In Perpetuity

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In Perpetuity is currently suspended due to COVID-19. The premiere season that was due to occur in May 2020 is suspended indefinitely. In the interim we have made a book and fragrance available for purchase. Please contact iveywawn@gmail.com for inquiries.

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In Perpetuity is an ongoing project that has taken a variety of forms. It is a perpetually evolving tool that one can use to sense and understand the world in a particular way.

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.

The question with such a diagnosis is; condemned to living a life in this world, how do we keep a bit of magic for ourselves?

Creative Development for In Perpetuity has been supported by:

The Australian Government through the Australia Council, its arts funding and advisory body

Arts House

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

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image by Keelan O’Hehir
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image by Keelan O’Herir

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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International residency co-supported by Tanzhaus Zurich and Critical Path

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