https://eimi-leggett.com Eimi Leggett Mon, 18 Aug 2025 12:10:54 +0000 https://eimi-leggett.com en https://eimi-leggett.com/Menu-bar Mon, 01 Feb 2021 14:22:01 +0000 Eimi Leggett https://eimi-leggett.com/Menu-bar ︎&nbsp; &nbsp; &nbsp;Eimi Leggett &nbsp; &nbsp; &nbsp;Portfolio &nbsp; &nbsp; https://eimi-leggett.com/Desktop Mon, 01 Feb 2021 14:22:01 +0000 Eimi Leggett https://eimi-leggett.com/Desktop <img width="2358" height="1402" width_o="2358" height_o="1402" data-src="https://freight.cargo.site/t/original/i/61c695d661b114b3bf675c827d7136b77295834dbee7e9a875a0ad696093a3ad/IMG_7647.jpg" data-mid="97347853" border="0" data-scale="16" src="https://freight.cargo.site/w/1000/i/61c695d661b114b3bf675c827d7136b77295834dbee7e9a875a0ad696093a3ad/IMG_7647.jpg" /><img width="1843" height="1794" width_o="1843" height_o="1794" data-src="https://freight.cargo.site/t/original/i/a6a1c8e0fbe4c4d120ee3ed13402b3b527ced6c9e77d20937f993b7c5c627e89/IMG_7789.jpg" data-mid="97347854" border="0" data-scale="15" src="https://freight.cargo.site/w/1000/i/a6a1c8e0fbe4c4d120ee3ed13402b3b527ced6c9e77d20937f993b7c5c627e89/IMG_7789.jpg" /><img width="1575" height="2100" width_o="1575" height_o="2100" data-src="https://freight.cargo.site/t/original/i/00151846b374e4c07282d13bbe9ce093f7dc40363879a1d2205447a644e12571/IMG_8996.jpg" data-mid="97349137" border="0" data-scale="15" src="https://freight.cargo.site/w/1000/i/00151846b374e4c07282d13bbe9ce093f7dc40363879a1d2205447a644e12571/IMG_8996.jpg" /><img width="1575" height="2100" width_o="1575" height_o="2100" data-src="https://freight.cargo.site/t/original/i/37829c5de9c701a41526c647b14c19af0418203f6d1c17a8a7a31407e9eb4a0d/IMG_8995.jpg" data-mid="97349136" border="0" data-scale="16" src="https://freight.cargo.site/w/1000/i/37829c5de9c701a41526c647b14c19af0418203f6d1c17a8a7a31407e9eb4a0d/IMG_8995.jpg" />&nbsp;<img width="765" height="1020" width_o="765" height_o="1020" data-src="https://freight.cargo.site/t/original/i/c60db04ff83ab524b0cb77ca0a6e11845dc1ac37c8c98b3edbf6578cc6083992/D3076C84-A2A2-416A-8FD6-63CB9FCBA162.JPG" data-mid="222698777" border="0" data-scale="22" src="https://freight.cargo.site/w/765/i/c60db04ff83ab524b0cb77ca0a6e11845dc1ac37c8c98b3edbf6578cc6083992/D3076C84-A2A2-416A-8FD6-63CB9FCBA162.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/009019e4a0704d985ab3bc99ebe914718626bc1dcdba2f77f94e0a9848fc6524/Promo--pic-Eimi-Leggett.JPG" data-mid="222698591" border="0" data-scale="33" src="https://freight.cargo.site/w/1000/i/009019e4a0704d985ab3bc99ebe914718626bc1dcdba2f77f94e0a9848fc6524/Promo--pic-Eimi-Leggett.JPG" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="1575" height="1585" width_o="1575" height_o="1585" data-src="https://freight.cargo.site/t/original/i/29d477e1b502e91d48335f0b5fc349d78a557f37600de43769a3ecdf8fa7d29a/IMG_2839.jpg" data-mid="237150248" border="0" data-scale="20" src="https://freight.cargo.site/w/1000/i/29d477e1b502e91d48335f0b5fc349d78a557f37600de43769a3ecdf8fa7d29a/IMG_2839.jpg" />&nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img width="750" height="198" width_o="750" height_o="198" data-src="https://freight.cargo.site/t/original/i/61afd2ad93c4c67531681244263c79c7d97471a017651bb67d457bc2273b3b87/IMG_8991.jpg" data-mid="97348159" border="0" data-scale="85" src="https://freight.cargo.site/w/750/i/61afd2ad93c4c67531681244263c79c7d97471a017651bb67d457bc2273b3b87/IMG_8991.jpg" /> https://eimi-leggett.com/Collaborations Mon, 01 Feb 2021 14:00:55 +0000 Eimi Leggett https://eimi-leggett.com/Collaborations Ray of light and How to Hold&nbsp; by Mary Szydlowska on the choreographic programme at the opening of the new Museum of Modern Art in Warsaw @msnwarszawa 27-31.10.2024 and&nbsp; workspace Brussels,&nbsp; Performed with Federico Protto @faeioudaeiou Valentino Skarwan @valentino.skarwan Osamu Shikichi @osamu_shikichi Sonic rooms by Mlondiwethu Dubazane @sound.seeeker&nbsp;Process doula: aleks borys @aleksborys <img width="3000" height="1996" width_o="3000" height_o="1996" data-src="https://freight.cargo.site/t/original/i/7f901f28999ac74891978b6ecc8fad55b8390f4c99807a4050f36c755e0de028/MSN_311024_ARayOfLightOrHowToHold_040_LowRes_fotPatMic.jpg" data-mid="222698100" border="0" src="https://freight.cargo.site/w/1000/i/7f901f28999ac74891978b6ecc8fad55b8390f4c99807a4050f36c755e0de028/MSN_311024_ARayOfLightOrHowToHold_040_LowRes_fotPatMic.jpg" /> <img width="3000" height="1996" width_o="3000" height_o="1996" data-src="https://freight.cargo.site/t/original/i/bb2452aba163b0150cd8f22944c00024b6b74b5835227ba8eecae7bb578b3df7/MSN_311024_ARayOfLightOrHowToHold_014_LowRes_fotPatMic.jpg" 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src="https://freight.cargo.site/w/1000/i/dbdcc72f6552584fb4fc30058bd4734621e8f7da9967afbcafcf26bd00cc22c5/WhatsApp-Image-2024-10-31-at-10.47.42.jpeg" /> <img