The Quarter Club on Location

Review in Issue 5-2 | Summer 1993

The performances shown in Made in Manchester, Ripple Effect represented work chosen from a platform held at The Green Room, Manchester in February where artists were invited to present any form of Live Art.

The open brief for performances suggested that the work shown could have taken any chosen form. Although this was apparent within the diversity of stylistic qualities present, there were many notable formal similarities between the performances – most predominately that all pieces were solos. This one major link extended beyond the surface appearance of the work, to include similarities in the content and delivery of the solo, many using direct audience contact and derived from an implicit personal source.

The variety of ways the material was dealt with led to a series of performances which were constantly engaging, accessible and personally relevant. How the performer presented himself/herself within his/her work became crucial – from the chaotic, raw engagement of Michael Nolan’s Dark Jesus Soul, through to the clear, deliberate quality of Hilary Bichovsky’s Don’t.

A well presented evening of some exciting new work made in Manchester.

Made in Manchester, Ripple Effect was held at the ICA, April 1993. Presenting artists were Christopher Wright and Hilary Jones (Public Eye); Michael Nolan; Hilary Bichovsky; James Pillar and Paulette Terry Brien (with Laurence Lane, Sarah Dawson); Matt Wand; and Matt Rudkin.

Presenting Venue
Date Seen
  1. Apr 1993

This article in the magazine

Issue 5-2
p. 16