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. https://youtu.be/wqufv1KsgXA
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.