Show Calendar

Spring 2019: Performing, living and sharing borders

Sim Chi Yin Nuclear Behindthescenes 22 Picture By Gabriel Ellison Scowcroft1
Camille Barton 1

performingborders | LIVE is a programme of events and new commissions focusing on the exploration of artistic practices happening within the UK live art sector around notions of cultural, juridical, racial, gendered, class, physical and everyday borders. Curated by Alessandra Cianetti and Xavier de Sousa.

We are the curators of performingborders | LIVE, an international programme of events and commissions about urgent conversations and extraordinary Live Art practices that address notions of physical, cultural, juridical, racial, gendered, class, and everyday borders. The nationwide programme of events runs from February until late June 2019. The programme draws from the online curatorial research platform ‘performingborders. conversations on live art | crossings | europe’ that (since 2016) has been gathering original interviews, writings and experimental responses from live artists, academics and art professionals on physical and conceptual borders within an increasingly shared feeling of uncertainty.

As an attempt to make sense of an ever-developing present that hugely impacts on minority and oppressed communities, performingborders | LIVE brings those discussions into venues in Manchester, Brighton, London and Nogales (US/Mexico border wall) to widen the conversation and create a broader inclusive discussion.

For the Attenborough Centre for the Creative Arts (as part of University of Sussex One World Week), we invited curator Annie Jael Kwan from Something Human and Asia-Art-Activism to invite an artist of her choice to discuss borders from their specific viewpoint. We were thrilled to know that Nobel Peace Prize photographer and artist Sim Chi Yin was joining the programme.

On Tuesday 19 March, the event will start off with Sim Chi Yin’s performative reading followed by a conversation with curator Annie Jael Kwan and a Q&A chaired by Dr. Anna Marazuela Kim.

The evening will bring rich and multilayered perspectives on how exile, loss, trauma, family memories and colonialism have shaped Sim Chi Yin’s work and her research at the intersection between the archive, photography, and performance.

Also, as part of performingborders | LIVE at the Attenborough Centre for the Creative Arts, on Thursday 21 March, Camille Barton of the Collective Liberation Project will run her Embodied Movement for Social Change workshop. A free movement workshop that explores how to acknowledge and respond to systemic racial, gender and xenophobic oppression and its impact on our body. This workshop is already fully booked!

The performingborders | LIVE programme will conclude with the final event ‘Curating Borderless Spaces’ at the Live Art Development Agency in London on Saturday 22 June 2019. We really hope that many readers of the Attenborough Centre for the Creative Arts blog will join the conversations!

Presented by performingborders and Foreign Actions Productions in collaboration with Live Art Development Agency (London, UK), Contact Theatre (Manchester, UK), Attenborough Centre for the Creative Arts (Brighton, UK), Artsadmin (London, UK), Deptford Lounge (London, UK), Beyond the Wall/Más Allá del Mur Festival (Nogales, US/Mexico), and the Centre for The Study of Sexual Dissidence (University of Sussex, UK). Supported by the Arts Council England.

Image credit (top): Sim Chi Yin, by Gabriel Ellison Scowcroft

Spring 2019: USSUACCA

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Diwali 2018B

Alice Paines, Events Coordinator for USSU (University of Sussex Student Union) has blogged about the USSU partnership with Attenborough Centre for the Creative Arts. Did you know that many of the events in our space are run by and for students?

Since re-opening in 2016, Attenborough Centre for the Creative Arts and the Students’ Union have worked together to build a strong relationship that supports and promotes a culture of creativity and a desire to deliver incredible arts and cultural events within the Sussex community. As the partnership enters its third year, we are constantly exploring new ways to support student led events, with a variety of projects taking place throughout Spring 2019.

Student groups have been able to enjoy access to state of the art facilities, resources, and staff support, which has allowed the student event calendar to flourish. A quick run down of some of these events are as follows that we are looking forward to this term.

Cultural Events

Students are celebrating cultural diversity at ACCA this term by hosting a whole array of cultural festivities and performance. We welcomed the new term in celebrating Chinese New Year with an amazing showcase hosted by the Chinese Students & Scholars Association (CSSA). Join in with the One World Sussex programme later in term with us at ACCA and check out the Afro-Caribbean Society’s Culturefest, a lively and fun event for all.

