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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.


blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

UNSTILLED LIFE: Artist Animations 1980-2020
Curated by Emma Cousin and Paul Carey-Kent

Why this show, here and now? British artist-curator Emma Cousin and writer-curator Paul Carey-Kent recently pulled together a choice of artist animations, thinking that the increasingly vibrant medium is especially suited to the online emphasis of the locked down art world of 2020. Three of them turned out to be represented by Ron Mandos, making the Amsterdam gallery ideal hosts. The cast is international, and to reflect that Tintype gallery in London and Hamburg’s blinkvideo have joined in with variations on the programme. 
Markus Vater Worlds don’t come easy, 2020

Expanding Bauhaus.
New Reflections on the Bauhaus Movement in Time-Based Media Art / Goethe Institute Netherlands

A screening series selected by Elke Kania (Cologne), Julia Sökeland (Hamburg) and Ludwig Seyfarth (Berlin)

With its combination of various arts such as painting, photography film, architecture, fashion, product and interior design and textile art, the Bauhaus is still considered the epitome of a technologically advanced modernity. Last but not least, the attempt to create the whole society aesthetically, inspired many artists worldwide.
Image: © Adnan Softic

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Russel Frampton & Ruth Way

Works


Galleries

for further information contact blinkvideo
Germany

Phone: +49 40 22748986
E-Mail: info@blinkvideo.de




Biography

Qualifications

2003 MA Fine Art, University of Plymouth.
1994 PGCE Art, St Luke’s University of Exeter.
1983 BA (Hons) Fine Art: [Painting] Exeter college of Art and Design.

Education

2003 MA Fine Art University of Plymouth
1993 PGCE St Luke’s University of Exeter
1980-83 BA [ Hons] Fine Art Exeter College of Art and Design
1979-80 Foundation Course Art Portsmouth College of Art
1977-79 Prices Sixth form College, Fareham, Hampshire. A Levels
1972-77 Prices Grammar School, Fareham, Hampshire. O Levels

Professional/lecturing

Associate Lecturer Plymouth University 2001-16 Screendance practice, Digital performance, Digital dance.
Lecturer BA hons Painting, Drawing, Printmaking, Plymouth college of Art 2014-16
Art Teacher Exeter School, Exeter UK 2001-2011

Exhibitions/paintings

2000
Stark Gallery, Lee Green, London.
Summer Show, Highgate Fine Art, Highgate, London.
Mixed Show, The Nevill Gallery, Canterbury.
Mixed Show, Beatrice Royal Art Gallery, Eastleigh.
Ichikawa Gallery, Tokyo.
Thomas Corman Art Consultants, London.
Mixed Show, 3D Gallery, Bristol.

2001
Highgate Fine Art Highgate London.
3D Gallery. Bristol.
Wills Art Warehouse Fulham, London.
3D Gallery Bristol
Christmas show Highgate Fine art London
Touring art fairs show. Miami, Chicago & New York.

2002
3D Gallery Bristol

2003
Highgate fine art London
3D Gallery Bristol
Affordable art fair London Gordon Hepworth Fine art

2004
New York art fair, Wills Art Warehouse
London Art Fair [Gordon Hepworth]
Cirencester, England
Dublin Art Fair Ireland

2005
Highgate Fine Art London
3D Gallery Bristol

2006
Glasgow Art Fair, Dublin Art Fair.
Smelik and Stokking Fine Art, Amsterdam.

2007
Solo show, Art Terracina Exeter [Including film installation]
Highgate Fine art Summer show
Andrew Stark Gallery, London

2008
3D Gallery Bristol
Paris Art Fair [ Andrew Stark Gallery]
Wills Art Warehouse, London.

2009
Glasgow Art Fair [ Andrew Stark Gallery ]
Affordable art fair London [ Andrew Stark Gallery]
New York Art Fair [ Wills Art Warehouse]
Smellik and Stokking Gallery, Rotterdam Netherlands
Smellik and Stokking 40 years anniversary show. The Hague, Amsterdam, Rotterdam.
Solo show ‘Substrata’, Northcott Gallery, University of Exeter.

