Anne-Marie Creamer is a British artist based in London whose works experiments with cinematic and theatrical forms using digital film, fiction, drawing, written films, filmed stage scenarios, and live voice-over. For Anne-Marie narrative is complexly entangled in place always underpinned by her interest in the relationship between representation and presence. Her work develops from a tenacious attitude towards research, which coupled with chance, she develops into highly scripted narratives featuring occluded histories that are melancholic but wry, corporeal, often intense.

Anne-Marie gave the talk – The wounded storyteller: on speaking vulnerability, acknowledging dependence, at Central Saint Martins during a conference on vulnerability at University of the Arts London in June 2019.

She is a convenor of a new UAL research hub at UAL on Arts, health and design, HEARD, which will become public towards the end of this academic year.


She has exhibited internationally.


Dora García has developed works on the GDR Political police (the film “Rooms, Conversations”, 24′, 2006, first presented at GfZK, Leipzig, Germany), on the comedian Lenny Bruce (“Just because everything is different… Lenny Bruce in Sydney”, one-time performance, Sydney Biennale, 2008) or on the rhizomatic associations of antipsychiatry (“Mad Marginal” book series since 2010, and “The Deviant Majority”, film, 34′, 2010, part of her performance project “The Inadequate”, first presented at the Spanish Pavilion, 54th Venice Biennale). She has used classical TV formats to research Germany’s most recent history (“Die Klau Mich Show”, Documenta13, 2012), frequented Finnegans Wake reading groups (“The Joycean Society”, 53′, 2013), created meeting points for voice hearers (“The Hearing Voices Café”, since 2014) and researched the crossover between performance and psychoanalysis (“The Sinthome Score”, 2013, and “Segunda Vez”, 2018). She is currently working on the film project “Amor Rojo”, on marxist feminist Alexandra Kollontai and the impact of her legacy on Third-World, intersectional feminism.

Work Group

Objective Enactive
This online lecture-demonstration unfolds the term ´Poetic Materiality´ within the context of designing and choreographing with Somatic Costumes. Through critiquing and applying the somatic practice of Skinner Releasing Technique, the poetics of philosopher Gaston Bachelard and the materiality of anthropologist Tim Ingold, this talk begins to map poetic and material agencies between bodies-costumes within the design-performance encounter.

Artist Talk

Objective Enactive

This talk will focus on the first outcome of Glitsch(ening) Ci(rculari)ty, a tripartite site-specific, where I am pursuing a speculative exploration of the ecology of the city, between the urban and the biological, unfolding its layers and materiality of time. The talk will end in a conversation between fellow researchers and artists in the collaborative project Urban Ecologies, where Glitsch(ening) Ci(rculari)ty, is generated from.


Polyvocal Tongue The presentation will focus on relational ethics and polyvocality in performative text. It will also explore the use of plural languages in a play, looking at how a polylingual praxis can open up new aesthetic potential in playwrighting and in artistic research in general.


TRANSPOSITIONS— JAR, Mette Edvardsen and modular diaries At the start, the idea for an artistic research conversation with Mette Edvardsen did not spring out of the topics shortlisted for the conference—hospitality, vulnerability and care—but a book that she had co-edited, and dropped in my shelf.

Panel Discussion

The Ethics of Vulnerability and Artistic Research

Any ethical framework must take account of the vulnerability of the human condition. This is significant in all creative endeavours – especially in artistic practice and the teaching of it – since the very act of creating something and putting it out into the world is an expression of vulnerability.