width="3000" height="1996" width_o="3000" height_o="1996" data-src="https://freight.cargo.site/t/original/i/e11b0baa08e57366313c11b0614e95ee8224e85b3fe5ec3e1d1072a186816ca7/MSN_311024_ARayOfLightOrHowToHold_005_LowRes_fotPatMic.jpg" data-mid="222698858" border="0" src="https://freight.cargo.site/w/1000/i/e11b0baa08e57366313c11b0614e95ee8224e85b3fe5ec3e1d1072a186816ca7/MSN_311024_ARayOfLightOrHowToHold_005_LowRes_fotPatMic.jpg" /> <img width="3000" height="1996" width_o="3000" height_o="1996" data-src="https://freight.cargo.site/t/original/i/a7ca881a0ab95ed87e53a55e9d4fa1bb56293a5396d1425e1bd94786074a2302/MSN_311024_ARayOfLightOrHowToHold_037_LowRes_fotPatMic.jpg" data-mid="222698088" border="0" src="https://freight.cargo.site/w/1000/i/a7ca881a0ab95ed87e53a55e9d4fa1bb56293a5396d1425e1bd94786074a2302/MSN_311024_ARayOfLightOrHowToHold_037_LowRes_fotPatMic.jpg" /> <img width="3000" height="1996" width_o="3000" height_o="1996" data-src="https://freight.cargo.site/t/original/i/a3fc030613ce03bb9a03cc4dc6dfbcc8d47eca0959b6ae95b81bacfb0e89f3d8/MSN_311024_ARayOfLightOrHowToHold_012_LowRes_fotPatMic.jpg" data-mid="222698094" border="0" src="https://freight.cargo.site/w/1000/i/a3fc030613ce03bb9a03cc4dc6dfbcc8d47eca0959b6ae95b81bacfb0e89f3d8/MSN_311024_ARayOfLightOrHowToHold_012_LowRes_fotPatMic.jpg" /> <img width="3000" height="1996" width_o="3000" height_o="1996" data-src="https://freight.cargo.site/t/original/i/a4aa41bb49089a57d818d3ffec972385f530d5483ae25a0ee1f0be908e490e51/MSN_311024_ARayOfLightOrHowToHold_038_LowRes_fotPatMic.jpg" data-mid="222698091" border="0" src="https://freight.cargo.site/w/1000/i/a4aa41bb49089a57d818d3ffec972385f530d5483ae25a0ee1f0be908e490e51/MSN_311024_ARayOfLightOrHowToHold_038_LowRes_fotPatMic.jpg" /> <img width="3000" height="1996" width_o="3000" height_o="1996" data-src="https://freight.cargo.site/t/original/i/4d79824099ca8eeb0d64887c08e49bfa6bd28e4f4699252d0572d59e5181ce77/MSN_311024_ARayOfLightOrHowToHold_008_LowRes_fotPatMic.jpg" data-mid="222698092" border="0" src="https://freight.cargo.site/w/1000/i/4d79824099ca8eeb0d64887c08e49bfa6bd28e4f4699252d0572d59e5181ce77/MSN_311024_ARayOfLightOrHowToHold_008_LowRes_fotPatMic.jpg" /> <img width="3000" height="1996" width_o="3000" height_o="1996" data-src="https://freight.cargo.site/t/original/i/88baa5ee897feaf65f555c26d034e658b0ccff0981c356c4d347de469de24bf1/MSN_311024_ARayOfLightOrHowToHold_007_LowRes_fotPatMic.jpg" data-mid="222698834" border="0" src="https://freight.cargo.site/w/1000/i/88baa5ee897feaf65f555c26d034e658b0ccff0981c356c4d347de469de24bf1/MSN_311024_ARayOfLightOrHowToHold_007_LowRes_fotPatMic.jpg" /> Regurgiscore as the Lasagna women by Nahtaniel Moore at Level five in the framework of Tripsitting. <img width="1440" height="960" width_o="1440" height_o="960" data-src="https://freight.cargo.site/t/original/i/edf98afcaefc9aa8a57b1d6e1a14eb3fe93975d076b1688777c75435a498be72/Regurgiscore2.JPG" data-mid="208191669" border="0" src="https://freight.cargo.site/w/1000/i/edf98afcaefc9aa8a57b1d6e1a14eb3fe93975d076b1688777c75435a498be72/Regurgiscore2.JPG" /> <img width="1440" height="960" width_o="1440" height_o="960" data-src="https://freight.cargo.site/t/original/i/b57b9bdbcec21fabd44cb04dd0454822b8e9e9e17df31cb035eb2693bca21834/Regurgiscore.JPG" data-mid="208191668" border="0" src="https://freight.cargo.site/w/1000/i/b57b9bdbcec21fabd44cb04dd0454822b8e9e9e17df31cb035eb2693bca21834/Regurgiscore.JPG" /> Photo series by Anne-sophie Guillet 2022 <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/34d85796c8483df69ea10b4438f30dfaf3b3e2737ffa3aa93555b23c1784525c/EIMI_MAY_2023-13.jpg" data-mid="208191591" border="0" src="https://freight.cargo.site/w/1000/i/34d85796c8483df69ea10b4438f30dfaf3b3e2737ffa3aa93555b23c1784525c/EIMI_MAY_2023-13.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/f405b3808da2ef622d4c7de6a1546a50863ed90c76e46180a63114846a50ff09/EIMI_MAY_2023-22.jpg" data-mid="208191593" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/f405b3808da2ef622d4c7de6a1546a50863ed90c76e46180a63114846a50ff09/EIMI_MAY_2023-22.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/8ff5a017f62d20e8d4bc30f548c0c79e1da9bcf12e82e09be939b392c5e0bc24/EIMI_MAY_2023-23.jpg" data-mid="208191594" border="0" src="https://freight.cargo.site/w/1000/i/8ff5a017f62d20e8d4bc30f548c0c79e1da9bcf12e82e09be939b392c5e0bc24/EIMI_MAY_2023-23.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/64d00c838d566edd363360012890b738e2ed7265c1e0add173e2838895fe1e01/EIMI_MAY_2023-15.jpg" data-mid="208191597" border="0" src="https://freight.cargo.site/w/1000/i/64d00c838d566edd363360012890b738e2ed7265c1e0add173e2838895fe1e01/EIMI_MAY_2023-15.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/68b98c7ab016e0abd642867b6aaa9d677a682e5f3bbef5136ec148fe3eeea9f0/EIMI_MAY_2023-36.jpg" data-mid="208191596" border="0" src="https://freight.cargo.site/w/1000/i/68b98c7ab016e0abd642867b6aaa9d677a682e5f3bbef5136ec148fe3eeea9f0/EIMI_MAY_2023-36.