2010
Ten Artists for the new decade, Highgate
Contemporary Gallery, London.

2010
Solo show Smellik and Stokking Gallery, Amsterdam.
3D Gallery Bristol

2011
Solo Exhibition, Galanthus Gallery, Hereford
Wessex landscape, Highgate contemporary London
Mixed show Store st Gallery, Bloomsbury London
AAF London [ Highgate Fine Art ]

2012
Smellik and Stokking The Hague Netherlands
New York Art fair New York USA [Andrew Stark]
AAF Battersea London [Wills Art]
Store Street Gallery, Landscape show London
Work at Tighnaburaich Gallery, Argyll Scotland
Hatch Gallery, Christchurch Dorset
Oct 2012 AAF Hampstead [Highgate Contemporary]

2013
Geneva Art Fair, Switzerland Jan 2013
Stockholm Art Fair Sweden.
Tor Land Solo exhibition. Asthall Manor, Oxfordshire.

2014
Store Street Gallery London
Highgate Contemporary London
Rowsley gallery Derby

2015
Highgate Contemporary London.
AAF London Store Street Gallery
Hatch Gallery Dorset
Store street gallery, London

2016
Hatch Gallery Dorset

Worh in collections

University of Plymouth, Paintings and film work
University of Exeter 2009, Two major paintings.
Jesus College, 20010 University of Cambridge four paintings.
Work in private collections in Toyko, New York, Paris, Amsterdam.


Ruth Way


Qualifications


educational & professional

• Professional Dance Training in Choreography and Performance, London School of Contemporary Dance (1976-1979)
• Postgraduate Certificate in Teaching & Learning in Higher Education, University of Plymouth (2001)
• Eastwest Somatics Institute for Yoga, Dance and Movement Studies, certified and registered Somatic Movement Educator with ISMETA, 2015.

Other professional training and study:

1983-86 Merce Cunningham Studio; Murray Louis/ Alwin Nikolais School; Vocal and Movement Theatre Practice with Meredith Monk; Limon technique with Ruth Currier, New York.
2001 Workshop with Phillip Zarrilli, Making the Body all Eyes, International Theatre Workshop Festival, London.
2006-15 Eastwest Somatic Movement Certification workshops and research with Sondra Fraleigh, USA, Italy, Greece, UK.
2015 Chair’s Training Plymouth University for Approvals

Current academic position and role at Plymouth university:

2006–present: Subject Head for Theatre & Performance (THPF) Subject in the School Art & Media
2011–2016: Associate Head of School Performing Arts & Creative Enterprise
2016–present: Associate Professor, Associate Head of School for Performing Arts and Employability for the School of Humanities and Performing Arts (HPA), Programme Leader for BA Dance and ResM Dance.

Managerial and leadership duties include:

• Admissions tutor, overseeing recruitment and conversion strategies and marketing materials for the Subject
• Liaising with International Office and AHoS for internalisation regarding recruitment strategies and marketing materials
• Mentorship to associate lecturers and new core staff
• Senior Personal Tutor Role for the Subject and developed Subject specific policy to deliver Personal Tutoring most effectively for Performing Arts
• Writing of job adverts and job specifications for appointments
• Leading on interviewing and recruitment processes for Academic staff, and Theatre technical staff
• Developing career and employability strategy for HPA School
• Line Manager for 12 academic staff in the Subject areas of Theatre and Performance and Music. Completing staff workload allocations and performance development reviews
• Line Manager for the House Development and Partnership Manager post aligned to the House (Performing Arts Building) Commercialisation strategy
• Due to discipline specific nature of operations in THPF, I effectively line manage two Theatre technical staff with the Faculty Technical Manager.
• Chair for HPA School Employability Group
• Member of HPA School Executive team ,HPA School Teaching and Learning Group, Faculty Employability Group

