On in-between

Performance commissioned by Dublin Culture Night for Dublin: The Liminal Space

The in-between, drifting and separated; not on north and south sides but of being of the land and in the place where one should not be; the divide — the open artery of evasion. I swam here in my sleep states when the river was clear. Floating in the drink; feet first towards the bay, the voluntarily procession away from the city to lead me to where… I remember that summer in Dublin, and the Liffey as it stank like hell.

Performed and conceived by Paul Regan
Soundtrack and composer: 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.