4th & 5th of OCTOBER 2019



















Alastair MacLennan represented Ireland at the Venice Biennale, with inter-media work commemorating the names of all those who died as a result of the Political Troubles in Northern Ireland, from 1969 to then date (1997). During the 1970's and '80's he made some long, non-stop performances in Britain, America and Canada, of up to 144 hours duration. Subject matter dealt with political, social and cultural malfunction. Since 1975 he has been based in Belfast, Northern Ireland and was a founding member of Belfast's Art and Research Exchange (1978). Since 1975 he taught at Ulster Polytechnic, later, the University of Ulster, where for 11 years he ran the Master of Arts (MA) Fine Art program. He travels extensively in Eastern and Western Europe, Asia, North America and Canada presenting Actuations (performance/installations). Since 1989 he's been a member of the performance art entity, Black Market International, which performs globally. He is presently an Emeritus Professor of Fine Art from the University of Ulster, Belfast, Northern Ireland, an Honorary Fellow of the (former) Dartington College of Arts, Devon, England, an Honorary Associate of the (former) National Review of Live Art, Glasgow, Scotland and is a founding member of Belfast's Bbeyond performance art organisation.

"A primary function of art is to bridge our mental and physical worlds. Through crass materialism we've reduced art to cultural real estate. 'Actual' creativity can be neither bought nor sold, though it's husks, shells and skins often are. It's possible in art to use meta systems without over-reliance on physical residue and attendant marketplace hustling, jockeying and squabbling." "Art is the demonstrated wish and will 'towards' resolving inner and outer conflict, be it spiritual, religious, political, personal, social, cultural...or any interfusion of these." "As well as ecology of natural environment, there's ecology of mind and spirit, each an integrated aspect of the 'other'. Our challenge today is to live this integration. Already we're late. Time we 'have' is not so vital as time we 'make'."


Analía Beltrán i Janés has a degree in Fine Arts from the Complutense University of Madrid. She is a multi-media artist, but since 2001 she has focused his artistic activity on Performance Art. She has participated in numerous national and international festivals such as Acción! MAD in Madrid 2008 and 2014, X Biennial of Havana 2009 (Cuba), Infr'action Séte (France) 2009, Inf'action Venice 2011, 2013, 2015 and 2017 (Biennial of Venice), Guangzhou Live 3 (China) 2012, Live Action 8 Gothenburg (Sweden) 2013, Navinki International Performance Festival, Minsk (Belarus) 2013, Biennale Anzio e Nettuno 2015 (Italy), La Muga Caula 2016 (Catalonia), Reihe Neu-Oerlikon (Switzerland) 2017, Perfomedia Bergamo (Italy) 2018, Viglienasei Art Gallery, Siracusa (Italy) 2018, Museo Vostell Malpartida (Spain) 2019, Perfomedia Venezia 2019, between others. She lives in Madrid where she develops a large part of her work in different spaces and galleries such as the Reina Sofia Museum, Matadero Centro de Creación Contemporánea Madrid, Room Art Fair, etc. Since January 2017, she curates in Madrid “P.E.P.A.” (Pequeño Evento de Performance Art), an event with four or five performance artists in different self-managed spaces. She is also a founder member of PACK, a Chinese – Spanish performance group, since 2016.

Owing to training in the plastic arts, my work in performance arises from out of a need to eliminate the artistic object in order to create a more direct exchange between the public and myself, frequently involving direct audience participation. I try to make the work aesthetically simple, by using everyday objects infused with an important symbolic charge. I want the spectator to clearly perceive the message that I seek to transmit; or rather, more than that, I hope that my work provokes feelings that are within everybody's grasp, whether or not they are familiar with the artistic references, that the work is open to an additional, more complex, level of interpretation. This second level is where the influences of my performances are revealed; in general, in poetry, songs and traditional stories, as well as issues that concern me in my own social circumstances, particularly those related to questions of gender. My performances focus upon notions of identity as a woman, as Spanish and also as a human being in society. My practice is also concerned with violence and the play of power in our society.