Leading on strategic developments for academic unit and Faculty level and dealing with change initiatives:
• In 2007 I oversaw the successful relocation of Theatre and Performance Subject from the Exmouth campus to the main Plymouth University campus. It soon became apparent that these new resources lacked the required specifications to support the student experience and for the Subject to be able to compete with our competitors. Working closely with my Dean, I contributed to the development of the business plan and proposal for a new Performing Arts building. The House opened in 2014 and is a world class mid-scale performance space. With the growing success of the new BA Acting degree, the Subject is now entering into a further major strategic development with Theatre Royal Plymouth, proposing a shared identity and formation of a conservatoire model. This development is hugely significant for THPF recruitment and attracting more international students, developing the University’s profile, regionally and nationally, enhancing the student experience and embedding employability skills and work experience opportunities.

Contributions to creative enterprise and raising profile of the university

2011 – 2013: Director of the HPA School Annual Showcase, led and directed a prestigious enterprise activity and championed innovation in enterprise activity. The Showcase celebrated student work and achievements across the different subject areas in the School, English and Creative Writing, Music, History, Theatre and Performance, Art History and Dance Theatre. It promoted the identity and distinctiveness of each subject area and shared with visitors and audiences student enhancing learning experiences on their degree, such as field trips, work based learning opportunities, engagement with external professional organizations, performance platforms, and other activities aligned to their programme of study, examples being the literature society, Ink Magazine, Art History’s field trips to Vienna and Paris, music students playing at the Barbican International Jazz and Blues Festival and Theatre and Performance’s Scratch nights. The Showcase scheduled over 3 days offered workshops and performances for incoming school groups with performances to 600 children and wider audiences. The Showcase was highly successful in promoting HPA School, its strengths and making it more visible internally and externally as a thriving and dynamic School.
July 2015: In Partnership with Plymouth Dance arranged for the House to Host UDance Festival 2015. Organised and facilitated use of the House to host incoming National Youth Dance Festival, with 400 dancers taking workshops at the House, attending a careers event and dance rehearsals. Prepared copy and design of poster for UDance marketing materials.
• In my role as AHoS I play a strategic role in supporting the House Development Manager in the hire of our specialised spaces, for example facilitating Birmingham Royal Ballet who are frequently in residence at Theatre Royal and in partnership with Plymouth Dance the House hired out spaces August 2016 for Dance Summer School with choreographers on international standing.

Effective academic leadership- contribution to school, faculty /university leading

Strategies:
2011–2016: Chair for Peninsula Arts Performance Advisory Group (PAPPAG) group overseeing annual incoming Performance Programme and theatre residencies, eg Romanian Theatre & Book Festival 2011 and all incoming professional performances into the House Theatre.
2012–2014: Member of Performing Arts Centre Operations Group attending meetings with project team/ architects
2016/17: Investigating officer for major student and staff grievances, reporting to Human Resources and the Dean and working to see positive resolutions
2013–2015: Member of Creative Industries Group
2015-2016: Member of PAC Screen Project Steering Group development of Digital Screen Policy and guiding mission statement and to mitigate any potential risk.
2015–present: Member of Peninsula Arts Management Board
2015-present: Member of House Commercialisation Implementation Group
2016-present: Member of steering group for development of Conservatoire model and partnership with Theatre Royal Plymouth

Track record of curriculum development:

• Successful approval of BA Dance Theatre 2007
• Successful approval of Stage 3 top up degree in Digital Performance
• Successful re-approval of BA Theatre and Performance 2012
• Successful approval of MRes Dance 2011, replaced by ResM Dance 2015.
• 2014 approval of new curriculum for BA Dance Theatre placing an emphasis on training modules and to align with the new award title of BA Dance.
• Successful approval of MA/MFA Choreography, 2014.
• Revision of Level 6 modules on BA Dance and BA Theatre & Performance for 2017/18 embedding career development opportunities with the addition of, three new modules: Professional Strategies- Creative Enterprise, Professional Strategies – Festival, Professional Strategies – Practice as Research.

Summary of significant personal achievements in education.

