Owen G Parry

2011-12-21T08:47:00.000-08:00

I've moved to :http://owengparry.com/

Please come visit me there!!!

2010-09-19T03:07:00.000-07:00

Image: Manuel Vason 2009

I WANNA BE IN THAT SHOW, 2010

2010-09-03T06:48:00.000-07:00

Commissioned by Performing Idea, for Toynbee Theatre, London
"Parry seemed to celebrate the under-rehearsed. A ramshackle assembly of images, allusions and fanciful acts brought the foibles and uncouthness of this creator/star to the fore. Like a child he was engaging, bemusing and, at times, embarrassing"
Belly flop

Poster: Owen Parry 2010

Images from Performance Matters, October 2010; Photography and copyright Hugo Glendinning.

I Wanna Be in That Show is a performance about wanting to be in a performance. It draws on the feeling of seeing a performance and recognising one’s own desire to be in it or to have created it. It’s about art that drives you to make more art, to revel in its forms and textures and to question the bodies that occupy it.

Conceived and performed by Owen Parry
Performers: Luís Lázaro Matos, Giovanni Bienne and Jenna Rossi-Camus

Part of a double bill with Augusto Corrieri
Commissioned by Performance Matters. Click here for Bookings

I WANNA BE IN THAT FILM, (2010)

2010-09-02T07:24:00.000-07:00

"I would like to see more films like this on BBC four in those hours in which the channel is off air."
Mark Waugh, Testing Grounds, June 2011

Twinkle played by Parry is a B movie star who is anxious about losing "him" to the unhealthy realms of reality, truth and liveness, which have come to be commonly recognized as tropes of performance art. Twinkle tells Honey Tits (Maria Agiomyrgiannaki), whose lavishly decorated hand and impeccable off-screen American accent are featured, that live performance "has sucked him in", and that “he” has been lost to the pernicious realm of "sitting in a room full of people he knows" and watching "all kinds of weird and creepy stuff happen".

All Images: Owen Parry copyright 2010
Directed and performed by Owen Parry, starring Maria Agiomyrgiannaki

Mitch & Parry, OCEANS APART, 2010-11

2010-04-16T12:53:00.000-07:00

Performed at Testing Grounds (Brighton), Performance and Cocktails (Duckie, London), Sacred Cabaret (Chelsea Theatre, London), Trouble Festival (Brussells,Belgium) and Royal Festival Hall, (London)

Duckie at Royal Festival Hall, London (2011)
This performance explores the body as material, it’s plain external surfaces and messy internal offerings. Mitch and Parry challenge notions of desire through a joining of bodies made of liquid. The body’s oraphis as sanctuary this time, as vestibules for capturing translucent gifts – the body's holes as safe space, as desiring holes, the place of entry and exit. Time is measured in this piece through the time it takes to love – an intimate and single transfer of fluid that carefully keeps coming. One wonders how this exchange will end, if it will break, or if it will continue, always.

Images: Top 1 Alison Henry, 2/3 Tristan Spill, 4/5 Testing Grounds, 6/7/8 Stephan Mohr

GRIP HOLD AND REVELATIONS - BONUS TRACK, GFEST and QMUL, 2009

2010-04-16T12:10:00.000-07:00

Grip HOLD is an amalgamation of fragments; images, texts, video and sound – some personal, some made-up, but all connected through the queer body of the host who assembles them.

From what artist Kira O’Reilly has described as “garish wallpaper penetrations (extrusions?) like a lo-fi domestic, kali glory hole” to “some kind of looking awry and fucking with syntax and grammar”, the work moves through several episodes that reveal the queer body in uncompromised positions, placed precariously on a little trolley, dangling into the video frame in underpants and football shin pads and adorned in £8,000 worth of Swarovski crystal at a grand piano singing Yoko Ono’s Revelations. The performance is at once a spectacular exploration of the exuberant visual surfaces we love so much, and the tellings of harsh lies and realities, of love, of loss and of what we desire most.

Grip HOLD (transition sequences) - from a performance by Owen G Parry from Banshee Boy on Vimeo.

Revelations (Bonus Track) a Performance by Owen G Parry from Banshee Boy on Vimeo.

Images above: Gfest Wise Thoughts 2009

Images: Maria Agiomyrgiannaki

Stills: Owen G Parry

Big Hard Excellent Something, I'm With you - London, Mitch & Parry, 2009

2010-04-16T12:04:00.000-07:00

A re-performance of Big Hard Excellent Fish's Imperfect List

Gay Shame 2008 Masculinity and 2009 Femininity, Duckie, London

2010-04-16T11:00:00.000-07:00

Mitchelino & Parriola's Chocolatier
Mitch & Parry 2009
Let us cast your nipples in 97% cocao chocolate from the amazon. Exploring the useless parts of the male body, the nipples as feminine excess, Mitchelino & Parriola invite you to lay down and get your nipple casted and sold on for double the price. Expect titillation and extreme pleasures.

