BODY OF WORK 2014
Password: bow Body Of Work is an infinite present, a present always already there and continuing on into the unknown future. Body Of Work is a dance with time that dissolves the distinction between human and machine. It is a dance of synthesis, a hybrid a cyborg where opposition is irrelevant so that the question remains; who choreographs and who is choreographed?
Keir Choreographic Award recipient Dancehouse Melbourne 2014, Keir Finalist Season Carriageworks Sydney 2014, Dance Massive Festival Melbourne 2015, Dark Mofo Festival MONA Hobart 2015. Les Plateuax at the La Briquetterie National Centre for the Paris Dance Biennale, Paris. 2016 Adelaide Festival, (PICA) Perth Institute for Contemporary Art, Perth WA 2017.
Real Time:http://www.realtimearts.net/article/issue127/11949 The Guardian: http://www.theguardian.com/culture/australia-culture-blog/2014/jul/21/sci-fi-dance-wins-national-choreography-award The Age: http://www.smh.com.au/entertainment/dance/keir-choreographic-award-atlanta-eke-is-not-just-about-the-movements-20140721-zv7n3.html Time Out:http://bourne.au.timeout.com/2014/07/21/30000-keir-choreographic-award-goes-to-atlanta-eke/
First Development: https://www.youtube.com/watch?v=fLIcURcobPo
MISS UNIVERSAL 2015
Documentation Exhibition and Performance:
Gertrude Contemporary Art Gallery, Exhibiting Rehearsal; Wrestling practice in exhibition space: https://www.youtube.com/watch?v=B8f0U5vab1w
Gertrude Contemporary Art Gallery; Jelly On Windows: https://www.youtube.com/watch?v=ZdmS6d7Gw7c
Chunky Moves Dance Company Next Move Commission 2015 – Performance:
Wrestling practice in performance: https://youtu.be/v1iQ2eDdz48
Miss Universal Full Performance: https://vimeo.com/154113014
One of the most exciting makers in Australia, dancer and choreographer Atlanta Eke creates an immersive performance that questions the possibility for universality within contemporary social structures. This is Atlanta’s second work for Chunky Move. Her first, Fountain, described as “stupendously witty and utterly unexpected” (Arts Hub), was a short work created for last year’sNext Move program It Cannot Be Stopped.
Press: The Age: Philipa Hawker – New dance work: Atlanta Eke wrestles with Miss Universal
DEATH OF AFFECT 2014-2017
Documentation Exhibition and Performance:
Alaska Projects Exhibition Space, Sydney 2014: https://www.youtube.com/watch?v=MDbEKVXB8y0&t=108s
Underbelly Arts Festival, Cockatoo Island, Performance Sydney 2014: https://www.youtube.com/watch?v=DOH8q6NctbI
Inviting the audience to contemplate the relationship between the body and the everyday machine. Time is stretched; speed has slowed down. Atlanta Eke catalyses a change in our the view of the concrete; it becomes a stage for dancing cars.
“In the stillness, audience members snap photos on their phones, like curious voyeurs passing by a freak road accident.” – Ilana Cohn – Realtime.
“ The ambiguous role of the car crash needs no elaboration – apart from our own deaths, the car crash is probably the most dramatic event in our lives, and in many cases the two will coincide. Aside from the fact that we generally own or are at the controls of the crashing vehicle, the car crash differs from other disasters in that it involves the most powerfully advertised commercial product of this century, an iconic entity that combines the elements of speed, power, dream and freedom within a highly stylised format that defuses any fears we may have of the inherent dangers of these violent and unstable machines.” – J G Ballard Crash
“We declare that the splendor of the world has been enriched by a new beauty: the beauty of autonomy. Each to her own rhythm; nobody must be constrained to march on a uniform pace. Cars have lost their allure of rarity and above all they can no longer perform the task they were conceived for: speed has slowed down. Cars are immobile like stupid slumbering tortoises in the city traffic. Only slowness is fast” – Frank Bifos 2009 Post Futurist Manifesto: 4
The Scientific Revolution and The Death of Nature By Carolyn Merchant*
DEATH OF AFFECT: Development One. Alaska Projects Exhibition Space, Sydney:
FOUNTAIN – 2014
How can a performance age? The ageing process is both an expression of natural physiological development and society’s division of life into temporal objects. The life of Fountain is a continuous and multidimensional accumulation of change. It is performed over a season of divisions, which structure its lifetime into a series of objects contained in each other. Fountain examines the space between its continuous natural change, growth and decline and the series of divisible moments projected onto its life
Presentation: Chunky Moves Dance Company Next Move Commission 2015
Documentation: RMIT Design Hub Occupied Architectural Exhibition 2016,
The dancers exhibited in the space will be visiting architects from 2050. These architects refer to themselves as ‘future artefacts’ and have travelled back in time via the digital universe through the reversal of digital time. Time in the digital universe is not the same as it exists in the human world. Digital time is not constrained by the same limits as human time-scale, a time regulated by clock speed. Digital time is an asynchronous measurement of the tracking of sequence. The architects from 2050 have reversed the sequence of digital time and accelerated it positioning themselves back into 2016. As these architects have travelled via the digital universe, they inevitably lack a physical body and are therefore hosted in the bodies of dancers. A logical host since between the present date and 2050 the role of the choreographer has become most significant in means of cultural production. Choreography has taken over production of knowledge in the cultural landscape at large and these architects from 2050 are in fact themselves choreographers
RMIT Design Hub Occupied architectural exhibition 2016, Spring 1883 Melbourne, MPavilion Melbourne 2016, ACCA Melbourne Fundraiser Party 2016