In 2002 I was a member of the regional South West Practice as Research in Performance group (PARIP) along with my colleague Prof Roberta Mock who was Chair. PARIP was a five-year AHRB project directed by Baz Kershaw and the Department of Drama: Theatre, Film, Television at the University of Bristol. Roberta Mock and Ruth Way (2005) co-authored an article for Studies in Theatre and Performance, ‘Pedagogies in Theatre (Arts) and Performance (Studies) Studies in Theatre and Performance 25:3,pp.201-213. Intellect.

As a practical scholar I have championed and led on pedagogical strategies to develop the ‘thinking dancer / theatre maker ’ and for assessment modes across THPF undergraduate and postgraduate programmes to enable our students to evidence embodied knowledge and understanding through their discipline. The range of assessment modes has been commended by our external examiners and described as innovative and most relevant in preparing students for practice led research outcomes and the development of new methodological approaches.

Russel Frampton & Ruth Way
Qualifications 2003 MA Fine Art, University of Plymouth. 1994 PGCE Art, St Luke’s University of Exeter. 1983 BA (Hons) Fine Art: [Painting] Exeter college of Art and Design. Education 2003 MA Fine Art University of Plymouth 1993 PGCE St Luke’s University of Exeter 1980-83 BA [ Hons] Fine Art Exeter College of Art and Design 1979-80 Foundation Course Art Portsmouth College of Art 1977-79 Prices Sixth form College, Fareham, Hampshire. A Levels 1972-77 Prices Grammar School, Fareham, Hampshire. O Levels Professional/lecturing Associate Lecturer Plymouth University 2001-16 Screendance practice, Digital performance, Digital dance. Lecturer BA hons Painting, Drawing, Printmaking, Plymouth college of Art 2014-16 Art Teacher Exeter School, Exeter UK 2001-2011 Exhibitions/paintings 2000 Stark Gallery, Lee Green, London. Summer Show, Highgate Fine Art, Highgate, London. Mixed Show, The Nevill Gallery, Canterbury. Mixed Show, Beatrice Royal Art Gallery, Eastleigh. Ichikawa Gallery, Tokyo. Thomas Corman Art Consultants, London. Mixed Show, 3D Gallery, Bristol. 2001 Highgate Fine Art Highgate London. 3D Gallery. Bristol. Wills Art Warehouse Fulham, London. 3D Gallery Bristol Christmas show Highgate Fine art London Touring art fairs show. Miami, Chicago & New York. 2002 3D Gallery Bristol 2003 Highgate fine art London 3D Gallery Bristol Affordable art fair London Gordon Hepworth Fine art 2004 New York art fair, Wills Art Warehouse London Art Fair [Gordon Hepworth] Cirencester, England Dublin Art Fair Ireland 2005 Highgate Fine Art London 3D Gallery Bristol 2006 Glasgow Art Fair, Dublin Art Fair. Smelik and Stokking Fine Art, Amsterdam. 2007 Solo show, Art Terracina Exeter [Including film installation] Highgate Fine art Summer show Andrew Stark Gallery, London 2008 3D Gallery Bristol Paris Art Fair [ Andrew Stark Gallery] Wills Art Warehouse, London. 2009 Glasgow Art Fair [ Andrew Stark Gallery ] Affordable art fair London [ Andrew Stark Gallery] New York Art Fair [ Wills Art Warehouse] Smellik and Stokking Gallery, Rotterdam Netherlands Smellik and Stokking 40 years anniversary show. The Hague, Amsterdam, Rotterdam. Solo show ‘Substrata’, Northcott Gallery, University of Exeter. 2010 Ten Artists for the new decade, Highgate Contemporary Gallery, London. 2010 Solo show Smellik and Stokking Gallery, Amsterdam. 3D Gallery Bristol 2011 Solo Exhibition, Galanthus Gallery, Hereford Wessex landscape, Highgate contemporary London Mixed show Store st Gallery, Bloomsbury London AAF London [ Highgate Fine Art ] 2012 Smellik and Stokking The Hague Netherlands New York Art fair New York USA [Andrew Stark] AAF Battersea London [Wills Art] Store Street Gallery, Landscape show London Work at Tighnaburaich Gallery, Argyll Scotland Hatch Gallery, Christchurch Dorset Oct 2012 AAF Hampstead [Highgate Contemporary] 2013 Geneva Art Fair, Switzerland Jan 2013 Stockholm Art Fair Sweden. Tor Land Solo exhibition. Asthall Manor, Oxfordshire. 