Posted on: March 8th, 2018

We’re thrilled to announce a packed selection of participants from across New South Wales and Victoria for our Queer Development Program: Stephen Cummins Workshop Intensive for 2018.

The artists will be immersed in one week of performance-making workshops from the 3rd to the 7th of April at PACT Centre for Emerging Artists. Led by an incredible selection of facilitators including Adena Jacobs, Bhenji Ra, Chris Ryan, Victoria Spence, Emma Price, Craig Judd, Martin del Amo, Matthew Stegh, and Justin Shoulder. The workshop provides an opportunity for artists to sharpen their creative and professional skills, expand connections in the queer creative community and learn about national arts opportunities.

Check out the full list of artists by following the link below.



Posted on: March 8th, 2018

After an unprecedented response to our call for applications, Performance Space is excited to announce the recipient of our Queer Development Program: Stephen Cummins Residency.

Sydney-based writer, director and performance maker, Ian Sinclair, will spend two-weeks at PACT Centre for Emerging Artists developing his new work Intimate Objects for the Symbiocene. This multimedia solo performance will explore the interconnections between personal histories and the global consequences of climate change, with the artist creating three speculative narratives that blur the bounds of fact, fiction and queer ecology.

The two-week residency from the 20th to the 29th of March provides an exciting opportunity for an artist to develop a new performance work in a supportive environment and expand the conceptual underpinnings of their practice. The opportunity for both emerging and established artists includes artistic mentorship, production support and curatorial feedback.

Find out more about Ian and his work by following the link below.



Posted on: February 19th, 2018

We’re excited to announce that applications are now open for our new program Blak Artists Kinection presented by Performance Space and Moogahlin Performing Arts.

Blak Artists Kinection is an exciting opportunity open to NSW-based, early career, First Peoples arts workers including artists, curators, producers, and writers. The program is a chance for participants to develop their creative professional skills, expand their networks and knowledge of the Sydney arts landscape, and create opportunities for conversation and exchange in a supportive environment.

Participants of the program will engage in multiple sessions across the year equipping them with knowledge and experience to implement in their personal practice.

Find out more about the program here.


Posted on: January 25th, 2018

Performance Space is excited to partner with Moogahlin Performing Arts to offer one scholarship to the Stephen Cummins Workshop Intensive (3-7 April 2018) to an outstanding participant from the Koori Gras Creative Workshop Program. Performance Space will select the successful artist in consultation with Moogahlin following the Black Nulla Cabaret performance.


Moogahlin Performing Arts, Sydney Gay and Lesbian Mardi Gras and Carriageworks present the Koori Gras Creative Workshop Program. The program is an exciting opportunity for First People’s queer artists to develop new performance work in a culturally stimulating environment. The free program gives participants the chance to work with guest facilitator Cherish Violet Blood (Black Foot, Canada/Turtle Island) who brings her own unique First People’s perspective to the art of performance.




Performance Space’s Stephen Cummins Workshop Intensive is a week of performance-making workshops designed to foster and strengthen the culture of queer creativity in Sydney. The Workshop Intensive will sharpen creative and professional skills, connect artists to an intergenerational community of queer makers and highlight other opportunities, organisations and programs to explore in the national arts landscape.


Posted on: January 15th, 2018

Applications close next week for the Experimental Choreographic Residency!

This is your chance to spend three weeks exploring your practice with incredible support including a project budget, a venue at Critical Path, production and technical support and creative feedback from both Critical Path and Performance Space. The residency will take place from the 7th to the 25th of May and is open to both artists and collectives.

Start your application today!



Posted on: January 2nd, 2018

Performance Space is proud to continue our commitment to the development of artists’ practices with our range of residencies and workshops in 2018. Partnering with PACT Centre for Emerging Artists and Critical Path, these programs will provide a valuable opportunity for artists to extend their practice, experiment with new ideas and develop creative skills within a supportive environment.



Queer Development Program: Stephen Cummins Residency applications close midnight, 12 January 2018



Queer Development Program: Stephen Cummins Workshop intensive applications close midnight, 12 January 2018



Experimental Choreography Residency applications close 5pm, 25 January 2018





Posted on: October 9th, 2017

Melbourne based artist, Lz Dunn has been a source of much intrigue in the lead up to Liveworks. Not only is her performative experience the only offsite event for this years festival, taking place at a mystery location in Sydney’s inner west, she also can be quite illusive. This only serves to make her practice all the more fascinating as she works across performance, movement, sound and video. This diversity is often situated in tandem with other collaborators, places and participatory processes to think about ecologies, nature, queerness and ways we live. As such, we could resist asking her a few questions for our next Liveworks artist feature.

