LUKE JORDAN: 2018

video / performance: 27/12/18

edited stills

stills

sitting in the ruins of a house in a wood in the suffolk countryside i covered my head in a yeast/flour/water soaked veil, tying it around my neck, repeatedly inflating and deflating the veil on inhalation and exhalation. On viewing the documentation i noticed that the video file was corrupt creating digital glitches over the image of my body, digitally corroding / decaying / deconstructing / fragmenting the form in resemblance to the crumbing architecture surrounding me.

performance: 27/12/18

i carried out a series of actions within a small empty church in the suffolk countryside. I hung a rag sculpture from a hook and chain attached to the ceiling, read out words from the open pages of the bibles and improvised playing the church organ.

photo series: dear... 2018

dear... , 2017

dear warm plastic flesh / private cell / fluorescent brightness

artificial and cruel utopia

imaginary sex organs / live out vulgar poetry / theatrical abnormality

gaze of the audience / fragile theatre of surfaces

disembodied stage life / a dangerous kind of dreaming

counter-creation / I chose not to live

photo series: untitled 2018

performance: 01/12/18 - NnnnN / noise=noise, manor ballroom, ipswich (uk)

photo by richard talbot

performance: 21/11/18 - squash & stretch book launch & performance evening, museum of modern art oxford (uk)

photos by naddy sane

photos by stu allsopp

performance: 13/10/2018 - future ritual, arnolfini, bristol (uk)

photos by aisher fynn

photos by naddy sane

performance: 07/09/18 - CREATurE 2018, kaunas (lt)

performance: 17/08/2018 - 18/08/2018 - liminality (cacophony), gallery 46, london (uk)

video by naddy sane, edited by luke jordan

stills from video by naddy sane, edited by luke jordan

stills from video by naddy sane

performance: 28/07/18 - possession trance, noise=noise, planet cheek, london (uk)

video by nick sanett

video and photos by naddy sane

performance: 13/07/18 - bambule.babys return, regensburg (de)

photos by unknown photographer

29/06/18 - primal uproar iii, ms stubnitz, hamburg (de)

video by martyn flash

video by naddy sane

photos by alexandra maciá

photos by naddy sane

photos by sasha vein vein

performance: 09/06/18 - NnnnN / noise=noise, london (uk)

installation: 05/06/2018 - 08/06/2018, goldsmiths university of london, london (uk)

directions:

1. turn on the lamp

2. press play on the cassette player

performance / installation: 20/05/18 - beyond the standard model, almanac projects, london (uk)

photos by rachel cheung:

performance: 05/06/18, ectoplasmic masks, squash and stretch, headington hill hall, oxford

An amplified locker room, my voice channelled through an electric light and the spirit trumpet which sat on top of the lockers and conducted my processed vocal improvisations through them, this distorted voice was then picked up and further amplified through an another speaker. I also improvised with my body, slowly moving blindly around the confined space, making further sounds when coming into contact with the amplified lockers, with my head covered with a veil of yeast mixture.

photos by Clare Carswell:

performance / installation: 28/04/18, performance crossings: fear, cross club attic, prague (CZ)

A performance created from various objects found within the attic site and in the attic store room which suggested particular actions to me. These were combined with objects and sound making devices bought with me to the space to create a anti-narrative environment. Over the period of the festival from 24th-28th I created a list of actions and sounds to be carried out within the performance and from which I further improvised from.

photos by svetlana lopato, more here

photo by kovács istván, edited

photos by kovács istván

photos by Mirek Budhha

photo: untitled, 2018

video performance: ectoplasmic masks, 2018

channeling voice through spirit trumpet and light.

In a hybridisation of spiritualist séance and absurd improvisation a mixture of yeast, itself made up of single-celled microorganisms takes on the role of, and is conceptually linked to ectoplasm (spirit-matter said to materialise in Victorian spiritualist seances, emitted from the medium in trance) which covers the human face, hiding and deforming its features, this becoming otherworldly and mask-like, whilst also disconnecting the human from the immediate surroundings through distortions to the sense of sight and touch.

The amplified human glossolalia and vocal improvisations is electronically channelled through a contemporary imagining of a ‘spirit trumpet’ (an object used in spiritualist seances as a means of communicating with the spirits of the dead), and other resonant objects in the environment producing a rhythmic cacophony, distorting and masking the human voice but also creating the potential for trance states along with the flickering light activated by these sounds. (within various religious rituals and practices across cultures noise has been used as means to both call spirits and expel unwanted or evil spirits; and this contemporary ritual sits between séance, possession and exorcism.)