Residency 4
May/June 2019
Rubiane Maia is a Brazilian multidisciplinary artist whose practice occupies the intersection between performance, video and installation, occasionally flirting with drawing, collage, literature and cinema. She is attracted by states of synergy, encompassing the invisible relationships of affect and flux, and investigates the body in order to amplify the possibilities of perception beyond the habitual.
She is interested in residues at odds with the image or the action from which they originate, and in the relentless attempt to reach the unreachable, inevitably exposing the temporary trail of the unfinished. More recently, she has been studying the processes of telekinesis, the interdependency between bodies, objects and natural forces, and the silent resilience meeting the countless micro-revolutions of the everyday.
She completed a degree in Visual Arts and a Master degree in Institutional Psychology at the Federal University of Espírito Santo (Brazil). In 2015, she took part at the workshop 'Cleaning the House' with Marina Abramovic and contributed at the exhibition 'Terra Comunal - Marina Abramovic + MAI', at SESC Pompéia, São Paulo.
Rubiane Maia is a Brazilian multidisciplinary artist whose practice occupies the intersection between performance, video and installation, occasionally flirting with drawing, collage, literature and cinema. She is attracted by states of synergy, encompassing the invisible relationships of affect and flux, and investigates the body in order to amplify the possibilities of perception beyond the habitual.
Emilio Rojas (ca.1985, Mexico City) is a multidisciplinary artist, working primarily with the body in performance, using film, video, photography, installation, public interventions and sculpture. Rojas utilizes his body in a political and critical way, as an instrument to unearth removed traumas, embodied forms of decolonization, migration and poetics of space.
His researched based practice is heavily influenced by with queer archives, border politics, botanical colonialism, and defaced monuments. A process that reveals an intrinsic passion for the perverse revelation, to make transparent what is opaque and to expose opacity in what appears transparent.
His works have been exhibited in the US, Mexico, Canada, Japan, Austria, England, Greece, France, Germany, Italy, Spain and Australia. Besides his artistic practice, Emilio is also a translator, community activist, yoga teacher, and anti-oppression facilitator with queer, migrant and refugee youth.
Emilio Rojas (ca.1985, Mexico City) is a multidisciplinary artist, working primarily with the body in performance, using film, video, photography, installation, public interventions and sculpture. Rojas utilizes his body in a political and critical way, as an instrument to unearth removed traumas, embodied forms of decolonization, migration and poetics of space.
The Residents
Each residency affords a curated duo of artists a 4 week residency at ]ps[ in Folkestone.
The residencies focus on the potentials of co-operation, difference, influence & collectivity; whilst granting the resources to slow down, recalibrate & begin to shape what comes next.
Check the calendar & sign up to the ]ps[ mailing list for updates on residency events & activity.
Residency 1
November 2018
My practice pays close attention to memory, identity, human relationships, the rewriting of narratives and often invites participation and exchange between myself and audiences, seeking to blur the relationship between performer and audience, space and situation in order to open new spaces of thought and exchange.
As an artist I predominately work with autobiography as a way of exploring aspects of the human experience and how my own experiences translate and transform when shared with an audience. My practice overall is a contextual life enquiry – I am interested in my embodiment of liminality and intersecting identities and how these can be activated as a political site of radical agency, action, healing, empowerment and possibility.
My practice pays close attention to memory, identity, human relationships, the rewriting of narratives and often invites participation and exchange between myself and audiences, seeking to blur the relationship between performer and audience, space and situation in order to open new spaces of thought and exchange.
My work explores how gendered bodies respond under systemic violence. Our bodies are used as instruments or vessels, the control of which is embedded in nationalist identity projects, empire building, eugenics. We are silenced by assault and violence.
My questions lie around how to render these violences, continuous psychic violence, physical violation, and erasure, sensible but not re-made. How do we carry the burden of what we know, once we have come to know it? A lack of visible evidence of violation comprises a roaring silence, a white noise.
I work to remember and stake the real-ness of unthinkable harm against the inexorable passing of the everyday. In the making of work I work material un-makings. I do not see these gestures as destructive, rather they apply pressure to pressure.
My work explores how gendered bodies respond under systemic violence. Our bodies are used as instruments or vessels, the control of which is embedded in nationalist identity projects, empire building, eugenics. We are silenced by assault and violence.
Residency 2
January/February 2019
Gabi lives and works between Venice and Milan, Italy. They hold an MA in Visual Art and Curatorial Studies at NABA, Milan. Strategically and aesthetically influenced by punk and industrial subcultures, in 2013 they co-founded Persuasion: an artistic-curatorial interzone, a moniker under which they produced exhibitions and events dedicated to experimental music, video and performance art.
