(Sorry, but you’re boring. You make me yearn for silence, for the absence of you.)

Gorge: Chicken is the second iteration of an ongoing project that brings bodies around a dinner table for a messy politically-charged encounter with other eating bodies.

(Do the chicken dance, you chicken.)

Why ‘Gorge’?

It’s like gorge yourself silly until the gorge rises and like: that’s gorge babes.

(It’s mean in the henhouse, as well as hot and loud and feathery.)

 Why ‘Chicken’?

It’s a bit stupid really.

And it’s like ‘chicken’ like sissy like shouting on the playground like the unwanted patron saint of queer kids.

(I hate to say it, but fear makes your face look puffy, indecision makes you smell funny.)

And it’s also like food and autobiography and how do we think about how we are what we eat without a horrible easy identification between food and empathy or universalism or cross-cultural tourism.

(It’s mean here, and you’re soft and easy and you’re bringing us down. You’re soft and we’re not.)

And it’s probably other things too. Like meat and how we get it. Like the poetry of the deep fryer. Like clucking and tutting – like gossip. Like closeness through memory.

So welcome and please enjoy.

(We’ll laugh at them won’t we. We’ll laugh and laugh.)

Text by Johanna Linsley. Photos by Timothy Smith and Christa Holka. Thanks to Apiary Studios.


1. ]performance space[

see: Benjamin Sebastian, see: Bean, see: Poppy Jackson, see: listening, see: like, really listening, see: 'we could be fucking and we wouldn't be any closer', see: holes, see: leaking, see: light

2. Butler, Season

see: Hans Christian Anderson, see: The Little Mermaid, see: Oulipo, see: admin aesthetics, see: cut ‘n paste, see: stationery fetish

3. Emergency Index

see: www.emergencyindex.com

4. Ishiguro, Yoko

see: blood (fake), see: how to make an entrance, see: meta, see: death scene, see: classic

5. Kartsaki, Eirini

see: repetition, see: repetition, see: repetition, see: voice, see: text, see: body

6. Lobel, Brian

see: Sex in the City, see: I want to be a Miranda, but I’m really a Charlotte, see: memory, see: countdown


see: Rachel Lois Clapham, see: Mary Paterson, see: Alex Eisenberg, see: Open Dialogues, see: the mark and the live, see: self-publishing as performance medium

8. Oliver, Daniel

see: the future, see: catastrophe, see: possession, see: séance as index of disaster, see: sorry

9. Robinson, Sophie

see: dogs, see: songs, see: poetry

All photos by Christa Holka. Thanks to ]performance space[



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All photos by Christa Holka. Live blogging by Alex Van Vliet. Thanks to Rivington Place.










28 February, 7.30-12
]performance s p a c e [
Swan Wharf, 60 Dace Road E3 2NQ


There is the thing, and there is the thing that tells you about the thing.

Join us, so we can tell you about our things.

On 28 February, at the brand new ]performance s p a c e[, we'll be getting proper meta, thinking about performance and notation, scores and scripts. The event celebrates the publication of Emergency INDEX Vol. 2, an indispensable resource which performer and Franklin Furnace founder Martha Wilson calls 'a bible of performance art activity'. We're also thrilled to be launching Chapter 1 of NOTA, a performative publication by Open Dialogues.

We'll be presenting performance acts, video and text. We'll talk, we'll drink, we'll index.

Artists include:
]performance s p a c e[, Brian Lobel, Season Butler, Warren Garland + Josh Baum, Yoko Ishiguro, Eirini Kartsaki, Open Dialogues, Justin Hunt + Johanna Linsley, Daniel Oliver, Sophie Robinson

About Emergency INDEX:
This is a bible of performance art activity. And if you are, like I am, a believer in performance art and the value of this ephemeral art activity to change the hearts and minds and consciousness of people, then you need to have this bible in your life. The end. —Martha Wilson

We’ve been seeing performance art materialize around us, but without feeling that there was a context for such ideas. Artists have been doing such pieces for a long time without much recognition that in fact their ideas are related. Now, with Emergency INDEX, we get the sense of a magical secret shared among many artists. Emergency INDEX is a profoundly important publication. It guides us to a new place. —Robert Ashley

Emergency INDEX vol. 2 will be available for the special launch price of £10.