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/f89f110eea2a785855d6e74c0ea2e8cf596cc8f8dbedc558eb9f896cbc056e7c/EIMI_MAY_2023-29.jpg" data-mid="208191592" border="0" src="https://freight.cargo.site/w/1000/i/f89f110eea2a785855d6e74c0ea2e8cf596cc8f8dbedc558eb9f896cbc056e7c/EIMI_MAY_2023-29.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/76231d1dd78c3f1854f34ca1d0c14c84d935dea24891d6bcc413fc8774b3a4fa/EIMI_MAY_2023-37.jpg" data-mid="208191599" border="0" src="https://freight.cargo.site/w/1000/i/76231d1dd78c3f1854f34ca1d0c14c84d935dea24891d6bcc413fc8774b3a4fa/EIMI_MAY_2023-37.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/a7f4f017e2f4e250930281b713e44fae355d9a26017531fcffe663a437864315/EIMI_MAY_2023-03.jpg" data-mid="208191600" border="0" src="https://freight.cargo.site/w/1000/i/a7f4f017e2f4e250930281b713e44fae355d9a26017531fcffe663a437864315/EIMI_MAY_2023-03.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/684da606153a4cbd80544156d2fc1ac19c798a08cfa86ac45eaace96bec2970d/EIMI_MAY_2023-08.jpg" data-mid="208191595" border="0" src="https://freight.cargo.site/w/1000/i/684da606153a4cbd80544156d2fc1ac19c798a08cfa86ac45eaace96bec2970d/EIMI_MAY_2023-08.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/96aa192fba8f68902f5a3a9442456b7fc03342c0e90fcae8dee77eda2c13622b/EIMI_MAY_2023-05.jpg" data-mid="208191598" border="0" src="https://freight.cargo.site/w/1000/i/96aa192fba8f68902f5a3a9442456b7fc03342c0e90fcae8dee77eda2c13622b/EIMI_MAY_2023-05.jpg" /> NO BULL ICE installation event with Pieter Jan Ginckels at NRW-Forum Dusseldorf. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/029012cd53f7aeef584696a8187e92c6b54d47e584c74b689a7fa9fdde87eee7/PieterJan-NOBULICE.jpeg" data-mid="208190719" border="0" src="https://freight.cargo.site/w/1000/i/029012cd53f7aeef584696a8187e92c6b54d47e584c74b689a7fa9fdde87eee7/PieterJan-NOBULICE.jpeg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/bfbce902fdfab2657f197e8add3ac3980021922e29f03193e3c6caab32a6a06f/PieterJan-No-BULL-ICE.jpeg" data-mid="208190718" border="0" data-scale="79" src="https://freight.cargo.site/w/1000/i/bfbce902fdfab2657f197e8add3ac3980021922e29f03193e3c6caab32a6a06f/PieterJan-No-BULL-ICE.jpeg" /> “The Diabolical” painting series by Trong Gia Nguyen filmed in La Patinoire Royal/Galerie Valerie Bach. 2022<img width="1125" height="2436" width_o="1125" height_o="2436" data-src="https://freight.cargo.site/t/original/i/5fe595aeda0a2c377ac7ee2a56a7c2a882514116a388cb3fcd3c50744be061d7/Trong-pic.jpg" data-mid="208190553" border="0" data-scale="65" src="https://freight.cargo.site/w/1000/i/5fe595aeda0a2c377ac7ee2a56a7c2a882514116a388cb3fcd3c50744be061d7/Trong-pic.jpg" /> Photoseries by Anne Sophie Guillet 2020 <img width="1667" height="2500" width_o="1667" height_o="2500" data-src="https://freight.cargo.site/t/original/i/e09aba6967eb3e8a291903cf338773cd7258b935c0aba52aa230cb41d38904fb/2020-06-19_Aniko_EIMI_3_0617.jpg" data-mid="97351121" border="0" src="https://freight.cargo.site/w/1000/i/e09aba6967eb3e8a291903cf338773cd7258b935c0aba52aa230cb41d38904fb/2020-06-19_Aniko_EIMI_3_0617.jpg" /> <img width="1340" height="2010" width_o="1340" height_o="2010" data-src="https://freight.cargo.site/t/original/i/08bf5e3c1f6b0c0e938aa1147a22e926506ffce2f2d83135dbb3b765785409b7/2020-06-19_Aniko_EIMI_3_0635.jpg" data-mid="97351123" border="0" src="https://freight.cargo.site/w/1000/i/08bf5e3c1f6b0c0e938aa1147a22e926506ffce2f2d83135dbb3b765785409b7/2020-06-19_Aniko_EIMI_3_0635.jpg" /> <img width="1667" height="2500" width_o="1667" height_o="2500" data-src="https://freight.cargo.site/t/original/i/2362ac7cd939395500ebfad38e02de63cc8c2ca87cecefee0dbcfa076117cdad/2020-06-19_Aniko_EIMI_3_0616.jpg" data-mid="97351118" border="0" src="https://freight.cargo.site/w/1000/i/2362ac7cd939395500ebfad38e02de63cc8c2ca87cecefee0dbcfa076117cdad/2020-06-19_Aniko_EIMI_3_0616.jpg" /> <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/efcd1bf1079f8e7cc1c2f6e4cc1053e12ddafcbb83386002ee350170a92da55e/EIMI_INSTAGRAM-4.jpg" data-mid="97351134" border="0" src="https://freight.cargo.site/w/1000/i/efcd1bf1079f8e7cc1c2f6e4cc1053e12ddafcbb83386002ee350170a92da55e/EIMI_INSTAGRAM-4.jpg" /> <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/d3ea53efc658e52bad1d6bf00cde0429ce256989d4690e8c58afa8b2ca64843e/EIMI_INSTAGRAM-1.jpg" data-mid="97351127" border="0" src="https://freight.cargo.site/w/1000/i/d3ea53efc658e52bad1d6bf00cde0429ce256989d4690e8c58afa8b2ca64843e/EIMI_INSTAGRAM-1.jpg" /> <img width="2224" height="1483" width_o="2224" height_o="1483" data-src="https://freight.cargo.site/t/original/i/03d6aeb7a800a553c42cfe4875292291cb13c26eac9cb666f3d177eced2525f0/2020-06-19_Aniko_EIMI_1_0253.jpg" data-mid="97351117" border="0" src="https://freight.cargo.site/w/1000/i/03d6aeb7a800a553c42cfe4875292291cb13c26eac9cb666f3d177eced2525f0/2020-06-19_Aniko_EIMI_1_0253.jpg" /> <img width="1667" height="2500" width_o="1667" height_o="2500" data-src="https://freight.cargo.site/t/original/i/db5206e996097c7a61bb63860fec1d4f7f8df6ada36dec40a2fae249df5ef249/2020-06-19_Aniko_EIMI_3_0694.jpg" data-mid="97351124" border="0" src="https://freight.cargo.site/w/1000/i/db5206e996097c7a61bb63860fec1d4f7f8df6ada36dec40a2fae249df5ef249/2020-06-19_Aniko_EIMI_3_0694.jpg" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/30a04dfb2bee0ca8f8834cc322758cbc6e21ebccea094891e35b4f5a9087fe47/2020-06-19_Aniko_EIMI_1_0025.jpg" data-mid="97351115" border="0" src="https://freight.cargo.site/w/1000/i/30a04dfb2bee0ca8f8834cc322758cbc6e21ebccea094891e35b4f5a9087fe47/2020-06-19_Aniko_EIMI_1_0025.jpg" /> What attention forms. 