between energy and event
Somerset House
Live Performance collaboration with Sippin’ T
Sound extends the reach of bodies and things through unseen yet deeply felt vibrations, “pressures and molecular agitations” (LaBelle, Sonic Agency). The title of this piece borrow’s from Brandon LaBelle’s explanation of the invisible, transformative power of sound as being “materially between energy and event”, extending this idea to include the concrete impact spiritual and ancestral connection has on our identity and understanding of the world(s) we inhabit.
Finding our asé, grounding ourselves within a space that craves uneven footing. A setting that has routinely thrown people like us into bureaucratic seas of uncertainty—seas with very real, tangible consequences. How do we craft a container of safety within places steeped in historical hostility? We call upon the elemental ancestors, known and unknown, those who carry luminance and benevolence. We offer them lavender, voice, and sweat, asking for their guidance, protection, and illumination as we navigate this witnessed search.
The portals are opening. The container is ready. Together, we prepare to journey through the root, heart, throat, and crown—on our terms. Will you witness us in our vulnerability? Will you remain with us in the thick of this unfolding? Will you join in this collective grounding, a process that weaves care and play into its fabric?
More questions than answers spiral through our bodies. We release them through breath, through movement—gentle, abrupt, deliberate. Through looking, seeing, writing, shouting, whispering, and responding with technical, vibrational and material bodies. We are in this together, bound by a commitment to ourselves and to all who choose to co-create this new ritual. A shared unmaking of the perfect.
Are we returning to ourselves, or are we becoming something new?
Performed during Rukus Live! at Somerset House
Photography by Anne Tetzlaff
Videography by Tanka Tanka
Wearing pieces by Rachel Freire, UY Studio and Yaz XL
forever in the loop of nonrepetitive return
Matts Gallery
Live Performance collaboration with Vivienne Griffin
Borrowing the title from David’s Scotts Preface: Sylvia Wynter’s Agonistic Intimations (Small Axe vol. 20, no. 1, 2016) where Scott is referring to the continuous turning over of past experiences and arrival at new knowledges inherent in Caribbean (perhaps more broadly, diasporic) intellectual inheritances. The re-meeting and reclamation of the things ‘…we thought we knew but who can now belong to us in new and unexpected ways.’
Extending this idea to the looping, echoing and reverberating of sound where recognisable and repeated melodies make space and give way to improvisation. Call and response encourages an ever-evolving dialogue through electronic and acoustic instruments, movement of the body and vocals. forever in the loop of a nonrepetitive return is an experiment in tone, mood, form and collaborative work.
Born out of a desire to devise work that is emergent and liberated from a goal or completion, this work used the space as cite to fragment sound. Six speakers were dispersed throughout the space playing six separate channels, breaking away from the stereo output. The mix was made live and in this way was unique to each member of the audience depending on the position they had within the gallery - moving around the space exposed you to different versions of the same piece. Inherently site specific, no evolution of this piece will ever be the same as the last.
Other elements of the work which accompanied the electronic soundscape were a co-written text based on Griffin's PhD thesis, movement, live vocals, and a motorised self-playing harp processed through a modular synthesiser.
Photography by Chloe Page
Curator: A---Z (Anne Duffau)
Borrowing the title from David’s Scotts Preface: Sylvia Wynter’s Agonistic Intimations (Small Axe vol. 20, no. 1, 2016) where Scott is referring to the continuous turning over of past experiences and arrival at new knowledges inherent in Caribbean (perhaps more broadly, diasporic) intellectual inheritances. The re-meeting and reclamation of the things ‘…we thought we knew but who can now belong to us in new and unexpected ways.’
Extending this idea to the looping, echoing and reverberating of sound where recognisable and repeated melodies make space and give way to improvisation. Call and response encourages an ever-evolving dialogue through electronic and acoustic instruments, movement of the body and vocals. forever in the loop of a nonrepetitive return is an experiment in tone, mood, form and collaborative work.
Born out of a desire to devise work that is emergent and liberated from a goal or completion, this work used the space as cite to fragment sound. Six speakers were dispersed throughout the space playing six separate channels, breaking away from the stereo output. The mix was made live and in this way was unique to each member of the audience depending on the position they had within the gallery - moving around the space exposed you to different versions of the same piece. Inherently site specific, no evolution of this piece will ever be the same as the last.
Other elements of the work which accompanied the electronic soundscape were a co-written text based on Griffin's PhD thesis, movement, live vocals, and a motorised self-playing harp processed through a modular synthesiser.
Photography by Chloe Page
Curator: A---Z (Anne Duffau)
The Eleven by FKA Twigs
Sothebys, New Bond Street
Durational Performance by FKA Twigs
The Eleven is a durational artwork, conceived by twigs and performed by a rotating group of eleven ‘movers.’ The piece, developed by twigs over many months, is a physical and artistic quest for self-healing, rooted – in part – in her decades spent in movement practice, somatic healing technique and by implementing conscious action on repeat. twigs herself will participate alongside a changing cast of special guests. They will embody the method and record in real time the changes they feel in their mind and body.
