RUN! RUN! RUN! Biennale 2016

Three female artist/researchers and runners Dr Kai Syng Tan, Annie Grove-White and Dr Carali McCall to explore running as a metaphor and methodology for us to think about the body, gender, ageing, the city and borders. With guests and colleagues including charities Free to Run (an NGO for running for women and girls in Afghanistan), A Mile In Her Shoes (a running group for homeless women) and Headway East London (a charity supporting people affected by brain injury), Eddie Ladd (international performance maker), Dr Karen Throsby (University of Leeds), Joe King (Royal College of Art), Simon Freeman (Like the Wind), Dr Andrew Filmer (Aberystwyth University), Catrin Kean (writer), Dr Alan Latham (UCL), Amelia Johnstone (illustrator) Sarah Brown (Leeds Art Gallery) and Dr Debbie Lisle (Queen’s Belfast). RUN! RUN! RUN! Biennale 2016 is sponsored by Leeds College of Art and presented by RUN! RUN! RUN! International Body for Research.

How does running (dis)connect people across borders?
November 21 / Leeds: Discussion. 2-4pm. MA Creative Studio.
Leeds College of Art Blenheim Walk, LS2 9AQ

How does running (dis)connect people with the city?
November 23 / London: Screening. 6-8pm. Exhibition Room. Pearson Building
Department of Geography. UCL Gower Street, WC1E 6BT

How does running (dis)connect people with their body?
November 24 / Cardiff: Performance. 6-9pm. National Indoors Athletics Centre.
School of Sport, Cardiff Metropolitan University CF23 6XD

SIGHT (UN)SPECIFIC @ Chalkwell Hall

 New works by Lee Campbell, Rory Flynn, Adrian Lee and Carali McCall
+ artist discussion

 Saturday 22nd October 2016

This event curated by Dr. Lee Campbell presents a combination of art performance, performative lecture and reflective discussion. It aims to contribute to an area of contemporary art practice relating to how practitioners have not only made works that go beyond pure visual sensation and incorporate, or are wholly dedicated to, non-visual aspects, often prioritising the haptic, orality, sound elements and other sensory components (Coles, 1984; Marks, 2002; Paterson, 2007), but how practitioners have deployed the concept of visual impairment and blindness as informing the work’s form and content, and by doing so generate public pedagogy of what it may mean to experience interrupted/removal of sight.

The event, extending Campbell’s recent event You Don’t Need Eyes To See, You Need Vision in London aims to add to the rich contextual history of artworks made by artists and performers who challenge aspects of visuality within their practice. For example, Artur Zmijewski’s work Blindly at Tate Modern, London in 2014 explored what it means to imagine and represent without relying on the sense of sight. In Sight (Un)Specific, Campbell, Flynn, Lee and McCall attempt to extend existing practices and produce creative responses that make positive usage of visual deprivation as a means to think more deeply about how we perceive the operations of certain concepts in the world.

Furthermore, this quartet attempts to test the viewer’s understanding of how we may theorise, articulate and demonstrate what may be classed as a dominance of visuality over other senses (Jay, 1993; Crary, 2000) and provoke discussion as to what it might mean to live in a society, which Martin Jay has described as ‘occularcentric’ or ‘dominated’ by vision (1993:3). Works made as part of this event will be reflected upon and disseminated during a conference paper that Campbell, Lee and McCall will give as part of The Future of the Document: documenting performance, Interdisciplinary Symposium Monday 31st October 2016, at City, University of London.

The event is free to attend. This event contains, at times, low levels of lighting. The event will be documented using video and still photography.

Lee Campbell
+44 7917 363235 

Metal at Chalkwell Hall Chalkwell Avenue

Southend on Sea, SS0 8NB
+44 [0] 1702 470 700
Notes on the artists:
Dr Lee Campbell is an artist, curator and academic and teaches at Central Saint Martins and University of Lincoln. His practice plays with the parameters of contemporary art that draw attention to the performative and the participative within an art historical vernacular and seeks to interrogate how we may construct meaning between politics of space and the politics of artist/performer/protagonist articulated through visual and verbal languages. His doctoral thesis Tactics of Interruption: Provoking Participation in Performance Art made a contribution to knowledge in participative performance practice and the positive deployment of using interruptive processes; this is in order to provoke participation within the context of Performance Art as well as gain a better understanding of the operations of power relations at play. Campbell will be artist-in-residence at Metal, Southend in April 2017

