Joe Moran, Arrangement, 2011. Photo David Edwards.

Date: 23 – 26 June 2016
Times: Thursday: 14:00 – 19:00
Friday, Saturday, Sunday: 11:00 – 18:00
Full schedule below
Venue: Delfina Foundation

Live Creations is a performance-based exhibition by UK Associate Joe Moran conceived to bring choreographic thinking and the agency of dance artists into the gallery. Over four days, public are invited into the creation of Moran’s On the Habit of Being Oneself, an uncompromising new work concerned with the potential of unmediated dancing. Moran is joined by a group of independent dancers to foreground the embodied critical knowledge at play in contemporary dance production, transforming Delfina Foundation into a site of live creation. Each afternoon a guest artist, dramaturge or writer will take part in a conversation on the unfolding choreographic inquiry, contributing to its discourse, realisation and implications.


Open practice
A spacious, guided movement practice with Moran and dancers, also open to anyone wishing to join. This warm up welcomes those from any background, with or without movement/dance experience. Comfortable clothing allowing for freedom of movement recommended.

Visitors are invited to witness Moran’s creation process taking place live in the gallery in dialogue with guests.

During dancers’ daily break, the gallery will be populated by a sound installation of lectures and discussion from theorists and artists on choreographic thinking and associated critical thought.

Each day, Joe and colleagues will offer an informal work-in-progress performance of the new work in development, On The Habit of Being Oneself. Throughout the exhibition the artists will experiment with potential sound and sculptural inventions by Kaffe Matthews and Eva Rothschild.

Talk (Thursday Late only)
Phyllida Barlow and Martin Hargreaves join Joe Moran in conversation on the concerns of his practice and the project.


Thursday (Late)

14:00 – 15:00 | Open practice

15:00 – 18:00 | Making, with Phyllida Barlow

18:00 – 19:00 | Installations

19:00 – 21:00 | Performance and talk, with Phyllida Barlow and Martin Hargreaves


11:00 – 12:00 | Open morning practice

12:00 – 13:00 | Making

13:00 – 14:00 | Installations

14:00 – 17:00 | Making, with Kaffe Matthews

17:00 – 18:00 | Performance


11:00 – 12:00 | Open morning practice

12:00 – 13:00 | Making

13:00 – 14:00 | Installations

14:00 – 17:00 | Making, with Martin Hargreaves

17:00 – 18:00 | Performance


11:00 – 12:00 | Open morning practice

12:00 – 13:00 | Making

13:00 – 14:00 | Installations

14:00 – 17:00 | Making, with Daniel Felstead

17:00 – 18:00 | Performance


Phyllida Barlow (born 1944) studied at Chelsea School of Art, London (1960–63) and then the Slade School of Fine Art, London (1963–66) where she later became a Professor. Barlow’s work has been presented in solo exhibitions around the world, and she will represent Britain in the Venice Biennale 2017. Her latest exhibitions include the recently opened ARTIST ROOMS, Tate Modern, London (2016) as well as ‘tryst’, Nasher Sculpture Center, Dallas, Texas (2015); the Duveens Commission ‘dock’, Tate Britain, London (2014) and ‘GIG’, the inaugural exhibition at Hauser & Wirth Somerset (2014).

Kaffe Matthews is a pioneering composer and sound artist who works live with things and places worldwide to make new electro-acoustic music for wide ranging audiences. Violin, theremin, star maps, NASA scientists, sharks, children and the BBC Scottish Symphony Orchestra have all contributed to a growing body of work for sites such as concert halls, sonic bikes, public spaces and the human body. She received a BAFTA in 2004 for Weightless Animals, in 2006 a Distinction, Prix Ars Electronica for Sonic Bed_London and a NESTA Dreamtime Fellowship. She is an Honorary Professor of Music at the Shanghai Music Conservatory, is currently Edgar Varese guest professor at TU Berlin and has been releasing solo works on Annette Works since 1996. In 2014 she establishedThe Bicrophonic Research Institute (BRI) and is currently developing interactive compositions for outdoor enjoyment on sonic bikes, having made 10 international bike operas to date.

Martin Hargreaves is a writer and dramaturge. He was Editor of Dance Theatre Journal and Programme Leader of MA The Body in Performance at Trinity Laban until 2015. He performed in Tino Seghal’s These Associations and participated in Expo Zero as part of Musee de la Danse, both at Tate Modern. He co-curated the Volumes Project performance programme for Mirror City at Hayward Gallery, with Frank Bock and Nicola Conibere, and organized the performances for Yvonne Rainer at Raven Row and Move: Choreographing You, Hayward Gallery.

Daniel Felstead is a London based artist and writer. His work addresses the ambivalent relation between choreographic strategies and contemporary modes of production. He has exhibited work in venues such as the V&A Museum (London), Lakeside Theatre (Colchester), Ambika P3 (London), and Biblioteca Nazionale Centrale di Firenze (Florence). He has contributed numerous essays for publications by Tate Modern, Berlin University for the Arts, The Swedish Dance History, Art Selector, and Literary Platform. Daniel is currently completing his PhD at RCSSD (University of London), where he is researching the practice of Tino Sehgal in relation to issues of production, organisation, and materiality.


Choreographer Joe Moran invites visual artist Phyllida Barlow and writer and dramaturge Martin Hargreaves to join him in speculative conversation on the present resurgence of dance, choreography and performance in the gallery and museum. Moran invites thoughts on an apparent move from appropriation of dance by visual arts to increased equity and exchange. Has a moment occurred whereby dance can enjoy ‘why everyone wants what we’ve got’?

Read more


Visitors are able view and engage with each day’s full programme. A morning movement practice – that is open to all – is followed by a day of making and practice, culminating in a daily early evening performance.

This process supports the development of Moran’s long-term project, On The Habit of Being Oneself, which uses perceptual inquiry as a generative, choreographic practice, within a choreographic directive of relentless motion. Dancers engage in perceptual and conceptual puzzles in ways that problematize or complicate their subjectivities, making visible their thinking and practice of dancing, or our habit of being ourselves. Whilst the dancing is complex, the relentless single activity unfolding on stage builds through time in a way that quietly and yet insistently provokes the audience’s attention. The work destablises the established dancing body, the choreographic and the theatrical frame, as well as their attendant notions of representation, to question and unsettle dominant ideas of what a person, body or indeed performance should be.

In partnership with

Dance Art Foundation and supported by Arts Council England – as part of Joe Moran’s research programme ‘Why Everyone Wants What We’ve Got’.