S Wookey, ‘An Open Letter from a Dancer who Refused to Participate in Marina Abramovic’s MOCA Performance’, Art Info, 2011, https://taboofart.com/2013/09/11/an-open- letter-from-a-dancer-who-refused-toparticipate-in-marina-abramovics-moca- performance-2/, (accessed 12 July 2017). 2 S J Cervenak, Wandering: Philosophical Performances of Racial and Sexual Freedom, Durham and London, Durham University Press, 2014, p. 145. Lizzie Thomson Bio
Lizzie Thomson is a choreographer and performer. Her practice interrogates processes of embodiment as they relate to cultural, historical and temporal forces. Her work draws on both choreographic and sculptural processes and takes multiple forms including performance, video installation, text and sculpture. Lizzie regularly collaborates with artists and thinkers including Erin Brannigan, Matthew Day, Agatha Gothe-Snape andJane McKernan. Alongside her own work,she continues to work as a performer andhas performed extensively in Australia and internationally in works by artists including Marina Abramovic, Rosalind Crisp, Tess De Quincey, Mette Edvardsen, Agatha Gothe-Snape, Nikki Heywood, Samuel James, Joan Jonas, JulieAnne Long, Jane McKernan, Jess Olivieri, Gail Priest, Jochen Roller, Tino Sehgal, Brooke Stamp, Hans Van den Broeck and many more.
Critical Dialogues – Durational Performance Run Via Skype Chat Latai Taumoepeau and Matthew Day
Lizzie Thomson: I guess I’m proposing these dialogues as a way to continue reflective conversations between artists about conversations between art forms, and of course foryou both, but especiallyfor Latai, there’s also the ongoing conversations between cultures to negotiate. What do these experiments across contexts / methods /
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