SPILL TV 2011
Thu 01 Jan 1970
SPILL TV documents the live events during the festival. SPILL NATIONAL PLATFORM
The SPILL National Platform for emerging UK artists showcases innovative, daring and exciting work created today by names of the future. In November 2010, SPILL announced a national call out for artists who have been sharing their performance work for a maximum of up to three years. From well over 200 applications, 12 have been chosen to showcase their work in the 2011 SPILL National Platform.
IN ELDERSFIELD CHAPTER ONE: ELEGY FOR PAUL DIRAC, KINGS OF ENGLAND
In 2009 SPILL launched a National Platform for emerging talent at the National Theatre Studio. In a special double bill two of the selected artists now present new works. Kings of England is one of them.
‘In Eldersfield’ by Kings of England is a ten-chapter cycle of works for the twentieth century, to which we are no longer beholden but will always belong. Against a culture of lessening means and receding hopes, we raise the toast (again): to Dead Dogs, Dead Children, Dead Lovers, Dead Heroes, and how good it is to be alive. Broadening our concern for lost histories and unsayable things, we present an historical epic of open questions and long silences, in a quiet refusal to mean.
I GUESS IF THE STAGE EXPLODED… SYLVIA RIMAT
In 2009 SPILL launched a National Platform for emerging talent at the National Theatre Studio. In a special double bill two of the selected artists now present new works. Sylvia Rimat is one of them.
Performance artist Sylvia Rimat follows the aspirational and possibly impossible goal to create a show never to be forgotten by its audience members – not a single one. By presenting memory tasks and techniques, the audience will systematically be trained to remember. ‘I guess if the stage exploded…’ draws on presence and sight, on what happens in our brain when we create memories, and our urge to be special and forever commemorated.
GLORIOUS, RAJNI SHAH
Rajni Shah and company will perform with students from the Guildhall School of Music & Drama and local residents, in this haunting and unusual new musical that will be completely reinvented for every location as it tours the UK, as members of each local community work with the company to create this event.
Glorious explores the spaces of both fear and hope that have emerged as a result of an increased awareness towards climate change, shifts in border policies, and the dramatic impact of the financial collapse.
ON THE CONCEPT OF THE FACE, REGARDING THE SON OF GOD ROMEO CASTELLUCCI SOCÌETAS RAFFAELLO SANZIO
Romeo Castellucci returns to the Barbican with a haunting new creation. As an uncompromising theatre maker, he creates work that is at once beautiful, powerful and at times unsettling to watch.
On the Concept of the Face, Regarding the Son of God explores the notion of Jesus as icon.
SPILL TAROT EXHIBITION
In 2009, SPILL commissioned a collaboration between Pacitti Company, photographer Manuel Vason, designer Justin Weyers and 22 contemporary mavericks to each re-stage a tarot card. The result is a limited edition SPILL Tarot Pack.
WE SEE FIREWORKS, HELEN COLE
We See Fireworks is an installation and a performance archive of audience voices. A curated programme of memories whispered softly into the darkness, and spinning stories as if the moment were still unfolding.
DO WHAT THOU WILT, HARMINDER JUDGE
Following on from ‘The Modes of Al Ikseer’ created for SPILL 2009, Harminder Judge will present a new experimental work for SPILL 2011. Do What Thou Wilt is the dark B-side to Modes and attempts to explore the occult’s influence on popular culture.
5 O”CLOCK WITH UMA, OREET ASHERY
DATAMATICS [VER. 2.0] RYOJI IKEDA
Ryoji Ikeda datamatics [ver.2.0]is the latest audiovisual concert in Japanese artist Ryoji Ikeda’s datamatics series‚ an art project that explores the potential to perceive the invisible multi–substance of data that permeates our world.
SPILL FESTIVAL LAUNCH PARTY
SPILL Festival 2011 Launch, Barbican
18th April 2011
SPILL TV Credits: Produced by Lisa Cazzato Vieyra, ARTDOCS Filmed and Edited by Lisa Cazzato-Vieyra and Ana Godinho de Matos