Cally spooner biography
- Biography.
- The work of Cally Spooner (b.
- Using text, sound and choreography, Athens based artist Cally Spooner (b.
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Cally Spooner
Bulegoa z/b in Bilbao, Contemporary Art Centre Vilnius,
If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution
in Amsterdam, KW Institute for Contemporary Art in Berlin, Playground Festival (STUK arts centre and M Museum) in Leuven, and Tate Modern in London collaborate in Corpus,
an international network for commissioning performance-related work.
These institutions, diverse in scale, character and history, share a longstanding interest in, and engagement with performance. Sharing experiences, ideas, and (re)sources, Corpus aims to invest in the practice of performance and embraces its many connotations and varied intellectual kinships. Associated partners to Corpus are: CAPC musée d'art contemporain de Bordeaux, Casa do Povo in São Paulo, La Ferme du Buisson in Noisiel, The Kitchen in New York, Kunstverein für die Rheinlande und Westfalen in Düsseldorf, Gallery at REDCAT in Los Angeles, Ujazdowski Castle Centre for Contemporary Art in Warsaw.
Corpus was founded in 2012 by the Centre d’Art Contemporain in Br&ea
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Cally Spooner (UK)
Biography
Cally Spooner was born 1983 in Ascot, UK. She lives and works in London. Her work has been widely exhibited both nationally and internationally since 2008. Group shows of Spooner’s work include exhibitions at Serpentine Gallery, London, Biennale d’Art Contemporain, Rennes, France, Institute of Contemporary Art, Philadelphia (all 2012), Jeu de Paume, Paris (2013), Kunstverein München inMunich (2014) and others. Her solo shows took place, most notably, at Artissima Art Fair in Turin (2012), MOTINTERNATIONAL, Brussels and the National Academy, New York (both 2013), as well as Tate Modern (2014). She has received a number of awards and grants for her work, both in the UK and abroad.
Works
Cally Spooner. “Damning Evidence Illicit Behaviour Seemingly Insurmountable Great Sadness Terminated In Any Manner”, 2014
Cally Spooner. “And As The Medieval Cloisters Connect Seamlessly With The Corridors Of Power, I'm Quietly Confident (U Turn)”, 2013
Cally Spooner. “Off Camera Dialogue (Employee)”, •
DEAD TIME (Maggie’s Solo), 2021
A Wall-to-wall film projection “DEAD TIME” (Maggie’s Solo)”, 2021: an editorial clock is counting time by the millisecond upward while a solo dancer performs exhausting choreography, swiping, hooking, and tackling, accompanied by a loud beep repeated every 42 seconds.
Following this temporally pressurised “tune,” the choreography opens with a high-pitched mix of contemporary gladiatorial activities: jabs, burpees, and rugby moves. Even running in circles while on the floor, Maggie’s movements suggest a painful and pointless circular acceleration, a self-inflicted, impossible pace. Maggie’s movements follow the repeated choreographic instructions of a voice (Spooner’s voice): “Jackal,” “Stop,” “Still Life.” She next arranges herself into a selfie pose, available to the camera.
The extreme close-ups of Maggie’s limbs, heavy breathing, and intense studies of her face are chased by the cinematographer carrying a wearable body camera. Falling in and out of focus, the images flicker between rehearsal documentation and rus
DEAD TIME (Maggie’s Solo), 2021
A Wall-to-wall film projection “DEAD TIME” (Maggie’s Solo)”, 2021: an editorial clock is counting time by the millisecond upward while a solo dancer performs exhausting choreography, swiping, hooking, and tackling, accompanied by a loud beep repeated every 42 seconds.
Following this temporally pressurised “tune,” the choreography opens with a high-pitched mix of contemporary gladiatorial activities: jabs, burpees, and rugby moves. Even running in circles while on the floor, Maggie’s movements suggest a painful and pointless circular acceleration, a self-inflicted, impossible pace. Maggie’s movements follow the repeated choreographic instructions of a voice (Spooner’s voice): “Jackal,” “Stop,” “Still Life.” She next arranges herself into a selfie pose, available to the camera.
The extreme close-ups of Maggie’s limbs, heavy breathing, and intense studies of her face are chased by the cinematographer carrying a wearable body camera. Falling in and out of focus, the images flicker between rehearsal documentation and rus
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