Lydia McGlinchey

Biography

Lydia McGlinchey was born in Sydney, Australia, and is cur­rent­ly living in Brussels. She is a dan­cer and per­for­man­ce maker. She also wea­ves tex­ti­les, which she uses as scenography.

She stu­died in P.A.R.T.S for five years whe­re she recei­ved her MA in cho­re­o­grap­hy and trai­ning in dan­ce. Lydia has wor­ked with Alix Eynaudi on her pro­ject Noa+Snow pre­sen­ted in Tanznacht Berlin and Wien Modern. Additionally she has made con­tri­bu­ti­ons to the final publi­ca­ti­ons of the Noa+Snow book/​catalogue which laun­ched at the Austrian Museum of Folk Art in Vienna and publis­hed by BOM DIA BOA TARDE BOA NOITE. She per­for­med in The Honey House by Nathan Ooms, which was selec­ted for Het the­a­tre fes­ti­val and pre­sen­ted in the Ghent International Festival at CAMPO, as well as in the Love At First Sight Festival in Antwerp. Lydia has wor­ked with Simon Van Schuylenbergh on his pro­ject Ne Mosquito Pas which was pre­sen­ted in Decoratelier and De Singel in 2022.

In residentie FERAL

Feral is a series of four sta­ged lands­ca­pes which assu­me con­tras­tin­gly dif­fe­rent ima­gi­na­ries of body and pla­ce. This work invi­tes the spec­ta­tors to obser­ve the trans­for­ma­ti­ons of each lands­ca­pe over the dura­ti­on of the per­for­man­ce. During the making of this work much thought was given to how the iteration/​presentation of bodies and pla­ces medi­a­te indi­vi­du­al and group rela­ti­ons­hips to the envi­ron­ment. Feral the­re­fo­re works towards cor­rup­ted, filthy, exces­si­ve, toxic, mon­s­trous, rui­ned, hor­ri­fic, frac­tu­red, and gla­mo­rous landscapes.

This work explo­res the noti­on of ​‘char­ge’ as a way to sty­le the body­’s move­ments and pre­sen­ce. Lydia has devel­o­ped tex­ti­le pie­ces used as sce­no­grap­hic objects, paying clo­se atten­ti­on to tex­tu­re, and the pro­duc­ti­on of dif­fe­rent volumes/​perspectives.

The sta­ge beco­mes a void, an opu­lent dump­si­te, a syn­the­tic desert, a hori­zon. The per­for­mers beco­me scree­ches, devi­ant figu­res, ina­ni­ma­te, hol­lo­wed out surfaces.

This work employs the the­a­tre’s poten­ti­al to cre­a­te an expe­rien­ce of sus­pen­si­on, rather than instruction.

project details