In Masquerade for two artist Lina Lapelyte devises a new work for two female performers with low voices along with a high-voiced male countertenor to continue and develop her ongoing investigation into the gender of voice. Assembled on a spinning platform, the singers are slowly rotated – like objects for viewing – so that their continuously produced tones merge into one. With Masquerade for two Lapelyte rethinks her previous work, hunky bluff (2014), within which arias of Handel, Vivaldi and J.C. Bach – songs originally designed for the unnaturally arrested development of male castrato singers – were lowered in pitch, rearranged and deconstructed and twisted to fit female performers with low voices. Re-animated and twisted around again, Masquerade for two creates a processual and sculptural arrangement that further unsettles the gender normativity of this traditional live art form
The atty,’s anxiety
2nd September -
15th September 2018
« This would eventually explain how he can work as fast, as he wins over time.
Believe his watch, losing 4 minutes per day since January 12.
Barely noticeable first, but to date, a consequent delay. A cumulative loss, a time-gain taken for granted.
Dependent to a self-imposed specific time, genuine latecomer, The Acter of delay, the on-time acter, the self-made writer and his ghostwriter, a sole character. »
Extract from Tenants By Substitution, a flat rental support. Eva Barto (ongoing).
Eva Barto’s show at Gallery Lejeune was up for a bit more than a week. One could miss the effective presence of the show, as it was dedicated only to a specific frame which was qualified as the attorney. Qualified in this way, the viewer faces the strategy of a character in haste, a master in digging for legal loopholes. An implicitly time obsessed figure, from which his visible surroundings witnesses a surely corrupt ambition. A rumor is spread during the show, and the inventory of objects is meant to be released later, on demand.
stones, gods, people
26th April 2018
stones gods people was a one-off performance at Gallery Lejeune
stones gods people is framed through the fragments of sound, a score, an opera. Only in opera can the voice expand to the point of dissolving the significance of the words—desire and annihilation in a single tone. This intimate performance looks at what happens when this desire is unable to complete its transition, when it enters a frozen space, stuck between meaning, communication and sound.
Beginning where Chris Marker’s 1953 film “Statues Also Die” leaves off, one of the first films to critique colonialism through speculative art history, describing museums as mausoleums – full of statues which, ripped from their context, have lost significance and meaning. stones gods people applies this critical framework to today’s world where words, buildings and laws can be rendered frozen amidst emotional, political and economic breakdowns; from public memorials to uninhabited investment properties, athletes buckling under pressure or an audience enraptured by a chilling voice.
For stones gods people at Gallery Lejeune, Joe Namy collaborated with vocalist Alya Al-Sultani to present an expanded version of his score. The piece was originally written for a performance that was to take place in Beirut’s Garden of Forgiveness but was never allowed due to political entanglement surrounding the park, it has since been performed at Istanbul’s Salt Galata and the HKW of Berlin.
Gallery Lejeune’s 2017/18 programme is supported by Arts Council England.
26th November 2017
Plain, unglazed porcelain vases sit on polished plinths. Though otherwise carefully thrown, their tops are squashed and bent around the edges. Made to resemble a remembered description of a specific Tiffany Vase, they are reimagined replicas of a prized family heirloom. Caught in a constant frozen moment of near collapse they are fictional versions of the only object that survived a family’s turbulent past. An object passed on from one generation to the next to become a lone symbol of the proof of previous generations existence.
Based on an interview with a German immigrant who lives in New York and whose family story is marked by loss, Schwindt’s Tiffany Vases utilises a sculptural interpretation of that interview to explore the space between reality and the reliability of memory that depends on the objects that surround us or that which relies on our own activities and the telling of stories.
Through her work, Schwindt investigates the meaning and location of live-ness in performances and sculptures. Live-ness, here is enacted both by the actor and the observer. Installed in the small space of Gallery Lejeune, it refers both to the living and mutable memory of the interviewee rendered in porcelain and, now, to they ways in which walking around that memory as sculpture exacerbates the delicacy of its’ meaning. Schwindt envisions multiple and intertwined relations between performer, observer and object, etc like an actor that takes on different roles and positions through time.
Tiffany Vase follows Dinner, a unique event at Gallery Lejeune – an evening of food interwoven with live interventions of text, language and sound by Schwindt with opera singer Lisa Cassidy. Commissioned for Gallery Lejeune, the work unfolded over the evening exploring the relationship between language and the physical; seeing what would happen to communication and meaning if language and the voice were firstly separated from each other and then came together again.
The event was reviewed in frieze.com by Amy Sherlock: “… At Dinner was, on a micro-level, an experiment in community building – of the kind that happens all the time in daily life… Here, though, Schwindt’s intervention made me acutely sensitive of the extent to which we invariably perform ourselves socially, according to cultural norms of which we may or may not always be aware.”
27th October 2016
At Dinner, a unique event at Gallery Lejeune – an evening of food interwoven with live interventions of text, language and sound by Grace with opera singer Lisa Cassidy.
Commissioned for Gallery Lejeune, the work develops Grace’s interest in voice as a material, a thing in itself. Unfolding over the evening, the work explores the relationship between language and the physical, language and the emotional and sees what can happen if language and the voice are firstly separated from each other and then again come together.
You're Gonna Pay For It Now. Now You’re Gonna Pay For It
5th March -
23rd April 2016
A soundscape plays throughout the flat – snatches of sound come from different rooms; quotes and field recordings making a drum roll as you are ushered along the length of the corridor.
The gallery is dark – a large curtain masking off the outside world. Packed up like a parachute, an automobile airbag is fixed to the wall, at head height with red and black wires hanging down from to a car battery and a switch. This switch is a cable release, a weatherman’s remote, a suicide bomber’s trigger. Two photographic lights are positioned either side waiting to create a blinding flash.