Performing Arts

If you’re interested in the performing arts there are plenty of groups hosting events throughout the term. Buy your tickets now for our Musical Theatre Societies headline event of the year- Legally Blonde the Musical! It’s promised to be a spectacular production featuring some real furry friends! In March, take a look at the amount of talented dance troupes that are on campus with the annual Sussex Jam compete with other universities in the area in Jazz, Ballet, Tap, Contemporary and more. Our award winning Sussex Pole are also hosting the South-East regional competition at ACCA this season- the winners will then compete in nationals!


If you fancy checking out the academic talent on campus there are also some conferences and talks taking place. The English Society are hosting their first conference in March on the theme of ‘Stories, Journeys and Experiences’ and more info will be available on that soon.

We hope to see you at ACCA soon!”

Brighton Festival 2019

Seancers Min
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Superhoe Min
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We are pleased to partner with Brighton Festival to co-present a series of performances and events for the 2019 festival, launched today (13 February). This year, ACCA will host a range of events including a UK premiere and critically acclaimed performances from international artists. Elsewhere in the city, a high-energy participatory performance co-commissioned by Attenborough Centre for the Creative Arts will take place in public space, during the last week of the festival.

Performance artist Jaamil Olawale Kosoko performs Séancers on 16-17 May. Previously seen at ACCA in 2017 with the explosive #negrophobia, Kosoko conjours themes of paranormal activity, loss and resurrection as he explores black identities through his work. Hailing from Detroit, Michigan, Kosoko draws on his own experiences, including the deaths of family members, as well as inspiration from other art forms in a piece that brings together movement, song, spoken word and a live score from Bessie award-winning composer Jeremy Toussaint-Baptiste. A post-show talk will take place on May 16 and the performance on May 17 will be BSL interpreted.

Meanwhile, the UK premiere of Belgian company BERLIN’s latest work True Copy, takes place on 23-26 May. Based on the true story of possibly the most successful art forger in the world, BERLIN uses its genre-curious style to expose the hypocrisy of the art world. When police tracked down Geert Jan Jansen (and more than 1,600 forged works of Picasso, Dalí, Matisse and Hockney) they put a stop to a 20-year career which fooled the art world. Inspired by his story, True Copyexplores the constant balancing act required to keep fiction and reality seamless in order to preserve one man’s life – and his deceit of the entire art world.

The first ever collaboration between Talawa Theatre Company and Royal Court Theatre will be shown at ACCA on 19-21 May. Superhoe, written and performed by Nicôle Lecky, tells the story of 24-year-old Sasha Clayton, living with her mum, step-dad, and irritating little sister, in Plaistow. She’s gone from being the most popular girl at school, to spending most of her time on her own in her bedroom scrolling through social media. She may not have a job or a flat, and, admittedly her boyfriend’s not answering her calls; but she’s got talent and a dream – when she releases her first EP everything’s going to change.

ACCA are also pleased to have co-commissioned an off-site project that is appearing as part of the Brighton Festival 2019 programme. Still House/Steppaz and Empire Sounds will present SESSION, an explosive outdoor gathering at beach level by the i360 (May 23-26). Bristol based performance company Still House joins forces with the Tottenham-based Steppaz Performing Arts Academy and north London’s music production powerhouse Empire Sounds to create a high-energy night of dance and live music. Part gig, part social and part dance party, the show is led by an ensemble of young dancers who move across hip hop, contemporary folk and Afrobeats, celebrating community, youth and belonging.

Laura McDermott, Creative Director, Attenborough Centre for the Creative Arts, said, “This is the fourth year we have worked with Brighton Festival to co-present a diverse, innovative, international programme of performances at Attenborough Centre for the Creative Arts. This year, we are also pleased to have co-commissioned SESSION, an energetic live event that will take place off-site in one of the city’s most iconic seaside settings.”

Cinema Club - what’s on Spring 2019?