Aiming to complexify the viewer/artist relationship through intentional awkwardness and discomfort between protagonist and audience, Rory Flynn is an artist who uses performance in relation to the body, sculpture and humour. Flynn graduated with a Fine Art degree from Loughborough University in 2016 and has since performed as part of Tactics of Interruption, Toynbee Studios, London (June 2016) MASS. Truman Gallery, Brick Lane, London (July 2016) and You Don’t Need Eyes To See You Need Vision, The Queen’s Head, London (September

Adrian Lee is an artist working primarily in video, performance and sculpture. He explores the material that surrounds us by reworking and re-examining the trappings of our culture. His practice investigates the processes of communication and persuasion used on both domestic and international scales. It appropriates numerous visual and aural languages, re-circulating their symbolic components to disrupt the logic of our assumptions. He reorganises familiar elements from multinational corporate advertising, to vernacular promotional material, via the icons of art history and the rhetoric and actions of those with power and influence. He is also a part-time lecturer at Central Saint Martins.

Dr Carali McCall is a Canadian-born, London UK-based artist; awarded her Ph.D. at Central Saint Martins College of Art and Design, UAL (thesis title, A Line is a Brea(d)thless Length: introducing the physical act of running as a form of drawing). Her practice addresses how duration, and imposed restrictions on the body can contribute to a greater awareness of what it means to draw. Approaching the body as a tool, she embraces the idea that the artist is not only physically present in the act of drawing, but also brings an experience to something that exceeds the object of art (be it through the body in live performance, video or sound recording, or photograph).

Coles, P. (1984). Please Touch: An Evaluation of the ‘Please Touch’ exhibition at the British Museum 31st March to 8th May.

Crary, J. (2000). Suspension of Perception: Attention, Spectacle and Modern Culture. Cambridge: MIT.
Jay, M. (1993). Downcast eyes: the denigration of vision in twentieth- century French thought. Berkeley; London: University of California Press.
Marks, U, L. (2002). Touch: Sensuous Theory and Multisensory Media. London: University of Minnesota Press.

Paterson, M. (2007). The Senses of Touch – Haptics, Affects and Technologies. New York: Berg Publishers.

Unfound by Susan Trangmar


A first visit takes place with the arrival of Spring, fertile and green. Roadside signs to the sites are well situated and can be read easily enough. The cemeteries themselves, appearing so arbitrarily dotted within the landscape, are shocking either in their intimate serenity or their exposed, stark brutality. ROSSIGNOL WOOD. SUNKEN ROAD. Entering each enclosure, there is always a sense of crossing a boundary. The efflorescence of nature creeps up to the external perimeter, ready to reclaim the ground, or else agricultural production spares a few centimeters of bare terrain before the marshalling begins, long ranks of headstones lined up in military formation. GUARDS. QUEENS. GUNNERS. One walks up and down the lines inspecting each headstone, feeling the imperative to take note of every single name, every inscription, every memorial, even though this is impossible. The more names are read, the less the imagination is able to make sense of the scale of destruction they represent. Names pile up as a monstrous accumulation of wasted potential. BITTER.

The repetition of the essential fact is exhausting. While the individual reproduction of each and every headstone with its measured naming of facts and acts serves the plea to not repeat past mistakes, mass formation acts to dull and abstract, reinforcing a failure of comprehension. Within the retaining walls which demarcate each site as a presence in absence, industrial efficiency and carefully designed spatial geometries monumentalize and petrify, neutralising the experiences that once took place around here.

Looking outwards for respite one sees the intensively worked landscape beyond, knowing that scattered material remnants of the violence still infuse the soil, surfacing over time and dissolving on the air perhaps, or finding their way back to an intimacy within our own bodies. Everyday sounds come to the ear, of tractor, birdsong, the clatter of bicycle and bark of dog. Occasionally a shot bursts out. Sounds travel far, such is the scope of the space. But within the boundary of the cemeteries there is always an atmosphere of silence. What is one straining to hear? A VANISHED SOUND

UNFOUND Susan Trangmar, film, 23:42

11h Sunday 9 October 2016
Les Photaumnales
Le Quadrilatère

UNFOUND film projection Susan Trangmar and meeting with the artist. The film is accompanied by the publication UNFOUND including an essay ‘ A Memorial on Film’ by Yves Abrioux and DVD.

This body of work is the result of a residency proposed by Diaphane. It is edited as a DVD book and Susan Trangmar’s film will be shown during the Photaumnales festival.