Hunt primes his face with paint and, standing at a carefully calculated distance away, he thumbs the switch, simultaneously triggering the airbag, the camera and flash. Striking Hunt in the face the air bag is at once a custard pie and the printing plate, an auto(sic) portrait.
Waiting in the dark, as the image hits the photographic film, it is burnt onto your retina and the exhibition is made.
20th January -
29th February 2016
Meeting in a pub, a cafe or a restaurant, Emma Hart asked people about car crashes they had been in. If they used objects in front of them to describe the crash, she took a photograph. The resulting work, Car Crash, records these re-enactments which transform the tabletop into a series of carefully choreographed scenes. The landscapes of cutlery, condiments and personal items become a collection of still lives, cradling the violence and chaos of road traffic collisions.
Presented as digital prints for the first time at Gallery Lejeune, Car Crash blurs the found and the made and forcefully combines ordinary objects with extraordinary events. Setting out to close the gap between representation and experience and re-discover the ‘real’, the images produced propel the viewer beyond that of a passive observer and force a situation that needs to be scrutinised, ripped open to reveal the physicality, emotion and trauma that photographs might ordinarily screen off.
Elsewhere in the space, ceramics provide a different way to work behind images and expose raw feeling. In the works white fists extend, bodiless, directly from the wall, they form hugging, bracing and crying gestures. Close to human scale, these arms appear as squeezed out tubes, deflated, over- worked and exhausted. Fraught and emotionally frozen, they physically exhibit an inner trauma and once again attempt, in the artist’s words, “to get the insides on to the outside… to offer a situation where outward appearances are eaten away by inner doubts.”
Tracks and Lines
8th October -
6th December 2015
Joe Moran is a choreographer, dancer and Artistic Director of Dance Art Foundation. Tracks and Lines marks a new departure for Moran, presenting for the first time his drawings along with a newly commissioned sound piece.
Through simple line drawings, instructional maps and scores, figurative gestures and utilising a variety of material – ball-point-pen, graphite, crayon, felt-tip, pastel, charcoal and graphite, Tracks and Lines explores Moran’s ongoing drawing processes and the multiple ways in which it informs his choreography. Each different element builds to develop a powerfully and tightly balanced tension between abstraction and human presence.
In particular, the exhibition develops the highly specific choreographic directives of Moran’s dance work Singular into a set of line drawings and a new sound piece. Singular (2011) is a durational performance installation for two dancers whereby highly specific procedures complicate and problematise performers’ subjectivities and their negotiation of a conceptual and perceptual puzzle: the possibility of a single consciousness embodied in more than one form.
It is the same thought, the same feeling, the same idea, the same intention; it is the same thing. It may look the same – and at times it will. It may not look the same. But it is the same thing.
Letting go of initiating, letting go of following. Letting go of making choices to simply allow the same thing to occur simultaneously…
…the same thought, the same feeling, the same idea, the same intention occurring simultaneously.
The exhibition, Tracks and Lines, invites the audience to approach destabilising representation through a series of diagrammatic and perceptual propositions overlaid with audio instructions, heard as both a potential invitation to activate the space and a poetic description of movement.
Tracks and Lines allows the complex set of ideas embodied in Moran’s work to mutate across form and conceptual boundaries towards a set of performance directions for the audience themselves.
Joe Moran is a choreographer, dancer and Artistic Director of Dance Art Foundation, through which his performance and curatorial work is produced. Moran’s work has been presented in theatres, galleries and public spaces in the UK and internationally gaining recognition for its ambition, complexity and intelligence.
Singular has been presented at David Roberts Art Foundation (Frieze, 2014) and Nottingham Contemporary (2014), and was also incorporated into A Setup, his collaboration with the sculptor Eva Rothschild at the ICA in London (June 2015), as part of both inaugural Block Universe festival and fig-2 programme.
Other works include The Modulated Body (2013) commissioned by Ordovas for Movement & Gravity, Bacon and Rodin exhibition, and The Place Prize (2013). Dance4 Associate Artist, Sadler’s Wells Summer University participant (2015-2019) and Affiliate Artist with C-DaRE (Centre for Dance Research at Coventry University), Joe works extensively in the visual arts and is a guest artist at a number of institutions, currently at The Place and the Royal Opera House.
Read State22’s article on Collecting Performance, featuring Tracks and Lines at Gallery Lejeune, HERE.
Hall of the Swell
31st July 2015
Created for Gallery Lejeune, Hall of the Swell is a contemporary fresco; a history painting on holographic paper depicting a past performance, Swell the thickening Surface of. Through the unique painted environment, Peake retells the durational realisation of her performance as a single narrative and in doing so conjures a shimmering and previously impossible version of the work.
On a recent trip to Palazzo Colonna in Rome, Peake was inspired by the elaborate and rich frescos – images of Gods and Goddesses, Angels and Heroes through whom history is dramatised, and myth re-animated. Within Hall of the Swell, the performers are carved out from a painted surface to expose a shifting underside as an active component, a holographic allegory. For Peake, this combination reveals the intense baroque inner sense of performing.
Through Hall of the Swell, we witness Swell the thickening surface of anachronistically; duets originally performed over a three-month period are seen simultaneously and, as in the Palazzo, events both real, imagined and historically separated are captured and suspended.
Swell the thickening surface of was originally performed at the Hayward Gallery, London as part of the Mirror City exhibition, 2014.
Read the transcript of Florence Peake and Jonah Westerman in Conversation at Gallery Lejeune HERE
Read And So It Goes review of Hall of the Swell at Gallery Lejeune HERE
Orbit my O O my, originally a section from the performance Shift Construct was developed with musician Desmond Byrne for a performance in the basement of Gallery Lejeune, 28 May 2015. Dancers – Katye Coe and Rosalie Walhfrid.