Can you tell us about your first really memorable performative experience?

I have a really early memory from when I was maybe four. And it’s more a memory of performativity than performance. I was at home with some friends who were around my age – one a little older and cooler, one a little younger and cuter. And we were with a babysitter, who was probably 17 and who I thought was totally incredible. I really wanted her attention. So I had this idea; I went and changed in to my brother’s old togs (which is Queensland for swimmers). They were orange with blue seagulls on them. I knew I was a bit too old to be wearing them and I remember being aware that I was supposed to have my chest covered. I put them on anyway and when I came running back out they all looked at me a bit confused about why I’d put togs on for no reason. And I knew that I’d gotten it wrong. It’s a small moment but it’s the first time I remember employing a definite strategy to be seen in a specific wayreally deliberately shifting how someone would notice me. 

Do you have a favourite performance work?

No I really don’t. I love different works for so many different reasons. Actually the other week I went to see a friend’s sixteen year old performing in For the One’s Who Walk Away, which was a St Martin’s Youth Theatre production. It was 60 children and young people performing in maybe 12 installations across a repurposed school site. And I loved it so much. It was directed by Nadja Kostich and the performers were totally captivating. In one room there was a solo child, maybe around 10, and they were delivering this intense monologue for a handful of adults at a time who were free to rove around the whole building. They managed that whole performative relationship by themselves – when to start, who to interact with, how to hold a really intimate and informal space with total focus. I found it so exciting to experience. It felt very potent in its entirety. I guess with young people especially the audience is particularly invested because we might feel protective and really want it to all work for them. But sometimes, like in that instance, you understand that they have it already and they’re the ones holding us. I think I’m really attracted to performance experiences like this, that draw people together around a shared investment in a shared moment. Where the process of creating the experience simultaneously creates a really willing audience energy around the event itself. A really rigorous devising process towards a specific performance offering, that’s also an expression of the community that embodies it. You can see the artwork itself and something of its ecological niche.

Much of your recent work has taken place outside of traditional performance or gallery spaces. What drew you towards making this more publicly oriented, even site-specific work?

I like the processes of framing and floating that go with making work in outdoor spaces that are shared by lots of different inhabitants and histories. I like feeling my body in relation with these other processes co-occurring. I find it really challenging and also a relief to have so many aspects of a work out of my control. It means staying open to possibilities and finding ways for the frames we set up to be flexible and porous. To be specific but determined to accommodate whatever else might enter.

I think I’m always curious about what it means for my body to be somewhere. Or anywhere. What does it mean for any particular body to be in any particular place? And then what might it mean for multiple particular bodies to share time in a particular place. I’m really interested in the interior/exterior experience of being (in and of) a body and being in relation to other bodies. 

And I’m interested in being outside–day to day I’d prefer to spend my time out instead of in.

You seem to relish the opportunity to collaborate with others when creating new work. What is it about this collaborative process that you find so attractive?

I’ve been told I’m a real slow burn. I can really sit on an idea for ages. Like everyone has moved on and I’m still walking in circles holding a speaker on my chest and deciding if it feels good. So partly, working with other people’s processes at play saves me from my own indecision or getting unnecessarily attached to something. You can’t fix on one way of thinking or doing and ideas get to morph through several brains and bodies. That’s also why collaboration can be really uncomfortable and confronting but I enjoy that too. Everyone has quite specific ways of accessing concepts and examining ideas. Aeon’s been especially great like that. For example, I’ve learned a lot from Shian about choreographic modes for testing ideas in bodies. It’s been really fascinating to see how he processes questions by inviting bodies into particular movements and embodied tasks. I wouldn’t have known how to do that on my own. 

Aeon, which you will be presenting for Liveworks, suggests interesting links between bird and queer ecology. Could you elaborate on these connections for us?

Well they started as just two ideas that I was interested in concurrently and the connection between them was me. I had made another project about birds which focused on migration. Flocking’s another behavioural phenomenon that humans have been really mystified by for a long time. And birds in general we seem to be awed or repulsed by (rats with wings). Bird flocks can be an example of some kind of momentary physicalised, collective consensus to navigate for the survival of each individual and in turn the whole group. 

I’m really interested in birds as a way to think about our capacity beyond humanness. Birds are the species we encounter more than any other. We cohabit so many places but I think lots of people tend not to notice them, or don’t give them much consideration. Once you do pay attention they open up another whole dimension of places. You can start to look for how they experience that place with you. What their lives are alongside ours. What experiences we can share and what we can never really know about another’s experience.

Queer ecology is one area of thinking that has evolved recently in response to our current situation as a human species concerned about our own survival. It questions the dominant heterosexist agendas that have driven many popular environmental and scientific perspectives–what is deemed ‘natural’ and therefore valuable to study, to protect, to advocate. 