About NOTA Chapter 1:

NOTA: NOT, NOTES, NOTER, (NOTA), (NOT/A), is a research framework produced by Open Dialogues that presses on time, place and quality of notes in relation to performance.

Chapter 1 is the first of ten publications that accompany the work. It is a collection of time-stamped documents – handwritten notes, absent-minded doodles and choreographic diagrams – that were NOTAted in relation to SHOWTiME performance festival (2012) and includes a critical text by Rachel Lois and Mary of Open Dialogues on the subject of notes as the future of performance remains.

Chapter 1 will be assembled live on the evening of the launch by Rachel Lois and Mary, bound by hand and finished with a unique time-stamp. No two publications are the same. Available for the special launch price of £4.











13 December/ 12-8.30pm/ Rivington Place, EC2A 3BA

Aspirational ‘How-to’/Trash TV/Domestic Labour/Daytime Drama


Durational Dramas

Alex Eisenberg & Rosie Carr/ Figs in Wigs/ Gia Mitchell/ Michael Ovaska/ Alex Van Vliet/ David Wilson/ Kerry Underhill/ Liz Rosenfeld/ Helena Walsh



Katy Baird & Lucy Hutson


Short Acts

Owen Glyndwr Parry/ Season Butler/ Sophie Robinson/ Johanna Linsley/ Oriana Fox/ Benjamin Sebastian/ Dr. Sharon Husbands

IWY 11: Gorge: The Takeaway

preliminary measures


an alienated toast

setting the table: a silent lecture

food (porn)

foodgasm berlin

a fruity critique

a little something extra to take away

Gorge playlist courtesy of Jan Mertens.

All photo credits: I’m With You, ‘Gorge’, Pacitti Company Think Tank, images taken by Christa Holka

HUGE thanks to Robert Pacitti and the terrific folks at Pacitti Company (with special thanks to Kate, James, Sally and Jen)!

IWY 11: Gorge

On 5th September, I’m With You comes to Ipswich, to gorge in the Pacitti Company’s new space. Like gorge yourself silly, until the gorge rises, and like that’s gorge, babez. Part performance, part meal, Gorge brings bodies around a dinner table for a messy, politically-charged encounter with other eating bodies.

We think of The Futurist Cookbook, and the inedible, and the tasteless. We think of wholesome, nutritious Fluxus acts, and when we try to make a salad, we accidentally deep-fry it. We think of Kate Zambreno‘s provocation to taxonomise (women’s) writing styles as anorexic or bulimic, and we think about our own disordered eating episodes until we want to throw up.

We think about Barbara Kirschenblatt-Gimblett, and food as performance. We think about recipes as scores, like Goat Island‘s task-based and essayistic performance practice.

We think about second-wave feminism, and dining with Judy Chicago. We think about sell-by dates and use-by dates and we shake off the idea that we’re just a little bit past it.

We think about Nigella Lawson’s silky swagger, and just a little midnight snack. We think about a thousand middle class supper clubs, and we think about global food shortages. We think of Lauren Berlant on Mary Gaitskill, and food as incantation, and pleasures that make us feel bad. We think of Mervyn Peake, and Gormenghast, and hot, sweaty, murderous kitchens. We think about a comestible Gothic, an idea that both arrests us, and gets the juices flowing.

We are excellent hosts. We take hospitality seriously – the home and the guest constitute an important dynamic for us.

And we are good cooks, actually, unlike Zelda Fitzgerald, who struggles wittily with toast in her recipe for ‘Breakfast’. This time, tho, we’re taking on the idea of the takeaway, the abundance of absence, and what’s the takeaway on this meeting, hmmmm?

More on all of this (including VERY SPECIAL GUESTS) soon.

In the meantime, book your tickets in advance. We’d love to have you for dinner.

