Lizzie Thomson

Appendix #1

The Gesture of Writing is one of four cahiers in the series of 'Time has fallen asleep in the afternoon sunshine', a project of Mette Edvardsen's since 2010.

Contributions in the first appendix by Ane Thon Knutsen, Itxaso Corral Arrieta, Ben Woodard, Lizzie Thomson, Dora Garcia, Léa Poiré, Victoria Pérez Royo and Mette Edvardsen, as well as handwritten letters by living books of 'Time has fallen asleep in the afternoon sunshine'.

Editors: Léa Poiré, Victoria Pérez Royo and Mette Edvardsen.

Graphic Design: Michael Bussaer.

Cover: Itxaso Corral Arrieta.

Translators and copy editors: Patrick Lennon, Catherine Meeus, Simon Malone, Jean-Félix Marécaux, Christophe Giudicelli, Jack Cox, Maxime Schouppe.

Published by Time has fallen asleep in the afternoon sunshine & Les Laboratoires d'Aubervilliers (2024).

The First Thing We Make is the Conditions of our Meeting: a gathering on gathering by Theron Schmidt with Diana Damian Martin, Mick Douglas, Reza Mirabi, Ellen O’Brian, Rajni Shah, Val Smith, Lizzie Thomson and Julie Vulcan.

Published in Performance Research Journal’s issue On Meeting, volume 28, issue 2, edited by Simon Bayly and Johanna Linsley.

A review commissioned by Performance Review Online about Shelley Lasica’s performance-exhibition WHEN I AM NOT THERE presented at the Art Gallery of NSW in May-June 2023.

Read the text here

‘A Curious Grounding: Agatha Gothe-Snape’s A Well Being (2023)’ is a short essay written in response to Agatha Gothe-Snape’s public art work, A Well Being, at the University of New South Wales Kensington Campus, commissioned 2022. The essay was published in poster form for the launch of Gothe-Snape’s work. The poster is double-sided, with the essay printed on one side and a thousand phrases gleaned from conversations between Gothe-Snape and participants of UNSW community printed on the other side.

Text: Lizzie Thomson

Editor: Kay Campbell

Design: Alexander Tanazefti

Written in response to Rosalind Crisp’s performance work The real time it takes… for Dancehouse, Naarm/Melbourne.

Read the text on Dancehouse website here

The real time it takes… was presented by Dancehouse 31 August - 9 September, 2023.

Choreographer/Dancer: Rosalind Crisp

Collaborator/Operator Light & Sound: Andrew Morrish

Collaborator/Choreographic Video Artist: Phoebe Robinson

Historical Companion / Memory Expert: Lizzie Thomson

Video Operator: Sam Mcgilp

Production: Omeo Dance Inc.

A Green Presence is a text written in response to Agatha Gothe-Snape’s performance lecture Rogue Monologue, 2021. The text was commissioned by Performance Review. Rogue Monologue was presented at the Art Gallery of NSW, Gadigal Country, Sydney, for The National, 2021. Rogue Monologue was performed and created by Agatha Gothe-Snape in collaboration with Andrew Burrell, alongside Alexandra Chalmers Braithwaite.

Read the text on Performance Review website here

In Perpetuity is part of Ivey Wawn’s project of the same name. With contributions from those involved in the making of what would have been the live performance, it is an accumulation of thoughts, reflections and associated pieces of work that give some idea of what the work could, would, or may in the future come to be.

For this book, I have written an essay entitled Reasons to Mourn, Reasons to Dance in response to Ivey’s project.

https://next-wave-festival.myshopify.com/products/in-perpetuity-a-book-and-a-fragrance

This choreographic paper was presented as part of the Dance Plenary in the Australasian Association for Theatre, Drama and Performance Studies Conference, hosted by UNSW, 2020.

Based loosely around an investigation into relations between language and embodiment, this experimental choreographic paper / workshop exists in written form and is delivered through spoken word to participants. It is structured in five parts, with each part offering a different entry into dance. The underlying frame of attention throughout the workshop is the question, ‘how do we attend to this dance?’. Underneath this frame, is the unspoken question, ‘what is this dance?’. We explore exercises that approach dance from a number of contemporary and ancient Western perspectives including ancient Greek beliefs about organs, the etymology of various words we use for body parts, Western binaries pertaining to space and bodies, and exploratory practices of listening through touch and memory.

