Joseph Morgan Schofield

ALMANAC 🌸🔥 Our regular performance art platform returns on Sunday 17 May, 3-6pm. This edition features offerings by Vriddhi Chaudhry, Claudia Palazzo and Joseph Morgan Schofield. Tickets (£14/£10/£6) on sale now - link in bio. After three evocative events last year, we are shifting venue to STUDIO: Future Ritual, a light filled former industrial space in the Bussey Building (Peckham). Hope you can join us in our new gaff! ALMANAC is a space for experimentation - by showing work here, artists are asking questions and seeking insight. In this, we acknowledge the process driven nature of performance art and welcome performances which risk it all, mutating and misbheaving. Images 2 - Vridhhi Chaudhry, Silent Echoes of Salient Sores at Gibraltar Point Centre for the Arts. Photo credit: Ashok Mathur. 3 - Joseph Morgan Schofield, with bare feet touching the sky I yearn, Future Ritual, ICA (London), 2022. Photo by zack mennell. 4 - Claudia Palazzo, The Last Breath Society workshop. Photo by Marco Berardi.

🌷 @zackmennell

Encounter performance art that communicates deeply felt relationships with place 🪨 Looking forward to this evening of durational performances at Tate Britain on Saturday 28 Feb. Three powerful performances exploring time, ritual and memory by Devika Bilimoria, Ash McNaughton, and n:u (melissandre varin). Live Art Development Agency host a screening room exploring how artists have used performance as a practice of freedom and resistance in the British landscape. Tickets on sale now! Including £5 for those on UC / Pension Credit. @devika_bilimoria @fraxin_us @nu.melissandre.varin @thisisliveart @mary_osborn @kanestonestreet Images: 2 - n:u (melissandre varin), dirty nails, 2024, Eastside Projects. Photo by Ashley Carr 3 - Ash McNaughton, Dredge, DISCHARGE, 2024. Photo by Manuel Vason 4 - Devika Bilimoria, Offerings, Future Ritual, 2024. Photos by Fenia Kotsopoulou 5 - n:u (melissandre varin), le monstre de mon papa, 2025. Photo by Tamsin Drury 6 - Ash McNaughton, Hæg, 2025. Still from video by Nina Shen. 7 - Devika Bilimoria, Pind, 2026. Image courtesy of the artist.

ɪᴍᴍᴇʀꜱᴇ ʏᴏᴜʀꜱᴇʟꜰ ɪɴ ᴘᴇʀꜰᴏʀᴍᴀɴᴄᴇ ᴀʀᴛ ᴀɴᴅ ᴄᴏʟʟᴀʙᴏʀᴀᴛɪᴏɴ ꜰᴏʀ ᴛᴇɴ ᴅᴀʏꜱ, ɪᴍᴘʟᴇᴍᴇɴᴛɪɴɢ ʏᴏᴜʀ ᴘᴇʀꜰᴏʀᴍᴀɴᴄᴇ ᴘʀᴀᴄᴛɪᴄᴇ ᴜɴᴅᴇʀ ᴛʜᴇ ɢᴜɪᴅᴀɴᴄᴇ ᴏꜰ ꜱɪx ᴀʀᴛɪꜱᴛꜱ ꜰʀᴏᴍ ᴛʜᴇ ᴀɴᴀᴍ ᴄᴀʀᴀ ᴄᴏʟʟᴇᴄᴛɪᴠᴇ. CONSTELLATIONS OF CRITICAL BODIES II 10-days Intensive Joint Summer Class on the Practice of Performance Art With VestAndPage, Andrigo & Aliprandi, Sara Simeoni and Joseph Morgan Schofield June 24 to July 3, 2026 C32 performing art work space, Forte Marghera, Venice, Italy With a final public presentation on Thursday, July 2, 2026 Applications are now accepted on a rolling basis until March 30, 2026 (but spaces are limited and filling quickly). The team will be live on Instagram to answer your questions on Tuesday, Feb 3, 2026, at 7:00 pm (CEST). ⚡️ For this workshop, we seek up to 15 international performance artists, radical actors, movers, sound artists, and poets interested in performance practices centred on the body. ⚡️ This includes individuals of all experience levels and abilities who wish to deepen and challenge their performance practices further and collaborate with other international artists. ⚡️ You will work under the co-mentorship of experienced facilitators, employing comprehensive methodologies to develop your performance language or research. ⚡️ We aim to give you the time, space, and tools to refine your practice, draw inspiration from collaborations, and forge new connections. The intensive summer class takes place on campus at C32, a performing arts workspace in the heart of Forte Marghera historic park, which overlooks the western bank of the Venice lagoon. The final workshop will be publicly shared on Thursday, July 2. Its documentation will be included in the @veniceperformanceartweek archive. The collaborative laboratory process focuses on methods and techniques derived from artistic practices that emphasise bodies, spaces, and the art of encounters: @vestandpage (Verena Stenke and Andrea Pagnes), Marianna Andrigo and Aldo Aliprandi, @@s_a_r_a_s_i_m_e_o_n_i , and @jmschofield . The SUMMER CLASSES are presented by Studio Contemporaneo, EntrAxis e.V. and @liveartscultures . Image: @hima_batavia / @lorenzacini > More info in Bio.

Maybe you know that I have been feeling tender about making performance, especially solo performance for some time. Something about the preciousness and the vulnerability, the loss, the tension between something that feels sacred and something that feels like a career. I have been feeling the hunger again, in contexts that feel right, so am grateful to @clarkietattoo & @c.l.u.b_x for the space to do something as part of THE NIGHT, an exhibition that's open downstairs at Club X Friday 28 - Sunday 30th. @lxoclondon , @__szkarlat and many other brilliant people are involved. I'll be performing something on Friday 28th. Doors at 7. Images 1&2 by @zackmennell

is the Roman Empire is my Roman Empire lot of wandering, eating, shopping, gazing for one night in Rome, ft. an enormous and fantastic dinner at @perilliatestaccio and the ricotta and cherry pie from Boccione, and finally the king of mortadella @timbradbeer @christasmell @matildareith

Toscana con i cinghiali 🇮🇹 @matildareith , @timbradbeer , @christasmell

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happy season to many beloved crabs, including @zackmennell and Anne Bean who have been celebrated quietly and loudly in Sussex and Norfolk this last week 🦀

mountains! @zackmennell

loved meeting these seekers again, shown by Anne Bean during her collaboration with @futureritual two summers ago in the village of Walsingham. 'In Search of the Miraculous', like much of Anne's work, involved tuning into the qualities of spirit and place, mystery and belief. Art as a vital way of receiving the world. fish and chips and ice cream and a ruined monastery offered other ways of tuning into this beautiful place.

loved Gil Delindro's THE VIBRATORY HEARING, a world of cork and dust and stone, shaken and moved by industry and bass in the basement kitchen of the Casa de Serralves [the art deco palace of aristocratic and industrialist] which gave way to the rattling of grasses and reeds, and the silent scratch of copper wire upon sheet metal as the two were shaken by sound before the altar. it felt to speak about skin and wounds and motion and time. also (3) Phillipe Durand's en plein air cyanotypes, (4) Francisco Tropa's double exposures and (5) Helena Almeida's dissolution and precipitation behind that brilliant blue