helen varley jamieson
 

whatdidyouexpect

helen varley jamieson

 
 

 

 

Helen is a theatre and digital media artist, and an internet professional. A diverse career has led to her current experimental work in the use of the internet as a venue for performance, specifically in bringing remote performers together in live theatrical events. She calls this new art form cyberformance. She is a founding member of the globally dispersed cyberformance troupe Avatar Body Collision.

Helen created her first web page in 1994, and has worked professionally in the internet industry since 1997 doing web site construction and maintenance, web copywriting, consultation and project management.

She also leads workshops and gives lectures and presentations about her work, and writes all kinds of stuff. In 2008, Helen completed a Master of Arts (Research) on cyberformance, at Queensland University of Technology.

Online


Offline

  • Repository for Knowledge & Art - group exhibition at Berlin-Brandenburgische Akademie der Wissenschaften, Potsdam; curated by Dr. Cornelia Osswald-Hoffman, July 2012;
  • Biennale For One - group exhibition at Das Klohäuschen, Munich, 12 May - 10 June 2012; documentation of an online performance that never happened, Open Borders (2008); May 2012;
  • "Adventures in Cyberformance: experiments at the interface of theatre and the internet" - masters thesis completed 2008, QUT;
  • "Real Time, Virtual Space, Live Theatre" - chapter in The ADA New Media Reader, published 2008;
  • "recipes for life" text, sound & mirror installation at Schaumbad, Graz, in collaboration with Eva Ursprung & Schaumbad artists (September 2010);
  • exile. in Skin by Shelley Jackson (since December 2007);
  • attending arts festivals around the world as a participant and arts writer (some articles are available on this site);
  • articles published in The Open Page (2001, 2003, 2006);
  • researching the New Zealand digital animation sector (2003) and film and multimedia industry (2001) for Industry New Zealand scoping documents;
  • weekly column in the NZ Infotech (2001-02);
  • project managing Nice Little Learner, a CD-ROM produced for Financial Education in British high schools (2000);
  • researching and writing the content for the CD-ROM Creative Explorer for arts education in New Zealand schools (1996-97);
  • writing, producing and directing theatre and video productions in Dunedin and Wellington, NZ;
  • coordinating Artslink, an arts information service, for the Wellinton Community Arts Council (1994-95);
  • marketing assistant for the Royal New Zealand Ballet (1995-96) and editor of Dance News magazine (1996-97);
  • founding editor of DANZ magazine (1996);
  • setting up and teaching Career Ys for the Wellington YWCA (1996);
  • library assistant, Otago University Law Library (1993-94) and Medical Library (Dunedin, NZ, 1988-92);
  • President, Otago University Students' Association (1991).

 

OnStage

  • "make-shift" - networked performance collaboration with Paula Crutchlow; premiered December 2010 in Italy, UK and online;
  • "let ME go" - performance installation in collaboration with Antonella Diana; premiered at the Ringkøbing International Theatre Festival, May 2009, then toured Ringkøbing regional libraries in October 2009;
  • "Women With Big Eyes" - ongoing collaboration with artists of the Magdalena Project: January 2007 (Odin Teatret, Denmark); January 2008 (Estudio Teatral, Cuba), August 2009 (Odin Teatret, Denmark);
  • "Demeter's Dark Ride - An Attraction" - producer; BATS Theatre, 2005.
  • Water[war]s - a performance installation directed by Jill Greenhalgh; participation in 3 of the 8 events (Brisbane 2003, Belgrade 2002, Holstebro 2001) involving cyberformance, text, images, research and performance collaboration.
  • "swim - an exercise in remote intimacy" - stage performer and concept.
  • playwright: "Phone Jam" (professional workshop, NTI, Auckland, 2002); "Between" (BATS Theatre, Wellington, 2001); "Risky/Risque" (BATS Theatre, Wellington, 1995); "Women Like Us" (Taki Rua Theatre, Wellington, 1994 and Globe Theatre, Dunedin, 1993); "The Benefits of Sex" (Allen Hall Theatre, Dunedin, 1991); "Coffee & Cake" (Allen Hall Theatre, 1989); "Mind Boggling" (Otago One Act Play Festival, 1982).
  • director:"the[abc]experiment" (BATS Theatre, Wellington, 2002); "The Debate" (BATS Theatre, Wellington, 1994); "The Winter Wife" (Allen Hall Theatre, Dunedin, 1992); "The Benefits of Sex" (Allen Hall Theatre, Dunedin, 1991); "Mind Boggling" (Otago One Act Play Festival, 1982).
  • producer: "the[abc]experiment" (BATS Theatre, Wellington, 2002); "Risky/Risque" (BATS Theatre, Wellington, 1995); "Women Like Us" (Taki Rua Theatre, Wellington, 1994 and Globe Theatre, Dunedin, 1993); Hersterix women's comedy group (Dunedin, 1991-92).
  • Women's Performance Art Collective, Dunedin, 1987-88: devising and performing in "Death in Namibia" (Chippendale House and Allen Hall Theatre, 1987-88) and "Reigning Tampons" (Allen Hall Theatre, 1988).

 

OnScreen

  • "rings" (2007) - digital video collaboration with Igneous.
  • "Openings" (1992), a docudrama about the alternative art scene in Dunedin, NZ; co-writer (with Karen Nobes), director and producer; screened in Dunedin and at the 1992 Canterbury Short Film Festival.
  • "Sex, Lies and Shepherds Pie" (1992), director; screened at the Mothra Student Video Competition and nominated in numerous categories, winning Best Actress.
  • editing video for inclusion in performances and video documentation of performances, since 1987.

 

           

 

 

swim at mesto zensk

swim - an exercise in remote intimacy
Photographer: Nada Zgank

 

 

make-shift
make-shift

 

 

Recipes for 2010
Recipes for 2010

 

 

a gesture through the flames
a gesture through the flames

 

 

exile.
skin
by Shelley Jackson

 

 

Women With Big Eyes
Women with Big Eyes
The Magdalena Project

 

 

what | did | you | expect

© Helen Varley Jamieson 1999-2013