My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
My flux activation's are influenced by the Fluxus art movement from the 1960' where I walk the streets and immerse my body into it's architecture as a form of pinpointing locations. I have always been fascinated with street spaces as platform for micro choreographic actions, so I insert myself as a form of occupying city streets and spaces.
Christos Linou Choreographer / performer / filmmaker
biography
Christos Linou career, as a cross-disciplinary body based artist, choreographer and experimental filmmaker has spanned thirty-years. Since graduating in dance from the Centre for Performing Arts in Adelaide in 1987, he has worked as a choreographer / director and performer working in experimental dance / theatre and film. He integrates performance, literature, visual imagery with new and traditional technologies to create absurdist dance theatre, experimental opera and film.
He has toured one-man shows to Amsterdam, Singapore, Paris, New York, Malaysia and Australia and has appeared and choreographed for TV and feature films. His recent work, The Naked Ambassadors was commissioned by Temperance Hall for the 2020 Midsumma Festival.
In 2013 he was awarded with an Australian Postgraduate Scholarship to undertake a Masters of Fine Arts (dance) researching durational performance at Melbourne University. He produced four incarnations of his work Naked Peel, as six, eight and twelve hour works in Melbourne, Amsterdam and Melaka, Malaysia. The Marina Abramovic Institute (MAI) in New York recognised his work as, 'highly original a deeply personal' and published Naked Peel on IMMATERIAL, a digital journal for durational performance. He presented his research at the Singapore World Dance Alliance Symposium in 2015 and the video of Naked Peel: pt3 was screen at the 2016 As One festival in Athens by (MAI). He formally graduated in a Masters of Fine Arts in 2016 with his thesis, Naked Peel 12-hours Later; Shedding Intoxications Through Durational Embodiment, and awarded a first class honors.
Linou has directed experimented physical theatre, directed experimental cabaret, curated visual art exhibitions, mentored artist’s and has performed for companies including; The Australian Opera, One Extra Dance Theatre, Mixed Company, BalletLab and Companies in Space. He and was one of the artist's who helped establish Dancehouse, where he made numerous experimental damnce works, taught contemporary dance and was a board memeber for seven years.
In 1989 he developed an interest in how filmmaking could be applied to live theatre and devised, directed and perform his own hybrid solo works using dance, theatre and super 8 film projections. The films are directly related to the theme of the performance and crafted to the choreographed sequences on stage. He came across the Melbourne Super 8 film group in 1994 and became an active member and later was on the board of management for three years. In this time he was able to screen a range of his films amongst a ‘happening’ film going culture and develop his own style of Super 8 filmmaking. He went on to produced and present other films screenings including Ultraprojections films screenings in Melbourne from 1999 – 01. Since the demise and availability of super 8 film and its screening opportunities Linou has been making digital films on MDV and editing on Final Cut Pro. He has worked with a stop frame techniques and animating paper cut outs, claymation and 3D objects. He has made short documentaries, which reflect social lifestyles through politics, food and culture. His films and animations have screened in Australia, Taiwan, Singapore, Amsterdam and Toronto.
He has appeared in TV and films, Neighbours, Embassy, Death in Brunswick and Sniper and choreographed for the AFI award wining children's TV series Short Cuts. His community and (CALD) works include; choreographing for Footscray Community Arts Centre choir’s, directing the Greek Antipodes, Williamstown and CERES festivals, The Rice Project, The Proxy of Antigone, Best Foot Forward and Flamin’ Kitchens DVD, broadcast on Channel 31. He has designed floats and choreographed for the Sydney Gay and Lesbian Mardi Gra from 1997 − 2002 and in 1999 his work, Strictly Zorba was awarded best small float.
He choreographed and performed for IHOS Opera in a 21 year collaboration with the first work in 1992, Days and Nights with Christ until the final work, The Barbarians at the Moma Foma festival in Hobart of 2012.
In 1998 he co-established Intertextual Bodies and made a series of performative installations, using his body as a metaphors for trespass, occupation and public site intervention. Film recorded the activity and documented the passerby’s experience, for gallery installation.
His community works include, artist in residency at the Footscray Community Arts Centre, festival director for CERES, Williamstown and the Greek Antipodes festivals. He was a panel member for Arts Victoria’s funding rounds from 2004 – 2007 and in 2016 he was a Peer panel assessor for the Australia Council for the Arts.