2019 <img width="750" height="585" width_o="750" height_o="585" data-src="https://freight.cargo.site/t/original/i/ee01954047ef457241974ec6c8ed4c459c0ffd4e1ae78d9c221d04222f708fab/IMG_6025.jpg" data-mid="97351946" border="0" data-scale="82" src="https://freight.cargo.site/w/750/i/ee01954047ef457241974ec6c8ed4c459c0ffd4e1ae78d9c221d04222f708fab/IMG_6025.jpg" /> <img width="750" height="672" width_o="750" height_o="672" data-src="https://freight.cargo.site/t/original/i/c0ea677dcb4cc94c8fdcd9924241ac6da077380a4493e2fa3482f1b0ed44b4dc/IMG_6028.jpg" data-mid="97351988" border="0" data-scale="80" src="https://freight.cargo.site/w/750/i/c0ea677dcb4cc94c8fdcd9924241ac6da077380a4493e2fa3482f1b0ed44b4dc/IMG_6028.jpg" />Collaboration with architect Jacques Ligot, Movements; Mooni Van Tichel, Timothy Nouvak, Eimi Leggett. Performed at BOZAR"What attention forms" a project produced in the framework of Artists in Architecture. Re-Activating Modern European Houses, a project co-funded by the creative Europe programme of the European Union in the framework of the European year of Cultural Heritage 2018(EYCH), along with the Centre for fine Arts Brussels ( BOZAR), Fundacio Mies van der Reheard the University of Architecture Naples-Federico II. In the process of 2 months, the dancers and the architect visited the Strebelle House designed by Andre Jacqmain, and carefully observed the mergence of design and movement as an active residential house that the architecture presents. Jacques Ligot then created the white frames that were made in exact measurements of parts of the houses that we were individually attracted to. The four bodies on the hall would retrace our trail through the house, placing each frameworks to the placing that would be in the house, reenacting the bodily feeling around those frames. Somnia 2019 <img width="1067" height="800" width_o="1067" height_o="800" data-src="https://freight.cargo.site/t/original/i/89ecbaad3424139a3a439874597e2c1b1a65a0bee7be861ea02162286a17e493/img-2909_orig.jpg" data-mid="97351755" border="0" src="https://freight.cargo.site/w/1000/i/89ecbaad3424139a3a439874597e2c1b1a65a0bee7be861ea02162286a17e493/img-2909_orig.jpg" /> As the role of Titania, Sponsored and presented as part of&nbsp;Kunsten festival des Arts 2019 Together with Anne Teresa De Keersmaeker and Jolente De Keersmaeker, forty-four dancers enter into a dialogue with the natural landscape, where factors such as sound and silence, light and dark, distance and proximity become a matter of perspective, and where both new possibilities and boundaries emerge. In search of an ecological aesthetic they leave behind the four walls of the theatre for a performance that requires few theatrical interventions and fuse seamlessly with the natural environment. The woods and the night sky offer the perfect backdrop for the ‘dreams’ to which the title Somnia&nbsp;refers. The first of the dreams is&nbsp;Somnium, a novel by the seventeenth-century astronomer Johannes Kepler, in which science and science fiction merge to show that the planets revolve around the sun in an elliptic orbit. The second dream underpinning the performance is&nbsp;A Midsummer Night’s Dream. Combining Kepler and Shakespeare, the dancers explore the intersection of text, dance and music playing with gravity while guided by fantastic stories in a space-time far beyond the borders of urban theatre.&nbsp;Somnia&nbsp;is a project with the final-year students of Generation 12, graduating class of 2019. Photoseries by Maria Baoli 2019 <img width="750" height="726" width_o="750" height_o="726" data-src="https://freight.cargo.site/t/original/i/a4985597f54507e0521ae1653c215e92b38ec978a11511b518f0b8be54cc010e/IMG_6031.jpg" data-mid="97352700" border="0" src="https://freight.cargo.site/w/750/i/a4985597f54507e0521ae1653c215e92b38ec978a11511b518f0b8be54cc010e/IMG_6031.jpg" /> <img width="750" height="712" width_o="750" height_o="712" data-src="https://freight.cargo.site/t/original/i/9a88047b63eeae23fea296a76ef8cba46bad9bcd17262ee909d59312e0e936aa/IMG_6030.jpg" data-mid="97352699" border="0" src="https://freight.cargo.site/w/750/i/9a88047b63eeae23fea296a76ef8cba46bad9bcd17262ee909d59312e0e936aa/IMG_6030.jpg" /> <img