Agatha Gothe-Snape

Agatha Gothe-Snape, 'Physical Doorway (Three Ways)', 2016, digital print on mesh PVC banner. Installation view (2016) at Cockatoo Island for the 20th Biennale of Sydney. Courtesy the artist and The Commercial Gallery, Sydney. Photograph: Ben Symons
Agatha Gothe-Snape, Physical Doorway (Three Ways), 2016, digital print on mesh PVC banner. Installation view (2016) at Cockatoo Island for the 20th Biennale of Sydney. Courtesy the artist and The Commercial Gallery, Sydney. Photograph: Ben Symons

Born 1980 in Sydney, Australia
Lives and works in Sydney

Stay up to date with Agatha Gothe-Snape on

Twitter

Divider (small)

In her wide-ranging conceptual practice, Agatha Gothe-Snape often turns to improvisational performance. Working with ephemeral materials and subtle alterations to space, she uses language and choreography as her chosen mediums – to question our relationships to one another, to art, and to the contexts and histories in which all these are situated.

In past works, Gothe-Snape has explored the connections between body, time, space and movement, through instructional text and improvisation. Three Ways to Enter and Exit, for instance, is a visual score that dancer Brooke Stamp performed in 2011, which was re-presented in 2014 alongside a narrative about the relationship between performance, subjectivity, documentation and memory. Gothe-Snape also collaborated with other dancers to create a new iteration of the work, Other Ways to Enter and Exit, in response both to Stamp’s dance and to Gothe-Snape’s remembered account of it. Description served as another form of score, or as a script for dance, but rather than simply prescribing movement, the work offered up a class of ideas – thoughts or suggestions for many possible courses of action.

Emerging from this and other works made with Stamp as her investigative partner, for the 20th Biennale of Sydney, Gothe-Snape presents Here, an Echo, 2015–16. The artist has described the project as a choreography for the city – a score, performance and document – unfolding over three weekends during the exhibition. Taking place within a focused zone of activity, extending from Speakers’ Corner in The Domain to Wemyss Lane, Surry Hills, this expansive, non-monumental work, periodically enlivens urban spaces with site-specific happenings and discursive events. Together with a number of other collaborators, Stamp
and Gothe-Snape develop ‘performative interferences’ – literal and metaphorical markers that use language to choreograph the viewer, casting new light on quiet things in the process.

Each event begins its life as a proposition: a cue for action and a response to a specific location. The resulting performance that temporarily inhabits each site is then translated by Gothe-Snape as text, and, over time, these written accounts accumulate as a series of kōans, or poetic interludes, emerging from the fabric of the city itself. Whatever the final mode of encounter, Here, an Echo is a call to movement — if places don’t remain still, then why should you?

Agatha Gothe-Snape’s recent solo exhibitions include ‘Free Speaking’, Studio 12, Gertrude Contemporary, Melbourne (2014); ‘Taking Form: Agatha Gothe-Snape, Sriwhana Spong’, Contemporary Project Space, Art Gallery of New South Wales, Sydney (2013); ‘Late Sculpture’, The Commercial Gallery, Sydney (2013); and ‘Inexactly THIS’, Kunstvlaai Festival of Independents, Amsterdam (2012). Recent selected group exhibitions include ‘Pavilion Without Walls’, Performa 15, New York (2015); 8th Berlin Biennale for Contemporary Art (2014); ‘Trace: Performance and its Documents’, Queensland Art Gallery | Gallery of Modern Art, Brisbane (2014); and ‘Melbourne Now’, National Gallery of Victoria, Melbourne (2013).

More

Exhibiting Artwork