Location:
34-35 New Bond Street, London
East Gallery
Hours:
Monday–Friday | 10:00 AM–4:30 PM
Saturday–Sunday | 1:00 PM–4:30PM
https://www.sothebys.com/en/digital-catalogues/the-eleven-by-fka-twigs
The Eleven is a durational artwork, conceived by twigs and performed by a rotating group of eleven ‘movers.’ The piece, developed by twigs over many months, is a physical and artistic quest for self-healing, rooted – in part – in her decades spent in movement practice, somatic healing technique and by implementing conscious action on repeat. twigs herself will participate alongside a changing cast of special guests. They will embody the method and record in real time the changes they feel in their mind and body.
Location:
34-35 New Bond Street, London
East Gallery
Hours:
Monday–Friday | 10:00 AM–4:30 PM
Saturday–Sunday | 1:00 PM–4:30PM
https://www.sothebys.com/en/digital-catalogues/the-eleven-by-fka-twigs
New Dialogues with Sound
Tate Britain Interpretation Artist in Residence 2023-24
Sonic Interventions | Live Performance | Workshops | Presentations | Public Event
How can sound be used to surface untold or hidden stories surrounding artworks? Does sound allow us to form new relationships with and connections to art?
Responding to these questions throughout a year-long artist residency, Joshua Woolford has created six new sound pieces for the Tate Britain collection. Throughout their residency, they have explored the potential of sound to create dialogues with artworks through talks, sound pieces and live performances.
Over the last 12 months, Joshua Woolford has created and shared live performances at the Queer and Now festival in June 2023 and the Late at Tate Britain: Desire, Culture and History in August 2023. They have hosted a sound workshop with local youth organisation City Lions and held a reading group between Tate and iniva with PRIM, the platform for queer Black storytelling.
Woolford has actively explored the power and potential of ‘building communities around questions’. Throughout the residency, they have collaborated with a number of artists and musicians including Tawiah, Lie Ning, Tia Simon-Campbel (Sippin’ T), Tereza Delzz, Zein Majali, Kenichi Iwasa, Anne Duffau and Nwakke.
In response to Mona Hatoum’s Present Tense, Woolford has connected with Radio Alhara and Learning Palestine to create a sound piece. They have included elements from their 12hr radio programmes, excerpts from Jayce Salloum’s interview with Soha Bechara, alongside field recordings of artisanal soap-making in the West Bank of Occupied Palestine, recorded by Morgan Totah from Handmade Palestine. Through building these networks and dialogues around artworks, Woolford surfaces new narratives around Tate’s collection.
More Info →
Photography by Anna-Lena Krause and Roisin Jones
Curator: Hannah Geddes
How can sound be used to surface untold or hidden stories surrounding artworks? Does sound allow us to form new relationships with and connections to art?
Responding to these questions throughout a year-long artist residency, Joshua Woolford has created six new sound pieces for the Tate Britain collection. Throughout their residency, they have explored the potential of sound to create dialogues with artworks through talks, sound pieces and live performances.
Over the last 12 months, Joshua Woolford has created and shared live performances at the Queer and Now festival in June 2023 and the Late at Tate Britain: Desire, Culture and History in August 2023. They have hosted a sound workshop with local youth organisation City Lions and held a reading group between Tate and iniva with PRIM, the platform for queer Black storytelling.
Woolford has actively explored the power and potential of ‘building communities around questions’. Throughout the residency, they have collaborated with a number of artists and musicians including Tawiah, Lie Ning, Tia Simon-Campbel (Sippin’ T), Tereza Delzz, Zein Majali, Kenichi Iwasa, Anne Duffau and Nwakke.
In response to Mona Hatoum’s Present Tense, Woolford has connected with Radio Alhara and Learning Palestine to create a sound piece. They have included elements from their 12hr radio programmes, excerpts from Jayce Salloum’s interview with Soha Bechara, alongside field recordings of artisanal soap-making in the West Bank of Occupied Palestine, recorded by Morgan Totah from Handmade Palestine. Through building these networks and dialogues around artworks, Woolford surfaces new narratives around Tate’s collection.
More Info →
Photography by Anna-Lena Krause and Roisin Jones
Curator: Hannah Geddes
peacefully if we can, forcibly if we must
The Enigma of Arrival, Royal College of Art
Video Installation
2 Channel digital video
08:00 & 30:00 minutes
Exploring the rich history and experiences of members of the Caribbean diaspora here in the UK, Woolford has positioned themselves in dialogue with the countryside and rural environment in stark contrast to the English tradition of landscape paintings. Rather than showcasing serene stretches of land, Woolford’s piece consists of sharp movement and raw emotion screened alongside disorienting, harshly shifting environments which are in constant motion.
Filmed in and around one of the few surviving Chartist cottages in the Midlands whose political slogan ‘Peacefully if we can, forcibly if we must’ inspired the title of the piece, Woolford is both reflecting on their personal experience of being alone in a new landscape, as well as exploring the historical potency of an early 19th Century political movement whose protests, petitions and direct action paved the way for the working classes and non land-owning population of the UK to be afforded a voice within the political system.
