Posted on: February 18th, 2019

After receiving applications from artists around the country we are excited to announce the artists selected for our Queer Development Program presented in partnership with Sydney Gay and Lesbian Mardi Gras and in association with PACT Centre for Emerging Artists! Strengthening the culture of queer creativity and performance in Australia, our Queer Development Program supports artists to develop their creative skills, performance ideas and industry connections.


Stephen Cummins Residency Artist: Nina Buchanan

Nina Buchanan’s performance practice is sound and music based, exploring the intersection between analogue synthesis, dance music, contemporary digital production, and classical composition. Nina has performed extensively in clubs, pubs, festival and gallery contexts around Australia, including Pink Bubble, Campbelltown Arts Centre, Obsidian Festival, Liquid Architecture and Melbourne Music Week.

Over two weeks in residence at PACT, Nina will develop her new work Higher which aims to create a deeply immersive, emotive sound environment which makes use of the dynamics of quadraphonic sound and electronic instrumentation. With this work, Nina will carve out a space for quiet queer existence, healing and collective celebration.

Find out more about the Stephen Cummins Residency


Queer Workshop Intensive Artists:

Zaya Barroso | Sydney
Kieran Butler | Sydney
Janet Carter | Perth
Gary Carsley (Dorian Gray) | Sydney
Kathleen Campone | Melbourne
Liam Colgan | Perth
Leila El Rayes | Perth
Nicola Enrico Bruni | Sydney
Eilish Fitzpatrick | Sydney
Steffanni Gardener | Sydney
M-V Lavande | Melbourne
Anna May Kirk | Sydney
Angus McGrath | Canberra
Tommy Misa | Sydney
Kate Power | Adelaide
Chanelle Rogers | Melbourne
Anna Thomson | Melbourne
Luigi Vescio | Melbourne
+ two artists to be announced!

These artists will spend seven days at PACT developing their queer performance practice through a series of workshops focused on practical and creative skills. They’ll have the chance to learn from an exciting selection of experienced facilitators including Frances Barrett, Victoria Hunt, Nat Randall, Chris Ryan, Victoria Spence, Justin Shoulder, Matt Stegh and Lachlan Philpott!

We’re excited to be able to expand the QDP in 2018 with support from our partners Sydney Gay and Lesbian Mardi Gras. As part of this expansion we’re providing travel bursaries to participants joining us from out of Sydney for the first time in the program’s history.

Find out more about the Queer Workshop Intensive


You’ll have the chance to experience some of the work developed through this program at Queer Nu Werk – two big nights of experiments, performance and celebration. Queer Nu Werk has sold out in the past so be sure to get your tickets fast!


Posted on: December 14th, 2018

Performance Space’s Queer Development Program is designed to foster and strengthen the culture of queer creativity and performance in Australia.

This year, we are thrilled to partner with Sydney Gay and Lesbian Mardi Gras to expand the Queer Development program, offering opportunities for more artists from a wider range of practices from across Australia to participate in the program.

The Queer Development Program is designed for queer artists to develop their creative skills, performance ideas and industry connections, in order to build sustainable practices and to explore new ways of making work. Intergenerational and community exchange is at the heart of the program: Performance Space and Mardi Gras offer our decades-long histories championing queer artists to in order to increase their recognition and representation within Australian contemporary performance. Presented at PACT Centre for Emerging Artists the Queer Development Program is deeply embedded in Sydney’s contemporary performance community.

The Queer Development program includes two open-call opportunities for artists:



Residency 21 March – 2 April 2019
Applications close 5pm, 18 January 2019

Performance Space is seeking proposals for a two-week-long creative development residency at PACT Centre for Emerging Artists. This residency is designed to enable artists to make significant strides towards creating a new performance work. The development process will be overseen and facilitated by an experienced mentor: Performance Space can assist artists with selecting an appropriate mentor for their project, or applicants can nominate their own mentor for the residency.