IWY 10: Cleansing Fires


On 29 October 2012, we held our last ever I’m with You at Mayola Manor in Lower Clapton, London, the house where I’m with You began in October 2009.

We invited a small group to say goodbye to Mayola with a series of rituals.

GraceLES (R. Justin Hunt) in which all those present stood in all the doors of the house in song led one called Opera in Doors:

Johanna led a seance in the garden under the full moon:

the clouds seemed to part during the seance

Benjamin led a ritual in the kitchen:

My Heart is Your Home by Benjamin Sebastian

Finally, we walked into the woods

to burn things

All of us, Milifields Park, one last time:


Tagged ,

My London 2012

In the years months days leading up to the Olympics I started blaming everything on them. Everything. If something bad happened to me no matter what it was, it was obviously the Olympics’ fault. In fact, I decided that the Olympics were ruining my life—I mean ruining OUR lives. I even tried to get #olympicsareruiningourlives trending. I was becoming so angry about everything related to the Olympics every time I saw LONDON 2012 (which was/in constantly) I wanted to smash something. Every time I got an email in my inbox from TFL (London’s public transport) saying I can’t cycle in this lane because it’s Olympics this or that, that this tube line was shut, or the overground was shut without notice two times in two days…. FUCKING OLYMPICS!?!^£%$”^$£%”^.

And let me just say, It’s not just oh poor me getting anywhere in London is the worst nightmare right now, it’s that it’s taking massive amounts of public money and turning it to corporate profit (or is it, or are we all going to continue to suffer for corporate loss, in fact) while providing one of the most comprehensive excuses for cynical ‘urban renewal’ ever… plus, coming at a time when the NHS is being taken away, yet there is all this money to spend on everything Olympics?!?! but I digress…

But then, something happened. Well a few things happened. First, there was the torch relay, which, like everything olympics, I was going to avoid at all costs, but how could I; it was taking up every major street where I live to everywhere else. But what’s more, I got a call from Lyall Hakaria of Vogue Fabrics (East London’s hottest nastiest basement venue) asking me to come down to take a “Class Photo” of Vogue’s best dressed family of queers as the Olympic Torch passed by. As disgusted as I had been feeling toward the Olympics, how could I not? And so I did. Unfortunately I was in such a hurry that I turned up with my DSLR without its memory card so all I could do is snap away on my iPhone but, hey, it works.

Here are the biggest stars of the torch relay in Dalston (click on the image for the full album):

After that, I thought, well, that is the closest I’m getting to the Olympics that’s it over and done. And then on the night of the Opening Ceremony, I was minding my own business, hanging out at Stav B’s Darkroom when all of a sudden this group of what looked like nurses on roller skates rolled into the bar. I am not even kidding.  Look here:

I didn’t know what to make of them but then my friend Alison (who had just watched most of the opening ceremonies) gasped, “Wait! I’ve just seen them on tv!” and I learned that these nurses on roller skates had just performed in the Opening Ceremony. I watched them roll around the place, pull up their skirts and fall over drunk. It was amazing.

The torch relay and the nurses on roller skates, they are just my minor brushes with the Olympics. Somewhat circumstantial, somehow intentional, always just like a lot of how I work between intention and circumstance (whether I like it or not). And then the first day of the games began.  I was doing my usual morning news trolling and I saw these two images first thing, first images I saw of the Olympics.

And I was like oh haaaay, OLYMPICS! And somehow I saw a few more. I can’t remember how I got from these images of the Russian volleyball teammates (left) and the one of the German volleyball teammates (right) but something happened and I couldn’t be stopped. And I can’t be stopped. I’ve let go of most of my anger and blame and otherwise unpleasant attitude toward the Olympics and am now focused on seeing the Olympics just in this particular way full of—well, have a look, this is My London 2012 (click the photo for the full album, which at the time of this writing has over 100 images):

DOCUMENTATION:IWY9: I’m with you at the Hayward Gallery

Photographs by Christa Holka of I’m with you @ the Hayward Gallery, London


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