Brian Connolly is an Associate Lecturer in Fine Art, Sculpture, in the Belfast School of Art at the Ulster University, Belfast. He is a multi-media artist creating works, which often relate to ‘place' or context and which reflect on key socio-political issues of the day. He employs a wide range of artistic processes, including Performance Art, Public Sculpture, Installation Art, Art Workshops and a range of collaborative projects. In the early 1990's he developed a genre of performance art called ‘Install-action' and has created a series of Market Stall Performances since the mid 1990's. He has performed & exhibited in diverse contexts throughout Europe, North America and parts of Asia. He has initiated and curated events and projects both nationally and internationally and has been involved with artist run organizations throughout Ireland including: Bbeyond, The Sculptors Society of Ireland, Visual Artists Ireland, Flaxart etc. He has been chairman of BBeyond on several occasions since it's inception in 2001. He established an annual performance art festival – the Belfast International Festival of Performance Art, in 2013. He has created more than fifteen Public Artworks & Commissions in a range of media and contexts throughout Ireland.

I first came to Performance Art as a student, when witnessing works by Alastair MacLennan in the 1980's, and through my own creative processes within Installation Art practices. I had been making some elaborate installations in public and under scrutiny and eventually these processes became visually significant and 'readable' within their own visual language. These early works ultimately led to what I called 'Install-actions', a merger between installation and performance art. Having made the short, (but significant step), into Performance Art, I found an intriguing world of opportunity open within my own practice. I now see Performance as a distinct and essential strand within my ongoing art practice in a kind of symbiosis. I have created performances internationally and within a variety of contexts and audiences, i.e. I make ‘Market Stall performances', ‘Ecologically reactive works', Install-actions, Collaborative works with Bbeyond, etc. My work often reflects on, or is concerned by, the fate of the Human Race in the face of ecological distress, political inability & deviance, restrictions on human freedoms and human rights, the ravenous nature of capitalism, the roles power plays in our contemporary lives, the dangers of social media and surveillance, the real nature of time & space, growing things, and the interconnectedness of all life.


Brian Patterson is currently working as administrator and coordinator of projects for Bbeyond. He was involved in the setting up of Bbeyond in 2001 to promote performance art in Northern Ireland. From 1998 Patterson has worked with Flaxart Studios on their International Residency Programme, after a fire destroyed the studios in 2003 he devoted most of his time and energy to the relocation of the studios to a city centre location. Prior to this he worked on the management committee for Catalyst Arts from 1996-1998, an artist run organisation set up to promote an outlet for more innovative and experimental working practices. Patterson graduated in 1992 and since then has taken part in numerous group exhibitions where his main interest was installation work. In 2001 Patterson was one of the artists involved in the Routes project, set up to promote the work of the unions in keeping sectarianism out of the work place in Northern Ireland. In May 2005 he made his first performance in Piotrkow Trybunalski, Poland. In 2008, he instigated Performance Monthly meetings a monthly group participation of improvised performances. These regular improvised performances in public spaces have become a main feature of Bbeyond working practice and the idea behind Same Difference: Equinox to Equinox (2016), a worldwide call out for public performances that later resulted in a Symposium in Belfast, entitled, Being in Public | Encounters | Outer Place / Inner Space (2017).

Our positioning within the cultural map of time is the result of humanity's constant search for identity and meaning. My working practice is concerned with the poetics of being in relation to place (the present/environment) and intellectually how we have arrived here (through our past/histories), and the potentially to navigate our future/s. My specific interest in art has evolved into the metaphysical aspects of being and the dualism that arises, between our transient ephemeral realms and different natures of our physical bodies in relation to being constant spiritual embodiments. The relationship between being and the world we experience around us, informs the world/s we live in, from the private to the community. Art through its creative process is an integrated and alchemical transformation of the self and consciousness. It has a vital role for the well being of the individual in todays' society. As Gandhi said, “Be the change you want to see in the world”.


Caroline Murphy has been a member of the performance art collective Bbeyond for the past 10 years, Murphy has been taking part in collaborative performance monthly performance meetings in gallery and public spaces. Murphy is also an active member of B.B.D.B the Derry Branch of the collective. She has performed extensively with solo gallery pieces in Belfast and Derry with her most recent performance at ‘60-120 Breaths' part of Humanism in Process in Flax Art Studios, Belfast. Murphy is a member of an experimental art lab (The Monday Lab) in Derry, which recently performed collaboratively at CCA Gallery (2019). Murphy's background is in arts based education, completing her PhD in 2009 at Ulster University.