Workshops 4 – 11 April 2019
Applications close 5pm, 18 January 2019

The Queer Workshop Intensive is a professional development program focusing on practical and creative skills that develop queer performance practice. Participants will attend 7 days of workshops led by experienced artist facilitators who will introduce various methodologies for creating performance in a collaborative environment. The Queer Workshop Intensive will sharpen your creative and professional skills, connect you to an intergenerational community of queer makers and gives you the opportunity to present new material to the public as part of Queer Nu Werk.




Posted on: December 11th, 2018

We are currently searching for a problem-solving, technical mastermind to join the PSpace team as our new Production Manager. This flexible position is part-time year-round, delivering the technical needs of our Artist Development and residency program, organisational planning and managing Performance Space’s technical inventory. The position moves to full time from August-November each year, to lead the technical and logistical delivery of our acclaimed annual Liveworks Festival of Experimental Art.

Applications close 5pm, 1 February 2019

for more information and details on how to apply click below!



Posted on: December 11th, 2018



We’re excited to partner with Critical Path again in 2019 to present our Experimental Choreographic Residency!

Established in 2016, the Experimental Choreographic Residency is an opportunity for an artist or artist collaboration to spend three weeks focused on experimental choreographic practice. The residency has previously supported Justin Shoulder, Atlanta Eke, Rajni Shah, Victoria Hunt and Alex Tálamo.

We’re calling for proposals from artists or collaborations that will:

  • Explore experimental and/or interdisciplinary approaches to choreography and movement practice in innovative, rigorous and engaging ways.
  • Investigate our place in time and the complexities of making work in the contemporary moment situated in an Australian context.

We are particularly interested in foregrounding a diversity of artistic voices: artists exploring diverse positions on gender and sexuality; Indigenous artists; artists from culturally-diverse backgrounds; artists who critically engage with new technologies; and differently-abled artists.


Applications close 5pm, 24 January 2019













Posted on: December 10th, 2018

It’s been difficult to keep our lips zipped on this juicy co-commission with our friends at Vitalstatistix in Adelaide… we are supporting the creative development of Rear View, a new live performance and cinematic event created by Anna Breckon and Nat Randall.

Following the incredible success of their most recent work, The Second Woman (presented at Liveworks in 2017), Anna and Nat will develop a new work shaped from the archive of women in cars across Australian and Hollywood cinema. The work follows the journey of two women travelling between Broken Hill and Sydney, exploring the vehicle and road as a rich cinematic site for the embodiment of female emotion.

Anna and Nat will be developing the work as part of Vitalstatistix’s Incubator program which supports the creative development and premiere of new art and performance works. We’re excited to support the development of this new work and can’t wait to see what Anna and Nat create!








Posted on: October 25th, 2018

On the back of a sold out premiere at Liveworks 2018 last night, we caught up with Branch Nebula and got some insight into their new show High Performance Packing Tape and why they are interested in making art outside of elite spaces. 


What prompted you to produce a performance work that tests the strength of cheap household materials?

It feels good to explore precarious situations in the comfort of the everyday – without having to go out into the wild in search of adventures. Wondering when something will break is always interesting.


Among other terrifying scenarios throughout the show Lee will be suspended upside down with his whole body supported by flimsy packing tape. How have you physically prepared for the performance?

Nothing can really prepare me for what I do in the show except doing the thing. The things in the performance are not things I would feel like doing regularly.

What questions about safety and danger are you attempting to probe with this work? 

If you think about what the questions are about safety and danger and how we prioritise safety over danger from a very young age, it takes so much of the experimentation out of play and the ability to develop skills to deal with dangerous situations. These priorities are largely based on morality and control, which we love to challenge of course.


High Performance Packing Tape will be your first Sydney premiere in three years. What recent works have led you to this point and how does HPPT fit into your wider practice?

I’d have to look through old grant applications to answer this one – LOL


Branch Nebula is renowned for integrating street performance, sport and work into contemporary performance. What motivated you to present your work in these formats?