width="4368" height="3744" width_o="4368" height_o="3744" data-src="https://freight.cargo.site/t/original/i/45f645bdbfa97045606c4e0834b8f2caeff4e397bed81e92e540695ac98834c8/_MG_5883-Eimi-Maria-Baoli.jpg" data-mid="97352570" border="0" src="https://freight.cargo.site/w/1000/i/45f645bdbfa97045606c4e0834b8f2caeff4e397bed81e92e540695ac98834c8/_MG_5883-Eimi-Maria-Baoli.jpg" /> <img width="3744" height="4368" width_o="3744" height_o="4368" data-src="https://freight.cargo.site/t/original/i/00cf929b1caa92a8b86e8cfd3ceabbd0405ed564363f551bbfd506158535ec55/_MG_5798-Eimi-Maria-Baoli.jpg" data-mid="97352569" border="0" src="https://freight.cargo.site/w/1000/i/00cf929b1caa92a8b86e8cfd3ceabbd0405ed564363f551bbfd506158535ec55/_MG_5798-Eimi-Maria-Baoli.jpg" /> <img width="3744" height="5616" width_o="3744" height_o="5616" data-src="https://freight.cargo.site/t/original/i/8eadaca79b89779b10524298b9165fe8d42dccb1e83cdd1b267431d565d0f001/_MG_5378-Eimi-Maria-Baoli.jpg" data-mid="97352568" border="0" src="https://freight.cargo.site/w/1000/i/8eadaca79b89779b10524298b9165fe8d42dccb1e83cdd1b267431d565d0f001/_MG_5378-Eimi-Maria-Baoli.jpg" /> Credits;Photo; Maria Baoli Published in Neo2 Magazine&nbsp;Styled by; Pirrer Gorilla, Arthur Avellano, Make up by: Dorothy Vandermaele Dear Deer <img width="750" height="936" width_o="750" height_o="936" data-src="https://freight.cargo.site/t/original/i/26342709be93f2d820cda9d1a54de4af902a136fb01d62b69230f48bcc6012b6/IMG_1337.jpg" data-mid="97352430" border="0" data-scale="91" src="https://freight.cargo.site/w/750/i/26342709be93f2d820cda9d1a54de4af902a136fb01d62b69230f48bcc6012b6/IMG_1337.jpg" />Creation by Wai Lok Chung, Mariana Miranda, Eimi LeggettPremiered : Dag Van De Dans, Brussels 2019 Dear Deer is an installation piece mixture of costume interactional movements and improvisation. the piece explores the feeling of insecurities, fear for intimacy and our basic defence mechanism that we develop over the years. It tackles tactilities within individual, while connecting to the element of nature, understanding the potential of nature being part of ourselves. Dear dear will return with its second instalment Bear bear at Generation Twelve Festival 2019 Mooni Van Tichel&nbsp;<img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/7ec8a7d1631a4638aaffc54f3999ff0d0d915fd6fba0aab070fe118ec6fc6cd4/IMG_9616.JPG" data-mid="99299444" border="0" src="https://freight.cargo.site/w/1000/i/7ec8a7d1631a4638aaffc54f3999ff0d0d915fd6fba0aab070fe118ec6fc6cd4/IMG_9616.JPG" />Collaboration with Mooni Van Tichel as part of Studios course at PARTS.&nbsp; performed on June 2020. Unfortunately it was never premired publicly.&nbsp; <img width="5184" height="3456" width_o="5184" height_o="3456" data-src="https://freight.cargo.site/t/original/i/f68a33ef005bbdadba11cb613b6ca0062b116fb1fc8e61449dc180cdbb777a89/IMG_9600.JPG" data-mid="99299463" border="0" src="https://freight.cargo.site/w/1000/i/f68a33ef005bbdadba11cb613b6ca0062b116fb1fc8e61449dc180cdbb777a89/IMG_9600.JPG" /> https://eimi-leggett.com/Past-works Sun, 01 Dec 2024 14:28:35 +0000 Eimi Leggett https://eimi-leggett.com/Past-works Past works&nbsp; Coppelia_q -reimagiend in Vienna- Coppelia_q was a piece once dreamt right after the graduation from PARTS. Upon which she disipated into my dream realm, sometimes whispering back to my mind - forget me not on your balcony-&nbsp; <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/3a5187cd3d94fd3c9efaf2c20f54841ba2189b90f55ad81e64a2ef03e39342da/IMG_2466.JPG" data-mid="238033311" border="0" src="https://freight.cargo.site/w/1000/i/3a5187cd3d94fd3c9efaf2c20f54841ba2189b90f55ad81e64a2ef03e39342da/IMG_2466.JPG" />In the summer of 2025, I participated&nbsp; ATLAS – Create Your Dance Trails, a modular residency within ImPulsTanz – Vienna International Dance Festival, designed for emerging choreographers. Under the guidance of Christopher Mathews and through engagement with artists from over 100 countries, the residency provided crucial studio space and critical dialogue that helped refine Coppelia_q into a site-specific short performance version in Vienna. Coppelia_q began as a quarantine project in 2020, inspired by the monotony of online performances. Spending hours on my balcony, I drew inspiration from the ballet Coppélia, featuring a mechanical doll with limited function, reading and blowing kisses, who captivates a villager unaware of her inanimate nature, resulting in jealousy and a narrative laden with gaslighting, objectification, and loyalty ultimatums.