“On in-between” [The Liminal Space] Paul Regan performance film commissioned by Dublin City Council for Culture Night 2020. Soundtrack: Daz Disley.

Performing Inclined, 5hr durational action at Venice International Performance Art Week CO-CREATION LIVE FACTORY Dissenting Bodies Marking Time, Palazzo Mora European Cultural Centre, Venice (IT), 2020. Photo: Jacques Martens.

Collaboration with Zoncy, Shall we Meet Again, Akademie Schloss Solitude, Stuttgart (DE), 2019. Photo: Maayan Danoch.

As part of her fellowship, Zoncy has arranged collaborative encounters. In this duet with Paul Regan, developed at Akademie Schloss Solitude, the artists explore prevalent threads of the legacies of trauma, body and the self and the shared universal path of the performer.

Temporary artistic communities, as any fruitful relationship, can only function if we apply what in German language is called Wertschätzung, literally translated into ‘treasuring one’s value,’ that is to recall the inner position of one toward the other on a base of respect, esteem and appreciation. VestAndPage [Andrea Pagnes & Verena Stenke]. 

The action of performance is a meeting; a temporary determination of poetry, body and intention.

Zoncy has worked in performance art advocacy in ending violence against women; challenging Myanmar’s political ground through artistic discourse and performative encounters exploring self and »they« [the other].

Borders; differences, barriers, definitions, he/she/they. The »temporary artistic community« crosses and walks the same path with steps and strides of resilience, vulnerability and rebellion. Embracing the collaborative mission through trust — performative actions can bypass time; rendering barbs of wire to rusted dust in the wind. However, the body never forgets.

Performance artist Paul Regan has worked with themes of religious oppression in Ireland and more recently, with issues of Islamophobia in Western Europe; in particular pertaining to restrictions directed against women; e.g. the ban on wearing of face-coverings. Through live performance, he stages site-specific interventions which question complexities of male/female East/West imposed hypocrisies.

Study for Oil [performance work in progress], 2019-2021.

Home, 2020, colour photograph, 2020.

Still from Talhiya Lapse 9, performance, Art Basel Miami, 2018.

Talhiya Lapse13 [Service and pseudo-service under the sovereignty of the good principle, or: Religion and Pfaffentum], Performensk, Zair Azgur Museum, Minsk Belarus, 2019. Photo: Vaida Tamoševičiūtė.