Since 2014 Gabi is a core member of the team of Venice International Performance Art Week, where they performed with La Pocha Nostra and Martin O' Brien, among working with other international artists. In 2017 they co-curated a column in Artribune, an Italian art magazine, with the goal of introducing and researching other Italian visual and performance artists working with queer and feminist issues.
From performance art to collage, independent publications and site-specific installations, their practice is uncertain and unstable and it is rooted in their non-binary identity. Their work focuses on the potential of the “political body”, a body undermined by notions of culture, sex, citizenship, to be decolonized. Hiding, waiting, temporality, disease, shame, heterotopia, castration, being childish: these are the concepts of my current works.
Gabi lives and works between Venice and Milan, Italy. They hold an MA in Visual Art and Curatorial Studies at NABA, Milan. Strategically and aesthetically influenced by punk and industrial subcultures, in 2013 they co-founded Persuasion: an artistic-curatorial interzone, a moniker under which they produced exhibitions and events dedicated to experimental music, video and performance art.
Keijaun Thomas creates live performances and multimedia installations that oscillate between movement and materials, incorporating visual language that can be read, observed, and repeated within spatial, temporal, and sensorial environments.
Her work investigates the histories, symbols, and images that construct notions of Black identity within Black personhood. Thomas earned their Masters degree from the School of the Art Institute of Chicago and is a current Franklin Furnace Fund Recipient for 2018.
Thomas has presented work nationally and internationally in Los Angeles, CA; Portland, OR; Portland, ME; Chicago, IL; Saugatuck, MI; Boston, MA; New York, NY; Miami, FL; and Taipei, Taiwan; Paris, France; Mexico City, Mexico; Santiago, Chile; Istanbul, Turkey; Beirut, Lebanon; Saskatchewan and Vancouver, Canada; and the United Kingdom.
Keijaun Thomas creates live performances and multimedia installations that oscillate between movement and materials, incorporating visual language that can be read, observed, and repeated within spatial, temporal, and sensorial environments.
Residency 3
March 2019
Dani d’Emilia is a transfeminist artist and educator working internationally across performance art, devised theatre, visual arts and radical pedagogy projects. She’s a co-founder of the immersive theatre company Living Structures (UK) and the artistic space Roundabout.lx (Lisbon, PT). Dani was core member of the transnational performance collective La Pocha Nostra (MX/US) between 2011-2016 and Proyecto Inmiscuir (ES/MX) between 2015-17.
She is also engaged in developing pedagogical tools through artistic and critical practices as part of the research group Gesturing Towards Decolonial Futures (University of British Columbia, Canada) and the educational programs Gorca Earthcare (Slovenia) and Free Home University (Italy). Dani’s work explores the co-production of critical knowledge and political imagination through languages that go beyond rational and discursive realms.
Using performance/art as an ’embodied mode of encounter’ she combines performance-pedagogy (performance practice as a pedagogical process of unlearning), radical tenderness (a mode of political-poetic resistance), transfeminist (intersectional and trans inclusive feminism) and decolonial (interrogating corporeal colonial legacies) approaches.
Dani d’Emilia is a transfeminist artist and educator working internationally across performance art, devised theatre, visual arts and radical pedagogy projects. She’s a co-founder of the immersive theatre company Living Structures (UK) and the artistic space Roundabout.lx (Lisbon, PT). Dani was core member of the transnational performance collective La Pocha Nostra (MX/US) between 2011-2016 and Proyecto Inmiscuir (ES/MX) between 2015-17.
The Uhuruverse is a Los Angeles-based PROTEST ARTIST who uses multiple mediums and performance styles to speak against oppression and demand and encourage liberation. As a musician, The Uhuruverse can be best described as experimental. Best known as the electric guitarist for the band Fuck U Pay Us (a four piece Black femme punk band demanding land reparations for the African Holocaust and free self defense training for femmes), the Uhuruvese also raps and sings.
The Uhuruverse spliced together their own, original dance style that combines Burlesque and Butoh. The dancer uses burlesque and nudity in protest for womxn’s sexual liberation and gender nonconformity. Butoh’s founder created the dance to mourn Japanese deaths in World War II. The Uhuruverse performs the “dance of death” to honor those slain during the African Holocaust.
The Uhuruverse performs drag and invokes interactive art and improvisation in their live performances. The Uhuruverse is a producer and curator of live shows that include mixed media and live performers. In 2016 The Uhuruverse directed the psychedelic film noir, “FIGHT IN HEELS”, a collaboration with the #SNATCHPOWER artist collective. The Uhuruverse founded #SNATCHPOWER in 2014.
