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My performances, installations and art interventions, often site-specific and participatory, have been presented across North America, the UK and Europe.
by Laura Nanni and Sorrel Muggridge
A series of experiences born out of a pandemic time, asking how, from a distance, might we remain connected, and how can we build a shared sense of place?
The onset of the pandemic gave Sorrel and I an urgency to reconnect. In response to this strange time we started walking together again, from a distance, Sorrel in Norwich, UK, and I in Toronto, Canada. We wrote directions from our homes for each other to follow. They were inspired by the real sights, sounds, and textures in our personal spaces, while imagining each other following the directions in our own unique environments.
This practice extended into a week-long residency period through the SummerWorks Lab. During this time we devised and tested a series of individual and group experiences that engaged participants in journeying simultaneously in two different locations, while taking directions from one another.
We used this research and development period to incorporate ASL interpretation into our work and also tested a variety of digital and analog options participants could choose from in order to communicate and stay connected with their transatlantic counterparts throughout the journey.
A review of the work featured in Now Magazine, can be found here.
Presented in Toronto, Canada and Norwich, UK, 2021.
Photo documentation by Gesila Azorbo, Anoosha Kargarfard and Adam Shawyer.
by Laura Nanni
It is reported that individuals will lock onto each other's eyes for an average of 8 seconds in two situations: before they are about to kiss or before they are about to kill.
Inspired by this claim, I took 100 lines from Hollywood films that were originally spoken the moment before a kiss or a kill and performed them out of context in random order. Source films for the lines ranged from "Rambo" and "Silence of the Lambs" to "Casablanca" and "Eternal Sunshine of the Spotless Mind."
Throughout the performance, an unedited and continuous projection played of me popping 100 balloons, one at a time, every 8 seconds, with my eyes locked on the camera lens. With each 'pop' I stopped mid-sentence and started a new line.
Very often, in this new context, the words originally said in situations of desire, flirtation and tenderness were undistinguishable from the words said in moments of rage, revenge and pain. The lines could function both ways, allowing the audience to interpret, draw connections between and construct a narrative for each one in real time.
This project also marked my fascination with and use of source material from Hollywood Cinema that I first explored with Finale... in 2004.
Presented by The Box Salon, Toronto, Canada, 2013.
Photo documentation by Coman Poon and Laura Nanni.
Video by Daniel Jardine.
by Laura Nanni and Sorrel Muggridge
A series of unique journeys created for individuals in long-distance relationships across the UK.
Sorrel and I created journeys for three pairs of participants to experience as a performance, uniquely devised for their relationship. The pairs lived between Nottingham and Edinburgh; London and Sheffield; Bethesda and Nottingham. We initially got to know got to know each participant through email and phone (the staple tools of any long distance relationship), then took time to explore their local areas on foot, and finally wrote journeys for them to experience when we met them in person.
Each "Relay" performance took place in two separate locations simultaneously. Beginning at the same time, each participant was led through an experience by one of us in their home town and connected at key points in the journey via phone.
This marked a new process for us-- creating intimate performances that have a direct relationship with their participants.
Elements of this work, which we continue to develop, involve:
Intertwining Landscapes: Participants will fill in details of an unfinished direction we provide, using landmarks/ physical attributes of what they see/ find in their present landscape. For example 'Keep straight until the _______ is at arm's length'; 'When you see the _______, run past it.' The finished direction is then passed on to the participant in the other location, for them to find/ follow. In addition to asking participants to navigate their surroundings through another's view, this activity can involve much playfulness and debate as participants complete and interpret the directions.
Poetic Maths: The distance between both participants is translated into a scale that can be experienced physically. For example, "The distance between London, UK and Sheffield, UK at a scale of 50,000 : 1, is the length of your index finger to your heart times two." Measurements like these encourage participants to understand and experience space and distance in relation to their own bodies.
Translation Drawing: Participants are asked to describe their view at a particular spot, or describe the horizon line while facing in a particular direction, while their long-distance 'partner', listening over the phone, attempts to translate the description into a drawing. The finished drawing is mailed to the other participant at the end of the journey.
For example, when Mik and Mike each reached their destination points in Edinburgh and Nottingham, we put them in touch with one another by phone, asking them to describe the view of their surroundings as the other translated their words into a drawing. At the end of the performance-walk, each drawing (made on the outside of the envelope used to mail the transcriptions, numbers, stories, and artifacts collected during the journey) was sent to the other.
