The beautiful tall ones, Gala Moody and Michael Carter, are finally performing together in Germany. In Wuppertal, as in home of Pina Bausch and Tanztheater Wuppertal, or Wuppi as the locals seem to call it (dunno if that’s a local thing or Aussie local thing. Strayans would probably call it Wuppo.). Trailer on Vimeo, and I’m debating with myself whether to bike some of the way over.
Cie.OFEN is delighted to invite you to the german premier of The Vase, the latest work by Cie.OFEN which premiered at Wim Vandekeybus’ ‘Ulti’mates’ festival in Kortrijk, Belgium.
Based on the theater work Purgutorio by Ariel Dorfman, The Vase shows the clash between Medea and Jason, who are trying to repair a broken love. Condemned to their own reckoning, they find their fates are entwined.
Presented by the agent of slime Virginia Barratt, and Petra Kendall, at The New Centre for Research & Practice (in Grand Rapids, Michigan, US). And, that’s Sandy Stone of The Empire Strikes Back: A Posttranssexual Manifesto. It’s gonna be awesome.
attached please find some information and some links to a 5 week seminar entitled “The Future is Unmanned: Technologies for Corrupt Feminisms” presented by Virginia Barratt and Petra Kendall.
Linda Dement, Amy Ireland, Lucca Fraser, Allucquere Roseanne Stone, Rasheedah Phillips, Francesca da Rimini, Rasheedah Phillips, Emma Wilson and others TBC or who may drop in.
The first session is on Feb 26th with a round table discussion with special guest Sandy Stone. We are super excited to have Sandy guesting for us.
The times, unless otherwise stated, are 5pm-7.30pm EST
Back in May when I was looking after the two insane Australians / Emissaries of Slime from VNS Matrix (that’d be the delightful Ms. V, Virginia Barratt, whom I’ve known since my last day in Australia (Sydney breakfast in Newtown) and the delightful Francesca di Rimini, whom I’d heard of ever since I was a student trolling around VCA — both of whom love Berlin German bread, cheese and wild boar sausage. And gin.), we all went out for dinner on the last night at a very German restaurant in Oranienstr, Wiener-fucking-Schnitzel kinda deal. At the table populated by loud Australians (that’d be us) and directly opposite me, was the vision in black, Sarah-Jane Norman. Fucking conqueror’s name right there. I was all, “Faaark! She’s a babe!” and “Active Pretend She Doesn’t Exist Mode? Engaged!” (that’s the shy side there, not the cunty side), until we were leaving when she grabbed me and said, “Right, we’re hanging out. Number, please.”
And we did.
And it was sweary volumes of excellence.
And “short-form drama” (Television FFS) binge sessions.
And now she’s about to get on a plane for 12 days in Adelaide. More like 12 days of Radelaide. I was like, “Oh! The best chicken feet yum cha in ’Straya can be found on Gouger St!” and “There used to be this cocktail bar where you could get 2 for 1 on Friday for $10 and get utterly fucking hammered by 7pm.” and “umm… yeah … Adelaide … dunno what else … it’s been a while …”
So this is my good civic duty to anyone in Adelaide reading this (and I fucking know there’s at least a couple of you):
Sarah-Jane is coming to Adelaide to perform in two festivals. At the same time. That’s how Metal she is. She’s premiering a 6-hour performance art / noise installation called Stone Tape Theory which is a very Metal name. (She might even wear corpse paint and possibly mix amphetamines into the smoke machines, though that idea’s a little up in the air (“No, Frances. No, I won’t be doing that.”)). She’s performing in Near and Far, put on by PADA, the Performance & Art Development Agency, and in Tarnanthi, the festival of contemporary Aboriginal and Torres Strait Islander art. Fuck sometimes I miss the shit out of Adelaide. It’s the only city I’ve lived in where 100% of artists go to every fucking thing on in every festival (cos it’s hella boring the rest of the year), and the festivals kick arse.
Oh yeah, and that’s on in Queen’s Theatre, 16-20 October 5-11pm.
But wait! There’s more!
I was round eating pumpkin/vegetable soup with her this afternoon, and she showed me the Spill 15 festival guide, which is glossy black printed on matt black, so it’s totally Spinal Tap, “How much blacker could this be? And the answer is: None. None more black.” Cos after she’s done 12 days in Radelaide, it’s back to Berlin for one day/night of vomiting jetlag then off to London for more of the same. More Stone Tape Theory, I mean, in Spill 15.
And that’s in Toynbee Studios, 29 October – 1 November 10am-4pm.
Fucking see it. She’s mad good. Here’s a photo of her from another work (I told her she looked like a very famous EDM/Dubstep musician. She was Not Amused. “But you’re laughing!” Not Amused!)