Woolford’s piece continues a legacy of Black British artists such as Ingrid Pollard and Harold Offeh who position the Black body within the British landscape as a form of resistance, as well as referencing the role of Jamaican Chartist Leader William Cuffay in the advancement of the movement in 1840’s England.
Trailer ︎︎︎
Commissioned by RCA CCA 2024 cohort for The Enigma of Arrival
2 Channel digital video
08:00 & 30:00 minutes
Exploring the rich history and experiences of members of the Caribbean diaspora here in the UK, Woolford has positioned themselves in dialogue with the countryside and rural environment in stark contrast to the English tradition of landscape paintings. Rather than showcasing serene stretches of land, Woolford’s piece consists of sharp movement and raw emotion screened alongside disorienting, harshly shifting environments which are in constant motion.
Filmed in and around one of the few surviving Chartist cottages in the Midlands whose political slogan ‘Peacefully if we can, forcibly if we must’ inspired the title of the piece, Woolford is both reflecting on their personal experience of being alone in a new landscape, as well as exploring the historical potency of an early 19th Century political movement whose protests, petitions and direct action paved the way for the working classes and non land-owning population of the UK to be afforded a voice within the political system.
Woolford’s piece continues a legacy of Black British artists such as Ingrid Pollard and Harold Offeh who position the Black body within the British landscape as a form of resistance, as well as referencing the role of Jamaican Chartist Leader William Cuffay in the advancement of the movement in 1840’s England.
Trailer ︎︎︎
Commissioned by RCA CCA 2024 cohort for The Enigma of Arrival
Dancing with the devil / a symphony of organs scattered over the floor New Contemporaries Live, Camden Art Centre
Live Performance
In the face of state-sponsored destruction worldwide, I’m trying to imagine what kind of liberation could be possible for marginalised and oppressed people in the face of social and political structures which seem to not be satisfied until they have pulled us apart.
Every day my heart breaks and I’m expected to pick it up and carry on. Triggering my metaphoric and emotional evisceration is the physical violence enacted upon literal human bodies. Trapped and besieged. A reality which my experience draws no comparison to. A reality in Palestine, in Congo, Sudan…
Throughout the performance simple interactions with external, natural and technological ‘organs’ are amplified through repetition, audio loops and electronic processing. Relationships established and maintained through proximity are reinforced and broken down. Fractured elements overlap and distract from each other. Tangled up between states of (unfulfilled) desire and despair (the Body Without Organs)
Video & More Info ︎︎︎
Photography by Sam Nightingale
Videography by Ramzia Jawara
In the face of state-sponsored destruction worldwide, I’m trying to imagine what kind of liberation could be possible for marginalised and oppressed people in the face of social and political structures which seem to not be satisfied until they have pulled us apart.
Every day my heart breaks and I’m expected to pick it up and carry on. Triggering my metaphoric and emotional evisceration is the physical violence enacted upon literal human bodies. Trapped and besieged. A reality which my experience draws no comparison to. A reality in Palestine, in Congo, Sudan…
Throughout the performance simple interactions with external, natural and technological ‘organs’ are amplified through repetition, audio loops and electronic processing. Relationships established and maintained through proximity are reinforced and broken down. Fractured elements overlap and distract from each other. Tangled up between states of (unfulfilled) desire and despair (the Body Without Organs)
Video & More Info ︎︎︎
Photography by Sam Nightingale
Videography by Ramzia Jawara
MA HA WISU
Assembly, Somerset House
Live Performance collaboration with Nkisi
MA HA WISU, meet me at the crossroads is a multi-dimensional and sensorial experimentation in dance, movement, sound, music, sculpture and storytelling, blurring and blending the boundaries between ritual and musical gestures.
Exploring the immaterial legacies embedded within sound, artist and musician Nkisi collaborates with transdisciplinary artist Joshua Woolford in a new work for Assembly that sees music and dance used to decode and recode ancestral traditions and spiritual technologies.
My solo sound excerpt →
Concept by Nkisi
MA HA WISU, meet me at the crossroads is a multi-dimensional and sensorial experimentation in dance, movement, sound, music, sculpture and storytelling, blurring and blending the boundaries between ritual and musical gestures.
Exploring the immaterial legacies embedded within sound, artist and musician Nkisi collaborates with transdisciplinary artist Joshua Woolford in a new work for Assembly that sees music and dance used to decode and recode ancestral traditions and spiritual technologies.
My solo sound excerpt →
Concept by Nkisi
zing, vecht, huil, bid, lach, werk en bewonder (Sing, fight, cry, pray, laugh, work and admire)
The Mondrian Initiative, Blaricum
Video Commission collaboration with Tia Campbell, Joshua Fay, Sin Wai Kin, Shuang Li, Ruoru Mou, Lydia Ourahmane, Martine Syms & Ryan Trecartin
Digital video
03:41
Sophia Al-Maria, recipient of The Mondrian Prize 2023, invited Tia Campbell, Joshua Fay, Sin Wai Kin, Shuang Li, Ruoru Mou, Lydia Ourahmane, Martine Syms, Ryan Trecartin and Josh Woolford to join her at the artist colony in Laren to collectively work on a film based on the principles of an exquisite corpse. These individual pieces were handed to Kadeem Oak who forged together the film.