I focus on running about a lot to find my innate play impulse. I respond intuitively to the impulse that emerges, and immerse myself fully within it as the ‘play' becomes made in its fullest. I believe in the importance of play as a spontaneous action for interacting with the environment around us, and finding new ways of being in the world. Learning to maintain play for longer periods of time is an ongoing work in progress that I endeavour to bring to both my performance and everyday experiences.


Elvira Santamaría-Torres was born in 1967 in Mexico City and completed a Masters degree in Visual Arts at the University of Ulster, Northern Ireland.  Her work focuses on public actions, process art, installation and performance and is currently based in both Northern Ireland and Mexico. In 1994, Santamaría-Torres obtained the First award of the 3 rd X-Teresa, The Month of Performance Art  and in the same year was invited to participate in RiAP de Québec. Since then, she has presented her work in festivals, art centres, galleries, museums and public spaces in Mexico, Europe, North America, Asia and Latin America. Her most recent public projects include: Parábolas de desalojo y procesos de regeneración, 2013-2016 (Mexico and various Latin American countries); Salt Cartographies, Sur Gallery, 2017 (Toronto) and  Naming the Change, PS2 Gallery, 2017 (Belfast). In 2013, Santamaría-Torres was postulated to the Artraker, Awarding Creativity in Art and Conflicto in London and was juror for the 2014 award. She is member of Black Market International. She has organised several events such as the annual International Performance Art Encounter in Yucatán, 2002-2006; InterSER0 I & II, International Action Art Encounter at the Carrillo Gil Art Museum, 2009, and recently, Humanism in process: Female Performance Artist at Work 1 & 2, 2019. Santamaría-Torres conducts workshops and conferences in art centres, universities and museums in Mexico and abroad. She is a Member of the National System of Art Creators FONCA-Secretaria de Cultura.

Performance art is a time-space-presence- based form of art and an existential practise of self-knowledge. Time, space and presence as a structural trinity of change and transformation; aesthetics and ethics at work. Its poetic postulates the reflection and creation of identity through gestures, acts, actions and attitude, which is an endless learning process. The symbolic act creates important reference points in the evolution of the consciousness of the artist, but the not symbolic ones are the true dimension of the present. My works has evolved through a personal quest by means of many forms of Live Art forms (chamber performance, urban actions, public interventions, processes, performance-installation, etc). Nowadays I am focus on urban performances, process art and In-situ installations, which are rarely practiced in my origin country. My main concern, all along my practice, has been to underline the changeable, fragile and ephemeral aspects of life, and point out fundamental aspects of human behaviour , acts, and consciousness-developing in performance art. For me, the public context is the place where the creation of new situations can deconstruct what we think about reality, human relationships and ourselves. Following the ideas of the situationists, “the audience must not exist anymore as audience but as 'les vivants' (the living ones), in their plural and diverse forms” as performance art is.


Fausto Grossi was born in Arce, Frosinone, Italy in 1954. He is licensed as a sculptor by the A.A.B.B. of Frosinione, Italy and by the U.P.V. of Lejona, Basque Country, Spain. In 1992, he moved to Bilbao where he lives and develops his artistic activity. He is a multidisciplinary and intermediate artist, cook, interpreter, writer and graphic designer. As cultural manager, he organizes the activity of Spazio Grossi, collaborates with the Euskadi Experimental Poetry Biennial and the MEM Festival. He is also an email artist, with works in several international anthologies of visual poetry. Grossi has been invited and has participated in various cultural events in France, Spain, Germany, Portugal, Italy, Poland, Argentina, Brazil, the United States, Serbia, China, Canada, the Philippines, Northern Ireland, Vietnam, Colombia, Hungary and Mexico.

The only project I have as a human being is to live. What we call 'projects' in our life, are just strategies, strategies that make possible the weaving, the creation of the singular project which is, to live.