A pile of new books; more photos & a podcast from Stockholm; the delightful ‘Straayans Virginia & Francesca of VNS-FUCKING-MATRIX in Berlin; off to Brussels next week for Hans’ premiere … (the terrible, terrible thing that is Mette Ingvartsen’s 69 Positions (I wanna call it 69 Shades of [something offensive]); the almost as-terrible Xeno-Feminism Manifesto Launch (hashtag-haley-joel-osmet-i-see-white-feminists-dot-gif); close brackets) … head==explode!
A couple of days ago we were looking at Michael’s website and saw a new video in the progression of One Final Evolutionary Note. Michael and Gala dancing. Two of my favourite people and I love seeing them dance together. Yesterday I chatted with both of them, (and had dinner with Michael’s family, doing the Grande Tour of Europe), so with little else to say, other than I’ve watched it a few times already.
Three days in Tilburg, and one night of obligatory post-show Australian Dance Theatre getting-kicked-out-‘cos-it’s-closing-time. Twice. Which is how I like to remember my time in Adelaide.
In Tilburg, Daniel and I found today a passable café. It was still of the ‘theme café’ variety, but the wholesome, second-hand, thrown together, earthy, natural, and caringly homemade theme was convincingly well-done so that it didn’t too often feel like we were in The Waltons.
ADT last night were awesome. The usual phenomenal dancers, everything well-rehearsed, and then a moment around 2/3rds of the way through where they all seemed to realise it was going swimmingly and just cut loose. Not as if they were holding back for the first 40 minutes, it was more one of those collective moments when it doesn’t seem possible that anything can go wrong or out of time and they enjoyed the hell out of it.
The theatre is also beautiful, and it turns out some parts of Tilburg aren’t like a strange compulsory tourist town, but I was glad to be on the train out, even though I’d rather have been on the bus going north with the rest of the family.
So, back in Brussels for a few more days, then off east to Berlin. Possibly some Brussels tourism and definitely seeing Hans and Anuschka again before more airports.
Some time last year, the darling Lewis Major, whom I first met in Brussels in 2010 when he came to Dasniya and my Yoga and Shibari workshop, and then arrived shortly after in Vienna where I was working with Hans (and Lewis’ joining in and subsequent lack of departure for New Zealand is a well-funny story), and who fast became one of my dearest friends, asked me to do a website for him. It was to be a blog-ish, dance and choreography documentation site. Funnily enough, despite having supernaut for nearly nine years, and having made a score of sites in the last couple of years, I’ve never really done a blog.
It turned out to be a mad romp through the world of WordPress’ Post Formats, and possibly most complicated site I’ve done. I decided it should be alive and not hidden a few weeks ago, and so undertook a final chaotic run through the code to make it ready, in the process swapping everything over to a new method which caused a little distress when I realised my cherished functions rewrite of a piece of core code handling images was no longer necessary (gnashing of teeth!).
And what else? It was also my first real attempt at Responsive Design, the current Flash of the internet, which means it’s supposed to look well-tasty on any size screen (in practice that’s wishful thinking) – and now I do everything Responsive; it’s like having proper table manners. It was also one of the last sites I did with the amazing WPAlchemy, because I discovered the even more amazing Advanced Custom Fields (I needed nested repeaters, and as well, it’s just much quicker to work with), hence aforementioned chaotic run when I swapped all the code over from former to latter and made dance with the very nice WP Post Formats.
Which is why supernaut has also started Post Formatting with Video and Asides and Statuses, because while doing Lewis’ site I was drooling at how good this stuff is and it made me want to blog more, so I stole some of his code and slipped it into here.
And other things? Gallery Post Formats using the full-screen SuperSized code, video and audio with MediaElement.js, a lot of jQuery to pin everything together – I think often my ideas are way far ahead of what I can actually code and I’m guilty of some horrendous travesties.
Typography! There’s quite a lot. Headings are done in the very “obnoxious as it is loveable” Antechamber; all the meta info is in Logisoso – very ‘Logistics’; and the body text is funnily enough in the seductively calm and sedate Fontin. I find it very readable. Oh, and icons are a mix of Modern Pictograms and Entypo. Yes, sticking to one font and using it well, obviously.
Looking at it now I’m thinking, “Oh, I could change that layout and that typography,” and maybe I shall make some small changes. In the meantime, Lewis is writing like a true blogger, and that makes me very happy.
And now for some pictures. (Mostly of the test content, as Lewis hasn’t written much yet. Yes, I use Abruptum and Bathory for test content, and my 404 page is always a quote from Chuang Tzu. Really, each and every “404 Not Found” on every site I make is a small moment of Daoist contemplation.)