Antonija Livingstone (1971)
EE/CA is based in Berlin.
Self- taught, her practice evolves via queer methods and operates at the intersection of performance and plastic arts, often in situ. Her background growing up in the midst of itinerant gold mining camps in the Canadian North West informs her intimacy with the elements and a capacity for a practice of improvised ways and means. A need for re-enchantment provokes her strategies for collaborations with visual artists, dance artists and strangers. Together troubling the business of spectatorship, loving unruly bodies, and upending normative means of perceiving and creating choreography, objects, remedies. With the insight of an outsider Livingstone often works in solitude, but also strives to activate inclusive assemblages of folk, creatures, materials, and techniques to co-operate on performing aesthetic problems and durational contemplative actions together ; oddkin inhabitations and their traces. The work is often rendered as collections of actions and things, raw repetitive studies, made of blushing encounters between paradoxical companions, trembling between genres, sans papiers…
Formerly, as a dancer and choreographer Livingstone has performed most extensively with Meg Stuart/ Damaged Goods Brussels / Berlin, and Benoit Lachambre Par BL.eux, Montreal, and her own independent work in collaboration with producer Fanny Virelizier/ KILL THE DJ, Paris.
She is Associate Artist at Menagerie de Verre, Paris, France 2018
Artist in Residence at Darling Foundry, Montreal, Quebec 2018.
Livingstone has been devoted for over a decade to creating and touring collections of co-authored feminist works for live performance, installation and video in a diverse variety of international contexts.
About This Project
Observing the Supernatural grants access to a shared kaleidoscopic body.
Human and non-human actants camp together on a hot pink terrain under an unblinking fluorescent sky. With axes, wood, violin, electronics and the bare body, Simone Aughterlony, Antonija Livingstone and Hahn Rowe stage an inquiry into some vibrant matters.
Supernatural suggests a wilderness that signifies a plurality of agencies without ontological hierarchy – the vigour of the blade, the skin, the wood, the rope, the gaze, and all in our midst, buzz together lovingly in a hot debate on the political ecology of things.
Queer lives know that being in disguise can encourage the dissolution of normative identity patterns of recognition. Supernatural actively chops up the topography of gender perceptions and welcomes the joyful techno construction of multiple bodies and pleasures.
Is this movement research or fun post-porn practice?
Whatever it is, it brings the bodies and companion materials in conversation to know no difference between being excited, being exciting and being excited-with.