Let’s not call it “street performance”, we make work with street-styles: parkour, bmx, and skating. Though I’m not sure it’s performance – as so much is about the sensation, and experience of doing it – not so much about look at me. Some people think of these as sport, but we think of them as art. We are interested in site-based work and public space, and making art outside of elite spaces like cultural institutions. Street-style artists are very advanced in their exploration of the architecture around them, and how they move through public space, so it was a logical choice to collaborate.


Get your tickets to High Performance Packing Tape here | Stay updated on the Facebook event here


Posted on: October 12th, 2018

The lasers and super precise movements of the performers in Infinity Minus One interpret the behaviour of cosmic rays and the scientific devices used to detect them. We chat to choreographer Su Wen-Chi about the residency that inspired the work and the intriguing connection between art and science. 


You have produced Infinity Minus One, the second work in the Rainbow Trilogy as a follow on from your residency at CERN, the world’s largest particle research centre. What was the most influential part of your time there?

To witness the Large Hadron Collider, meet with the physicists, and to feel the impulse of thinking/doing in this well-constructed hive-like team.


In your artist statement you reference your own sensual experience in the Cloud Chamber experiment. Can you expand on what the experiment is and share your experience?

Particles physics is the core research field of CERN, and yet after a week of being there, I realised that it seemed impossible to see/hear the particle. I was introduced to a device called Cloud Chamber, a particle detector used for visualising the passage of ionizing radiation. They told me the moving mist-like trail I saw were the tracks of moving particles, which are actually around me constantly and cutting through my body. That was a fascinating vision.


How did the collaboration with Senyawa emerge and what role do they play in the wider performance?  

When working in Jakarta in 2015, I was introduced to Senyawa’s music and later attended their live concert in London. Senyawa have a very powerful and magnetic presence, which immediately reminds me of the big bang. Big might not refer to a gigantic event by itself, but contains a great intensity and the impact of this event lasts. With Wukir and Rully, we work on how energy evolves in the performance, how they and the dancers give each other energy and motive to go further.


Why do you think the link between art and science is so intriguing?

Science and art open up an intriguing way of thinking about the world. I appreciate “thinking in scale” – when you feel trapped thinking about the next ten years, consider the next 1000 years and you might find a better answer.

Get your tickets to Infinity Minus One here | Stay updated on the Facebook event here


Posted on: October 5th, 2018

We caught up with Liveworks 2018 artist John A Douglas ahead of the world premiere of four-part work Circles Of Fire: The Amphitheatre, and got some insight into the life of an artist living with chronic illness, how he explores this through his work, and the back story behind his fabulous lyrca bodysuits.

Circles of Fire: The Amphitheatre spans duration performance (medical procedure), video installation, virtual reality and live performance. Why have you drawn on so many modes of expression to realise this work?

My practice is based mainly in live and mediated performance, video, sound and photography. I’ve found that working across these disciplines has been useful in articulating the complexities surrounding my lived experience as an artist and patient. The Circles of Fire project, like its predecessor Body Fluid, has had several iterations as a stand-alone photographic, video and object based work culminating in a live performance. By attempting to make sense of the experience of illness and treatment in various forms it has become crucial as a way of coming to terms with the personal struggle of physical and mental impairments and the probability of a shorter life expectancy than normal.

The Body Fluid project (2011- 13) was fairly straight forward as it had the visual impact and immediacy of presenting the body, my body, connected to a life support machine. The Circles of Fire project has been much more challenging as I’ve had to grapple with, apart from the surgery, the non-visible ongoing experience of an immuno-supressed organ transplant patient. Earlier this year, I was privileged to have been invited to participate in an experimental VR workshop at Josh Harle’s Tactical Space studio which has allowed me to further develop my work into an interactive participatory experience for audiences. Therefore, based on these various modes of practice, I have divided the project into four iterations/events that are an attempt to create the states of being of a transplant patient experience and for audiences to reflect on the fragility of life itself:

The Absent Body: The space is set up as a video soundscape installation with all the objects left in situ for the live performances.

