Future Leisure: No More FantasiesNew Works at Night April 25, 2019

David Cooper Photography 2008 [#Beginning of Shooting Data Section] Nikon D3 2008/10/09 15:58:07.42 World Time: UTC-8, DST:OFF Compressed RAW (12-bit) Image Size: L (4256 x 2832), FX Lens: VR 70-200mm F/2.8G Artist: Copyright: Focal Length: 102mm Exposure Mode: Manual Metering: Center-Weighted Shutter Speed: 1/200s Aperture: F/13 Exposure Comp.: -0.3EV Exposure Tuning: ISO Sensitivity: ISO 200 Optimize Image: White Balance: Direct sunlight, 0, 0 Focus Mode: AF-C AF-Area Mode: Auto-area AF AF Fine Tune: OFF VR: OFF Long Exposure NR: OFF High ISO NR: OFF Color Mode: Color Space: Adobe RGB Tone Comp.: Hue Adjustment: Saturation: Sharpening: Active D-Lighting: OFF Vignette Control: OFF Picture Control: [SD] STANDARD Base: Quick Adjust: 0 Sharpening: 3 Contrast: 0 Brightness: 0 Saturation: 0 Hue: 0 Filter Effects: Toning: Flash Mode: Flash Exposure Comp.: Flash Sync Mode: Colored Gel Filter: Image Authentication: OFF Dust Removal: Image Comment: [#End of Shooting Data Section]
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Future Leisure: No More FantasiesNew Works at Night April 25, 2019


Future Leisure: No More Fantasies

Thursday, April 25, 2019 | 8:00 p.m.
The ANNEX, 823 Seymour St, Vancouver, BC

Tickets available online at eventbrite.ca
General Admission: $20
Seniors & Youth (20 & under): $10
Arts Workers: $15 

Corrupting the form of ‘pas de deux’ by employing a utilitarian approach to physical interaction, the limits of two female bodies is displayed unadorned; the shake of muscles in contraction, the watery movement of released limbs. There is a detached sense of give and take where consent is pre-established and the co-operative nature of the performers relationship renders weight exchange matter of fact. Limbs are stepped on, handled, lifted, or moved with delicate care, as the two women utilize each other’s bodies for motion, propelled through space by surrendering agency to the other.

Performed by: Julianne Chapple and Maxine Chadburn.


Julianne Chapple‘s work explores surreal imagery, objecthood and memory. Drawing on a history of performed movement including circus acrobatics and performance art as well as classical and contemporary dance forms, the edges of the body’s mobility is explored and exploited often to the effect of depersonalizing and fragmenting the human form.

Julianne’s choreography has been presented at the Edam Dance Series, Dancing on the Edge, Dance in Vancouver, Push Off, Dances for a Small Stage, Festival Launch, 12 Minutes Max, Drift Arts Festival, SWARM Art Walk (Vancouver), Dance Days (Victoria), The Chinook Series (Edmonton), Risky Business Rebel Yells (Toronto), Tipperary Dance Festival (Ireland) and Nah Dran (Berlin). Her performance, video and installation work has been presented at the Foreshore, Franc Gallery, Dusseldorf’s Open Art Film Festival, Iris Film Collective’s One Take Super 8 and Latitude 53’s Visualeyez Festival of Performance Art.

Julie has created commissioned works for Dancestreams Youth Company, and Esprit de Corps, Langley Fine Arts School’s pre-professional dance ensemble. She frequently acts as a guest instructor for contemporary dance, choreographic techniques and circus style partnering.

Most recently, she was awarded the 2017 Iris Garland Emerging Choreographer Award which will go towards the production of her work ‘Suffix’ premiering October 26th + 27th, 2018. Julie is a member of media art collective the Work Group, is producer and sometimes curator of a small experimental performance series titled Shooting Gallery Performance, and sits on the board of directors for CADA-West.

New Works gratefully and respectfully acknowledges that this event takes place on the ancestral, and unceded Indigenous territories of the ʷməθkʷəy̓əm (Musqueam), sḵwx̱wú7mesh (Squamish), and sel̓íl̓witulh (Tsleil-Waututh) First Nations.
Photo: Ed Spence