The exquisite corpse – also known as cadavre exquis - is a game that gained immense popularity during the rise of the Surrealist movement in the 1920s. Each participant would take turns in drawing or writing on a sheet of paper, followed by folding the paper so its contribution would stay hidden before passing it on to the next player. In Zing, vecht, huil, bid, lach, werk en bewonder – laced with recordings by musician Kelsey Lu and the presence of many guests, human and non-human, from past and present – Sophia and her fellow artists take the game to the 21st century.
Performers: Peer Liening-Ewert and Lewis Walker
Horse Team: Stella Fauré and Yara
A collaborative video project of Tia Campbell, Joshua Fay, Sin Wai Kin, Shuang Li, Sophia Al-Maria, Ruoru Mou, Lydia Ourahmane, Martine Syms, Ryan Trecartin and Joshua Woolford, created during Sophia Al-Maria’s residency for the Mondriaan Prize 2023
Digital video
03:41
Sophia Al-Maria, recipient of The Mondrian Prize 2023, invited Tia Campbell, Joshua Fay, Sin Wai Kin, Shuang Li, Ruoru Mou, Lydia Ourahmane, Martine Syms, Ryan Trecartin and Josh Woolford to join her at the artist colony in Laren to collectively work on a film based on the principles of an exquisite corpse. These individual pieces were handed to Kadeem Oak who forged together the film.
The exquisite corpse – also known as cadavre exquis - is a game that gained immense popularity during the rise of the Surrealist movement in the 1920s. Each participant would take turns in drawing or writing on a sheet of paper, followed by folding the paper so its contribution would stay hidden before passing it on to the next player. In Zing, vecht, huil, bid, lach, werk en bewonder – laced with recordings by musician Kelsey Lu and the presence of many guests, human and non-human, from past and present – Sophia and her fellow artists take the game to the 21st century.
Performers: Peer Liening-Ewert and Lewis Walker
Horse Team: Stella Fauré and Yara
A collaborative video project of Tia Campbell, Joshua Fay, Sin Wai Kin, Shuang Li, Sophia Al-Maria, Ruoru Mou, Lydia Ourahmane, Martine Syms, Ryan Trecartin and Joshua Woolford, created during Sophia Al-Maria’s residency for the Mondriaan Prize 2023
and you say you never met the devil?
What No Fear Looks Like, Shoreditch Arts Club
Video Installation
3 channel digital video
08:00 minutes each
and you say you never met the devil? is a 15 minute performance video in three parts which reflects on themes of creation, destruction and recreation within the oppressive, patriarchal, colonial, capitalist systems we endure.
Movement, light and sound are utilised for their ephemeral nature as representations of a struggle for survival in a world that constantly, consciously attempts to erase us.
The setting is minimal and abstract. A non-space. A vessel for any narrative to play out. A space that floats in our imagination. Shot in a studio against both white and black backdrops - emphasising the essentiality of the body in defining and navigating space - there are no props in the classic sense. In this world the individual is responsible and dependent for only herself.
During the 15 minute video we travel through scenes which are indicated by a change of hue (blue - red - green). Within each scene there is a flicker between dark and light. A flicker between motion and inaction.
The three scenes tap into and explore separate states / emotions, which are linked to natural environments representative of Josh’s native Dominica yet globally recognisable: Scene 1: Decent (Sea), Scene 2: Tumult (Volcano), Scene 3: Appraise (Jungle). These are explored through dance, movement, poses and posturing and accompanied by spoken word poetry and an experimental soundscape, developed as a representation of and abstraction from the themes and contexts running through the three scenes.
Each scene was filmed by a different videographer (Bernice Mulenga, Siniša, Ramzia Jawara) in order to capture different essence and perceptions.
Curated by Wa-Ju
3 channel digital video
08:00 minutes each
and you say you never met the devil? is a 15 minute performance video in three parts which reflects on themes of creation, destruction and recreation within the oppressive, patriarchal, colonial, capitalist systems we endure.
Movement, light and sound are utilised for their ephemeral nature as representations of a struggle for survival in a world that constantly, consciously attempts to erase us.
The setting is minimal and abstract. A non-space. A vessel for any narrative to play out. A space that floats in our imagination. Shot in a studio against both white and black backdrops - emphasising the essentiality of the body in defining and navigating space - there are no props in the classic sense. In this world the individual is responsible and dependent for only herself.
During the 15 minute video we travel through scenes which are indicated by a change of hue (blue - red - green). Within each scene there is a flicker between dark and light. A flicker between motion and inaction.
The three scenes tap into and explore separate states / emotions, which are linked to natural environments representative of Josh’s native Dominica yet globally recognisable: Scene 1: Decent (Sea), Scene 2: Tumult (Volcano), Scene 3: Appraise (Jungle). These are explored through dance, movement, poses and posturing and accompanied by spoken word poetry and an experimental soundscape, developed as a representation of and abstraction from the themes and contexts running through the three scenes.
Each scene was filmed by a different videographer (Bernice Mulenga, Siniša, Ramzia Jawara) in order to capture different essence and perceptions.