The Virtual Body: The audience are invited to immerse themselves into the architectural structures and landscapes that are located in the videos and become performers in the space where the live performances take place.

The Medicalised Body: I will perform a durational installation piece while being cannulated to a saline drip. Audience members will then be invited to have their vital signs taken and recorded by health professional Stelladelight who will also be on screen performing a natural therapy of scar remediation on my transplant scar tissue augmented by sublime landscapes and ruins. The performance also posits the medicalised body of the patient as a theatrical spectacle. The work may also be seen as a response to the recent ethical concerns regarding the access of an online database of patient’s health records.

The Liminal Body: The main performance distills my near death experience as an immuno-suppressed transplant patient into an intense thirty-minute physical performance within a multi channel video and interpretive soundtrack of ancient ruins and landscapes. It begins with the sudden onset of a viral infection, a battle to overcome death, stabilisation, healing and finally emerging to run a triumphant victory lap. It also highlights the requirement for the transplant to maintain a regime of physical fitness in order to survive.


Circles of Fire: The Amphitheatre is the finale of your three-part body of work that explores the bodily experience of a medical patient. The four -year production of Circles of Fire has seen you travel and shoot everywhere from Australia to Italy, Turkmenistan and Canada. What is the importance of location in the body of work’s conception?

I’m always looking for locations in the same way a filmmaker looks for allocation to reveal a story or narrative. My work is very much influenced auteur film directors of the 20th century, Herzog, Wenders, Tarkovsky, Paradjanov, Kurosawa,  Pasolini, Antonioni etc, who often searched for dramatic and sublime or what Herzog calls ‘ecstatic’ landscapes. These metaphorical/metaphysical landscapes, would often guide the narrative or simply exist as a thing in themselves. Initially I began to seek out landscape locations in Australia that I became attracted to; mountains, lakes, deserts, forests, rivers that I felt were places that seemed to resonate as places of solace and healing.

I perform in these landscapes to somehow express what cannot be put into words; the various states of being I experience as I cycle through states of suffering, near death, hospital regimentation and wellness. When I was recovering in ICU from the transplant surgery I had a recurring image in my mind of being plunged into a pit of fire and around that time there was a ring of fire eclipse of the sun thus the title Circles of Fire. I later found out that I was in ICU as I had almost died during the surgery. Ironically, if I hadn’t received a transplant I wouldn’t have had long to live anyway so I knew I was now able to make a new work. While still in the hospital ward I searched online and came across the Darvaza burning gas crater in the Karakum desert of Turkmenistan in Central Asia. This would become the central visual motif that signified the surgery, further hospital interventions and near death experiences. I needed to balance the fire crater with a circular water landscape and came across The Spotted Lake a protected sacred healing lake in Canada. I was able to obtain permission and work with the local indigenous caretaker of the lake and was honoured to participate in a ceremonial gathering and a healing at the lake prior to making the work.

At the same time I had become interested in the relationship between the body, illness and architectural ruins and the ideas in Peter Greenaway’s 1987 film The Belly of an Architect. I shot a series of choreographed and performative actions amongst the ruins of the Persian and Roman empires some of which are locations used in the Greenaway film. The Persian fortress of Nissa in Turkmenistan, the site of one of the worlds first hospitals, also features in the video and livework as well as other fortresses in Italy which signify the hospital as a battle ground. I have been very fortunate to receive funding from the Australia Council and to have been awarded the inaugural Artist with Disability Fellowship from createNSW to make it possible for me to travel.


How has your relationship with your body changed or developed since your kidney transplant in 2014?