Touki Bouki Web
News From Home 13 Akerman
Human Flow Web
Lives Of Others

Join us every Sunday this season for an afternoon of expanded cinema. The inaugural season of Cinema Club is curated around ideas of national identity and culture, land and country, movement and migration. We’re showing a mix of cult feature films, international cinema and rare screenings of documentaries and artist films, with introductions from a range of academics, specialists and curators.

Round off your weekend with a Sunday film screening at 4pm. Our café bar will be open from 2pm with food and music. Enjoy our new afternoon brunch menu (with plenty of vegan and veggie options), sip barista coffee or a delicious Bloody Mary, and listen to our DJ’s film related playlists.

What can you see? Take a peek below…

THE LIVES OF OTHERS (15) (dir. Florian Henckel von Donnersmarck) - 17 February

In 1984 East Berlin, an agent of the secret police, conducting surveillance on a writer and his lover, and himself becoming increasingly absorbed by their lives. Winner of the 2007 Oscar for Best Foreign Language film. Introduced by Dr Gerhard Wolf (University of Sussex, History).

OPEN COLOUR PRESENTS: TOUKI BOUKI (15) (dir. Djibril Diop Mambéty) - 24 February Mory and Anta meet in Dakar. Alienated and tired of life in Senegal, they dream of going to Paris and come up with different schemes to raise money for the trip. A cult 1970s film dubbed “the greatest African film ever” by the BBC. Introduced by Dr Estrella Sendra Fernandez (Winchester School of Art, University of Southampton).

MATANGI / MAYA / M.I.A (18) (dir. Steve Loveridge) – 3 March Drawn from a cache of personal video recordings >span class=”apple-converted-space”> award winning film is a startlingly personal profile of the critically acclaimed artist, chronicling her remarkable journey from refugee immigrant to pop star.

NEWS FROM HOME (dir. Chantal Akerman) – 10 March Sweeping scenes of New York City contrasted to the letters from the director’s mother in Brussels. A rare chance to see this highly visual work on the big screen. Introduced by Dr Alisa Lebow (University of Sussex, Music Film and Media)

UTØYA (15) (dir. Erik Poppe) - 17 March Unfolding in real-time, in a single take, Erik Poppe delivers a reconstruction of the devastating Utøya summer camp massacre. Introduced by

HUMAN FLOW (12A) (dir. Ai Weiwei) – 24 March An epicfilmjourney led by the internationally renowned artist Ai Weiwei, gives a powerful visual expression to our current global mass human migration. If you missed the recent screenings in Sussex, now’s your chance to see this much loved and immensely powerful work.

THEATRE OF WAR* (dir. Lola Arias) – 31 March 35 years after the end of the Falklands / Las Malvinas war, Argentinian artist and director Lola Arias invites veterans to look back – together, in pairs or in dialogue with the camera. For fans of MINEFIELD,staged at Brighton Festival & ACCA. Introduced by Professor Lucy Robinson (University of Sussex).


(dir. Gabrielle Brady) Produced by HOME Artist film, this documentary centres around Poh Lin, a trauma counsellor living on the remote Christmas Island. Poh Lin’s job is to work with people trying to seek asylum to Australia who have been detained in a high security detention facility, deep within the island’s jungle. Awarded “Best Documentary” at Tribeca Film Festival.

THE SWIM* (He Xiangyu) – 14 April A meditative, thoughtful film shot in the hometown of the artist, which is located next to the Yalu River that demarcates the border between China and North Korea. Making several visits over the course of a year, the artist attempts to capture what has now become for him >span class=”apple-converted-space”> ‘strange reality’ of his childhood home.

Café bar open:2pm

Screening starts: 4pm

Tickets:£7/£5 (University of Sussex alumni & staff and all students)

Multi buy offer:4 for the price of 3.

Buy 3 tickets to Cinema Club films in a single transaction, get the fourth ticket free.

An allocation of Pay What You Decide tickets is also available for every screening.

​We are pleased to announce our Spring 2019 season!

Bryony Kimmings
Fk Alexander Violence Web
Performing Borders Web
Cuckoo 2 Web
Sara Pascoe

Resonating with the current moment in UK domestic politics, throughout the season multiple artworks deal with the notion of “nation” from different perspectives and consider how political and economic decisions impact people’s personal lives and sense of self.