Curated by Wa-Ju
and you say you never met the devil? 02
Gucci Flagship store, New Bond Street
Video Installation
Digital video
08:00 minutes
and you say you never met the devil? is a 15 minute performance video in three parts which reflects on themes of creation, destruction and recreation within the oppressive, patriarchal, colonial, capitalist systems we endure.
Movement, light and sound are utilised for their ephemeral nature as representations of a struggle for survival in a world that constantly, consciously attempts to erase us.
The setting is minimal and abstract. A non-space. A vessel for any narrative to play out. A space that floats in our imagination. Shot in a studio against both white and black backdrops - emphasising the essentiality of the body in defining and navigating space - there are no props in the classic sense. In this world the individual is responsible and dependent for only herself.
During the 15 minute video we travel through scenes which are indicated by a change of hue (blue - red - green). Within each scene there is a flicker between dark and light. A flicker between motion and inaction.
The three scenes tap into and explore separate states / emotions, which are linked to natural environments representative of Josh’s native Dominica yet globally recognisable: Scene 1: Decent (Sea), Scene 2: Tumult (Volcano), Scene 3: Appraise (Jungle). These are explored through dance, movement, poses and posturing and accompanied by spoken word poetry and an experimental soundscape, developed as a representation of and abstraction from the themes and contexts running through the three scenes.
Each scene was filmed by a different videographer (Bernice Mulenga, Siniša, Ramzia Jawara) in order to capture different essence and perceptions.
Curated by Truls Blaasmo
Digital video
08:00 minutes
and you say you never met the devil? is a 15 minute performance video in three parts which reflects on themes of creation, destruction and recreation within the oppressive, patriarchal, colonial, capitalist systems we endure.
Movement, light and sound are utilised for their ephemeral nature as representations of a struggle for survival in a world that constantly, consciously attempts to erase us.
The setting is minimal and abstract. A non-space. A vessel for any narrative to play out. A space that floats in our imagination. Shot in a studio against both white and black backdrops - emphasising the essentiality of the body in defining and navigating space - there are no props in the classic sense. In this world the individual is responsible and dependent for only herself.
During the 15 minute video we travel through scenes which are indicated by a change of hue (blue - red - green). Within each scene there is a flicker between dark and light. A flicker between motion and inaction.
The three scenes tap into and explore separate states / emotions, which are linked to natural environments representative of Josh’s native Dominica yet globally recognisable: Scene 1: Decent (Sea), Scene 2: Tumult (Volcano), Scene 3: Appraise (Jungle). These are explored through dance, movement, poses and posturing and accompanied by spoken word poetry and an experimental soundscape, developed as a representation of and abstraction from the themes and contexts running through the three scenes.
Each scene was filmed by a different videographer (Bernice Mulenga, Siniša, Ramzia Jawara) in order to capture different essence and perceptions.
Curated by Truls Blaasmo
A Gift of Illicit Pleasures / Two angels in search of intimacy
Closeted Desires, The Place x Fringe!
Live Performance Collaboration with Dahc Dermur / Chadd Curry
“And the encounter took place, at last, between two dreamers, neither of whom could wake the other, except for the bitterest and briefest of seconds. Then sleep descended again, the search continued, chaos came again.”
- Another Country, James Baldwin
What’s happening in the dark?
Between pillars of flesh and stone.
Seeking the light, a moment of recognition.
Nurtured. Seduced. Shattered.
Worlds collide and in their impact spark a glimmer of hope - for a terrain of amplified impulse, existing in endless multiples.
Unfurling silently, cascading and culminating in moments of bliss and distraction before dissolving to nothing and starting again.
Flesh and bone in a dance of intimate desire.
Curated by Kane Stonestreet
Photography by Dizzie Article
“And the encounter took place, at last, between two dreamers, neither of whom could wake the other, except for the bitterest and briefest of seconds. Then sleep descended again, the search continued, chaos came again.”
- Another Country, James Baldwin
What’s happening in the dark?
Between pillars of flesh and stone.
Seeking the light, a moment of recognition.
Nurtured. Seduced. Shattered.
Worlds collide and in their impact spark a glimmer of hope - for a terrain of amplified impulse, existing in endless multiples.
Unfurling silently, cascading and culminating in moments of bliss and distraction before dissolving to nothing and starting again.
Flesh and bone in a dance of intimate desire.
Curated by Kane Stonestreet
Photography by Dizzie Article
Looking at Shostakovich Quartet No. 15 opus 144 by Aubrey Williams
Late at Tate Britain: Desire, Culture and History
Live Performance
Continuing to explore how sound and performance opens up new connections to artworks, Woolford has developed an immersive soundscape in response to Isaac Julien’s exhibition What Freedom Is To Me as well as the abstract paintings of Aubrey Williams.
Through layering, repetition and distortion, Woolford built and transformed sounds over time, forming a rhythmic collage of found video footage, audio samples, experimental electronic sound and spoken word. Inviting the audience to confront and engage with a fragmented world, Woolford injects open questions, personal experiences, references to popular music and thoughts around ongoing global crises.
