Something Other Live is a series of experimental writing and performance events which act as companions to each themed Chapter published by Something Other collective.

Something Other’s upcoming event follows a call out on circularity, searching for queer ways of occupying the present and its differences. This will unfold as a collective listening event online.

Please join us here on Tuesday 5th May 8pm as we gather to listen to sounds from: Alexandra Baybutt, Barbara Bridger and Hari Marini, Karen Christopher, Sabrina Fuller, Laurel Jay Carpenter, Eirini Kartsaki, Ben Kulvichit and Nat Norland, Marianne Habeshaw, Christina Lovey, Libby Scarlett & Caridad Svich.

On Circularity - Something Other Live

Something Other Live is a series of experimental writing and performance events which act as companions to each themed Chapter published by Something Other collective.

Something Other’s upcoming event follows a call out on circularity, searching for queer ways of occupying the present and its differences. This will unfold as a collective listening event online.

Please join us here on Tuesday 5th May 8pm as we gather to listen to sounds from: Alexandra Baybutt, Barbara Bridger and Hari Marini, Karen Christopher, Sabrina Fuller, Laurel Jay Carpenter, Eirini Kartsaki, Ben Kulvichit and Nat Norland, Marianne Habeshaw, Christina Lovey, Libby Scarlette & Caridad Svich.

Introduction On Circularity - Diana Damian Martin

The A10/Kingsland Road (a selection from) is a performative meditation on time, place, memory and affect.

Dr Christina Lovey is a performance artist working with text, photography and film, rhythm tap dance and ritual. Her work considers experience and uses multiple modes to re-present aspects of experience. Christina studied performance art at Middlesex and worked in applied theatre, before lecturing and tutoring – she currently tutors neurodivergent learners at Royal Central School of Speech and Drama, while maintaining her own diverse art practice. Christina gained a PhD from University of Brighton in 2016 – her phenomenological practice-led research project considered the liminal experience of grief and its re-presentation in film. Her current research interests include somaesthetics, performative writing, shamanism and its relationship to artmaking, and auto-ethnography/place.

Christina Lovey – The A10/Kingsland Road (a selection from)

Němaɲa is a reflection on memory, friendship and not letting go.

Alexanda Baybutt works in art, movement education, and research. Recent creations include a PhD on the imperceptible politics of festival curation in the former Yugoslav space. She sustains collaborations across Europe with choreographer Stephanie Felber, and with artist Ivan Mijačević, and works as a dramaturg with choreographer Tania Soubry.

Alexanda Baybutt – Němaɲa

In The Motion of Waves Sabrina Fuller layers voices and memories of feminisms and freedoms.

Sabrina Fuller is interested in how groups and individuals respond and react to society’s expectations: how objectification and exclusion from mainstream society can give license to chart other ways of being, and how a classification as Other allows a freedom to develop the language of difference and form unlikely alliances. She works with still and moving image, voice, sound and the written word and is committed to working collectively, participatively and collaboratively.

Sabrina Fuller – The Motion of Waves

In This is not the performance I had in mind (a recorded version of the text Wingman day one and beyond), circularity works in the form of returns–returns to a place, to a conversation, to an idea–and the swirl patterns produced by those returns.

Karen Christopher is a collaborative performance maker, performer, and teacher. She recently relocated from London to her new studio in Faversham where her company, Haranczak/Navarre Performance Projects, continues to focus on collaborative processes. She is devoted to paying attention as a practice of social cooperation. Karen was with Chicago-based Goat Island performance group for 20 years until the group disbanded in 2009. Her practice includes listening for the unnoticed, the almost invisible, and the very quiet.

Karen Christopher – This is not the performance I had in mind

Established in 1999, the Live Art Development Agency has both responded to, and impacted upon, the increasingly influential nature of Live Art practices in the UK and internationally by developing an extensive portfolio of specialized resources, opportunities, projects and publishing activities; and by working strategically, in partnership, and in consultation with practitioners and organisations in the cultural sector. 

This is a platform for LADA to share content and recordings of artists as well as commissioned artworks such as Marcia Farquhar, Jen Harvie, Taylan Halici and many others.

Introduction On Circularity - Diana Damian Martin

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