Jaha Koo brings Cuckoo to Brighton on 12 February. This bittersweet and humorous performance (featuring three modified Cuckoo-brand rice cookers that sing and talk) tells the story of the 1998 Asian Financial Crisis, and its aftermath in South Korea. Giving voice to the younger generation who suffered the consequences of this recession (and the structural reforms to the economy), Jaha Koo creates a touching, personal and smart analysis of the society in which he grew up.

Meanwhile, Ontroerend Goed, Theatre Royal Plymouth, Richard Jordan Productions and Vooruit Kunstcentrum present £¥€$(LIES)(13-15 March), in a casino-esque set and environment, this interactive theatrical experience which invites to you get under the skin of the super rich, the one per cent who pull the strings at the heart of the global economic system. Trading as a fictional country, audiences can gamble, in fictional trading markets.

Further performances from international theatre makers this season include China Plate & Staatstheatre Mainz’s - Status, written by Chris Thorpe and directed by Rachel Chavkin. This new show from a multi Fringe First winning team tells the story of a globe spanning journey (from London to a rooftop bar of a Shanghai hotel, via the Mojave desert) taken by a man who doesn’t want his nationality any more (9 April).

A further event - performingborders: LIVE (19 March) - also focuses on the exploration of personal, cultural and physical borders with UK-based artists and curators. The evening, programmed to coincide with One World Week at University of Sussex, will feature Nobel Peace Prize Photographer Sim Chi Yin in conversation with Annie Jael Kwan from Asia-Art-Activism.

An exciting new addition to ACCA’s programme for Spring 2019 will be a new strand of weekly events for film and visual culture fans: ACCA’s Cinema Club. Programmed by ACCA and Brighton based independent film curators, the first season of films will consider ideas around national identity and culture, land, borders, movement and migration. Films by names such as Ai Weiwei, M.I.A and Chantal Akerman will be nestled within a season of global cinematic gems. Cinema Club will also include wrap around talks, DJ sets, and a special afternoon Sunday brunch offer in ACCA’s café bar. (Sundays from 17 February – 14 April).

ACCA are pleased to have co-commissioned (along with Battersea Arts Centre and Arts Centre Melbourne) the first new solo work by Bryony Kimmings for over a decade – I’m a Phoenix, Bitch. TheBrighton dates (3-7 May) are the first dates for this award-winning show outside London, following huge critical acclaim and five-star reviews. Combining personal stories with epic film, soundscapes and ethereal music, Bryony creates a powerful, dark and joyful work about motherhood, heartbreak and finding inner strength. I’m a Phoenix, Bitchwill be a headline show in the opening weekend of Brighton Fringe 2019, and marks the first time that Attenborough Centre for the Creative Arts has been a Brighton Fringe collaborator and host venue.

ACCA are also pleased to be working again this season in partnership with The Marlborough Theatre, bringing FK Alexander’s VIOLENCE(7 March) to Sussex for the first time. VIOLENCEis a new performance art piece and a meditation on the cruelty of love, the weight of loneliness, the gift of desperation, the freedom of anxiety, the chrysalis of hopelessness, and the power of dreams. This performance is part of The Marlborough’s mini-season called Radical Softness, exploring notions of care, healing and openness as forms of strength.

Two contemporary music gigs take place this Spring, organised by ACCA associate music programmer Laura Ducceschi. Brighton-based artist Poppy Ackroyd will perform an intimate show on her Resolve (released by One Little Indian) album tour on 22 February. She will perform using ACCA’s Steinway piano and the show will feature bespoke synchronised visuals by Tom Newell. Attenborough Centre for the Creative Arts will host the inaugural date on Apparat’s first UK tour since 2013 in Brighton on 26 April.

Working with academics at the University of Sussex is always a key part of ACCA’s programme. Opening ACCA’s season is Viriditas: The Music and Life of Hildegard von Bingen, a festival curated by Dr Alice Eldridge (Music, Film & Media). The season of events explores contemporary resonances of the music and life of the 12thcentury abbess, through sound installations, talks and concerts (6-10 February). Later in the season, Andrew Duff (Music, Film & Media), presents Brighton Modular Festival, three days of music, synths and a chance to mingle with like-minded modular synth enthusiasts (19-21 July).