I should first preface this answer by saying that prior to the surgery I had a somewhat vexed relationship with my body caused by problems around surgical intervention and dialysis that were akin to a form of body dysmorphia. I fluctuated between hating my body or being disassociated from my body. There was also the problem of renal failure itself and other medical conditions. This relationship worsened after the surgery due to the surgical complications, high doses of steroids and other drugs, a larger than normal scar, loss of sensation and disfigurement. Stella Topaz who will be performing in the Liveworks show, is a body worker and I have recently received scar remediation therapy sessions which has been very helpful in reconnecting myself with my body and healing the trauma of the surgery after many years of medical interventions and ongoing medication regimes. We recently shot a stylised video of a treatment session and it will be shown with the landscape sequences during the cannulation performance.

I was also acutely aware of another persons body part (their DNA etc) was now inside me and that in itself presents a whole new set of complexities around ones sense of self and identity. Transplant patients are denatured hybrid bodies and are in some ways post-human and altered beings. We are also products of the bio-medical industry and as such our bodies are monitored and observed for the rest of our lives.  Compliance to transplant recovery includes a regular exercise program including weights and cardio. I remember when I first started running and I had these huge surges of energy. I felt like I was a teenager again but I forgot that my body was older and damaged so consequently I would fall and injure myself which was actually very funny at the time.  Since then I have continued to consistently exercise and have incorporated it into my video works. It is incredible to have been given a new life and to have the opportunity to gain physical fitness after years of dialysis. It does come at a price though as the medications have many complications due to a suppressed immune system. Patients are at high risk of skin cancer, infections, heart disease, diabetes and mental health problems.

Work in progress documentation of the VR reconstruction, Josh Harle, Tactical Space Studio, 2018

You’ve been donning these fabulous lycra bodysuits in your work since 2011. Can you let us in on the story behind them?

I first used the gold lycra bodysuit in the Body Fluid project as way of visually amplifying the symbiotic relationship between my body and the dialysis machine. I felt that having my face shown in the work would take away that emphasis of revealing a usually private medical treatment to the audience. The skin-tight costume also revealed to audiences the catheter pumping the dialysis fluid into and out of the body. Essentially it was about transforming my body into a sculptural form where my body becomes the work itself. One of the aesthetic challenges of my practice as an artist/patient is to create work that attempts to break free of formal, literal modes of representations of the internal body i.e. my own surgically altered body.

For the Circles of Fire project I was faced with the challenge of how to best illustrate the complexities of the transplant experience so I decided to work on creating multiple costumes using a variety of different techniques. With support from the Australia Council I collaborated with textile artist Michele Elliot and LED costume designer Alejandro Rolandi. We developed the costumes into a kind of camp anatomical mapping of my body and in particular, using techniques of applique and embroidery, revealed the site of the grafted kidney, the surgical scaring, the cannulation points required in transplant surgery and a tracing of my vascular system. The transplanted organ is grafted to the main artery in that area. It was important for me to reveal the site of the grafted organ which is located at the front lower left of my torso just below the skin surface. Working with a variety of costumes allowed me to create a range of performative actions for each costume and location that responded to the myriad of experiences I was undergoing as a transplant recipient. Collaborating with dancer, choreographer and artist Sue Healey we developed a series of performances for each of the costumes and matched a location for each sequence.

More recently I have worked with Josh Harle at Tactical Space studios to reconstruct the costumes and locations into VR environments. Josh’s exceptional skill set and digital wizardry has opened up new possibilities for the way performance based work can be experienced by audiences where they can become active participants in the work. It’s been really wonderful seeing how this collaborative development has evolved from the creation of screen-based projects into a live performance for this years Liveworks.

What advice do you have for artists living and working with chronic illness and disability?

Firstly for many years I never thought of myself as an artist with disability so I know there are many artists out there who may be suffering in silence and are unaware that there is support available as funding bodies and arts organisations have made this area a priority. There is also a growing pool of artists who define themselves as having chronic illness/disability and therefore I would like to say to you, you are not alone. I like to think of us as a growing collective of artists who can and are being given a voice. Many of us are also intersectional who not only suffer from chronic illness but are women, Indigenous and people of colour, intersex, trans, queer etc so I understand the struggle to maintain a practice can be incredibly difficult and exhausting. It is very difficult for us to compete in the art world and adhere to the rigours of maintaining an artistic practice and having that consistent and rock solid CV is often impossible. We can’t keep up. There are some of us who are hospitalised for long periods of time often at a moments notice. Our life expectancy is shortened and some of us die. For many of us we make work because our lives depend on it. I believe that sustaining a practice is critical to giving our lives a sense of meaning and purpose and can contribute to a better quality of life outcomes and longevity.

