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Dream Sequence

Dream Sequence has been newly created for lockdown, this is a new digital program comprised of 10 works by 10 Western Sydney artists broadcast live on our website over 10 months. The title references the dystopian surrealist state we currently live in, while invoking a hopeful way forward into the future. Dream Sequence will employ 10 artists for 2-week residencies from their homes.

Dream Sequence will be broadcast online via the utp website at 1pm on the last Wednesday of June – December 2020, and January – May 2021.

Join us on our homepage or via our vimeo at 1pm on Wednesday 25th November for the fifth episode of Dream Sequence by Enoch Mailangi. 

You can download reminders for the entire Dream Sequence calendar here.


DREAM SEQUENCE – EPISODE 4 

Part Of Your World

1pm 28th October 2020

Mish Grigor


Closed captions and a transcript of this work will be available on the recording of this performance from Monday 2nd November.

About the work:

Mish is currently thinking about the hidden power structures sustaining the hierarchical systems of artistic and educational economies of productions.  Her artistic interest is turned towards documentary and female autobiography, inspiring a multitude of works and formats – finding alternatives to dominant narratives in relation to the representation of female bodies and their actions on stage.

About Mish Grigor

The work of Mish Grigor is situated in the performing arts as a maker, writer and performer. Working across a range of collaborative formats, she is co-director of APHIDS with Lara Thoms and Eugenia Lim, and one third of POST with Zoe Coombs Marr and Natalie Rose.

With projects often departing from her own experiences, she enjoys connecting tangible everyday dilemmas with larger political and philosophical concepts. Using humour, facts and fiction, she is intent on examining, wasting and/or cherishing time spent with other people.

Mish has presented her work or been commissioned by Sydney Opera House, Malthouse Theatre, Sydney Festival, Belvoir St Theatre, Artshouse, Sydney Theatre Company, Performance Space, Brisbane Powerhouse, Darwin Festival, Adelaide Biennial, Brisbane Festival, PICA, Hong Kong Rep Theatre/West Kowloon Cultural District, Noorderzon Festival, Battersea Arts Centre,  Pan Pan Theatre (Ireland) and Forest Fringe, amongst others.

 


DREAM SEQUENCE – EPISODE 3 

 

As We Know It

1pm 26th August 2020

Evelyn Araluen

 

You can download a transcript of the Episode 3 – Evelyn Araluen here.

About the work:

After six months of quarantine and social distancing the terms, relationships, and rituals which reinforce our sense of social and cultural reality are losing their validity. Or at least they are for writer Evelyn Araluen. For a world in the death-throws of late capitalism, things are quiet in this house. What’s the point of poetry at the end? What’s the point of pants when no one will see them? The author isn’t dead, but she’s running a depression-meal cooking show in her kitchen. Interweaving poetry, theory and video, this work contemplates personal registers of global transformation in the midst of a stage four lockdown.

About Evelyn Araluen

Evelyn Araluen is a poet, researcher and co-editor of Overland Literary Journal. Her widely published criticism, fiction and poetry has been awarded the Nakata Brophy Prize for Young Indigenous Writers, the Judith Wright Poetry Prize, and a Wheeler Centre Next Chapter Fellowship. Born and raised in Dharug country, she is a descendant of the Bundjalung nation. Her debut poetry collection DROPBEAR is forthcoming with the University of Queensland Press in early 2021.

Evelyn’s work will be based on poetry to and for the end of the world, exploring ideas of futility and despair in a context of humour and self-effacement.

 

 

 


DREAM SEQUENCE – EPISODE 2 

 

Ikebana on a Lazy Susan

by James Nguyen

You can download a transcript of the Episode 2 – James Nguyen here.

About the work:

For the second episode of our year long digital program Dream Sequence, artist James Nguyen explores the expanded practice of floral arranging in ‘Ikebana on a Lazy Susan’. Having first started this practice in his studio in 2019 as a reprieve from his research, James has expanded this work for Dream Sequence into an embodied arts practice, steaming live to your living room. Using found objects and locally sourced flowers, leaves and vegetables, this work will explore the vessel, silence, nature, humanity, beauty, shape, line, form & structure. Tune in at 1pm on Wednesday the 29th July via our homepage.

About James Nguyen

James Nguyen works with documentary, installation and performance. He often collaborates with members of his family to examine the politics of art, self-representation and decolonising strategies in diasporic practice.


DREAM SEQUENCE – EPISODE 1 

 

Living room material (opaque contents) 

by Brian Fuata

You can download a transcript of the Episode 1 – Brian Fuata here.

Brian Fuata told us a bit about this work below:

“Living room material (opaque contents), is a live-stream improvisation as part of Dream Sequence. It continues my structured improvised things which exploit the image of the ghost as a formal device to produce and order content. For Dream Sequence, my lounge room becomes a performance area-cum-studio-cum-ghost museum of printed matter ranging from archival photos, email performances and notational material badly taped to the walls as posters. This sets the scene for a ghost iteration centred by the contiguity of two ideas: a short story by Lydia Davis, In a house besieged and the energetic interaction between the ghost image and the introduction of another archetypal absence, the shadow. The impro will present scripted and improvised speech, stops and starts, ooohs and umms, soft and flexed emotional nerves. It will go for a timed fifteen minutes – wherever we are when the alarm rings – is when the sharing will end.”

About Brian Fuata

Brian Fuata works in the improvisation of live performance, writing and objects, exploiting the image of the ghost as narrative structuring device. He employs multiple registers of performance and public speaking to render location, body and presence together as a dumb zone of dramatic affects.

 

The program is made possible through the generous support of the Crown Resorts Foundation and Packer Family Foundation.