Cara Davies is an artist, educator and researcher that works at the intersection of archives, documentation and performance.

 

Cara’s praxis re-thinks the construction, use and dissemination of performance documentation and archives as works of live art in-their-own-right. Her practice focuses on archival lacunae, re-presentation of documentation in performance, re-documentation of documents and the juxtaposition of the live and documented body. This work challenges how these processes impart a fragmented but multifarious understanding of identity, memory and bodily experience and spans a range of artistic mediums and spaces. She completed the practice-led PhD entitled Activating Archives: Interrogating the Integration of Archival Theory in Creative and Curatorial Strategies for Performance Art which was part of the Performing Documents project at the University of Bristol.

 

Cara was a selected Escalator: Live Art Artist and received an Arts Council England Grants for the Arts Award for the durational performance-as-research project Instability In Stability. She has performed as a solo artist internationally; including Performance Studies International, TAPRA, and with the arts and research collective Tracing the Pathway, which she co-founded to explore relationships between bodies, sites and encounters as forms of knowledge production and exchange.

 

She has also worked as an exhibition curator for the Franko B Archive at University of Bristol’s Theatre Collection producing the exhibition Reading Franko B: Moments in Love, as a symposium coordinator for The Parlour Showroom's project In the City, as a research assistant for The Performance Re-enactment Society's piece Group Show at the Arnolfini, as part of the documentation team at Marina Abramovic’s symposium The Pigs of Today are The Hams of Tomorrow, as well as performing with Sardinian-based collective Caravan S.M.I on their project Paesaggi Interrotti.