Dmitry Shostakovich’s Quartet which inspired Aubrey Williams’ painting of the same name opens the performance and is gradually transformed by Woolford into a spectral, haunting soundscape, barely recogniseable to the original.’
Featuring Shostakovich Quartet No. 15 opus 144 by Dmitri Shostakovich and an excerpt from Nina Simone: Freedom
Excerpt ︎︎︎
Photography by Anna-Lena Krause & Eugenio Falcioni
Videography by Tanka Tanka
Continuing to explore how sound and performance opens up new connections to artworks, Woolford has developed an immersive soundscape in response to Isaac Julien’s exhibition What Freedom Is To Me as well as the abstract paintings of Aubrey Williams.
Through layering, repetition and distortion, Woolford built and transformed sounds over time, forming a rhythmic collage of found video footage, audio samples, experimental electronic sound and spoken word. Inviting the audience to confront and engage with a fragmented world, Woolford injects open questions, personal experiences, references to popular music and thoughts around ongoing global crises.
Dmitry Shostakovich’s Quartet which inspired Aubrey Williams’ painting of the same name opens the performance and is gradually transformed by Woolford into a spectral, haunting soundscape, barely recogniseable to the original.’
Featuring Shostakovich Quartet No. 15 opus 144 by Dmitri Shostakovich and an excerpt from Nina Simone: Freedom
Excerpt ︎︎︎
Photography by Anna-Lena Krause & Eugenio Falcioni
Videography by Tanka Tanka
this body which is you. i. all of us. completely.
Drifts Festival 2023, Museum of Technology Helsink
Live Performance
For Drifts Festival I developed a new performance piece responding to the island on which the performance took place. Specifically the fact that fish commute up and down the two streams which seperate the island from the mainland, one side of which (the side the fish prefer) has a water mill installed which kills a large proportion of the fish trying to navigate those waters.
Reflecting back on experiences of adolescence, themes of migration, life and death, water, land and environmental disaster... This piece became the first where spoken word accompanied sound design throughout - an extended monologue drawing connections between seemingly disperate yet undeniably intersecting topics, timelines and geographies.
Excerpt ︎︎︎
Unreal Engine Developer Filip Setmanuk
Photography by Aala Nyman
For Drifts Festival I developed a new performance piece responding to the island on which the performance took place. Specifically the fact that fish commute up and down the two streams which seperate the island from the mainland, one side of which (the side the fish prefer) has a water mill installed which kills a large proportion of the fish trying to navigate those waters.
Reflecting back on experiences of adolescence, themes of migration, life and death, water, land and environmental disaster... This piece became the first where spoken word accompanied sound design throughout - an extended monologue drawing connections between seemingly disperate yet undeniably intersecting topics, timelines and geographies.
Excerpt ︎︎︎
Unreal Engine Developer Filip Setmanuk
Photography by Aala Nyman
A whole population housed inside a single body
Peckham 24
Live Performance collaboration with Anna-Lena Krause
As the influence of emerging technologies continues to define and redefine our realities, ‘A Whole Population Housed Inside a Single Body’ explores and expands upon the roles of digital, technological and organic interfaces as mediators toward a shared existence.
Human experiences are lived and held in the body. Skin, clothing and other physical cues from our external surfaces shape the visible and tangible human interface.
An interface which is in constant flux, navigating both physical and digital realms through sight, sound and touch. Within these realms, everything moves in relation to each other. Nothing is isolated, nor can it be understood without all other things.
To be a body isn't to be in space, it is to be of it. As the boundaries between collective bodies merge and individuality is reimagined, we find elements of others within us and recognise ourselves in others. Nobody is untouched by the world(s) they inhabit.
Curated by Tom Lovelace
Photography by Mika Kailes and Anna-Lena Krause
Styling by Mainline
As the influence of emerging technologies continues to define and redefine our realities, ‘A Whole Population Housed Inside a Single Body’ explores and expands upon the roles of digital, technological and organic interfaces as mediators toward a shared existence.
Human experiences are lived and held in the body. Skin, clothing and other physical cues from our external surfaces shape the visible and tangible human interface.
An interface which is in constant flux, navigating both physical and digital realms through sight, sound and touch. Within these realms, everything moves in relation to each other. Nothing is isolated, nor can it be understood without all other things.
To be a body isn't to be in space, it is to be of it. As the boundaries between collective bodies merge and individuality is reimagined, we find elements of others within us and recognise ourselves in others. Nobody is untouched by the world(s) they inhabit.
Curated by Tom Lovelace
Photography by Mika Kailes and Anna-Lena Krause
Styling by Mainline
Specialists + Drybabe w/ Josh Woolford
Foundation FM
Sound mix
00:59:30 - 01:31:30
A sonic dive into the breadth of the diasporic experience. British Black Panther member Linton Kwesi Johnson sets the tone with his poem Inglan is a Bitch. Naeem picks up the baton, and is joined by Erykah Badu, Nina Simone and Drexciya, all pioneers with work which challenges our socio-political conditions.
Eerie electronic tracks and high-tempo outbursts reposition these narratives and call on the radical acts of love, rest and enjoyment amongst critical engagement.