While intimate, the experience of these works was also shared by audiences through this blog and as we journeyed through public spaces. Often traces of the experience—an imprint that we leave on the space with our bodies (i.e. footprints), a direction drawn in chalk, or an arrow built from twigs, will also catch the attention of someone long after the performance; leaving them to stop, wonder and re-interpret these markers on their own.
Presented in Nottingham, Edinburgh, London, Sheffield, Bethesda and Nottingham, UK, 2008.
Photo documentation by Julian Hughes.
by Laura Nanni
Hidden from me, yet in plain view of the audience, an alarm was set to go off and I began. My task? To create an ending. My text? The last lines of 100 Hollywood films.
The audience chose the duration of my piece without my knowledge (I was blindfolded as numbers were selected from a deck of cards), leaving me unsure when I would finish.
As I performed the non-linear text, switching between characters and voices, I also typed my lines, sourced from memory, into a keyboard. My typing, mistakes and all, were projected on a wall beside me.
A live close-up of my endings, mimicking and mocking the close-up shots of Classic Hollywood Cinema was projected on the opposite wall. Mixing live performance, video projection, and the element of chance, "Finale..." magnified the struggle to find closure while poking fun at attempts at constructing a perfect ending in performance and everyday life.
Premiered at 7a*11d International Festival of Performance Art, Toronto, Canada, 2004.
Subsequently performed at Galapagos Art Space in New York as part of "Williamsburg Bridging," an exhibition of emerging Canadian artists curated by Zoë Stonyk and methinks presents, 2005.
Performance documentation by Shannon Cochrane.
Additional documentation by Kotama Bouabane.
Made possible with support from the Ontario Arts Council.
by Laura Nanni and Sorrel Muggridge
An intimate and exclusive performance on foot through the streets of Montreal, Quebec and the pathways of Aberystwyth, Wales. Participants experienced their surroundings like never before, as their landscape intertwined with another over 4,000 km away.
Further Afield was a series of performance-journeys involving negotiation of public space, language, distance and one-to-one exchange. Guided by myself in Montreal and Sorrel Muggridge in Wales, each adventure was designed for two participants at a time to experience together in separate locations.
In this, and many of our other participatory projects, walking is employed as a dynamic and direct way for people to connect with their surroundings and each other.
Additional strategies employed for this project that we continue to use:
Intertwining Landscapes: drawing together people in remote locations through a shared experience. Participants define the details of an unfinished direction we provide, using landmarks/ physical attributes of what they see/ find in their present landscape. This process asks participants to navigate their surroundings through another's view; this activity can involve much playfulness and debate as they complete and interpret the directions.
Translation Drawing: at a particular point in the journey participants are asked to describe their view, one listens over the phone and attempts to translate the description into a drawing. The finished drawing is mailed to the other person at the end of the journey.
Poetic Maths: The distance between participants is translated into a scale that can be experienced physically; allowing them to connect with space and distance in relation to their own bodies.
Ephemeral Traces: We mark moments in these journeys with our bodies, objects and text that the public may stumble upon to wonder and reinterpret.
Presented as part of the Living Landscapes Conference at Aberystwyth University, Aberystwyth UK with Studio 303 Montreal, Canada, 2009.
Photo documentation courtesy of Aberystwyth University and Studio 303.
by Laura Nanni and Erika Hennebury
A project rooted in psychogeography, mapping fragile and often hilarious incidents experienced in Toronto.
Negotiating with a projected image, participants were invited to mark their personal memories and interactions on the landscape of Toronto using a legend that indicated sites of mishap, incidents of significance, phenomenas of love and landmarks of our everyday lives, forming a unique urban cartography. The result highlighted a complex web of human interactions and emotions.
Some examples from the Map Legend include: (Blue Dot- where you live, Orange Dot- place you most avoid, Pink Ring- somewhere you've had sex in public, Light Blue Ring- somewhere you've cried in public, Green Ring- location of your last kiss, Red Ring- location of your last awkward bump-in, Black X- place you'd miss most if we all died tomorrow and Black O- where you last saw your crush).
Presented at The Theatre Centre as part of Block in One Spot curated by Cathy Gordon and Toronto Free Gallery as part of "together you and i were a thousand languages” curated by Anthea Foyer and Siobhan O’Flynn, 2009.
Photo documentation by Trevor Schwellnus and Laura Nanni.
by Laura Nanni
A group performance experienced in the subway that playfully interrupted, underscored and poked fun at the mundane morning commute.
The subway, as a place of arrival and departure, of waiting, of routine, of constant movement and as a space with gaps in between, interested me as a setting to respond to, infiltrate and animate.