2014 Store Street Gallery London Highgate Contemporary London Rowsley gallery Derby 2015 Highgate Contemporary London. AAF London Store Street Gallery Hatch Gallery Dorset Store street gallery, London 2016 Hatch Gallery Dorset Worh in collections University of Plymouth, Paintings and film work University of Exeter 2009, Two major paintings. Jesus College, 20010 University of Cambridge four paintings. Work in private collections in Toyko, New York, Paris, Amsterdam. Ruth Way Qualifications educational & professional • Professional Dance Training in Choreography and Performance, London School of Contemporary Dance (1976-1979) • Postgraduate Certificate in Teaching & Learning in Higher Education, University of Plymouth (2001) • Eastwest Somatics Institute for Yoga, Dance and Movement Studies, certified and registered Somatic Movement Educator with ISMETA, 2015. Other professional training and study: 1983-86 Merce Cunningham Studio; Murray Louis/ Alwin Nikolais School; Vocal and Movement Theatre Practice with Meredith Monk; Limon technique with Ruth Currier, New York. 2001 Workshop with Phillip Zarrilli, Making the Body all Eyes, International Theatre Workshop Festival, London. 2006-15 Eastwest Somatic Movement Certification workshops and research with Sondra Fraleigh, USA, Italy, Greece, UK. 2015 Chair’s Training Plymouth University for Approvals Current academic position and role at Plymouth university: 2006–present: Subject Head for Theatre & Performance (THPF) Subject in the School Art & Media 2011–2016: Associate Head of School Performing Arts & Creative Enterprise 2016–present: Associate Professor, Associate Head of School for Performing Arts and Employability for the School of Humanities and Performing Arts (HPA), Programme Leader for BA Dance and ResM Dance. Managerial and leadership duties include: • Admissions tutor, overseeing recruitment and conversion strategies and marketing materials for the Subject • Liaising with International Office and AHoS for internalisation regarding recruitment strategies and marketing materials • Mentorship to associate lecturers and new core staff • Senior Personal Tutor Role for the Subject and developed Subject specific policy to deliver Personal Tutoring most effectively for Performing Arts • Writing of job adverts and job specifications for appointments • Leading on interviewing and recruitment processes for Academic staff, and Theatre technical staff • Developing career and employability strategy for HPA School • Line Manager for 12 academic staff in the Subject areas of Theatre and Performance and Music. Completing staff workload allocations and performance development reviews • Line Manager for the House Development and Partnership Manager post aligned to the House (Performing Arts Building) Commercialisation strategy • Due to discipline specific nature of operations in THPF, I effectively line manage two Theatre technical staff with the Faculty Technical Manager. • Chair for HPA School Employability Group • Member of HPA School Executive team ,HPA School Teaching and Learning Group, Faculty Employability Group Leading on strategic developments for academic unit and Faculty level and dealing with change initiatives: • In 2007 I oversaw the successful relocation of Theatre and Performance Subject from the Exmouth campus to the main Plymouth University campus. It soon became apparent that these new resources lacked the required specifications to support the student experience and for the Subject to be able to compete with our competitors. Working closely with my Dean, I contributed to the development of the business plan and proposal for a new Performing Arts building. The House opened in 2014 and is a world class mid-scale performance space. With the growing success of the new BA Acting degree, the Subject is now entering into a further major strategic development with Theatre Royal Plymouth, proposing a shared identity and formation of a conservatoire model. This development is hugely significant for THPF recruitment and attracting more international students, developing the University’s profile, regionally and nationally, enhancing the student experience and embedding employability skills and work experience opportunities. Contributions to creative enterprise and raising profile of the university • 2011 – 2013: Director of the HPA School Annual Showcase, led and directed a prestigious enterprise activity and championed innovation in enterprise activity. The Showcase celebrated student work and achievements across the different subject areas in the School, English and Creative Writing, Music, History, Theatre and Performance, Art History and Dance Theatre. It promoted the identity and distinctiveness of each subject area and shared with visitors and audiences student enhancing learning experiences on their degree, such as field