Image: an Ancient Roman mosaic of a skeleton reclining, with the words “Know Thy Self’, Pompeii.

This project was supported by the NSW Government through Create NSW.

Time has fallen asleep in the afternoon sunshine: A book on reading, writing, memory and forgetting in a library of living books

Thoughts on Performing (inside a work / as a work / as work) at Newtown Library, republished in this book, edited by Mette Edvardsen, Kristien Van den Brande, Victoria Pérez Royo, Runa Borch Skolseg, Mousse Publishing and osloBIENNALEN, 2019.

Available at https://www.moussepublishing.com

http://www.timehasfallenasleepintheafternoonsunshine.be

In November 2022, my chapter was translated in Finnish by Simon Vassinen for an iteration of living books in Moving in November Festival in Helsinki.

Score for a Dance, a text for the catalogue of the exhibition Connecting in the Grey Zone, curated by Anador Walsh, mentored by Mark Feary, presented at Blindside Gallery, Melbourne, 2019.

PDF available at http://bit.ly/CITGZPublication

Printed Breath Slopes by Gentle Jim is a novella written to be read aloud in the context of intimate performance. Supported and presented by ReadyMade Works, 2019.

Fierce and Fragile: Vicki Van Hout’s provocative body of work, essay in catalogue for exhibition In Response: Dialogues with RealTime, curated by Erin Brannigan, at UNSW Library Exhibition Space, 2019, Kensington Campus.

PDF available at https://www.realtime.org.au/wp-content/uploads/2019/04/In-response-CATALOGUE.pdf

Museums, Closets and Two Quiet Feminisms, ADSR Zine, issue 002, 2019, edited by Elia Bosshard, James Hazel and Sonya Holowell.

Available at https://www.adsrzine.com

Guest Editor for Runway Australian Experimental Art, Issue #36, DANCE, March 2018, issue in association with the 2018 Keir Choreographic Awards, supported by Carriageworks and the Keir Foundation.

Available at http://runway.org.au/archive/36-dance/

(Website currently being updated)

Thoughts on Performing (inside a work / as a work / as work) at Newtown Library, in 'Performance, Choreography, and the Gallery', Performance Paradigm, Issue #13, December 2017., edited by Erin Brannigan, Hannah Mathews and Caroline Wake

Available at http://www.performanceparadigm.net/index.php/journal/article/view/199

Guest Editor for dance/visual/art, in Critical Dialogues, Issue #9,

Supported by Critical Path. Published March 2018.

Available at https://issuu.com/criticalpath/docs/critical_dialogues9

Book chapter co-authored with Erin Brannigan and Matthew Day, Research as Co-habitation: Experimental Composition across Theory and Practice, in Hetty Blades & Emma Meehan (Eds.). Performing Process: Sharing Dance and Choreographic Practice. London: Intellect, 2018,

Available at https://www.intellectbooks.co.uk/books/view-Book,id=5313/

Jazz: Scores in Hindsight, in 'Writing Dancing', Critical Dialogues, Issue #5, (pp. 9 & 19), 2015, Edited by Erin Brannigan and Justine Shih Pearson

Available from:

https://www.academia.edu/15783836/Critical_Dialogues_Issue_5_Writing_Dancing

Performed paper with Erin Brannigan & Vicki Van Hout, 24 Frames Presentation Thomson, Van Hout, Brannigan: At the Nexus Between Dance, Film and Visual Arts, in Tanz Connexions: Asien Pazifik Deutschland, Special Feature: Dance and Screen, Jakarta: Goethe Institut, 2015.

Available from:

http://www.goethe.de/ins/id/lp/prj/tco/arc/asf/das/en14786927.htm

Co-authored dialogue with Angela Goh, Email Conversations on Contemporary Arts Practice (abridged), in Un Magazine, Issue #8.2, 2014, pp. 89-91.

Available from: http://unprojects.org.au/content/1.magazine/2.issues/10.issue-8-2/un_8.2.pdf

Exhibition essay for One’s Own Dual, Photography and video installation by Rafaela Pandolfini, Room Sheet, First Draft Gallery, Sydney, 2012.