Best of #9
- Dates and Opening times
Sat 8 Jun, 3pm
To book tickets, please RSVP to info@swg3.tv- Venue
SWG3 Galvanizers
100 Eastvale Place
G3 8QG- Participants
- STASIS
- Presented by
SWG3
- Accessiblity
Good access: The venue has ramped or level access and/or lifts to access upper floors
Toilets: The venue has toilets available for visitors
Accessible Toilets: The venue has a wheelchair-accessible toilet
Gender Neutral: The venue has toilets not separated by gender or sex
Baby change: The venue has baby change facilities
Refreshments: There is a café or somewhere you can purchase refreshments
The work is conceived as a movement-based promenade that responds to the particularities of the site; duration is approximately 30 minutes. There is a wheelchair-accessible lift and seating will be provided.
For additional access information, click here
Best of #9 is a performance by the collective STASIS, commissioned to mark the opening of SWG3’s garden space. Devised and performed in situ, the work features Isabel Palmstierna, Aniela Piasecka and Paloma Proudfoot, with Jordan Pilling and original music by Ailie Ormston.
STASIS sits between the disciplines of dance, performance, theatre and live art, exploring and expressing the performers’ creative understandings and experiences of gender. The group are drawn to transforming non-performative spaces into temporary stages, playing with both the lo-fi and the maximal, creating works that self-consciously seduce, surprise, morph and change. Best of #9 is soundtracked by Scandinavian electro, 1980s house music, faux historical classical music and an original composition by Ailie. It is a celebratory work that also features a bespoke ‘cake-hat’, created by Jordan.
Best of #9 is the latest in a series of Best of works by STASIS. This series represents a performance methodology that takes inspiration from the concept of greatest hits compilation albums by successful music megastars. Each new edition of Best of cannibalises the so-called best moments of past performances, remixing and adapting them into new material as an irreverent and humoristic exercise in self-canonisation.