Images: 1/2 Christa Holka, 3 Roberto Sanchez-Camus, 4 Pop Etiket

____________________________________

Anger Management Olympics (AMO - to love v)
Mitch & Parry 2008
Bespoke costumes by David Curtis-Ring
Set and cocks by Mitch & Parry
All the fun of the fair. Taking on Gay Shame's 2008 theme of masculinity, Mitch & Parry invite you to write something that makes you angry on a plate. You then get 3 chances to smash the plate which is hung from a traditional Welsh dresser. "The most popular stall" Dance Theatre Journal

Images: Christa Holka

Society of the Spectacles, December 2008, Queen Mary University of London

2009-04-04T11:17:00.000-07:00

Images: Christa Holka

Society of the Spectacles was conceived and presented by Edie Crowe, Gemma Slade, Andrew Mitchelson, Elena Trivelli, Katja Hilevaara, Joonas Lahtinen, Owen Glyndwr Parry, Dimitris Koufogiorgos, Helena Alexandaki. With special thanks to Dominic Johnson.

The piece was reworked as an 8 min short stage piece for club and conference contexts and performed with Elena Trivelli at The Roundhouse, Duckie and Eat Your Heart Out.

AIM at Tower Bridge Gallery, November 2008

2008-11-11T10:43:00.000-08:00

Parry & Mitch, I Host You. Now Tonight, let Me Show You How

The Great Recession, With Oreet Ashery, Duckie, London, October 25 08

2008-11-11T10:37:00.000-08:00

A Fish supper for the dossers of Vauxhall...on the grassy Knoll.Image: Andrew Mitchelson

Reading Marina Abramovic' Manifesto, with Marina Abramovic, Serpentine Gallery, October 18 2008

2008-11-11T10:07:00.000-08:00

Image: Mark Blower, Serpentine Gallery, 2008

Some Notes from Marina's Manifesto

•'an artist must develop an erotic point of view on the world'
•'an artist must be erotic'
•'An artist should not make themselves into an idol'
•'an artist should avoid falling in love with another artist.' rpt.
• 'An artist should stay for long periods of time at exploding volcanoes'
• 'An artist should have friends that lift their spirits'
• 'Enemies are very important'
• 'For an artist, it is not only important how he lives his life but also how he dies'
•' An artist should look at the symbols of his work for the signs of different death scenarios'

GOOD AS GOLD, Emergency: Green Room, Manchester, 27 September 2008

2008-10-02T09:14:00.000-07:00

Photograph by Tamsin Drury
Material: Paper and Glitter. Size: 3 cm high, 3.5 cm diameter

Good as Gold is a performance intervention. Drawing influence from minimalist tendencies and the politics of street protest, the work attempts to disrupt and to queer the use of public space by offering minute yet spectacular suprises to the general public through everyday interaction. The work includes an audio documented intervention by Alun Davies, in search of Parry's glittering traces.

For the Green Room Manchester, Parry created 2 sculptures that were presented alongside the audio documentation from both the London, and Manchester intervention.
Audio documentation and sculptures are now available on request*

I HOST YOU: NOW TONIGHT, LET ME SHOW YOU HOW, with Andrew Mitchelson, Shunt London, 24 September 2008

2008-10-02T08:35:00.000-07:00

Two boys in 3 parts: with love and the stuff inside of their bodies, create random choreographies and banal rituals, dirtying each other and then cleaning it up.

Images by Bobby 2008

Good as Gold: a performance intervention, work in progress at DIY 5 Tonybee studios, Aug 08

2008-08-20T05:55:00.000-07:00

As part of research Owen collected spit from men, dipped his pinky into the spit, and dipped the spit pinky into a pot of glitter. The work is being developed through DIY 5 with Stacy Makishi, and will form part of a larger performance intervention entitled Good as Gold.

Photographs by Sean Kelly

RAGING BALLS, collaborating with Oreet Ashery and Chris McCormack , Radar: Loughborough University, June 2008

2008-08-17T10:04:00.000-07:00

In this performance the audience were asked by Ashery and Owen Parry to throw balls at them whilst angry speech written by Ashery and inspired by the artist David Wojnarowicz’s (1954 – 1992) potent diatribes was screened. Ashery and Parry were protecting themselves from the balls with the aid of Frieze and Art Forum. The speech is a rant, that uses protest rhetoric, about state control and the dilution of current political art practices. Chris McCormack read the text live along side the screen. Raging Ball’s video and script are available.