The Uhuruverse is a Los Angeles-based PROTEST ARTIST who uses multiple mediums and performance styles to speak against oppression and demand and encourage liberation. As a musician, The Uhuruverse can be best described as experimental. Best known as the electric guitarist for the band Fuck U Pay Us (a four piece Black femme punk band demanding land reparations for the African Holocaust and free self defense training for femmes), the Uhuruvese also raps and sings.
Residency 4
May/June 2019
Rubiane Maia is a Brazilian multidisciplinary artist whose practice occupies the intersection between performance, video and installation, occasionally flirting with drawing, collage, literature and cinema. She is attracted by states of synergy, encompassing the invisible relationships of affect and flux, and investigates the body in order to amplify the possibilities of perception beyond the habitual.
She is interested in residues at odds with the image or the action from which they originate, and in the relentless attempt to reach the unreachable, inevitably exposing the temporary trail of the unfinished. More recently, she has been studying the processes of telekinesis, the interdependency between bodies, objects and natural forces, and the silent resilience meeting the countless micro-revolutions of the everyday.
She completed a degree in Visual Arts and a Master degree in Institutional Psychology at the Federal University of Espírito Santo (Brazil). In 2015, she took part at the workshop 'Cleaning the House' with Marina Abramovic and contributed at the exhibition 'Terra Comunal - Marina Abramovic + MAI', at SESC Pompéia, São Paulo.
Rubiane Maia is a Brazilian multidisciplinary artist whose practice occupies the intersection between performance, video and installation, occasionally flirting with drawing, collage, literature and cinema. She is attracted by states of synergy, encompassing the invisible relationships of affect and flux, and investigates the body in order to amplify the possibilities of perception beyond the habitual.
Emilio Rojas (ca.1985, Mexico City) is a multidisciplinary artist, working primarily with the body in performance, using film, video, photography, installation, public interventions and sculpture. Rojas utilizes his body in a political and critical way, as an instrument to unearth removed traumas, embodied forms of decolonization, migration and poetics of space.
His researched based practice is heavily influenced by with queer archives, border politics, botanical colonialism, and defaced monuments. A process that reveals an intrinsic passion for the perverse revelation, to make transparent what is opaque and to expose opacity in what appears transparent.
His works have been exhibited in the US, Mexico, Canada, Japan, Austria, England, Greece, France, Germany, Italy, Spain and Australia. Besides his artistic practice, Emilio is also a translator, community activist, yoga teacher, and anti-oppression facilitator with queer, migrant and refugee youth.
Emilio Rojas (ca.1985, Mexico City) is a multidisciplinary artist, working primarily with the body in performance, using film, video, photography, installation, public interventions and sculpture. Rojas utilizes his body in a political and critical way, as an instrument to unearth removed traumas, embodied forms of decolonization, migration and poetics of space.
Residency 5
June 2019
Selina bonelli was born in Switzerland and has lived in Italy, USA, South Africa, Sri-Lanka, Northern Ireland and the UK; places that have positioned her between non belonging and outright intrusion.
In her work she looks at the effects of the deterritorialization of materials and actions in order to approach a language beyond the inadequacies it presents us with.
In exploring the relationships that different types of memory have to gestures, fragments and materials she is interested in how one makes sense of things that are unspeakable, uncommunicable, and how this affects us both personally and societally.
Selina bonelli was born in Switzerland and has lived in Italy, USA, South Africa, Sri-Lanka, Northern Ireland and the UK; places that have positioned her between non belonging and outright intrusion.
Joseph Morgan Schofield is an artist who rubs salt in their wounds. Through body art, endurance actions and text pieces, their work tries to articulate and interrogate a sense or experience of grief, trauma and memory, with a view to harnessing that (sometimes very) subjective experience and using the energy generated by suffering for communal transformation. Their body becomes a prism for the experience of the audience, where violent actions are also allowed to be empathetic gesture.
Joseph makes performative rituals, consecrated actions for a dissident spirituality that seek to open up space for this transformation. These queer rituals are tools for effecting social, political and emotional change; they are celebrations of indecency, aberrance and differences; above all they are strategies for survival, for making it through the damn day.
Joseph Morgan Schofield is an artist who rubs salt in their wounds. Through body art, endurance actions and text pieces, their work tries to articulate and interrogate a sense or experience of grief, trauma and memory, with a view to harnessing that (sometimes very) subjective experience and using the energy generated by suffering for communal transformation. Their body becomes a prism for the experience of the audience, where violent actions are also allowed to be empathetic gesture.
June 2019