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‘There’s a force of artistry in the mere concept of living, breathing and applying one’s whole being to interpreting a thought, an emotion and a concept.’

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We move in her way was created in this way as a performative laboratory, in which the audience and performers negotiated the ICA Theatre space around sculptural objects and their own bodies. Play and playfulness unfolded during the open-ended live performance, sparking a breakdown of assumed order between performers and audience. The dynamics of power-play shifts between the masked audience, the performers and the sculptural objects created as a means to facilitate touch and being together, whilst remaining distinct.


maggi hambling’s ‘edge’

Standing in front of ‘Edge VIII’, if one looks closely enough, a disorientated polar bear can be found within the folds of silvery-white oils. ‘The longer people look at the paintings they say they discover more and more things, which is really quite important. It happens from the subconscious while I work, they weren’t deliberately put there. I want it to be as though the ice caps are melting in front of you. This is something oil paint can do, there’s this feeling of it materialising in front of you and so you discover things.’


fifty years of lisson gallery

After Nyne’s Editor Claire Meadows recently met Greg Hilty, Curatorial Director of Lisson Gallery to talk about this important anniversary year, to reflect on the past and present and to think about the future of this cultural landmark.


9 top performance art moments of the 2000s

In the twenty-first century, globalisation and the development of new technologies bring to the creation of a more interconnected and visual culture that desires to express art in the forms and behaviours that best suits their preferences. These key changes in the art scene facilitate the acceptance of performance into mainstream, which is now part of events and exhibitions hosted in the most prestigious art galleries around the world.