Saturday, 29 August 2015

Church of Performance

All images & texts are Copyright © Natalie Raven unless otherwise stated. All rights reserved.






The Church of Performance is a new Plymouth based venture, co-curated by myself and Dagmar. 

You can keep updated on all our creative outputs here:

http://churchofperformance.blogspot.co.uk/

https://www.facebook.com/ChurchOfPerformance




Ave Maria - Research and Development

All images & texts are Copyright © Natalie Raven unless otherwise stated. All rights reserved.

Title: Ave Maria 







Ave Maria is a new R&D piece, which forms part of a larger series exploring performance-to-camera as a form of live art performance practice.

Please note, this video contains nudity and may be considered NSFW

https://vimeo.com/137710490 

Please note: This video is password protected. Please contact me in order to access 

natalie.raven@plymouth.ac.uk
@NatalieRavenArt

Tuesday, 11 August 2015

Writing Up Process in Performance



All images & texts are Copyright © Natalie Raven unless otherwise stated. All rights reserved.

The following text is a lament on writing up processes of performance written for Geoff Cox and Katy Macleod workshop 'Writing as...', TransArt Summer School, Berlin 2015. 

*

How do you ride a bike?



Tell me, in words

Tell me, write it down



How do you ride a bike?



*



How do you express the complex physical and neurological processes that go on in the process of ‘doing’?



How do I ‘do’ what I do?



Writing is ‘doing’

Reading is ‘doing’

Performance is ‘doing’

Active

Practice

Are there some answers in here, somewhere?



How can I ‘step outside’ of myself and witness the processes I go through in the ‘act’ of doing?

Can I do this?

If I do this, I am not in the process of ‘doing’ what I did before.

I am now in a process of ‘observing’ what I am ‘doing’, never quite immersed in the process I actually want to observe and express.



Where are the words I need?

Where are the words I need?

Are they hidden under my skin?

Burrowing inside my head?

Where are the words I try so hard to find?

Where are the words which will enable me get the inside, out, to dis-embody the embodied?



Is this really where I want to go?



*



I make practice

I make practice

I make practice



I attempt to write about the process of making practice.



I fall off my bike.

Photography - Berlin 2015

All images & texts are Copyright © Natalie Raven unless otherwise stated. All rights reserved.


TransArt Summer School, Berlin 2015

 Un-edited candid snap shots documenting my journey through the city 

































Thursday, 2 July 2015

Yoko Ono's Cut Piece: Feminism, Live Art and Lineage.

All images & texts are Copyright © Natalie Raven unless otherwise stated. All rights reserved.


Here is a small extract which forms part of my initual PhD musing. 

I am incredibly lucky and privileged to be able to study and reflect on the artworks of radical feminist performance and live artists. They form part of my lineage. I create in their honour. 

I realise that my research, however much driven out of personal politic, passion, or curiosity actually forms part of a much wider conversation about feminism, equality and women's lived experience in contemporary society. My research is somewhat about me, but not just me. 

I am part of a movement which seeks to challenge patriarchal, hetero-normative standards to form new ways of being, existing and understanding. I am contributing toward the shaping of my own culture, it's ideologies and policies. 

I am writing my own history. 

Not simply for me. 





Friday, 26 June 2015

A Manifesto for the Hysterical


All images & texts are Copyright © Natalie Raven unless otherwise stated. All rights reserved.



I am…



Wild.





I am wild, and passionate, and carefree.



I am expressive, emotional and extrovert.



I am strong, driven and articulate.



I am intelligent, philosophical and analytical.



I am aware, sensitive and compassionate.



I am political, unashamed and outspoken.



I am loyal, fierce and protective.



I am insecure, vulnerable and unsure.



I am all these things, and more.





I know who I am, and I am not afraid to be myself.



I am not afraid to ask for what I need.



I am not afraid to challenge what I see.



I am not afraid to speak out when I disagree.





I will not pretend.



I always bleed when I am cut, and I always fall when I feel weak.





Bottled up no more.



The Raven will caw;



“I am me, and you will see I will change this world. I will soar”.




I would rather be me, than a version I could pretend to be.




Monday, 15 June 2015

Isadora Duncan, Manifesto and Mythology



All images & texts are Copyright © Natalie Raven unless otherwise stated. All rights reserved.

 Isadora Duncan


Photo by Raymond Duncan. 


*


‘From all parts of her body shall shine radiant intelligence, bringing to the world the message of the thoughts and aspirations of thousands of women.  