Fergus Byrne is a multidisciplinary artist working in performance, sculpture and drawing. Underlying much of the performance work is the practice of life modelling of which he has extensive experience. In performance he tests the materiality of his body, sometimes combining such action with spoken word. Through rigorous physical discipline he creates mesmerising performances. Recent work includes Past/Present , (Cavan), The Autonomy Project (Limerick) 2018, Breath at Artwaves Skerries and Mermaid Dance Platform with Macdara O'Maolbhuaidh. His writing practice brings with it a particular viewpoint on performance work, exemplified in ‘Fragments on the Performance Collective', in Performance Art in Ireland: A History. More recently he has contributed to Art Action 1918 -2018, published by Le Lieu. He has also curated events and brought to this role an approach that brought varied art forms and audiences together - Transversal series (2010-2012), curated in collaboration with dancer and songwriter Deirdre Murphy, Generation at The Dock (2013) and Offside Live I and II at the Hugh Lane Gallery with Pallas Studios (2005) In 2015 he collaborated with Ambra Bergamasco in curating and producing the Moving Bodies Butoh Film Festival at The New Theatre, Dublin. His work can be seen at www.fergusbyrne.ie

I am an artist working in performance, sculpture, drawing and writing. The work recognises and examines parallels between disciplines – sculpture, dance and drawing – and in placing the body at the centre of these activities presents a phenomenological exploration of these parallels. Behind much of this work is extensive experience of life drawing – modelling teaching and practising. This is fundamental to my performance though not necessarily explicit. In place of the passive body I put the active though often held within constraints imposed by objects or choreography. My pursuit over the past twenty years of martial arts, dance and other physical training informs the movement within these performances.


James King developed his Performance Art practice, with its beginnings in Street Actions. King has performed extensively in Ireland North and South and internationally. Some performances include Kassel Documenta in 1980, Pallas projects Offside Live at The Hugh Lane in 2005, Solo Exhibition The Dock Leitrim 2015, Acción Mad 2016 at The Matadero Madrid, Collaborative Performance Installation Exhibition with Sandra Corrigan Breathnach at Void Gallery Derry, PAB Performance Art Bergen 2015, Interbeing Sound (in Performance) Sonic Arts Research Centre, Q.U.B., Kode Bergen 2017. During a period of more than 30 years James King taught Community Drama at the University of Ulster, introducing six modules into the Theatre Studies degree. King is a member of the Performance Art organisation Bbeyond, founding a Derry Branch of the collective BBDB. His most recent performance project is the collaborative Monday Lab. On 29/3/19 Two of the group King and Peter O'Doherty 'La Bratts' performed in the Online Festival of Performance Art, live on You Tube. The full group performed as part of the 'Celebration Factory CCA Derry-Londonderry 2019. King's largest achievement was curating a year long "Cumulator" performance project in 2016, beginning with one person performing for one hour in the first month and concluding with twelve people performing for twelve hours in December.

The "Performance" part of Performance Art is more relevant to my practice than the "Art". Art too heavily implies some kind of talent, gift, skill or aesthetic perception. I express my being in public spaces, relating to the context, colleagues and onlookers. In my practice I explore and express ideas, feelings, presently experienced which translate into spontaneous responsiveness. I make individual performances, collaborations, and participate in large group improvisations. Often the work is durational. Durational practice eventually brings spontaneity to the fore. All plans, even putative become eradicated, and one is left with intuition and present awareness. My voice supports me throughout; words may occur but veer towards abstract sounds. Words are dissected and deconstructed so that focus can be given to discreet elements. Patterns are formed, identified, reformed and intertwined in an organic development. I value freedom of thought, of expression, playfulness and an openness to intuition. I am opposed to oppressive control and authority, eschewing habitual, mechanical behaviour. I endorse reality, disrelish pretense, abhor rules, except self-devised scores which generate and protect spontaneity. I believe in the power of the group and respect individual initiatives nurtured therein. I am guided by process and am indifferent to product.


Jayne Cherry has been influenced and affected by her physical and emotional surroundings from a young age. Unpicking and reexamining how she considered trauma, grief, abuse and pain and how best to perceive and take back control, have been her main focus for making work. Graduating from Ulster University in 2011 was a culmination of many years studying the human condition as an artist, qualified nurse, organic farmer and garden designer. Collaborating with performance artists, glass sculptors and fibre craftspeople continue to draw out new lines of thought which result in work which she imbues with clues, to assist in early recognition of, avoidance of and healing from pain inflicted by others and the uncertainty and perpetual pain it causes.