What’s next for Lz Dunn? Is there something we can look forward to after Liveworks?

I’m in a pretty big transitional period at the moment. Over the last 12 months I’ve become a parent and day to day I’m at home with a very amazing young person. I’m interested in how my practice is shifting with parenthood. We’re planning on moving to the country next year just north of Melbourne so I’m excited about that too. I know that I tend to respond to the environment that I’m living in (I started imagining Aeon in Royal Park which is our local park now) so it’ll be fun to see what comes up. Of course there are ideas rolling around in my head but I’m just letting them hover around for a while to see where they land. I don’t really know what’s next. It’s good. 



Posted on: October 9th, 2017

Throughout Liveworks Festival explore new work by local and interstate artists in the exhibition The Future Leaks Out.

Responding to a sense of living on borrowed time, this exhibition explores visions of potential futures from artists investigating excess, environmental degradation, and strategies for adaptation and survival. The artists each look to the present as a transitional time where new and empathic ways of engaging with the world are emerging, but dystopia and destruction appear more and more likely.

The works included in this exhibition make the soft-horror of this situation bodily and immediate. Audiences are invited to reimagine the gestures of plants, fire insults at the gross excesses of capitalism, and deeply inhale the atomised distress excreted by the natural world.


Throughout the exhibition there will be a free program of performances that will adapt and morph the installations.


6 – 8pm | 19, 20, 21, 25, 27, 28, 29 October

In this live occupation of her installation Angela Goh will use text, online commentary, found footage and movement to create experimental vignettes that explore the themes of excess, information, power relations and animal instincts that underpin Kickback Fire.


8.30pm, 25 Oct | 8pm, 27 Oct | 8.30pm, 28 Oct | 8pm, 29 Oct

‘Nutational movement’ is a space-sweeping gesture performed by seedlings as they search for structural support. This performance will use these movements as an improvisational score for movement by Eugene Choi, music by Angela Garrick and a text by Tully Arnot that explores plant consciousness.



Posted on: October 9th, 2017


Justin Shoulder dropped by Carriageworks recently to talk about his past, practice and upcoming performance. Delving into his formative years within Sydney’s queer performance scene, this Liveworks Artist Feature offers real insight into what drives Justin’s practice whilst exploring his recent conceptual interests. Learn more about Justin’s Liveworks performance, Carrion, as we discuss hypothetical futures embodied by potential amalgams of man & machine.



Posted on: October 3rd, 2017


This was the question we asked our incredible Katie Winten in anticipation of Liveworks 2017 and she is definitely someone worth listening to.

Aside from being an outstanding program coordinator for Performance Space, Katie is eternally in the know about all things artistic in Sydney. A co-founder of Women in The Arts, a Sydney-based collective addressing gender inequality and exclusionary practices in the Australian arts landscape, she also co-presents Agenda on FBi Radio, a weekly talk show covering art, politics, news and trash from a feminist perspective. Not to mention she’s a current co-director at Firstdraft Gallery and as well an aspiring drummer . . . so take these cues from Sydney’s cultural heartbeat.

Performances I’m excited to see and why;

  1. CORPONOMY – Eisa Jocson

I’m so excited to see this performance, mainly because I watch this Peaches video on a weekly basis, which features Eisa’s Macho Dancing. The way Eisa moves her body is entrancing, and her work is so physically and conceptually rigorous, poignantly articulating nuanced and complex understandings of gender, race and sexuality.

  1. CARRION – Justin Shoulder

I’m completely enamoured with Justin’s work. He’s such an integral part of Sydney’s queer party scene, and I’m excited to see how his club performances translate to an hour-long theatre show. Carrion speaks strongly of the earth’s decay, it’s a beautiful and dark representation of our current political and environmental cataclysm while also specifically referencing queer and ancestral mythologies. AND the incredible Melbourne-based electronic musician, Corin, is working on the sound!

  1. AEON – Lz Dunn

Audiences are given a starting location for AEON and not much more information – their trust is placed in the hands of the performers. I can’t give much away about this work, so I’ll just say that the combination of off-site walking, Lawrence English’s soundscape, and the subtle ways in which humans mimic patterns of bird flocking, has me very intrigued to see how it all comes together.

  1. RHETORICAL CHORUS – Agatha Gothe-Snape

To me, this work subtly questions the proverbial white-male-genius-artist. Agatha plays with the production and dissemination of artistic knowledge distributed by conceptual artist Lawrence Weiner, poetically expressing what happens when that knowledge is interpreted through different bodies. There are so many incredible artists, performers, choreographers and musicians involved in this work!