Text From: http://oreetashery.net/
photographs by Julian Hughes

I'D RATHER DIE, THAN DIE ALONE. Collaborating with Johanna Linsley and Eleanor Weber, East End Collaborations, May 2008

2008-08-13T07:51:00.000-07:00

IRDDA is a performance made out of harmony, and reading in public. This brief utopia doesn't so much fail as it does refract and reflect on itself. In the cracks, fissures, repetitions and revisions, a strange and personal narrative seeps in.

Text by the artist Johanna Linsley, Photographs by Christa Holka

KNOW ME. ASSIST ME. CATCH ME. Live on stage, Sun & Doves, London. Curated by Guy Hilton Gallery.

2008-08-13T06:45:00.000-07:00

Owen wanted to create the most spectacular, political, socially engaged, and mesmerising performance of all the performances at Live on Stage, and decided that the best thing he could do, was to throw himself off the stage and die.

The piece explored the role of the assistant/ artist's apprentice/ intern/ friend/ lover/ mother and featured music by Evelyn Thomas.

Photographs by Paron Mead

HEY GIRL, Performer with Socìetas Raffaello Sanzio, Tramway Glasgow, March 2008

2008-08-13T05:57:00.000-07:00

"Someone wakes up, gets up, and gets ready to go out. They go out. End of story. It could last as long as a day or a year, like a calender. " Romeo Castellucci

Interview: Owen Glyndwr Parry and Silvia Costa (lead performer), March 1st 2008

PIT PONY, Drill Hall and G-Fest London 2007

2008-06-27T08:37:00.000-07:00

PIT PONY attempts to unite the queer lounge act with a lecture on personal mythology. Exploring and exposing aspects of regional and queer identities, it marks a quest to establish an identity both inside and outside of the mainstream.
Photographs by Maria Agiomyrgiannaki

ABOUT TOWN, The Space, London 2007 (with collaborator Rebecca Collins)

2008-06-27T08:00:00.000-07:00

ABOUT TOWN is an attempt to (un)(re)(dis)cover how memory relates to place, and what happens when we re-member and re-do. Participants pin point a place on a map and leave a recorded message of a personal experience that relates to that place along with an email address. The recordings are collected by the artists, who then visit the site and attempt to re-perform the participant's experience. The participant never sees the live re-enactment of their experience, but receive a photograph as documentation of its happening.Slater Street E1, a mugging
Anonymous Gallery...somewhere between South kensington and Hyde Park corner...a drunk father...love
Folgate Street EC2, Moving house...a stolen television
Soho, 4.30am....a telephone box call girl
Roman Road Market...Santa Clause...a vicar and a donut

Friends flat in Kennigton...caught in the act

House of 5 Days (H05D), Mercer Studios, Covent Garden, London 2006

2008-06-27T06:54:00.000-07:00

Performer and deviser.

5 Performers occupied a warehouse in the very centre of London for 5 days, during which they built an archive of other people's memories and invited people into the house, and into the darkened depths of a family home turned void-like maze. The piece was loosely based on Mark Z. Danielwski's Cult horror novel House of Leaves.

HARD.SOFT with collaborator Rebecca Collins, 2006

2008-06-26T08:13:00.000-07:00

Hard.Soft Tour:
Nolia's Gallery, London
Dorchester Festival, Dorset
Act Art 3, London
ARENA Festival, Nurnberg, Germany

HARD.SOFT is a site specific performance installation in 2 parts; an interactive collection of memories, (1) and a regurgitation of those memories anonymously fragmented with the performers personal memories and a traversing the space in pain and in comfort. (2)

Dorchester Arts Festival
Photographed by Paula Cavali

Nolia's Gallery, London
Photographed by Maria Agiomyrgiannaki

ELASTICITY, a collaboration with CWTCH, Brockley Jack Theatre and Arts Depot, London, 2006

2008-06-24T17:58:00.000-07:00

Artistic director of large scale production in collaboration with CWTCH artists, writer Heather O'Shea, musician Rod Thomas, performer Rebecca Collins and designer Alun Davies. The work asks questions like How can I be myself in text? How can I simultaneously perform me and the other?

12:07pm a Performance for a Stranger and A Performance for a Stranger; Confessions Exchange

2008-06-24T17:34:00.000-07:00

A series of 0ne on one performances investigating darkness, intimacy and curiosity.
Performed at:
Tammy's Art and Beauty School, London, 2005
Hackney Empire, London, 2005
As a collaboration with Stacey Makishi at National Review of Live Art, Tramway, Glasgow, 2008

LISTUS, East End Collaborations 2004 (Collaboration with Rebecca Collins)

2008-06-24T15:09:00.000-07:00

Starting with a list of 80 reasons for their friendship, Owen (in London) and Rebecca (in Madrid) created a series of video diaries updating each other on their lives since their separation. The friends then met for the first time in 3 months in front of a live audience, inscribing these lists across the floor and eventually across the canvas of their bodies.

Mentored by Oreet Ashery