Visiting subjects of pain and mortality holds an intrigue and causes a cathartic, restorative exploration with drawing, painting, needlework, installation and live art performances. I attempt to decipher any covert signs and leave clues that may be helpful to those who come behind.


Keike Twisselmann, Master of Fine Art – Belfast – Berlin – existing since 1967. Twisselmann has been creating performance art since 1989, motorbike racing as performance since 2005. Her practice includes works in painting, performance, film, neo-fluxus poetry, objects of wisdom and desire since 1989. Twisselmann studied art in Galway & Belfast in the 1980s and 90s. Her work has been published in performance art with political and philosophical themes: “the politics of performance”, Belfast, 1992. She lives and works in Berlin and Belfast. Twisselmann was chair-committee member of Bbk Berlin from 2004-2014. She has performed and exhibited worldwide, locations include Kassel, Madrid, Venice, New York, Berlin, Belfast, Derry, Dublin, Barcelona, Werkleitz, Arnhem, Cologne, Dessau, Cleveland, Drogheda, Galway. Glasgow, Cardiff, Hanover, Kleve, Kiel, Leipzig. Quebec, San Lorenzo, Sheffield, Scarborough, Transylvania.

"PERFORMANCE ART IS A SPONTANEOUS RITUAL" Keike Twisselmann, Belfast, 1996


Rainer Pagel, Born 1948 in Germany, he lives and works in Belfast. His art practice developed from the 1970s in Hamburg and Belfast, very much under the influence of Bazon Brock, Max Bense and Joseph Beuys while in Germany, and Alastair MacLennan, Adrian Hall, Tony Hill and Dr Slavka Sverakova in Northern Ireland. After taking part on the invitation of Joseph Beuys in the Northern Ireland workshop in the Documenta 6, Kassel, Germany 1977, he became a co-founder of Art and Research Exchange in Belfast, and was very actively involved in establishing 22 Lombard Street in Belfast as an important art venue and centre for new and innovative art in NI. In 1979, Beuys invited him together with two others to mount an exhibition of their work in Northern Ireland within the context of his show in the Guggenheim Museum, New York. After an absence of 21 years from the visual arts scene, during which he engaged in “social sculpture” as per Beuys' definition, he became a co-founder and the first chairperson of Bbeyond, the performance art collective in Northern Ireland in 2000. Pagel has been a member of Bbeyond ever since and enjoys being able to show his work at performance events throughout the world, from China, France, Sweden, Spain, Ireland and Northern Ireland.

My performance work since the 1970s developed from a fascination about the personal becoming public, disbelief and mourning turning into the search for emotional stability, often only to end in a new sense of precarious equilibrium. Along the way, I juxtaposed elements of stability – instability, support – abandon, strength – fragility, creation and destruction through measured and often ritualistic actions. There was no shortage of stimulus or provocation to incite (performance) work during the troubles; this continues long after the peace agreements as new and old, hitherto hidden, horrific issues break through and solidify as fake truths. Archaic ritual and ritualistic behaviour, stereotypical, and in the context of Northern Ireland, sectarian mind-maps of our social and political environment invariably lead to bigotry, xenophobia, homophobia and a little-challenged return to and acceptance of biblical interpretations of our world. It is obviously easier nowadays to portray a call for acceptance of diversity and difference of opinion as an attack on (typically Christian) values rather than a human rights issue. Art in general, or my art in particular, will not fundamentally change this; all one can hope for is that art, which is politically motivated or which, in a wider sense, comments on our society, will be seen by as many people as possible and effect whatever miniscule changes in however small a part of the audience in attitude, perception or behaviour.


