Kareem Alexander & Company
I Only Stop When I Am Full
I Only Stop When I Am Full blossomed from the idea and reality of exhaustion. The work allows the performers to remove the traditional facade of performance, allowing them to react to tiredness, mistakes, and confusion on stage.
Rachel Sigrid Freeburg in collaboration with s.lumbert
Still Life, Back There: a dyke-otomy
In Still Life, Back There: a dyke-otomy, Rachel Sigrid Freeburg, with her partner and collaborator s.lumbert, brings a domestic scene to the public stage
Millie Heckler and Samantha Lysaght
Giving Yourself to Me Could Never Be Wrong
Giving Yourself to Me Could Never Be Wrong delves into consumption
Rachel Sigrid Freeburg in collaboration with s.lumbert
Millie Heckler and Samantha Lysaght
Kareem Alexander & Company
I Only Stop When I Am Full
I Only Stop When I Am Full blossomed from the idea and reality of exhaustion. The work allows the performers to remove the traditional facade of performance, allowing them to react to tiredness, mistakes, and confusion on stage. Kareem Alexander is interested in what people, both in and out of performance, are forced to conceal for the image of perfection. The work is intimate and unsettling, with the performers surrounding the audience until their backs are literally against the wall.
Rachel Sigrid Freeburg in collaboration with s.lumbert
Still Life, Back There: a dyke-otomy
In Still Life, Back There: a dyke-otomy, Rachel Sigrid Freeburg, with her partner and collaborator s.lumbert, brings a domestic scene to the public stage. Built out of the collaborators’ personal relationship when s.’s health caused them to fatigue easily, the work presents a snapshot of their ephemeral bodies in an evolving relationship. Moving through themes of precarity and dependence, they blur delineations between the intimate and the political.
Millie Heckler and Samantha Lysaght
Giving Yourself to Me Could Never Be Wrong
Giving Yourself to Me Could Never Be Wrong delves into consumption.