John A Douglas identifies as an artist with disability and acknowledges his indigenous ancestry and elders past of the Yuin Nation.
John A Douglas is represented by Chalk Horse gallery, Sydney. 

Get your tickets to Circles Of Fire: The Amphitheatre here | Stay updated on the Facebook event here


Posted on: September 21st, 2018


Fifteen years ago, a group of Australians made Escape From Woomera: a politically explosive video game that put players in the shoes of a refugee held in immigration detention. For Liveworks 2018, artist collective Applespiel are bringing it back with an Esports twist. We caught up with the team ahead of this cultural intervention to pick their brains about their interest in Esports, and what motivated them to revisit the controversial video game.

Why, as artists without lived refugee experience have you decided to bring this controversial video game back into the spotlight and use it as the foundations for a new work?

We’ve been working for a while towards making an extravagant stadium show about eSports, but the idea was missing an angle or element to make it distinct from…well, a stadium eSports competition. After chatting to Jeff Khan about our idea, he showed us an article about the 2004 video game Escape from Woomera and said “what do you think about this?” Looking at the game now really drives home how much attitudes towards gaming have developed since the early 2000s, and sadly how Australia’s asylum seeker policy (and significant attitudes from the public) have only become even more draconian and even less humane.

As a group we don’t have any lived refugee experience, but as Australians we are all complicit in the treatment of those coming to this country fleeing persecution and war. Detention has been a political football for all of our adult lives, and a defining way in which our nation engages with the rest of the world.

Something that we’ve been able to do with some success in the past is create performative frameworks that allow experts to speak – we are very happy to concede that in areas like this, our voices are hardly the ones that need to be heard. We think Escape From Woomera will provide a foundation that can spark new and important discussion from vital voices.


You have been collaborating with the original creators of Escape From Woomera along with Asylum Seekers Centre, and human rights activists. What has been involved in this?

We knew from the start that we couldn’t undertake this project on our own and so one of the first things we did was reach out to the original creators of the game and potential partners who are working with asylum seekers. It was surprisingly easy to reach one of the original Escape From Woomera team, Katharine Neil, who was super generous with her time and keen to chat about the project. The Asylum Seeker Centre also came on board quite quickly and have been equally generous with their time and expertise.

It’s quite a difficult process as many people we’d love to speak to or involve are actually prohibited from doing so. People who are currently seeking asylum in Australia may want to speak out about our policy, but it’s not really possible for them because it could have a negative impact on their claim for asylum. It’s frightening that people cannot speak out about policies that directly affect them, but that how our policies impact on people. Equally, for people who have been detained, it’s not necessarily an experience they want to relive so we’ve been careful in how we’ve approached people.


Can you tell us a bit about your interest in eSports and why you have included the eSports commentary element in the live-gaming experience?

eSports is this incredible meeting place of digital and live spectacle – a stadium of people watching a bunch of kids play a computer game, following the digital action on a massive screen. It’s an environment where micro movements create massive action, and young introverts find themselves thrust into international celebrity. As an industry in infancy, eSports is clinging to traditional sports narratives as it finds itself attracting huge audiences and bemused attention from traditional media. Prize moneys often register in the millions of dollars, and a recent international event was streamed online by 126 million people. There’s a huge amount of people engaging with this growing world, and we think that’s worth exploring.

Bringing eSports commentary into Return To Escape From Woomera is a chance for Applespiel to do something very dear to their hearts: talk, for a long time. We’ll be sharing the mic with a range of people from the arts and activism. The commentary desk is a way for us to bring the game Escape From Woomera into the space, and into 2018. There are challenges that arise here in applying an eSports commentary format to a game about Australia’s cruel refugee policies – when does satire become too hurtful? When does playful become callous?