Sandra Corrigan Breathnach has exhibited her work both nationally and internationally, most recently an 8 hour collaborative performance 'Flux In Flow' with Artist Alastair MacLennan in the Golden Thread Gallery, Belfast, and a solo piece 'Severance' at '60-120 Breaths' in Flax Art Belfast as part of 'Humanism in Process'. Other performances include, La Chambre Blanche for Inter le lieu's prestigious Rencontre internationale d'art performance (RiAP) Québec Canada 2018, Pollen Gallery Belfast, The Belfast International Festival of Performance Art, Acción Mad 16 – XIII Encuentro De Arte De Acción, at the Matadero Madrid. Following a previous collaboration with artist Alastair MacLennan, Corrigan-Breathnach and MacLennan created their Performance Installation exhibition 'Breath And Blood' in 2018 in the Burren College Gallery, Co. Clare, the exhibition included live performance, drawings, video, sound works and sculpture. Other collaborations include working closely with Artist James King, their 2016 exhibition 'Pollenate' in the Void Gallery Derry, was a combination of live performance, video, animation, photography and sound works. Sandra is a member of the performance art organisation Bbeyond. By organising this event with the LSC & The Glens, Corrigan-Breathnach aims to widen the current scope of events for performance art in Ireland.

The primary core of my multidisciplinary practice is the medium of performance art, my practice spans across sculpture, drawing, photography, and sound which intertwine in my performance work. Live works deal with states of phenomenological expression and connectivity of the physical and meta-physical, where the vein of an innate knowledge as Beings in this world is explored, culminating in a lexicon of works that seek to communicate, focusing on the narrative between objects and action, incorporating vibrations of sound and energy. I explore natural materials as means of expression developing forms through performance actions and mark making, seeking to go beyond the shroud of 'modern life'.


Sarah Risebourough's current work centres around the connection of human and nature. Threads of personal history and mythology interweave in an exploration of selfhood and embodiment the nature of spirit. Risebourough completed a Masters and a practice-based MRes at Northumbria University, she has performed in Newcastle, Belfast, London, Madrid, and Poland. Risebourough felt that it was necessary for her to step outside of culture, in a way, to abandon art to navigate the narratives of contingency and conflict within culture that communicated affect, exploring the conditions where she could let these narratives go, also facilitating that experience for others. Risebourough recently trained as a body worker and is a shamanic practitioner, continuing to make work in a variety of media, to write and tell stories. Risebourough facilitates creative and transformative workshops that explore the edge of the culturally ‘known.' Activities have developed by necessity, where particular institutional environments triggered self-abandonment. To go beyond culture, for Risebourough, is the environment to rediscover ‘the abandoned' to explore selfhood that can't be contained, or ‘fit in.' Recent activities include story-telling in Durham Castle, participation in a PhD conference at Northumbria University and sailing as crew on a refitted Baltic trading ship off the West Coast of Scotland.

When I situate Nature as the over-arching context around all culture, the mechanisms at work within the narratives, in gestures, objects, environments, and in spoken and written language become visible to me. This is because the enunciative capacity of the body is no longer censored. I feel I work towards a symmetry of physical/material culture and the emotional and non-physical experience, in order to enjoy new creative experiences and opportunities to explore previously unknown aspects of self.




Andre Stitt has produced hundreds of unique performance artworks at major galleries, festivals, alternative venues and public spaces throughout the world From 1976- 2013. Stitt's work and research focuses on themes and issues of conflict and conflict transformation, trauma and marginalisation within contemporary social and cultural structures. He has also produced exhibition and installation work based on a broad interdisciplinary approach that includes painting, drawing, print, and mixed media. Since 2007 Stitt has been actively involved in developing a painting practice as main focus of artistic output. He has been active in academic and arts research for over 30 years. He currently runs research and innovation activity within the Centre For Fine Art Research and founded the Shiftwork and Painting Performance research groups. Stitt has producing and curated numerous projects, exhibitions, and events throughout the world. Between 2000-2010 he was director of TRACE: Gallery & Collective in Cardiff curating a research based programme of international time-based work.



Boris Nieslony was born 1945 in Germany, lives in Cologne. He has worked intensively as a performance artist, curator, archivist and independent scholar, staging various installations, interventions and artist projects since the 1970s. He is the founder of Black Market International, a performance group that meets regularly in various configurations to realise group performance projects. And also the instigator of the ASA foundation, a platform for a self-organizing rhizomatic network of performance artists and theorists.