<img width="1170" height="1560" width_o="1170" height_o="1560" data-src="https://freight.cargo.site/t/original/i/7394dffb9e3fbe3a28177161e17171a470bf1b36da53ff8d4b6a680ed695d287/6CCAEF26-4C1B-427C-AE51-5933A8F6CC44.JPG" data-mid="238033364" border="0" src="https://freight.cargo.site/w/1000/i/7394dffb9e3fbe3a28177161e17171a470bf1b36da53ff8d4b6a680ed695d287/6CCAEF26-4C1B-427C-AE51-5933A8F6CC44.JPG" /> As woman navigating life in Europe, my practice investigates cultural representations of "foreignness" through the lenses of gender, nationality, and identity. I was particularly intrigued by Coppélia's static femininity, confined to the male gaze, hyper-visible yet stripped of identity. The performance in vienna reimagined these themes; draped in plastic,&nbsp; the short movie showcasing a domestic room questioning privacy and public spaces, the body in real life coming life after the movie, learning breahting for the first time and failing, moving through the rhythm of a waltz, exploring technical forms, and authentic poses, through female gaze. The work explored the tension between intimacy and surveillance and domesticity within private and public spaces.&nbsp; ---Explored further in the essay “On Nudity in Performances” ---&nbsp; <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/d1632689c8b192a49e7b62cc6be42ed340eb637647ffb7314902ecba2a45980b/IMG_2546-3.JPG" data-mid="238033351" border="0" src="https://freight.cargo.site/w/1000/i/d1632689c8b192a49e7b62cc6be42ed340eb637647ffb7314902ecba2a45980b/IMG_2546-3.JPG" /> The ATLAS residency proved invaluable for developing Coppelia_q from a conceptual exploration into a concrete performance work. Through in-person engagement with international artists and access to diverse artistic methodologies, I was able to test ideas in real-time and refine my understanding of how the female body and "foreignness" are performed in public space. The residency's experimental framework allowed me to push the research further, ultimately culminating in a site-specific short performance version created specifically in reference to Vienna's characteristic sculptures in its classical architectures. This marked the first time Coppelia_q was fully realized as a multidisciplinary live performance,&nbsp; Dancing in front of a self portrative photoseries turnt short movie, transforming from balcony isolation into active engagement with the portraits of city's public spaces and audiences. Through the residency and its photo series emerged the aspect of performing Nude for the first time. The question of the difference between nudity and Naked body was explored in the form of writing of an essay.&nbsp; <img width="5730" height="3824" width_o="5730" height_o="3824" data-src="https://freight.cargo.site/t/original/i/34b82b3b28517b6a5c4183949fba7dfd6bb3720f0d48d897eb7a126d654252a6/AVAEmi210525-1343.jpg" data-mid="237909981" border="0" src="https://freight.cargo.site/w/1000/i/34b82b3b28517b6a5c4183949fba7dfd6bb3720f0d48d897eb7a126d654252a6/AVAEmi210525-1343.jpg" />The Search for the Liveness 2021&nbsp;Performed at&nbsp; STUDIO course Graduation showcase 2021, Twitch tv/SleepersDreamers by Pieter Jan Ginckels and Snowlakes 2021,and will return at the Sweat Festival in September 2021. &nbsp;The Search for the Liveness invites audiences to witness two perspectives of reality, one in person and one that is projected. If a Tiktok girl decides to create a duality in what the audiences would see, how would the attention of the audiences split? My research into the power dynamics of virtual and live has led me to questioning what makes an artwork “alive” and breathing. Is it something about the synchronicity of time, space and action that came into influence? The performance serves as an experiment, to test if the performativity of the dancer is enough to be able to connect to both perspectives while highlighting the advantage of live performance.My research onto the power dynamics of virtual and live has led me to questioning what makes an artwork “alive” and breathing. Or more so, what it is exactly about live performance art that attracts people to go to see shows in person compared to watching performances streamed online, where you could watch an event in the comfort of your own home and your anonymity is optional. There is a tension regarding the depth of experiences you could gain from the show, depending on the platform you attend to. The experience of inhouse audiences feels much more connected to the breath of the performance, and is more sensitive to the certain indescribable “(a)liveness”on stage.<img width="407" height="720" width_o="407" height_o="720" data-src="https://freight.cargo.site/t/original/i/799b3265d10409e0634648519cb1b37a05f27d517fb88394b5cffb50cbb50708/TSFL-Freeze-frame.jpg" data-mid="237909913" border="0" src="https://freight.cargo.site/w/407/i/799b3265d10409e0634648519cb1b37a05f27d517fb88394b5cffb50cbb50708/TSFL-Freeze-frame.jpg" /><img width="5730" height="3824" src="https://freight.cargo.site/w/3000/q/75/i/b78b7bcbc80f4753a47808447043709a7c4df67839eeb46b6448bc12436e6437/AVAEmi210525-1343.jpg" style="width: 9.66391px; height: 6.44935px;" data-scale="1">In searching what specifically the liveness was, I understood that it is something about the synchronicity of time, space and action that came into influence. The liveness includes conditions of a group of people sharing a space for a certain amount of time together, witnessing an experience together. Through this way of perceiving the vitality of art, I wondered if these conditions ever came together or have been made aware of in virtual platforms such as Twitch and Tiktok.As I skimmed through their videos, I noticed that they were directly looking into the camera and the movements consisted of front facing dances, addressing the camera. This made me question their intentional choices they make on their presentation and the unconscious choices that are also apparent.