How is Return to Escape from Woomera informed by your broader practice?

Applespiel has always been interested in exploring cultural mythology, and in particular how cultural mythologies are constructed and propagated. There are two mythologies we want to examine in Return to Escape From Woomera. The first is the story of an activist piece of art, a wildly controversial video game (from well before the era of serious video games) funded by the Australia Council for the Arts and the uproar that it caused when people got wind of the subject matter. The second is a bigger myth – the myth of Australia ‘the lucky country’, the land of mateship, the place where children are locked up in island prison camps because their parents tried to find a life free of danger. That myth is reinforced by distance, by bureaucracy, and by silence. Occasionally that myth is punctured, the light comes through and we’re faced with the truths that we as a nation have been complicit in upholding – we see the violence of offshore detention for a few seconds before rushing to patch up the puncture because it’s too hard to see. Recent examples for us include Behrouz Boochani’s No Friend But the Mountains: Writing from Manus Prison (2018), Eva Orner’s Chasing Asylum (2016), and The Wheeler Centre’s podcast The Messenger (2017). But even if we don’t rush to patch up that hole – what is the use in sitting with the reality of our treatment of Asylum Seekers? Does it create change? Perhaps there’s a third mythology for us to explore – the noble activist being able to affect change with their outrage.


What are you hoping to achieve through The Return To Escape From Woomera?

We hope that through looking back at Escape From Woomera we might be able to reflect on what has changed and what has remained stagnant in our society. What conversations, ideas and technologies have moved forward, and how can we move towards change for those areas that remain unchanged over the last 14 years.

We hope that an audience member will beat Escape From Woomera in front of a supportive, cheering audience, and that all currently detained refugees and future seekers will be welcomed into this country by a supportive, cheering Australia.


Get your tickets to Return To Escape From Woomera here | Stay updated on the Facebook event here


Posted on: September 6th, 2018


We caught up with Brisbane-based artist Hannah Brontë ahead of her Sydney FEMPRE$$ debut for Liveworks 2018 and got some insight into the importance of safe femme spaces and what to expect at this edition.


Who is Hannah Brontë?

She’s busy. No truly… I’m an artist who works across whatever medium the next project needs. Heavily inspired by futuristic imaginings woven with traditional knowledge.


How was Fempre$$ born?  

I got bored of all white male line ups. In hip hop to be frank. I wanted to dance and feel safe, I wanted my friends to feel safe, I wanted to hear femme rappers being DJ’d, I wanted women and gender neutral friends in whatever shape or form they come to be visible and held safely in the belly of the dance floor. Fempre$$ is her own entity now so I feel like she caters to all of that.




In your past work you’ve imagined a matriarchal Australian parliament led by an Indigenous female prime minister, and a tropical neon-lit lair home to the carnivorous Venus Fly Trap. What can we expect from this edition of Fempre$$?

This is a very different edition as the time in the world calls for it. I’m looking at women and ritual specifically the darker side of mourning, trance, pleasure and secret knowledge . The female black//brown//Nb body carries a lot of weight so this night is looking at Fempre$$ being embodied by all of its performers and lifting this weight in the universe. This edition will be a living breathing extension of the ideals of Fempre$$ personified throughout the sculptural landscape.


What is it about presenting your work in a club/party space that appeals to you?

The club space is already magic. It’s a place where people can be reckless and free. This is a perfect energy to present work as people are more open to being involved and letting the cerebral go for a minute to just sink or sweat into their bodies. I don’t need to validate my work galleries and institutions – it’s the people who go to the club and are in daily life and need the escape from the mundane so deeply that I want to include.


What message are you hoping to send to the First Nations femme population existing in contemporary Australia?

You’re fucking brilliant and you can eat the world.

Get you tickets to FEMPRE$$: WISHWITCH here | Stay updated on the Facebook event here