Alexandra Tálamo – The War at Home: Choreographies of Transfer Across an Ocean


Alexandra Tálamo

University of New South Wales

Remote Dramaturg – Richard Pettifer

The War at Home: Choreographies of Transfer Across an Ocean

In this film-as-performance, I explore the aesthetics of postmemory by inviting my family to re-enact the Islas Malvinas/Falkland Islands war. The Islas Malvinas/Falkland Islands war is the distant instigating event of my father, brother and sister’s migration to Australia, but it is also an ongoing negotiation of memory that is played out within the family unit. This presentation integrates durational performance-to-camera, video interviews, media materials and family mythologies, with each family member recalling different facets of the war. The performance of ‘family’ as shaped by the war and the family’s ‘performance’ of the war through remembering, acts to expose and disturb the imagined boundaries that define a familial identity. Within postmemorial aesthetics, this troubling of family memory enables a critique of how the memories we inherit can be shaped by nationalist narratives and propaganda. This research attends to the imaginative work of migrant families, and demonstrates how intergenerational memory can be further opened out to experiences of conflicting multi-positionalities. The development of this work has been shaped by its translation from stage to screen, with an attention to the ways that the medium acts both as a documentation of performance and, concurrently, a site of remembrance. 


Alexandra Tálamo

University of New South Wales

30,000 Shots: Gestures from the Argentinian Dictatorship

When my father emigrated from Argentina he left a country that ‘disappeared’ 30,000 of its citizens during a brutal military dictatorship. In this exhibition, I explore the inherited memories, gestures and mythologies of this period as they appear and erupt within a contemporary Australian body. Drawing on family testimony, cultural references and the media images that the second-generation inherits, the work reflects the experience and labour of intergenerational memory from the perspective of an artist working within aesthetic lineages, and a daughter, living within a border-anxious state. 

The collection presents photography and video works that were created through residencies undertaken in Mexico and Sydney. It also includes the live performance of 30,000 Shots, in which I posed 30,000 times for a camera over eight hours on the opening night of the exhibition, and the multi-channel video work that was subsequently made from the documentation of this performance. The varied media used in the exhibition extends the exploration of re-enactment into form, as one of the ways that memories can be transferred and also reworked.

Alexandra Tálamo is a performance artist whose work uses choreographically-based strategies to explore autobiographical and mythological frameworks of postmemory. She is a graduate of VCA (Postgraduate Diploma in Performance Creation 2012) and a current PhD Candidate in Creative Practice at UNSW Sydney, where she was also awarded the 2017 University Medal for her BA (Hons) in Theatre and Performance Studies. In 2018 she was awarded the Philip Parsons Prize from ADSA. Her work has been presented at Kaffee Kuchen-Action Art III (Weimar, 2018), MCA ARTBAR (2018), Venice International Performance Art Week (2017), Performance Studies international (2016), and Art+Activism month at FCAC (2016).

Olivia Kristine D. Nieto and Layeta P. Bucoy – MonoVlog, an Emergen(t)cy Digital Performance


Olivia Kristine D. Nieto and Layeta P. Bucoy

University of the Philippines Diliman and University of the Philippines Los Banos

MonoVlog, an Emergen(t)cy Digital Performance

In this performance lecture, we intend to explore the MonoVlog (monologue and vlog) as an emergent mode of performance during the Metro Manila lockdown due to the COVID-19 pandemic. Presented in Facebook Live, the MonoVlog became a series of original digital performances probing lockdown experiences in response to national affairs. Its form is bundled as a proof of life, a COVID 19 health advisory, a private Zoom conversation, a tribute to frontliners, a testimony, a death folder, a shoutout video of advocacy groups, a set of community-led responses to the pandemic, and a #ProtestFromHome movement. The form is being adopted by the Cultural Center of the Philippines’ Tanghalang Pilipino, the Bikol community theatre Sining Banwa, and the performance group Icebag Online. The presentation explores the MonoVlog’s aesthetics and sociality based on the reason as to why it emerged as a form and on how it is shaped in the age of COVID-19. In the end, the process of creating a MonoVlog is a testament on how quarantined performance-makers in the Philippines reimagine the future of performance by innovating efforts to make an emergency shift to digital platforms, and by creating virtual communities in the time of the “viral” and the virus.

Olivia Kristine D. Nieto is an assistant professor at the Department of Speech Communication and Theatre Arts (DSCTA), College of Arts and Letters, University of the Philippines Diliman. She is also an actor in theatre, television, and film. 

Layeta P. Bucoy is an associate professor at the University of the Philippines Los Banos. She is a playwright, a screenplay writer, a fictionist, and an erotic column writer.

Keywords: digital performance, protest

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