Negro is the solo project of Jamila Johnson-Small, she makes shows, working with in-between spaces – things that exist in and through cracks in time/memory/attention – with syncopation, trance states, internal narratives, intensities, electronic music, and a love of dancing on the spot. In her performances, bodies of public and performer(s) are navigated as object, animal, human, machine, environment, energy, to build atmospheric landscapes created by the live unfolding of the tensions between things that produce meaning.
Her practice affects/disrupts/deflects/distorts/reflects the gaze(s) directed towards her body and the resultant choreographies are a stage or dreamspace or battleground for working through questions of presence, visibility, responsibility and pleasure, for situating and expanding (or dismantling) her ‘identity’ and turning it into theatre. She moves with an awareness that her dances will always be a lament for the histories her body represents, carries and conjures. Her current research is exploring surrender as a strategy for destruction and producing states of alienation as part of this resistance. The enemy is also within and the dances are driven by these strategies as internal processes.
Not interested in invention or innovation she uses things that are already there and rearranges them in an effort to encounter some unholy combination that resonates with the horror, discomfort, cringe, confusion and sensuality of this contemporary moment and her position within it, opening up spaces in thinking, feeling, reading and dancing.The landscapes she creates for her dancing body to inhabit with a public, seek to access and utilise her own power for her own ends, disentangling from – or entangling herself further with – the isms that instrumentalise her existence on a daily without her consent.
Of Caribbean descent, born and based in London she has formed long term collaborations with other artists including Project O with Alexandrina Hemsley and previously immigrants and animals with Mira Kautto.
Angharad Davies is a Welsh violinist, based in London, working with free-improvisation, compositions and performance.
Much of her work involves collaboration. She has long standing duos with Tisha Mukarji, Dominic Lash and Lina Lapelyte and plays with Apartment House, Cranc, Common Objects, Richard Dawson's band and Skogen. She has been involved in projects with Tarek Atui, Tony Conrad, Laura Cannell, Jack McNamara, Rie Nakajima, Eliane Radigue, Roberta Jean and J.G.Thirlwell.
She has released records on Absinth Records, Another Timbre, Potlatch and Confrontrecords.
Her album Ffansion | Fancies was voted in the top 12 albums for Radio 3's Late Junction.
Sebastian Lexer rewires the ultimate nineteenth-century drawing room mechanism with twenty-first-century technology to create a music that hovers inbetween times, exploiting the tension between the automatic and the intentional, making any firm sense of space thrillingly uncertain.