Saturday 13 April 2019, 3 pm – 6 pm | The Leo Kelly Blacktown Arts Centre
Blacktown Arts and Critical Path invite you to STARTERS, where you will join four respected artists for a unique exchange of food and conversation.
Artists Julie-Anne Long, Anna Kuroda, Taree Sansbury and Brian Fuata will lead conversations over a meal – a series of four starters shared as ‘mezze’.
Through the intimate communal exchange, the artists will share the things that influenced them early in their careers – the people, philosophies, connections, places and spaces that impacted their practices at the START.
About the artists:
Julie-Anne Long is an award winning independent dance artist based in Sydney. She works in a variety of dance contexts as dancer, choreographer, director, producer, mentor, dramaturg, curator and teacher. Julie-Anne has a significant solo practice, as well as a more communal, collaborative way of working with other like-minded artists, within the diversity of Australian contemporary performance. Since graduating from the Victorian College of Arts in the early 1980s she has performed and choreographed on a wide range of projects with companies such as Human Veins, One Extra, Theatre of Image, Flying Fruit Fly Circus, Bell Shakespeare Company, Open City and Dance Works. From 1991-1996 Julie-Anne was Associate Artistic Director of One Extra Company with Artistic Director Graeme Watson. She has worked in a variety of dance contexts as mentor, dramaturg, curator and producer including Acting Director of dance research organisation Critical Path (2006/2007) and Dance Curator at Campbelltown Arts Centre (2009/2010). Julie-Anne was awarded an Australia Council Dance Fellowship in 2007, which encompasses research, development and the realisation of a body of work entitled The Invisibility Project. This ongoing project focuses on issues surrounding the invisibility of middle-aged women, with particular emphasis on the performing/dancing body. Julie-Anne’s aim is to heighten the visibility of middle-aged women focusing on her performing-self within the everyday to celebrate the benefits of this invisibility and to challenge its negative implications and side effects. Julie-Anne has a PhD from University New South Wales and is currently a Senior Lecturer in Dance and Performance at Macquarie University. Further information about Julie-Anne Long can be found on her website.
Anna Kuroda is a dancer and choreographer from Japan based in Western Sydney. Her movement practice focuses on sensitivity to internal and external air flow around the body, sharpness, fragility and unique rhythm. She aspires to make work where, through focus and technical skill, the dancer’s body is, in a way, unseen; leaving cells and memories.
In 2016 she was one of 6 finalists for the Toyota Choreography Award, Japan. Kuroda is a founding member of Murasaki Penguin with sound/multimedia artist David Kirkpatrick since 2010. Further information about Anna Kuroda’s work can be found on her website.
Taree Sansbury is an emerging freelance artist and NAISDA Dance College graduate. Taree’s bloodlines connect to Kaurna, Narungga and Ngarrindjeri nations. Taree has worked with some of Australia’s highly acclaimed independent makers such as Vicki Van Hout, Martin Del Amo and Victoria Hunt along with companies Force Majeure and Branch Nebula. More recently Taree performed in Thomas E.S. Kelly’s work [MIS]CONCEIVE in the Living Ritual Festival Toronto/ APAM 2018/ Supercell Dance Festival, SHIFTING > SHAPES at PACT and CO_EX_EN at Dance Massive 2019. As an emerging performance maker Taree premiered her first work, mi:wi at the Next Wave Festival 2018 and recently became Associate Artistic Director of new performing arts company Karul Projects. You can find Taree Sansbury on her Instagram.
Brian Fuata works in performance through live and mediated forms. He employs various modes of presentation within the framework of structured-improvisation. In Fuata’s works, the act of viewing is a reciprocating action between artist and audience and audience with each other. Fuata employs the ‘blank sheet’ as a recurring motif in his work, which transforms with different contexts into emails, paper, Word.Doc, google.doc, SMS text, concrete, film, and in the case of his 20-minute ghost performances, a white bedsheet. Major solo works include Placeholder, Enjoy Gallery, Christchurch (2016); A predictive/preparatory performance for a circuit of email and the living, (email and live performance performed at Printed Matter, for Performa Biennial, New York (2015); Untitled (ghost machinery refit/letting go of the sheet), Chisenhale Gallery, London (2015); and nationally: Close to the knives (one to five) email performances, for Endless Circulation, Tarrawarra Biennale, Tarrawarra (2016); FIFO Ghost, Liquid Architecture at the National Gallery Victoria, Melbourne (2015); Apparitional Charlatan…for 24FramesPerSecond, Carriageworks (2016); Privilege (performance), Museum of Contemporary Art Australia, Sydney (2015) and Points of Departure: one to three, email performance, Australian Centre for Contemporary Art, Melbourne (2014). More information about Brian Fuata can be found on his website.
He has been one half of Wrong Solo, a performance collaboration with artist Agatha Gothe-Snape since 2009. Wrong Solo is the collaboration between visual artist Agatha Gothe-Snape and performance artist Brian Fuata. They have exhibited and performed internationally: The Guest House, Gwangju Biennale of Art 2018, Gwangju; Cardinals, with Shane Haseman, Performa Biennial, New York (2015); and nationally: No Dance, Campbelltown Arts Centre (2009); Cruising with Wrong Solo, Museum of Contemporary Art Australia, Sydney (2010); Destine Variations, for Endless Circulation Tarrawarra Biennial, Tarrawarra (2016); I am branch…Gertrude Contemporary, Melbourne (2017) and Various titles, Horsham Regional Gallery, Victoria (2017). They have also performed in lecture theatres, domestic spaces and skate parks. More information about Wrong Solo can be found on their website.