Nieslony is recognised as one of the most prolific and significant contributors to performance art. Nieslony creates unpredictable and unrepeatable improvisational performance works that manifest “an encounter and its effects”. Responding to local circumstances, Nieslony develops images attuned to the moment, rigorously searching for the truth of self-recognition at the intersection of history and live presence. His impressive performance style stems from the motto “life is art enough”.




Bruce Nauman born in Fort Wayne, Indiana in 1941 is widely regarded as among the most important living American artists and as a catalyst for the recent shift in international artistic practice toward conceptual and performative uses of language and the body. Since his first solo gallery show in 1966, Nauman has been the subject of many notable museum exhibitions, including Los Angeles County Museum of Art (1972), Whitney Museum of American Art (1973), Kunstmuseum Basel (1986), Walker Art Center (1994), Tate (2004), and the Menil Collection (2007-08). Nauman represented the United States at the 2009 Venice Biennale, for which the pavilion was awarded the Golden Lion for Best National Participation. Most recently, “Bruce Nauman: Disappearing Acts,” a comprehensive retrospective, debuted at Schaulager, Basel (2018) and traveled to The Museum of Modern Art, New York and MoMA P.S.1 (2018-19). He lives and works in New Mexico.




Kim Gurney is a South African Artist based in Cape Town. Gurney's art practice responds to disappearances of different sorts and makes restorative gestures. Gurney has exhibited widely in South Africa and has held two solo exhibitions in Johannesburg. Gurney is involved in engaging other artists on curatorial projects including Guerilla Gallery a nomadic platform for experimental practice. Gurney works across visual art, writing, and academic research. She is the author of two books that traverse this interdisciplinary domain: 'August House is Dead; Long Live August House!', a creative nonfiction account of a Johannesburg atelier and its artistic thinking, and 'The Art of Public Space', a monograph about performative art interventions and common space.




Meredith Monk is a composer, singer, director, choreographer, filmmaker, and creator of new opera, music-theater works, films and installations. Considered one of the most unique and influential artists of our time, she is a pioneer of what is now called “extended vocal technique” and “interdisciplinary performance”. Over the last six decades Monk has received numerous awards and honors, including the MacArthur “Genius” award and being named an Officer of the Order of Arts and Letters by the Republic of France. Recently, Monk received three of the highest honors bestowed on a living artist in the United States- induction into the American Academy of Arts and Letters (2019), the 2017 Dorothy and Lillian Gish Prize and a 2015 National Medal of Arts from President Barack Obama. In conjunction with her 50th season of performing and creating work, she was named Carnegie Hall’s 2014-15 Debs Composer’s Chair. Celebrated internationally, Monk’s work has been presented at major venues throughout the world.




Nigel Rolfe is recognised as a seminal figure in performance art, in its history and among current world practitioners. Born in the Isle of Wight in 1950, Nigel Rolfe lives and works in Dublin, Ireland. He works with many media – video and photography and sound.
For the past fifty years he has made performances throughout Europe, the former Eastern Bloc, North and South America and across Asia. Since 2005 the central core of his work and practice is making images live and in the moment.




Stuart Brisley born in 1933 in Haslemere, Surrey, England. Brisley studied at Guildford School of Art (1949–54) and the Royal College of Art in London (1956–9), as well as at the Akademie der Bildende Künste in Munich (1959–60) and Florida State University in Tallahassee (1960–62). He has been singularly consistent throughout a career spanning over 60 years in his involvement with political and social issues (he was a founding member of the Artists Union) and a desire to challenge the established cultural expectations has been embedded in his subject matter. He is a republican and throughout his career has made works which question the British class system. Brisley has come to the conclusion, as stated in his novel "Beyond Reason: Ordure" (2003) that 'what goes down comes up'. Influenced by Marxist cultural appraisal of the 1960s and it's critical afterlife, Brisley adopted performance as the democratic basis for a new relationship between artist and audience. In Brisley's work, a strong formalist aesthetic together with an internal realism (lyricism) underpins the image making process, which is converted into a political dialogue. Brisley's work is represented in numerous public and private collections worldwide including the Tate, Arts Council England, Henry Moore Institute, Leeds Museums & Galleries, The British Museum and Moma.