ACCA will also host two further events created with University of Sussex this season. The Exchange (21 February) is a space to debate provocative questions. A panel of guest speakers will discuss Can Veganism save the planet?with contributions from the audience. Organised by the University of Sussex alumni team Six Degrees at Sussex: will be an annual occasion where alumni who share a link will be in conversation in front of an audience. The first event (10 April) will feature comedians Sara Pascoe and Cariad Lloyd.

In May, and for the fourth year, ACCA will collaborate with Brighton Festival, to co-present a series of performances. Further details will be revealed on 13 February 2019 when the festival programme is announced. The University of Sussex is a major sponsor of Brighton Festival.

Attenborough Centre for the Creative Art’s Creative Director, LauraMcDermott, said: “Our programme aims to create a space for critical reflection within a complex world. Especially in turbulent political times, we can learn by looking to the past, or by taking an international perspective. There are stories and experiences from all over the world represented in our programme of performances, films and talks.”

ACCA to partner with Brighton People’s Theatre

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Brighton People’s Theatre have announced a year-long programme in partnership with Attenborough Centre for the Creative Arts, Paul Hamlyn Foundation, Brighton Dome & Brighton Festival.

The year-long programme of workshops, masterclasses, theatre clubs and events aims to demonstrate an appetite for a permanent people’s theatre in the city, and will seek to work with at least 100 local residents who are not currently engaged with arts provision in the city. All activities are offered on a Pay-What-You-Can basis.

The programme will be open to all, but specifically aims to involve people who have never professionally, or otherwise, engaged in theatre. Artists including Selina Thompson, Alan Lane, Suhayla El Basra and Luke Barnes will lead workshops, develop new ideas, and work with participants to challenge how theatre is made and consumed in the UK.

Over the year, Brighton People’s Theatre will run monthly masterclasses, play-reading groups, theatre-making workshops, audience clubs and backstage theatre tours with the people of the city. Twice a year, Brighton People’s Theatre will hold People’s Inspiration Meetings where members will decide what stories they want to tell.

Naomi Alexander of Brighton People’s Theatre says:

If all the world’s a stage, then theatre is for everyone. We are passionate about changing the way that theatre is made so that it is more reflective of society as a whole.

Brighton People’s Theatre is open to anyone who is curious about what theatre could mean in their lives. We’ve got a fantastic programme of activities over the year for people to try on a Pay What You Can basis. Take a look at our website for more details. Come and play.”

Laura McDermott, Creative Director, Attenborough Centre for the Creative Arts, says:

‘Naomi Alexander has a talent for bringing people together. She makes space for people’s passions and ideas. I am confident that Brighton People’s Theatre will become a vibrant pulse in the city. We are proud to name them as an associate company of Attenborough Centre for the Creative Arts. This relationship is part of University of Sussex’s wider commitment to engaging communities in Brighton & Hove and across Sussex.

Richard Attenborough said: “The arts are for everyone and failure to include everyone diminishes us all”. We look forward to working with Brighton People’s Theatre to connect people with our programme and to explore ideas for new projects together.’

Find out more about Brighton People’s Theatre here

Who was Hildegard Von Bingen?

2 Hildegard Von Bingen Montage

This February, we are hosting a music festival - Viriditas- exploring contemporary resonances of the music and life of 12th century abbess, composer, naturalist, healer and mystic, Hildegard von Bingen.

Who, you may ask?!

Hildegard, however, may be more familiar to you than you think and led an extraordinary and full life. She was also the first eco activist, one of the first female doctors and the earliest historical influence to ever appear on an Ibizan rave track.

Virditas festival curator, Dr Alice Eldridge (University of Sussex, Lecturer in Music and Music Technology) gives us her top ten ‘Hildegard facts’ to get you in the mood for Virditas (6-10 February).

