UNFIX Festival, CCA, Glasgow, Sat 30 Mar
- Lorna Irvine
- 1 April 2019
Superb ecological performance festival brings together disparate artists and ideas to dazzling effect
As Spring emerges, along with new beginnings, a peripatetic festival putting ecological issues under the microscope seems entirely apposite. The second day of artistic director Paul Michael Henry's UNFIX weaves together film, debate and performance, but is never didactic or heavy handed in its treatment of themes.
Scots collective VIDIV act as kind of anti-preachers in pagan costume. Together, they create an immolation of noise, an oppositional earthquake. Railing against police brutality, the decline of the coal industry, and featuring psychedelic visuals reminiscent of Psychic TV and Kenneth Anger, they are dazzling.
Niya B's 'Collective Lover' fuses eroticism with nature to beautiful effect. They move languorously, instinctively, a tabula rasa figure, reborn, eschewing religion for a collection of aloe vera plants, which they liken to human flesh. It's a gorgeous, meditative piece which allows the audience's heart beat to slow.
'Human Form' the outstanding closing performance from Minako Seki, sees the automaton become sentient. With incredible mastery of her body, she moves as though glitchy, limbs jutting at angles, consciousness evoked by wide eyes and a cawing mouth trying to form words.
With claw like hands typing in the air, this little machine starts as coquette, delicate puppet, becoming warrior as the process of humanity takes hold. She swipes at bamboo canes (painted in primary colours and suspended from the ceiling). They become as weapons, and she transitions into a proud goddess figure. She is both warning for the future and tech masthead, at once to be feared and admired.
UNFIX Festival, reviewed at CCA, Glasgow, Sat 30 Mar.