trips, work based learning opportunities, engagement with external professional organizations, performance platforms, and other activities aligned to their programme of study, examples being the literature society, Ink Magazine, Art History’s field trips to Vienna and Paris, music students playing at the Barbican International Jazz and Blues Festival and Theatre and Performance’s Scratch nights. The Showcase scheduled over 3 days offered workshops and performances for incoming school groups with performances to 600 children and wider audiences. The Showcase was highly successful in promoting HPA School, its strengths and making it more visible internally and externally as a thriving and dynamic School. • July 2015: In Partnership with Plymouth Dance arranged for the House to Host UDance Festival 2015. Organised and facilitated use of the House to host incoming National Youth Dance Festival, with 400 dancers taking workshops at the House, attending a careers event and dance rehearsals. Prepared copy and design of poster for UDance marketing materials. • In my role as AHoS I play a strategic role in supporting the House Development Manager in the hire of our specialised spaces, for example facilitating Birmingham Royal Ballet who are frequently in residence at Theatre Royal and in partnership with Plymouth Dance the House hired out spaces August 2016 for Dance Summer School with choreographers on international standing. Effective academic leadership- contribution to school, faculty /university leading Strategies: 2011–2016: Chair for Peninsula Arts Performance Advisory Group (PAPPAG) group overseeing annual incoming Performance Programme and theatre residencies, eg Romanian Theatre & Book Festival 2011 and all incoming professional performances into the House Theatre. 2012–2014: Member of Performing Arts Centre Operations Group attending meetings with project team/ architects 2016/17: Investigating officer for major student and staff grievances, reporting to Human Resources and the Dean and working to see positive resolutions 2013–2015: Member of Creative Industries Group 2015-2016: Member of PAC Screen Project Steering Group development of Digital Screen Policy and guiding mission statement and to mitigate any potential risk. 2015–present: Member of Peninsula Arts Management Board 2015-present: Member of House Commercialisation Implementation Group 2016-present: Member of steering group for development of Conservatoire model and partnership with Theatre Royal Plymouth Track record of curriculum development: • Successful approval of BA Dance Theatre 2007 • Successful approval of Stage 3 top up degree in Digital Performance • Successful re-approval of BA Theatre and Performance 2012 • Successful approval of MRes Dance 2011, replaced by ResM Dance 2015. • 2014 approval of new curriculum for BA Dance Theatre placing an emphasis on training modules and to align with the new award title of BA Dance. • Successful approval of MA/MFA Choreography, 2014. • Revision of Level 6 modules on BA Dance and BA Theatre & Performance for 2017/18 embedding career development opportunities with the addition of, three new modules: Professional Strategies- Creative Enterprise, Professional Strategies – Festival, Professional Strategies – Practice as Research. Summary of significant personal achievements in education. In 2002 I was a member of the regional South West Practice as Research in Performance group (PARIP) along with my colleague Prof Roberta Mock who was Chair. PARIP was a five-year AHRB project directed by Baz Kershaw and the Department of Drama: Theatre, Film, Television at the University of Bristol. Roberta Mock and Ruth Way (2005) co-authored an article for Studies in Theatre and Performance, ‘Pedagogies in Theatre (Arts) and Performance (Studies) Studies in Theatre and Performance 25:3,pp.201-213. Intellect. As a practical scholar I have championed and led on pedagogical strategies to develop the ‘thinking dancer / theatre maker ’ and for assessment modes across THPF undergraduate and postgraduate programmes to enable our students to evidence embodied knowledge and understanding through their discipline. The range of assessment modes has been commended by our external examiners and described as innovative and most relevant in preparing students for practice led research outcomes and the development of new methodological approaches.

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