I also want to take this time to send my support to the protests happening right now in response to the UK’s attack on trans rights, following the decision to block gender recognition reform legislation, passed by the government in Scotland.
Invited by Drybabe (K Bailey Obazee)
00:59:30 - 01:31:30
A sonic dive into the breadth of the diasporic experience. British Black Panther member Linton Kwesi Johnson sets the tone with his poem Inglan is a Bitch. Naeem picks up the baton, and is joined by Erykah Badu, Nina Simone and Drexciya, all pioneers with work which challenges our socio-political conditions.
Eerie electronic tracks and high-tempo outbursts reposition these narratives and call on the radical acts of love, rest and enjoyment amongst critical engagement.
I also want to take this time to send my support to the protests happening right now in response to the UK’s attack on trans rights, following the decision to block gender recognition reform legislation, passed by the government in Scotland.
Invited by Drybabe (K Bailey Obazee)
Untitled
Always Coming Home, Iklectik
Live Performance
Curated by A---Z (Anne Duffau)
Photography by Matt Favero
Curated by A---Z (Anne Duffau)
Photography by Matt Favero
The 5 Portals
Queer & Now Festival, Tate Britain
Sonic Intervention | Live Performance
‘For the first public performance as part of their Interpretation residency at Tate, Woolford created a specially commissioned sonic intervention throughout the whole day, disrupting the gallery space and offering alternative ways of navigating the institution and collections on display. From 10am till 10pm their piece, The Five Portals, played throughout the gallery. Woolford then activated their soundscape with a live performance, further exploring the power sound has over our movements and actions.’
The 5 Portals present themselves as ways in which to explore / enter into the space, and provocations for how to interact with the architecture, people and artworks on display. Each portal is distinct in character, yet are made up of varying quantities of the same elements - that is to say that water exists within fire; the physical body exists within the mind, etc. The portals can be seen as connecting two points in space (geographic) and / or two points in time (past, present, future)
Excerpt ︎︎︎
Photography by Mika Kailes
‘For the first public performance as part of their Interpretation residency at Tate, Woolford created a specially commissioned sonic intervention throughout the whole day, disrupting the gallery space and offering alternative ways of navigating the institution and collections on display. From 10am till 10pm their piece, The Five Portals, played throughout the gallery. Woolford then activated their soundscape with a live performance, further exploring the power sound has over our movements and actions.’
The 5 Portals present themselves as ways in which to explore / enter into the space, and provocations for how to interact with the architecture, people and artworks on display. Each portal is distinct in character, yet are made up of varying quantities of the same elements - that is to say that water exists within fire; the physical body exists within the mind, etc. The portals can be seen as connecting two points in space (geographic) and / or two points in time (past, present, future)
Excerpt ︎︎︎
Photography by Mika Kailes
Live Performance
Video & More Info ︎︎︎
Curated by A---Z (Anne Duffau)
Videography and edit by Ramzia Jawara
Video & More Info ︎︎︎
Curated by A---Z (Anne Duffau)
Videography and edit by Ramzia Jawara
Live Performance
Transdisciplinary artist Joshua Woolford builds upon their ‘Cascade’ body of work with a durational performance that explores the personal, familial, and cultural histories held within clay.
Their performance, which was initiated at the V&A in London earlier this year, draws inspiration from the overlapping material cultures of the Arawak, Taíno, Kalinago, West African, and European peoples across the Caribbean.
By drawing on these artifacts and repositioning them in direct relation to each other, Woolford confronts the violent histories of settler colonialism and the trafficking of enslaved people which is evidenced through the geographical proximity of these previously disparate forms.
The use of unprocessed wild clay that the artist dug up themselves in North London reflects their desire to both meet and present themselves through this body of work. Having mixed Afro-Caribbean and British heritage, the act of sculpting Caribbean and West-African forms using British soil speaks to the complexities involved while grappling the intersections of colonial history and identity within the wider context of environmental processes and elements.
The live and durational nature of Woolford’s performance challenges the expectations of sculpture as a solid and enduring form, drawing attention to the malleability of clay and the potential the material holds for redefining our relationship to existing structures.
Video & More Info ︎︎︎
Curated by HOME by Ronan Mckenzie
Documentation by Roisin Jones
Transdisciplinary artist Joshua Woolford builds upon their ‘Cascade’ body of work with a durational performance that explores the personal, familial, and cultural histories held within clay.
Their performance, which was initiated at the V&A in London earlier this year, draws inspiration from the overlapping material cultures of the Arawak, Taíno, Kalinago, West African, and European peoples across the Caribbean.
By drawing on these artifacts and repositioning them in direct relation to each other, Woolford confronts the violent histories of settler colonialism and the trafficking of enslaved people which is evidenced through the geographical proximity of these previously disparate forms.
The use of unprocessed wild clay that the artist dug up themselves in North London reflects their desire to both meet and present themselves through this body of work. Having mixed Afro-Caribbean and British heritage, the act of sculpting Caribbean and West-African forms using British soil speaks to the complexities involved while grappling the intersections of colonial history and identity within the wider context of environmental processes and elements.
The live and durational nature of Woolford’s performance challenges the expectations of sculpture as a solid and enduring form, drawing attention to the malleability of clay and the potential the material holds for redefining our relationship to existing structures.
