Description
Our flesh… (working title)
Mixing live performance and video-making techniques, women’s experiences from various countries, cultures and times merge in this interdisciplinary exploration of abortion accessibility in contemporary societies. Our flesh and… (working title) is an urgent response to the recent changes in abortion laws in Western countries.
Sobre el agua quemada: Paisaje No.2
Over the course of the performance, Patricia Doors and Tamara Al-Mashouk build a sonic landscape using field recordings, archival samples, spoken word and synthesis techniques. Leaning on Doors’ ongoing practice of constantly recording and archiving sound and paired with Al-Mashouk’s poetic journaling and live visuals practices, the duo blend fact and fiction in a magical realist performance about freedom, movement and water.
Creatives
Our flesh..(working title)
Marisol (she/her) is an actor, theatre and performance maker, creating and performing pieces that are thought-provoking, highly visual and physical. Her work has been supported by ACE, Lyric Hammersmith, Young Vic, Brixton House and more.
He Zhang (he/him) is a migrant theatre maker from China. He focuses on research-based work that explores the intersectionality of different narratives and media. He wants to provoke new discourse by exploring new forms.
Héctor Manchego (he/him) is a Venezuelan writer, photographer and videographer. His work interrogates themes of the Latin American diaspora, social and cultural identities and experiences of the LGBTIQ+ communities.
Sobre el agua quemada : Paisaje No.2
Patricia Doors (she/they) is a multimedia artist, organiser and designer who works across sound, performance and print. Currently interested in the space between indigenous knowledge, capital industry and natural forces, her improvisational and experimental artistic practice focuses on deep listening and the excavation of vibrational forces interlinking our ecosystem.
Tamara Al-Mashouk (she/her) is a visual artist and organiser who incorporates strategies of hosting, art making and live performance across a range of multi-disciplinary projects. These days, she can’t stop thinking about where memory is stored and how to carve sites of solace within embodied experiences of hyper-politicisation.