I devised a group performance to be repeated along The Bloor-Danforth subway line in Toronto from 7:30am-9:30am (during rush hour) for 3 days, so that it could potentially be witnessed by the same commuters multiple times at the start of their day.
When actions were performed in groups, seven performers were spaced out evenly across a subway platform, with the actions continuing across three stations. In all cases the work was designed to be experienced by viewers from the train, the platform and even security cameras.
Repetitive actions and choreography was created around morning rituals, but made strange through repetition and the use of matching props. The actions purposefully highlighted or juxtaposed the regular activities of subway passengers in a playful way from repetitive yawning, slow and exaggerated coffee cup drinking to striking poses with empty word balloons and in ‘superman pose’ in sync with the movement of the train. For example:
-Between the stations of Kipling and Spadina, performers held poses with empty word balloons as passengers got on and off the subway. The poses were held until the train fully left the station. In some instances, passengers were interested in engaging in dialogue around this intervention, including the TTC conductors, who on our last day of performance, as they had become accustomed to seeing us, waved and tooted the train horn when they passed.
-A repetitive action was created around reading the newspaper. The cover of the newspaper was painted blue. With the painting becoming more opaque, deeper in colour and covering more surface area from one platform to the next.
-A longer movement sequence sought to highlight and juxtapose the activity of the often sleepy and sluggish morning commuters. The two-minute set of actions began with yawning as the next train approached the station and ended with a ‘superman’ pose as the train exited the station. Each time, the yawning of the performers set off a domino effect with commuters on the platform and on the train.
Performed March, 2011 along the Bloor-Danforth subway line in Toronto.
Concept and Direction by Laura Nanni.
Performed by Annie Onyi Cheung, Sky-Fairchild Waller, David Frankovich Alicia Grant, Melissa Jokaim, Alexander Marques, Leora Morris, Laura Nanni, Tara Ostiguy, Tanya Pillay, Simon Rabyniuk, Cara Spooner, Bojana Videkanic and Helene Vosters.
Production Management by Shannon Cochrane and Elenna Mosoff.
Website documentation by Henry Chan.
Additional documentation by Cole J. Alvis, Jordan Tannahill and Evan Vipond.
Made possible with support from the Ontario Arts Council.
by Laura Nanni and Sorrel Muggridge
We began with a specific and enormous distance: 2360 miles.
Exploring ways to physically comprehend the enormity of global distances, Sorrel and I sought to physicalize the distance between our three festival locations: Riga (Homo Novus Festival), London (LIFT) and Newcastle (Wunderbar). We represented the 2360 with a scaled length of rope - one meter representing one mile. The rope was reconfigured in each city as a unique installation.
We told each audience the story of the distance and the journey between the cities and invited participants to help us erode this scaled distance.
We wrote directions based on real landmarks and the landscape that would be encountered on the journey from Riga to London to Newcastle and back again. Participants were invited to follow and interpret these directions where they lived while wearing a pedometer to track their distance traveled.
When the walkers returned to the gallery, a section of the installation was cut equivalent to the amount of distance they had traveled.
For the final presentation in Newcastle we measured what remained after the last round of walks; each stretch of rope from our hand to our heart signifying 10km. Our final performance ended with us acknowledging the distance traveled collectively by everyone who took part in the walks in the three cities: 52 km. With the audience, we counted the 52 km; each fist-full of rope equivalent to a km. The audience grasped the remaining rope one by one as we counted out each km aloud as a group.
Presented as part of “DISTANCE”, a mobile festival featured in three locations: Riga (Homo Novus Festival), London (London International Festival of Theatre) and Newcastle (Wunderbar), September-November, 2011.
Photo documentation courtesy of DISTANCE.
by Laura Nanni and Sorrel Muggridge
In autumn 2007, Sorrel and I embarked on our first residency together. Walking in Banff, for us, was about finding a way of meeting and building a shared landscape.
This work is meant to be appreciated as both an abstract form and narrative map of our journeys towards each other around the Marsh Loop in Banff, Alberta. It is a physical and conceptual representation of space and time, echoing the transforming processes of geology and human geography.
A sculptural map drawn with rope was initially wound around the perimeter of a studio space; the rope's length representing a scaled version of the combined distances we have traveled to reach Banff.
Gradually we unwound the rope from the wall to form peaks in the middle of the space representing our walks towards each other on the Marsh Loop. This height of the peaks was determined by how long it took us to meet, and the width of the base of each peak was determined by the number of steps we each took towards each other.