&nbsp; Are they aware of the perspectives outside of what they see in the camera? Are they intentionally performing for one crowd that lives in front of you and another in the virtual world (Clout)? Are they addressing the camera to create a “live” connection to the virtual audiences?The Search for the Liveness was inspired by a Tiktok video of a girl, who sobs&nbsp; while performing a sexy dance, disassociated from her body and yet executing the dance meticulously and still with some sensuality.The idea of disassociation between the body and the mind is fascinating especially when someone is dancing. Dancing, being a very physical task, the more complicated the sequence is, the more concentration is needed. Can dissociative performativity be a tool to play with when trying to create connection through screen and Audiences IRL(In real life)?CreditsConcept &amp; performance: Eimi LeggettMentor: Ula SickleResidency support: STUK - House for Dance, Image &amp; Sound, Studio ZamanTiktok inspiration; @reesehardy7<img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/11ff2a36a6310fd885c5cf66965c52704292a2ae2e24f3de5fd52322c97a63c7/AVAEmi210525-1256.jpg" data-mid="237909980" border="0" src="https://freight.cargo.site/w/1000/i/11ff2a36a6310fd885c5cf66965c52704292a2ae2e24f3de5fd52322c97a63c7/AVAEmi210525-1256.jpg" /><img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/803fc3d4a4d61cbcff22879c1933cd2660faebd70a283e6645dee0415a762e0b/AVAEmi210525-1037-copy.jpg" data-mid="237909797" border="0" src="https://freight.cargo.site/w/1000/i/803fc3d4a4d61cbcff22879c1933cd2660faebd70a283e6645dee0415a762e0b/AVAEmi210525-1037-copy.jpg" /><img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/919ca9634a6d6ee3c1833056d53ede2b39d2bf9a2321a1f0711f237f85f5dabd/AVAEmi210525-1140.jpg" data-mid="237909979" border="0" src="https://freight.cargo.site/w/1000/i/919ca9634a6d6ee3c1833056d53ede2b39d2bf9a2321a1f0711f237f85f5dabd/AVAEmi210525-1140.jpg" /> No This is not an emotional piece 2017<img width="960" height="640" width_o="960" height_o="640" data-src="https://freight.cargo.site/t/original/i/ef650237afcbd3b9bc511795751daac380add726821a5c0555cf0ea9db004eff/19756379_10155477353322329_5440725888282789771_n.jpg" data-mid="222698122" border="0" src="https://freight.cargo.site/w/960/i/ef650237afcbd3b9bc511795751daac380add726821a5c0555cf0ea9db004eff/19756379_10155477353322329_5440725888282789771_n.jpg" />How many times a day you tell someone your feelings electronically? Your “I love you”s and “I miss you”s travel out of your device, become code, numbers, fly through the air to another’s device. So turning your emotions into a pattern or series of numbers being repeated over and over. Just a bunch of 0s and 1s in the air."No This is not an emotional piece" is a solo creation of 10 minutes, using gestures and materials, repetitions as a coding system of communication. Questioning the overuse of technology and sense of losing the value in expressions that we use everyday.The creation was commissioned by PARTS for Student performances in 2017, and also later in summer, performed in Tokyo commissioned by The Wells Inc.Full recording of the piece <img width="1600" height="1067" width_o="1600" height_o="1067" data-src="https://freight.cargo.site/t/original/i/b3db6224cb37d4608b5b64d1e52a9b5d6c655416f0fec0172a25fad1b954f7a1/IMG_5534.JPG" data-mid="222698120" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/b3db6224cb37d4608b5b64d1e52a9b5d6c655416f0fec0172a25fad1b954f7a1/IMG_5534.JPG" />I feel very at home in here 2020 <img width="465" height="257" width_o="465" height_o="257" data-src="https://freight.cargo.site/t/original/i/fe95e1aa8af6fc5b12b8ac75353234fc85f6e9e906ba8f9b8ad03492182d6675/Screen-Shot-2020-07-03-at-13.00.43.png" data-mid="237909920" border="0" src="https://freight.cargo.site/w/465/i/fe95e1aa8af6fc5b12b8ac75353234fc85f6e9e906ba8f9b8ad03492182d6675/Screen-Shot-2020-07-03-at-13.00.43.png" />&nbsp;<img width="465" height="257" src="https://freight.cargo.site/w/465/q/94/i/3f4d63bff2d45f3d213ca240442044a0aee7a744c1e297efbcd389217d8fcdcc/Screen-Shot-2020-07-03-at-13.00.43.png" style="width: 19.3278px; height: 10.6823px;" data-scale="2"><img