The Innocent Hare – Owen Ridley-Demonick
Taking the name from the traditional English hunting song, Owen, in collaboration with trumpet player Wilfred Petherbridge, will consider traditions of violence as sport.
Photo: Still life with hare and other game 1697, by Jan Weenix
light shade compositions – Joseph Funnell
Examining how authenticity and privilege are produced as cultural capital, Joseph questions how marginalised bodies might claim agency within spaces of historic negation.
Photo: Joseph Funnell
Future Fridays is our regular programme supporting new work led by Chisenhale Dance Members. Join us for a first look at seven projects which shun conventions and face the future of performance head-on.
Chisenhale Dance Space is on the second floor, accessed by a staircase only, and therefore, regrettably, is not wheelchair accessible. For more information, please click here. If you would like to talk to one of our team about your access needs, please email email@example.com
ABOUT THE ARTISTS
Owen Ridley-DeMonick is a dancer, choreographer and musician working across theatre, film and live performance. He has worked with companies including Danish Dance Theatre, PunchDrunk, Tanztheater Wuppertal (Sadler’s Wells) Clod Ensemble, (Sadler’s Wells) Nigel Charncok, Lea Anderson, Trajal Harrel (Barbican), Alexandra Bachzetsis (Centre Pompidou, Chicago Institute) amongst others.
His work currently engages in subjects of violence, service, irreverence and multiplicity in relation to marginalised bodies with contexts of performance. He works closely with the development of soundscores and has previously collaborated with the orchestra Ensemble Perpetuo, Forest Swords and NWAKKE on sound projects, and has presented work at The Soho Theatre, Chisenhale Dance and The Bristol Old Vic.
Joseph Funnell is a visual artist, performer and writer. Their research based practice considers the emancipatory potential of performing agency within contexts of impossibility, considering the history of image production and the fetishisation of authenticity as a means of policing black and queer subjectivities. Recent solo works include: brown paintings for renaissance masters, Slow Sunday, Toynbee Studios and Slap Festival 2020; mugged by invisible men, The Albany, London, 2019; and a performative reading of Gayle Rubens’ text ‘The Catacombs: The Temple of the Butthole (1991/2012) at the Centrum Sztuki Współczesnej Zamek Ujazdowski, Warsaw, 2018.
Joseph has worked with Pan Daijing, (Tate Modern 2019); Ula Sickle (Centrum Sztuki Współczesnej Zamek Ujazdowski, Warsaw); and Alex Baczynski-Jenkins ( Kunsthalle Basel; Whitechapel Gallery, London; Palais de Tokyo, Paris; mumok ,Vienna; Museu Serralves, Porto; Stedelijk Museum, Amsterdam 2019.) He has also appeared in films for Adham Faramawy (exhibited at Tate Britain, London and Somerset House, London).