Each time we reached each other on the trail we would stop and draw our route from memory. The accumulation of these drawings was used to create a series of silkscreened maps representing our journey towards each other on the Marsh Loop.
Presented as part of the 'Walking and Art Residency' at The Banff Centre, Banff, Canada, 2007.
Process and installation documentation by Elinor Whidden, Sorrel Muggridge and Laura Nanni.
Additional Open Studio documentation provided by The Banff Centre.
Made possible with support from the Canada Council for the Arts.
by Laura Nanni and Sorrel Muggridge
We devised a set of directions that could be followed in different rural and urban locations, in search of the same location: the perfect place to meet.
The directions were written from real observations and places, but meant for open translation and creative interpretation. They were printed on postcards with a blank side for participants to record where they ended the journey: the shapes, sounds, objects and textures or features that make up their surroundings.
Since 2010 the same directions have been followed in Toronto, Montreal, Nottingham, Norwich, Edinburgh, Barcelona and Banff. They have been followed on first dates, on solo vacations, with groups of ESL students and as a family activity; every time leading to a uniquely perfect place.
Read and article on the project from Popupcity, here.
1. Start at the train station, by the steps, facing the art centre. Here, turn right and walk to the end of the street.
2. Pass the bush with berries and sign of higher education.
3. Turn left, heading for what might be a library.
4. Pass the bird house and a drawing in rust. (At the junction look back the way you have come).
5. Keep going towards the building with rainbow colours on it. When you reach it, turn right.
6. Continue for approximately 561 steps, or past 14 hazard signs, or until you hit the bench on your left. Here, follow the railing down.
7. Now step on to softer ground and head for the blue; keep straight seeing the sky touch down to meet you.
Presented as part of Norwich Arts Centre's Live Art Event, Norwich UK, 2010; project is ongoing.
by Laura Nanni and Adam Paolozza
All-ages duck-duck-goose, zombie-tag in the dollar store, a cheer rally under the bridge, slow-motion relay the supermarket, a 25-legged race and much, much more, led by us as performance/game coaches and referees.
Part performance, part intervention, part play-day, Time Out/ Game On invited participants and viewers to celebrate the spirit of the playground in and outside the park, while challenging our notion of playful space and deference to 'the rules of the game.’
For QWAC a rest station installation was set up in Trinity Bellwoods Park, equipped with health and fitness tips step-by-step instructions for solo and partner activities (i.e. walking your pet rock, jump rope for art, etc).
Presented as part of Queen West Arts Crawl, Parkdale’s Play/Grounds Festival and ARC Festival, Toronto, Canada 2006-2007.
Photo documentation of Queen West Arts Crawl by Henry Chan.
by Laura Nanni and Sorrel Muggridge
This site-specific performance walk was created to honour our first meeting in the same place.
At the time of creating this project, Sorrel and I had been collaborating on performances and installations dealing with distance, time and translation of space, always with an ocean between us.
The performance was devised around the intersection of King and Queen Street that first inspired ‘Space In Translation,’ our first collaboration in 2006. In Toronto, King and Queen Street intersect twice; once on the east side and once at the west end of the city.
We started this piece from opposite sides of the city and set out in a long-distance performance-walk in search of each other; ending with us meeting in person for the first time.
Presented in Toronto, Canada, July, 2007.
Photo documentation by Trevor Schwellnus.
by Laura Nanni and Sorrel Muggridge
Working with an astrophysicist, we determined that we would need to travel 669km up in order to see each other over the horizon. In 2007, we began a quest to climb this height, inviting the public to join us on our journey.
This vast height was quantified through a series of walks and climbs in our respective cities (up front steps, churches, fire escapes, stadium steps and car parks) to accumulate this grand total.
Each phase of the journey was guided by our search for new stairs to climb; unexpected viewpoints and long forgotten pathways were revealed in the process, giving us all a new perspective of our city.
Each journey took place simultaneously in Nottingham and Toronto, with climbers connected via phone during key points in the journey.
Climbers also recorded their experience and number of steps in sketchbooks which could be viewed by the public visiting the exhibition.
Presented by Angel Row Gallery (Nottingham UK) in conjunction with "Walking Life" exhibition at the Gladstone Hotel (Toronto ON), September 2007.
Photo documentation courtesy of Angel Row Gallery.
by Laura Nanni and Erika Hennebury
A personal and task driven performance. We gave each other a list of to dos for a week, meant to give us better insight into each other's lives, personal spaces and routines. The outcome was revealed to each other for the first time in front of an audience.
