In Perpetuity is an ongoing project that has taken a variety of forms, from publication, through video and into live performance.
When sensing the world through In Perpetuity, one sees bodies (human and non-human alike) bent to the demands of capital accumulation through labour processes, both consensual and not. One sees lives constrained by the rhythms of capital, and by a fixation on speculative profitability. One sees bodies abstracted from their sensuous connections to the world, cut off from their spontaneity in a constant need to remain useful. In short, one sees life with magic being torn, sometimes unwittingly, from its grip… And we oblige, because our survival depends on it.
Working people are, like the dressage horse, cut off from their spontaneity in order to align with the rhythms of a labour process. In Perpetuity uses dressage as a metaphor for this violent abstraction before delving into a world of sensation and memory to cultivate a reattachment to actions that could be understood as magic.
In Perpetuity has been presented as part of:
Liveworks Festival 2021 (Performance Space/Carriageworks, Sydney, NSW)
Cementa 2021/22 (Kandos, NSW)
Next Wave Festival 2020 (ASSEMBLE!)
Creative Development for In Perpetuity has been supported by:
The Australian Government through the Australia Council, its arts funding and advisory body
Arts House
Cementa
Chunky Move as part of their MAXIMISED program
Performance Space and Critical Path under their annual co-commissioned ‘Experimental Choreography Residency’; April and July, 2019
Tanzhaus Zurich and Critical Path; Artist in residence, December 2018
Research for In Perpetuity has been supported by:
Critical Path and Strange Attractor as part of ‘Choreo-hack Lab: The Anthropocene’, at the Museum of Applied Arts and Sciences (MAAS – Powerhouse Museum, Sydney) in the frame of Sydney Festival; January 2019 – In collaboration with Political Economist, Riki Scanlan.
City of Sydney as part of ‘Talking Bodies’, at Surry Hills Library. A residency and performance lecture series curated by Rhiannon Newton and Katy Green-Loughrey; April 2019.
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