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15/06/2017

Åpningstider:

Tor– €Thu kl. 20–00

Vernissage:

“I named her Cancamon. This is the name of one of the plants thought to be the Balm of Gilead, a rare perfume used medicinally, mentioned in the bible and utilised in figurative speech as symbolising a universal cure. I do not want to place the phrases biblical connotations within her identity. She is named not for God but for Jeanne Lee’s grain, for Malachi Favor’s modesty, for Dave Burrell’s dis-paced intervals and for Lester Bowie and Archie Shepp’s sinking down touch, wavering, (dis)quiet.”

Cara Tolmie jobber i kryssfeltene mellom performance, musikk og det bevegende bildet. Hun utforsker stedsspesifikke forhold i performance ved å finne måter å vokalisere og plassere sin kropp på, og få tilgang til politiske og poetiske potensialet i fysiske, skriftlige og musikalske språk. Et av hennes forskningsområder de siste årene har handlet om det å synge foran et publikum.

Hun samarbeider med Paul Abbott, Kimberley O’Neill / France-Lise McGurn og Patrick Staff, og har bidratt til mange kollektive performative, pedagogiske prosjekter og en utvidet forskningspraksis. Tolmie er også en del av redaksjonskollegiet for Cesura // Acesso, en journal for musikk, poesi og eksperimentell politikk. Tolmie er en 2016 mottaker av en Paul Hamlyn Foundation Award.

“I named her Cancamon. This is the name of one of the plants thought to be the Balm of Gilead, a rare perfume used medicinally, mentioned in the bible and utilised in figurative speech as symbolising a universal cure. I do not want to place the phrases biblical connotations within her identity. She is named not for God but for Jeanne Lee’s grain, for Malachi Favor’s modesty, for Dave Burrell’s dis-paced intervals and for Lester Bowie and Archie Shepp’s sinking down touch, wavering, (dis)quiet.”

Cara Tolmie works within the intersections of performance, music and moving image. Her works probe the site-specific conditions of performance-making by finding ways to vocalize and place her body that access the political and poetic capabilities of physical, written and musical languages. A long-term project of hers is investigating fundamental questions about what it means to sing live in front of others.

She collaborates regularly on projects with Paul Abbott, Kimberley O’Neill / France-Lise McGurn, and Patrick Staff and has contributed to many other collective endeavors both in performance-making, pedagogic and expanded research practice. She is also part of the editorial collective for Cesura//Acesso, a journal for music, poetics and experimental politics. Tolmie is a 2016 recipient of a Paul Hamlyn Foundation Award.

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