1. Hildegard von Bingen was the first ever named composer. Although she had no musical training, she is considered the most prolific composer of the middle ages. Her hauntingly beautiful music is arguably the most enduring to come out of medieval Catholicism and Hildegard’s music was first played in the UK to mark her octocentenary in 1979. The first recorded album A Feather on the Breath of God won a Grammy in 1983 and went on to sell more than half a million copies. German composer Klaus Zundel shared disco remixes of her soaring monodies with Ibizan ravers in the late 1990s.

2. Hildegard von Bingen lived until the age of 80 at a time when average life expectancy was 41.

3. At the tender age of three Hildegard first saw a heavenly light: a life was defined by rapturous multisensory visions. Contemporary analysis suggest she was a migraine sufferer, however.

4. She is celebrated as the founder of German naturalism and considered (one of) the first woman doctors and the first woman scientist. She compiled two substantial systematic works Physica - a study of botany, zoology, stones, metals and elements and Causae et Curae - a study of the causes and consequences of disease, with plant-based remedies.

5. Hildegard ran surgeries, offering advice on health in general, and sexual relations. Considering her lifetime’s confinement in monastic institutions, she had an impressive grasp of the heterosexual sex life: “When a woman is making love with a man, a sense of heat in her brain, which brings forth with it sensual delight, communicates the taste of that delight during the act and summons forth the emission of the man’s seed.”

6. Metal fans love her compositions and many 21st century music journalists cite the ‘origins of metal’ as sitting within Hildegard’s work.

7. From a contemporary perspective, Hildegard was the original ecological activist too: “The earth which sustains humanity must not be injured. It must not be destroyed!” ~ “Glance at the sun. See the moon and stars. Gaze at the beauty of the green earth. Now think.”

8. Many of Hildegards’s visions were prophetic. It seems she also foresaw the perils of fake news and manipulated social media: “We cannot live in a world that is not our own, in a world that is interpreted for us by others. An interpreted world is not a home. Part of the terror is to take back our own listening, to use our own voice, to see our own light.”

9. Hildegard saw music as the ultimate connection with the divine. She tells us: “There is the music of Heaven in all things.”

10. One of Hildegard’s more mundane divine revelations was the design of a plumbing and draining system for her monastery.And this is fun… so one more….

11. “Cerevisiam Bibat! (drink beer for health)” Hildegard of Bingen.

With thanks to Fiona Maddocks and her latest book where these facts, and many more, about the fascinating life of Hildegard Von Bingen can be found. Learn more about Fiona’s event at Viriditas in our venue here

APPARAT announces new album ahead of Brighton show in April

APPARAT, aka Sascha Ring, has announced details of a new album, LP5, launching with the first taste of what to expect from the Berlin based artist. Watch the video for ‘DAWAN’, the first single from the album here.

LP5 is Apparat’s first release since 2013’s Krieg und Frieden (Music for Theatre), and follows two studio albums, II and III (Mute / Monkeytown) by Moderat, the trio he founded with Modeselektor’s Gernot Bronsert and Sebastian Szary.

Sublime and delicate, the album finds greatness in small things and in unexpected twists; it joins musical fragments together and glows from the cracks in between. For Ring, it is also a document of artistic insight and autonomy. “I was only able to make the record this way because Moderat exists,” he says. “Having a huge stage with Moderat gave me a setting for grand gestures and meant I could unburden Apparat from these aspirations. I don’t have to write big pop hymns here; I can just immerse myself in the details and the structures.”

Still hymnic, LP5 doesn’t rely on dramatic gestures and theatrical amplification, instead it lives off delicately sculpted sounds crackling alongside filigree beeping and twitching.

Like previous Apparat albums, the new release sees Sascha Ring collaborate with cellist Philipp Thimm and on the album you can also hear trombone, trumpet and saxophone, a harp, a double bass and other strings. Tracks were developed over endless group improvisations and lavish orchestral sessions – some of these sessions are only apparent in the final mix as fluttering echoes, just barely noticeable. The album was recorded in Berlin at AP4, JRS, Vox-Ton & Hansa Studios, mixed by Gareth Jones and Sascha Ring.

Apparat will embark on a European tour in April where you can hear more from LP5, with two UK dates – the first is with us at Attenborough Centre for the Creative Arts on 26 April.

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