Our tasks included: record where you travelled every day for a week, record your dreams and record the first and last lines of books on your bookshelf.
We also allowed each other to visit our homes, while the house was empty; to open drawers, snoop around, observe and draw conclusions. What we found and learned by visiting each other's personal spaces was also reported to the audience.
After the sharing, we finished with a participatory mapping activity for the audience, which led to our often revisited project, "Mapping Natural and Unnatural Disasters."
Presented as part of the 'Pick 7' Series at Hub 14, Toronto, Canada, 2007.
Documentation courtesy of Hub 14 and Erika Hennebury.
by Laura Nanni and Sorrel Muggridge
Our creative journey began in two different countries, but at the same starting point: the intersection of King and Queen Street. This project marked my first collaboration with UK-based artist and curator Sorrel Muggridge.
Taking two maps of the same scale, I lined up the intersection Queen and King St. in Nottingham with Queen and King St. at the west end of Toronto.
Sorrel provided me with directions to Bonington Gallery from this intersection, using landmarks as the reference points (i.e. turn left at the post office, head towards the trees, walk past the building with the mirrored front and then hang right, etc.)
In Toronto, beginning at Queen and King, I followed these directions, documenting her journey. Both of us traveled on foot. The original journey taken by Sorrel was 15 minutes, over 827 steps. My journey following the same directions took 7 hours and 4173 steps, for a total of 5000 steps.
We translated these expeditions into a text and textile installation that brought attention to disconnects and correlations in our experiences; emphasizing a process of translation and distance.
This project, completely devised The entire site-specific project was created with an ocean between us, without us ever meeting in person and without me physically being in the exhibition space. This marked my first time devising a site-specific work without spending concentrated time within the site. Our process often became a game of ‘broken telephone’, our ideas on how to negotiate and travel through space were constantly translated and adapted by the other.
Presented as part of "Intersection" at Bonington Gallery, Nottingham, UK, 2006.
Photo documentation by Sorrel Muggridge.
by Laura Nanni
Not a regular walking tour.
Billed as "An upfront and personal tour of outstanding front lawns," the tour began in a serious vain as a night tour of lawns in downtown Toronto, but slowly devolved into a playful and absurd experience, finishing with a chase through backyards and Trinity Bellwoods Park hunting an evasive garden gnome thief.
Presented as part of "Secrets of the City: Curious City Walking Tours" curated by Anthea Foyer for Nuit Blanche Toronto, Canada, 2006.
by Laura Nanni
Walks etched in glass.
Produced in 2011 as part of a research and development project, experimenting with glass as material for site-specific installation.
Walks taken by me in Toronto were translated into sound waves. The waveforms were then sandblasted into panes of glass.
Made possible with support from the Canada Council for the Arts.
by Laura Nanni
Six thousand copies were placed in books for readers to find.
A bookmark I created for a site-specific intervention at the Koffler Gallery in conjunction with the Annual Jewish Book Fair.
The photographs capture my image at different times as I hold my breath and finally release. When placed in a book right side-up, the image sticking out would reveals my strained face. Only when the book is opened, and the reader engages with the story again, is my exhalation visible. The entire visual narrative is not complete unless the book is opened and engaged, much like the written story itself.
Presented as part of "Pause…" at Koffler Gallery, 2003, Toronto, Canada.
Photo documentation courtesy of Koffler Gallery.
by Laura Nanni
Photographs taken in residency while attending the Don Blanche Residency in 2010.
As a creator, my work has been presented across North America, the UK and Europe including 7a*11d International Festival of Performance Art and Hub 14 (Toronto); Studio 303 (Montreal); The Banff Centre (Banff); Galapagos Art Space (New York) and Angel Row (Nottingham). Most recently, with my frequent collaborator Sorrel Muggridge, I was commissioned to create a three-part, site-specific work for the London International Festival of Theatre (London, UK), Wunderbar Festival (Newcastle, UK) and Homo Novus Festival (Riga, Latvia).
Through performance, site-specific installation and art intervention in the public realm, I seek to interrupt how we traditionally use and interact within common spaces; encouraging viewers and participants to break from routine; to journey off predictable paths; to examine what often goes unnoticed and question the familiar. In my process-based works, I often place myself under extreme conditions of time, space and order, where routine activity and expectation is interrupted or under scrutiny—to both tragic and comic effect. Recurring in my research and creative explorations is the process of walking and aspects of mapping, navigation and intersection (between public/private, virtual/real, scripted/accidental).