Video & More Info ︎︎︎
Curated by HOME by Ronan Mckenzie
Documentation by Roisin Jones
Bound 01
Transforming Legacies, Black Cultural Archives
Painting | Live Performance
Curated by Pacheanne Anderson
Curated by Pacheanne Anderson
Untitled
Transforming Legacies, Black Cultural Archives
Live Performance | Painting
Curated by Pacheanne Anderson
Curated by Pacheanne Anderson
Tumult 01
Children of the Diaspora during 1-54 Art Fair, Somerset House
Untitled
Art In*, Soho House
Live Performance
Curated by Pacheanne Anderson, Produced by Brian Maina
Curated by Pacheanne Anderson, Produced by Brian Maina
Cascade II
Royal College of Art
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Sculpture
and you say you never met the devil? Triptych
Royal College of Art
Painting
Agents of Colonialism
Royal College of Art
Sculpture
Video
and you say you never met the devil? is a 15 minute performance video in three parts which reflects on themes of creation, destruction and recreation within the oppressive, patriarchal, colonial, capitalist systems we endure.
Movement, light and sound are utilised for their ephemeral nature as representations of a struggle for survival in a world that constantly, consciously attempts to erase us.
The setting is minimal and abstract. A non-space. A vessel for any narrative to play out. A space that floats in our imagination. Shot in a studio against both white and black backdrops - emphasising the essentiality of the body in defining and navigating space - there are no props in the classic sense. In this world the individual is responsible and dependent for only herself.
During the 15 minute video we travel through scenes which are indicated by a change of hue (blue - red - green). Within each scene there is a flicker between dark and light. A flicker between motion and inaction.
The three scenes tap into and explore separate states / emotions, which are linked to natural environments representative of Josh’s native Dominica yet globally recognisable: Scene 1: Decent (Sea), Scene 2: Tumult (Volcano), Scene 3: Appraise (Jungle). These are explored through dance, movement, poses and posturing and accompanied by spoken word poetry and an experimental soundscape, developed as a representation of and abstraction from the themes and contexts running through the three scenes.
Each scene was filmed by a different videographer (Bernice Mulenga, Siniša, Ramzia Jawara) in order to capture different essence and perceptions.
More info & Video ︎︎︎
and you say you never met the devil? is a 15 minute performance video in three parts which reflects on themes of creation, destruction and recreation within the oppressive, patriarchal, colonial, capitalist systems we endure.
Movement, light and sound are utilised for their ephemeral nature as representations of a struggle for survival in a world that constantly, consciously attempts to erase us.
The setting is minimal and abstract. A non-space. A vessel for any narrative to play out. A space that floats in our imagination. Shot in a studio against both white and black backdrops - emphasising the essentiality of the body in defining and navigating space - there are no props in the classic sense. In this world the individual is responsible and dependent for only herself.
During the 15 minute video we travel through scenes which are indicated by a change of hue (blue - red - green). Within each scene there is a flicker between dark and light. A flicker between motion and inaction.
The three scenes tap into and explore separate states / emotions, which are linked to natural environments representative of Josh’s native Dominica yet globally recognisable: Scene 1: Decent (Sea), Scene 2: Tumult (Volcano), Scene 3: Appraise (Jungle). These are explored through dance, movement, poses and posturing and accompanied by spoken word poetry and an experimental soundscape, developed as a representation of and abstraction from the themes and contexts running through the three scenes.
Each scene was filmed by a different videographer (Bernice Mulenga, Siniša, Ramzia Jawara) in order to capture different essence and perceptions.
More info & Video ︎︎︎
Installation | Video | Sculpture | Live Performance
At once commenting and questioning - wdys comprises a series of text, performance, visuals and smells which are all manifestations of the forced hyper-awareness I have of my queer Black body, and the myriad ways it is read and received
More Info & Video ︎︎︎
At once commenting and questioning - wdys comprises a series of text, performance, visuals and smells which are all manifestations of the forced hyper-awareness I have of my queer Black body, and the myriad ways it is read and received
More Info & Video ︎︎︎
Installation | Video | Live Performance
Curated by Jerome Ince-Mitchell
Curated by Jerome Ince-Mitchell
Cascade I
Royal College of Art
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Exhibition & Event Curation
PRE - Previous to; before
PRE - was a moment in time, at the cusp of an action which closes one chapter and begins the next.
PRE - was an exhibition of budding and established artists.
PRE - was a ‘civilized’ brunch.
PRE - was a party of live performances.
PRE - was a trip down memory lane and a projection into the future.
PRE - was soundtracked by a tight selection of Berlin Djs.
PRE - is hard to define.
More info & Video ︎︎︎
PRE - Previous to; before
PRE - was a moment in time, at the cusp of an action which closes one chapter and begins the next.
PRE - was an exhibition of budding and established artists.
PRE - was a ‘civilized’ brunch.
PRE - was a party of live performances.
PRE - was a trip down memory lane and a projection into the future.
PRE - was soundtracked by a tight selection of Berlin Djs.
PRE - is hard to define.
More info & Video ︎︎︎