She shall dance the freedom of women’ 

(Isadora Duncan, 1928)


*



(Ann Daly, 1995)


*



The only recorded footage of Duncan appears here: http://jiscmediahub.ac.uk/record/display/031-00033110


*


Daly, Ann (1995) Done into Dance: Isadora Duncan in America. Connecticut: Wesleyan University Press. 

Duncan, Isadora (1928) “‘The Dancer of the Future’, The Art of Dance” in Huxley, Michael and Witts, Noel (eds.) (2002) The Twentieth-Century Performance Reader. 2nd ed. London: Routledge, pp. 171-175.

n.b. Duncan wrote ‘The Dancer of the Future’ c. 1902, but it wasn’t published until 1928 by Theatre Arts Books, New York.

Wednesday, 6 May 2015

When the work is that good, it speaks for itself.



All images & texts are Copyright © Natalie Raven unless otherwise stated. All rights reserved.

The type of artists I admire, are the ones who operate with a very clear artistic vision and an uncompromising, determined precision.


The work is deeply profound and has a strong sense of integrity.


The work is never shallow, it has deep personal, political and cultural meaning.


The work is sophisticated, intellectual, poetic and moving.


It affects me.


I believe in every moment. 



The excitement of this work lies in the fact that it exists rather quietly, under the radars. It operates soundlessly and subversively, marking and making ‘quiet acts of rebellion’.



The work is that good. 

It speaks for itself.

- Natalie 




Saturday, 11 April 2015

Interview with Art Saves Lives International

I was interviewed by Art Saves Lives International for the first edition of their E-Magazine. I spoke about my most recent performance work 'Body-Cloth' (2015).





 Here are a few selected quotations: 


What does feminism mean to you and do you consider yourself to be a feminist?


“I never accepted that I was a feminist growing up, as I didn’t really understand what the term meant and had heard many derogatory comments about feminists being ‘man haters’ and ‘bra burners’. I certainly didn’t want to be tarred with that brush. I found it hard to fit into the role of ‘woman’, which I understood required me to be pretty, slim, quiet, passive and frivolous. I was tall, broad, athletic, feisty and sharp. At university I read feminist texts by Luce Irigaray and Helene Cixous. Suddenly, and for the first time, I was thrust into a world in which I connected to. I felt like I had found permission to be myself.
Feminism is a movement for equality. The cause has made a lot of progress over the years, but there is still a long way to go before we all are truly are equal.
Yes, I’m a feminist, and proud.”

Do you feel women have to conform to social norms and stereotypes to be taken seriously? Do you have any experiences of this?


“I think if you are secure in yourself and who you are, with a strong network supporting you, you shouldn’t need to conform to others expectations. To be taken seriously or not lies outside of your control. Live with integrity.”

And is there anything you would like to add to your interview?


“Yes, I’d like to compel anyone reading this to think about what types of inequality they might encounter or witness in their own lives, and to be brave enough to speak out and challenge it when/where it occurs. #BeTheChange”

The full transcript of my interview is here: http://artsaveslivesintmagazine.com/2015/04/09/artist-natalie-raven-explains-how-making-live-art-works-for-her-and-why-she-chose-to-create-art-about-female-stereotypes/

E-magazine here: http://artsaveslivesintmagazine.com/


ASLI as an organisation exists to give a voice to the unheard.



We believe this world can be enriched and given a voice through art.



We aim to utilize art as a medium to engage, educate and express.



Our purpose is to raise awareness of social inequality, environmental conservation and animal welfare. Giving our attention to the most vulnerable of causes.



Our Projects incorporate all disciplines and abilities of artistic expression.



Creating opportunity, allowing for reflection, release and for us all to come together and initiate change.

 

More information on the charity here: http://artsaveslivesinternational.com/

Critical Costume Conference, Helsinki 2015

Critical Costume conference took place at Aalto University in Helsinki, Finland March 2015. 

This international conference was wonderfully diverse in its range of academic presentations, artist flash talks, performances, installations and exhibitions. 

Costume was showcased in all its multifaceted glory. 

It was a joy to meet people whose written publications I had read during the process of writing my literatre review, and lovely to connect with new researchers whose work so closely relates to and illuminates my own! 

I was so inspired. It was well worth the trip.

As I mentioned on twitter (@NatalieRavenArt), I felt rather excitable at the conference, like a child who had found their way home. 

I found my context.

I took lots of images of the conference and posted them on twitter; please feel free to go take a look. 

Here are a few selected images from my time in Finland.





























Thank you Critical Costume.