MOTHER HOLDING SOMETHING HORRIFIC The Dance 2017
Mother Holding Something Horrific – Claire Lambe Solo Exhibition
ACCA Melbourne 8 Apr–25 Jun 2017
Cross-disciplinary choreographic study of the relationship between Horror and the Invisible Six-week performance series for the production of a Supernatural Horror Television Series One episode a week, each episode made in real time in front the audience. Participating Artists: Dancers – Atlanta Eke with Annabelle Belharry Musician – Daniel Jenatsch One Camera on Tripod with Wheels – RDYSTDY One 32inch TV screen positioned on a dolly – RDYSTDY
A proposal for a weekly performance with musical accompaniment and filming; edited via live-feed video recording and playback on TV screen for the construction of a Supernatural Horror Television series made in real time in front of an audience, proposing a fiction set in reality; an analysis of how fictions function philosophically and politically as an invention and/or as a temporal or spatial augmentation of the present. – Vilem Flusser on Fiction
FUCK YOU BUDDY
– an equilibrium of evils – aka The TENNIS Piece
First stage creative development at Critical Path with Performance Space:
This is a proposal for the cross-disciplinary collaboration for the first stage creative development of a new choreographic work; Fuck You Buddy. An experimental dance work exploring the history of tennis in order to question the relationship between the enhancement of performance and advancements in technology
Four Ball Machines
Four Hundred Tennis Balls
A Robotic Lute
Choreographic inquiries: – A study of the relationship between the movement of the human body and the history of mechanical inventions
– An investigation into the relationship between individual human subject and a collection of mechanical objects
– Questioning the dancers movement in relation to machines, experimenting with an unfolding allegory proposing a gradual descent toward the obsolescence of the human body as a technology for movement production. Working toward an experiment that proposes a collective of mechanical objects, Tennis Ball Machines, working together, co-operating, organizing chaos.
Oxford Arts Factory Sydney 2016
MONA, Dark Mofo Festival Hobart 2017
Upcoming FUB Performances:
Supported by Performance Space & Critical Path Sydney: Experimental Choreographic Lab 2017
Premier: Live Works Festival October 2017 Carriageworks, Sydney
Art and About Public Art Programs Prince Alfred Park, Sydney
Proximity Festival, Perth
THE UNSETTLING 2017
The Unsettling The Trailer – in progress The National Carriageworks Sydney 2017
https://vimeo.com/209374608 password: unsettled
The Unsettling proposes a cross-cultural, cross-disciplinary collaboration employing the genre of Horrorcore HipHop to develop a choreographic work structured as a Supernatural Horror Film; revealing the invisible violence of the colonial present. To Question; Can a Torres Strait Islander artist and a white Australian artist work outside processes of Appropriation and Assimilation to Co-Author a contemporary artwork? Ghenoa and Atlanta will develop two separate performances presented Simultaneously. Both sharing musical accompaniment and meeting on screen, as a Supernatural Horror Film made in real time; proposing a Fiction set in Reality; an analysis of how fictions function philosophically and politically as an invention and/or as a temporal or spatial augmentation of the present.
Technically this a proposal for a new platform for inter disciplinary performance and collaboration, with two simultaneous dance performances shown through camera, edited live and mixed to allow the creation of live cinema. An exploration into culture and colonialism, creating a new approach to cross cultural collaboration, dealing with the dark history of colonialism and it’s continued legacy.
I CON is a performance interrelating the two themes of Death and Illusion to ask the question; What Is Contemporary? I am asking this question in relation to performance, through multiple choreographic processes, the first is learning how to impersonate artists that have died, specifically artists that in death have become iconic.
I CON seeks to further generate movement material through experimenting with methods that contest the position of the ‘author’ of the dance. Experimenting with new ways of transparently performing the transformation of knowledge as it travels from one body to the next, bodies dancing uniqueness and sharedness at the same time. I am interested in the creation movement practices that democratise and flatten hierarchical structures of knowledge.
First Development: August 3rd – 15th 2015
Lucy Guerin Inc. Studio Residency Recipient, http://lucyguerininc.com/studio/residencies/current/#.VECPAXbgyRo
Second Creative Development: October 20th -November 28th 2015
Culture Lab Recipient at Arts House Nth Melbourne
Third Creative DevelopmentVitalstatistix Adelaide 2016
A Performance piece summoning the darker energies of dance to body forth those monsters of the imagination lurking between the audience and the performer
Exploring a political imagination, life and death, dreams, consumerism and more
Monster Body is a saturation of the senses.
This dance performance overloads the sensual experience, wrestling shapes and rhythms from imaginative experience.
Through her work Atlanta subverts the conventional images of the female body, seeking to rescue the representation of the female body from the grip of capitalism.
Monster Body was originally presented at the Next Wave Festival in May 2012 in partnership with Dancehouse and has been developed and supported through Next Wave Kickstart Program, Dancehouse, Arts Victoria and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. It has since been presented at the 2012 SEXES Festival, Performance Space Sydney, 2013 Dance Masssive Festival, 2013 MONA FOMA Festival Hobart, MDT Stockholm, BACKFLIP Feminism and Humour in Contemporary Art, Margaret Lawrence Gallery and the Fierce Festival in Birmingham.