Kira O’Reilly in the plenary discussion Radical art, feminism, new technologies and performance

Photo credit Debbie Kermode

photo by Debbie Kermode

It is great pleasure to announce that Kira O’Reilly will be participating in the closing plenary session Radical art practices, feminism, new technologies and performance, of the workshop Queer feminist social media praxis (University of Sussex,  Friday 17th May).

Kira O’Reilly is a UK based artist; her practice, both wilfully interdisciplinary and entirely undisciplined, stems from a visual art background; it employs performance, biotechnical practices and writing with which to consider speculative reconfigurations around The Body.

Since graduating from the University of Wales Institute Cardiff in 1998 her work has been exhibited widely throughout the UK, Europe, Australia, China and Mexico. She has presented at conferences and symposia on both live art and science, art and technology interfaces. She has been a visiting lecturer in the UK and Australia and U.S.A in visual art, drama and dance. Most recent new works have seen her practice develop across several contexts from art, science and technology to performance, live art and movement work.

In October 2004 she completed an honorary research fellowship and residency at SymbioticA, the art science collaborative research lab, School of Anatomy and Human Biology, University of Western Australia, funded by a Wellcome Trust sciart research and development award. She was concerned with exploring convergence between contemporary biotechnical tissue culturing and traditional lace making crafts, using skin at its cellular level as material and metaphor. She continued and expanded these investigations as an Honorary Research associate and artist in residence in the School of Biosciences, University of Birmingham in collaboration with Dr. Janet Smith, funded by Wellcome Trust where she  investigated using spider silk and bone, muscle and nerve cell cultures as biomedia, and the relations between tissue, text and textile as variants on the theme of techné.

In 2007 she has begun to make ‘dances’, with her 43 year old non-dance trained body, resulting in a new movement based work Untitled (Syncope) commissioned for SPILL Festival of performance. During 2008 she investigated similar performance strategies during a research period at Chisenhale Dance Space, London, developing Unitled (for you beloved) for Endurance, VIVIVD, Birmingham 2008.

In 2009 new works included falling sleep with a pig (2009) commissioned by The Arts Catalyst for INTERSPECIES in Manchester and London. She presented Stair Falling (2009) exhibited as part of Marina Abramovic Presents . . . at Manchester International Festival. She was also SPILL 09 Festival of Performance’s Thinker in Resident hosting a series of dynamic interdisciplainary salons that allowed audience, as well as artists and a variety of experts to explore the festivals themes. Her work inthewrongplaceness (2005 – 2009) was curated by Jens Hauser in the highly successful sk-interfaces, Creating Membranes in Art, Technology and Society, at Casino Luxembourg. In December – February 2011 in collaboration with Canadian artist Jennifer Willet are photographic works, Refolding (Laboratory Architectures) at What Next for the Body, Arnolfini.

Publications that have recently featured her work are Sk-interfaces: Exploding Borders – Creating Membranes in Art, Technology and Society, edited by Jens Hauser, Liverpool University Press, 2008 and Human Futures, edited by Andy Miah, FACT & Liverpool University Press 2009, Art + Science Now, ed. Stephen Wilson, Thames and Hudson, 2010, Marina Abramovic and the Future of Performance Art by Paula Orrelle, Prestel 2010 and The Many Headed Monster by Joshua Sofaer, London, Live Art Development Agency, 2010. Normally a solo artist she took part in the devising process and performed in Robert Wilson directed ensemble work Life and Death of Marina Abramovic, 2011/2012.

She is currently an AHRC funded creative fellows at Department of Drama, Queen Mary University of London.

Selected Exhibitions in 2012

  • Performance, Biopolitics, Society and Performance, Trintiy College Dublin.
  • Untitled (techné)
  • Performance Platform_Body Affects, Berlin.
  • Untitled (chick embryo heart taps)

One thought on “Kira O’Reilly in the plenary discussion Radical art, feminism, new technologies and performance

  1. Pingback: Kira O’Reilly in the plenary discussion Radical art, feminism, new technologies and performance « LoopingThreads

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