Programme of Events

Friday the 4th of October 2019

Opening introduction Artist Nigel Rolfe L.S.C. - 6.00pm

Live Performances - (Please Note Due To The Nature of Performance Finish Times May Alter)
Alastair MacLennan (Scot. / N.I)
Gallery Space B L.S.C.
- 6.30 – 7.00
Fergus Byrne (R.O.I)
Gallery Space C L.S.C.
- 7.00 – 9.00
Brian Patterson (N.I.)
Gallery Space A L.S.C.
- 7.30 – 8.00
Analía Beltrán í Janés (Spain)
Gallery Space B L.S.C.
- 8.00 – 8.30
Jayne Cherry (N.I.)
The Glens Centre Theatre Space
- 8.30 – 9.30


Video Works

Bruce Nauman (America)
'Art Makeup'
Projection Space D - Fri. & Sat.
Meredith Monk (America)
'16 millimeter Earrings'
Projection LSC - Fri. & Sat.
Stuart Brisley (U.K)
'Arbeit Macht Frei'
Nook Space A LSC - Fri. & Sat.
Boris Nieslony (Germany)
'MA' (Friday Only 6pm - 8pm)
Projection The Glens - Friday Only
Andre Stitt (N.I. / U.K)
'Black Wings and Solider Things'
Monitor The Glens - Fri. & Sat.
Andre Stitt (N.I. / U.K)
'I'm your Mammy'
Monitor The Glens - Fri. & Sat.
Nigel Rolfe (U.K. / IRL)
'Dust Breeding'
Monitor Main Street - Fri. & Sat.
Nigel Rolfe (U.K / IRL)
'Milk of Human Kindness'
Monitor Main Street - Fri. & Sat.
Kim Gurney (South Africa)
Monitor Main Street - Fri. & Sat.


Saturday the 5th of October 2019


Live Performances - (Please Note Due To The Nature of Performance Finish Times May Alter)

Brian Connolly (N.I)
Gallery Space C L.S.C.
- 12.00 – 4.00
Sarah Risebourough (U.K)
Gallery Space E L.S.C.
- 1.00 – Close
James King (N.I.)
& Caroline Murphy (N.I)
Gallery Space B L.S.C.
- 1.30 – 3.30
Fausto Grossi (Italy / Spain)
Gallery Space A L.S.C.
- 2.00 - 3.00
Elvira Santamaría Torres (Mexico)
Gallery Space A L.S.C.
- 4.00 – 4.30

Rainer Pagel (Germany / N.I)

Gallery Space B L.S.C.
- 5.30 – 7.00
Sandra Corrigan Breathnach (IRL)
Gallery Space C L.S.C.
- 6.00 – 7.30
Keike Twisselmann (Germany)
Gallery Space A L.S.C.
- 6.30 – 8.00


Key Note Speech – The Glens Centre Theatre

Fergus Byrne (IRL) A History of Performance Art - 1.00 – 2.00

Artist Talks

Analía Beltrán í Janés (Spain) The Glens Centre Theatre - 2.30 – 3.00
Keike Twisselmann (Germany) The Glens Centre Theatre - 3.15 – 3.45
Alastair MacLennan (Scot. / N.I) The Glens Centre Theatre - 4.00 – 4.30

___________________Short Break 4.30 – 5.30__________________

Brian Connolly (N.I) The Glens Centre Theatre - 5.30 – 6.00
Elvira Santamaría Torres (Mexico) The Glens Centre Theatre - 6.15 – 6.45
James King (N.I) The Glens Centre Theatre - 7.00 – 7.30

Q & A's Hosted By Sean O'Reilly & Brendan Murray - 8.00 – Close

All of The Above Speakers The Glens Centre Theatre

Photographic Works

A Photographic exhibition of Participating Performance Artist Prints - The Leitrim Sculpture Centre

Educational Time-line

Space F

An Educational Time-line outlining the progression of Performance Art from 1913 – 2019




Leitrim Sculpture Centre

New Line, Manorhamilton, Co. Leitrim, F91EAW7, 071-9855098,

info@leitrimsculpturecentre.ie www.leitrimsculpturecentre.ie


The Glens Centre

New Line, Manorhamilton, Co. Leitrim, F91YK5R, 071-9855833,

info@theglenscentre.com www.theglenscentre.com

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