
Film Fest: Stories from sex workers’ rights movement around the world
Luca Stevenson Rori
Three documentary films exploring diverse realities of sex workers around the world followed by a closing ceremony of the festival.
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Three documentary films exploring diverse realities of sex workers around the world followed by a closing ceremony of the festival.
Julius Eastman’s Evil Nigger for 4 pianos performed by Joe Kubera, Kate Thompson, David Murray, Alan Fearon and Simon Passmore.
A series of events organised by the Vogue’ology collective from the House Ballroom community in New York grounded in the scenes history of autonomous, self-organised struggle and a shared investment in collective art practices and how those intersect with the multiple and often divergent struggles for freedom.
During their time in Scotland for Instal 06 Dave Dove, Bhob Rainey and Greg Kelly did some improvisation workshops and performances in and around Glasgow.
Inhabiting a different kind of energy, Ueinzz’s open rehearsals reveal a glimpse into their ongoing daily theatrical modes of caring – multiplying the ways in which their plays are meant to be felt, rather than understood.
The club as a community and a site for performed politics: deep/ queer house, vogue femme, lipsync and ballroom.
Umeda is a Japanese artist who is as fascinated in setting up interesting situations to observe, as he is in creating performances.
Elizabeth’s writing pulls apart toxic settler colonialism and the worldview used to justify it; working towards an alternative distribution of powers, so that ways of being otherwise can endure.
Seven women recite monologues composed from texts from the vibrant years of the Weimar Republic. A kind of cultural echo: an experience of histories brought to the present.
Noise music for the eyes. A 6 screen 16mm projection performance of intense audio and visual stimulus.
The weeks previous TLRS daily radio shows, after-hours conversations, radio booths and special guests reassembled as a live electroacoustic performance.
A film performance about Guy then, and Guy now, as a metaphor for the passing of time, which of course all film is inherently about.