Limit as material

11 December, 2020
– 12 December, 2020
6pm & 1pm (GMT)
LUX Vimeo
A white cube space is dimly lit by blue-hued light. A silhouette of a person speaks to a mic with a hunched back. An image of a person covered with a shite sheet in a kind of ceremony is projected on a wall on which is overlayed with a large caption that writes “act four creeping forward”
Brian Fuata, of a house besieged (preposition tweaked), 2020

Limit as material : Brian Fuata, Graham Kelly, Carolyn Lazard & Adeena Mey

LUX hosts a two-day online broadcast programme in collaboration with the Artistic Estate of Ian White.
Limit as material takes its title from the work of late artist and curator Ian White (1971-2013). Ian White’s practice was centred on what he called the ‘productive limit’: those invisible or unstated conditions for the experience of art which could potentially be made explicit, and therefore negotiated or contested. Or as he put it on his blog Lives of Performers in 2012: ‘what there is to be jubilant about is that limit is everyone’s material and it is always here. And this is where to start.’
This year has produced, or revealed, new limits to our experiences of art and of each other. Artists Brian Fuata, Graham Kelly and Carolyn Lazard and researcher Adeena Mey were invited to respond to the idea of ‘limit as material’. The four propositions will be broadcast online over two days to a live audience, with a public discussion to be held on the second day. Each day’s broadcast will feature an interlude by artist Rachel Reupke.

[Day 1] Friday 11 December, 6 – 8pm

  • Adeena Mey: Return to the Kinomuseum
  • Interlude – Rachel Reupke
  • Carolyn Lazard: Untitled

[Day 2] Saturday 12 December, 1 – 3pm

  • Graham Kelly: Skull Island Part III
  • Interlude – Rachel Reupke
  • Brian Fuata: Mountains dissolved (ext. #2)
  • Live Q&A with Brian Fuata, Graham Kelly, Carolyn Lazard and Adeena Mey

The broadcast of Limit as material marks the launch of a website about Ian White’s writing, curating and performing.
In parallel with the broadcasts, Limit as material includes a commissioned essay on White’s performance works by writer Frances Whorrall-Campbell. Read here
Limit as material is curated by Eleanor Ivory Weber, in collaboration with Mike Sperlinger and the Artistic Estate of Ian White.
Limit as material is possible with the generous support of DAAD.

Brian Fuata is based on Gadigal Country of the Eora Nation (Sydney). He works in the improvisation of live or mediated performance, writing and objects. Using the image of the ghost as an exploitative strategy to produce and order content, his performances are timed, wherever he and whatever state the site is in when the alarm rings, is the end of work. He uses multiple registers of performance, persona and public speaking to produce from a given institutional context of site, body and presence a dumb zone of dramatic affects.

Graham Kelly is a visual artist and filmmaker. His practice is situated in the interfaces between contemporary forms of images, physical bodies, and environments. By considering these interactions as engulfing and continuous states or effects, his work seeks to expose and dissect power structures that are cast, distorted, or enforced within them. His works have been screened and exhibited in a number of international contexts that include: Rencontres Internationales, Haus der Kulturen der Welt, Kino der Kunst, Lo schermo dell’arte, EYE Filmmuseum, TENT, Transmission, NEST, Intermedia, Generator Projects and The Moscow Biennale for Young Art. He was a resident at the Jan van Eyck Academy in 2015/16 and at AIR Berlin Alexanderplatz in 2018.

Carolyn Lazard is a Philadelphia-based artist and writer working in video, sculpture, sound, and installation. Lazard has exhibited work at various institutions, including the Walker Art Center, the New Museum, The Kitchen, Kunsthal Aarhus, Camden Arts Centre, and the Whitney Museum of American Art. Lazard has published writing in the Brooklyn RailMousse, and Triple Canopy.

Adeena Mey is a researcher and curator. He has written and published on the intersections of experimental film, exhibition history, cybernetics, and Southeast and East Asian contemporary art. His curatorial projects include VideoArt Festival Locarno: A Prospective, Elisarion, Switzerland (with François Bovier, 2019); Neo Geography I & II, Centre d’art Neuchâtel, Switzerland; and Post Territory Ujeongguk, Seoul (with Kyung Roh Bannwart, 2017). He is managing editor of Afterall Journal in London and a lecturer at Ecal in Lausanne.


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