width="768" height="1024" width_o="768" height_o="1024" data-src="https://freight.cargo.site/t/original/i/0211a94ab33b7999d8802efffdc2df425a56b3d8df0d14dd3b4167eab55aa546/C39AB1C4-5C67-4434-823B-798826FE1811_1_105_c.jpeg" data-mid="237909925" border="0" src="https://freight.cargo.site/w/768/i/0211a94ab33b7999d8802efffdc2df425a56b3d8df0d14dd3b4167eab55aa546/C39AB1C4-5C67-4434-823B-798826FE1811_1_105_c.jpeg" /><img width="4032" height="3024" src="https://freight.cargo.site/w/1500/q/75/i/a52c6dbca32084564b645e03cfeb04c11a18555052641b1d3b7341912299dd29/IMG_9222.JPG" style="width: 28.9917px; height: 21.7438px;" data-scale="3"><img width="4032" height="3024" src="https://freight.cargo.site/w/1500/q/75/i/0efef9e4bb2a09e05dfb32d29669f2505e2a258c4c860fc47148f565d020d6b2/IMG_9231.JPG" style="width: 28.9917px; height: 21.7438px;" data-scale="3"><img width="750" height="416" width_o="750" height_o="416" data-src="https://freight.cargo.site/t/original/i/9b61258c5a3594052fe287b7e49159bb012e1d31ed267e91b0d4477a398ed120/IMG_0355.jpg" data-mid="237909946" border="0" src="https://freight.cargo.site/w/750/i/9b61258c5a3594052fe287b7e49159bb012e1d31ed267e91b0d4477a398ed120/IMG_0355.jpg" />" I feel very at home in here 2020" is a Balcony performance series that was performed weekly from the end of May until the end of June. What has started as an explicit piece addressing cultural appropriation from a body of a mixed race women through history of movements that the body has. It became a piece instead of confinement, of being different identity behind a screen. the idea of Poly-ness where multiple identity or subject is valued equally as each other.The piece has since been performed at Artist Commons Gif night at Bourse. The Balcony series was then adopted to a theatre version. @Theatre Teaser @Balcony Teaser<img width="628" height="711" width_o="628" height_o="711" data-src="https://freight.cargo.site/t/original/i/f7ed033dfcc818253878c25a29daefe99dda71c8fbaced5041f965b52030e3e6/IMG_2035.jpg" data-mid="237909947" border="0" src="https://freight.cargo.site/w/628/i/f7ed033dfcc818253878c25a29daefe99dda71c8fbaced5041f965b52030e3e6/IMG_2035.jpg" /><img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/2c1ca1855b981bb2a631dfa5cf4e5249e6bf10237a5969fa70b31963d4cebcb9/IMG_9231.JPG" data-mid="237909951" border="0" src="https://freight.cargo.site/w/1000/i/2c1ca1855b981bb2a631dfa5cf4e5249e6bf10237a5969fa70b31963d4cebcb9/IMG_9231.JPG" /> https://eimi-leggett.com/Portfolio Mon, 01 Feb 2021 14:22:02 +0000 Eimi Leggett https://eimi-leggett.com/Portfolio Portfolio&nbsp;🦇️ <img width="5418" height="3964" width_o="5418" height_o="3964" 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data-src="https://freight.cargo.site/t/original/i/f405b3808da2ef622d4c7de6a1546a50863ed90c76e46180a63114846a50ff09/EIMI_MAY_2023-22.jpg" data-mid="208187829" border="0" src="https://freight.cargo.site/w/1000/i/f405b3808da2ef622d4c7de6a1546a50863ed90c76e46180a63114846a50ff09/EIMI_MAY_2023-22.jpg" /> <img width="992" height="1334" width_o="992" height_o="1334" data-src="https://freight.cargo.site/t/original/i/76707bc40c079acb28a2c3a652bf15ce212f2248668f0de0b45cb92138a40d28/IMG_2334.JPG" data-mid="97336476" border="0" src="https://freight.cargo.site/w/992/i/76707bc40c079acb28a2c3a652bf15ce212f2248668f0de0b45cb92138a40d28/IMG_2334.JPG" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/cdddbc27533cb92d222758fcfc57061f6b0e25d24f5e3d98248474f2fb2873b3/2020-06-19_Aniko_EIMI_1_0156.jpg" data-mid="97335516" border="0" src="https://freight.cargo.site/w/1000/i/cdddbc27533cb92d222758fcfc57061f6b0e25d24f5e3d98248474f2fb2873b3/2020-06-19_Aniko_EIMI_1_0156.jpg" /> <img width="3464" height="2918" width_o="3464" height_o="2918" data-src="https://freight.cargo.site/t/original/i/beedc765c93d29fc476c1297c6e51265c912ad3318a29ac1589ef507a92d3701/IMG_1836.jpg" data-mid="97336485" border="0" src="https://freight.cargo.site/w/1000/i/beedc765c93d29fc476c1297c6e51265c912ad3318a29ac1589ef507a92d3701/IMG_1836.jpg" /> <img width="4032" height="2665" width_o="4032" height_o="2665" data-src="https://freight.cargo.site/t/original/i/443643912b9ecdd719847cda2f4754151f5f7cf731d81f857ed51fd8772e3b70/IMG_7210-2.JPG" data-mid="97336871" border="0" src="https://freight.cargo.site/w/1000/i/443643912b9ecdd719847cda2f4754151f5f7cf731d81f857ed51fd8772e3b70/IMG_7210-2.JPG" /> <img width="3000" height="1996" width_o="3000" height_o="1996" data-src="https://freight.cargo.site/t/original/i/bb2452aba163b0150cd8f22944c00024b6b74b5835227ba8eecae7bb578b3df7/MSN_311024_ARayOfLightOrHowToHold_014_LowRes_fotPatMic.jpg" data-mid="222698013" border="0" src="https://freight.cargo.site/w/1000/i/bb2452aba163b0150cd8f22944c00024b6b74b5835227ba8eecae7bb578b3df7/MSN_311024_ARayOfLightOrHowToHold_014_LowRes_fotPatMic.jpg" /> <img width="5521" height="3681" width_o="5521" height_o="3681" data-src="https://freight.cargo.site/t/original/i/c382f481f550964efcf01c0c6433ca784af3b60974643366c7ae8857238511dc/Maria-Baoli_Also-8400.jpg" data-mid="97337173" border="0" src="https://freight.cargo.site/w/1000/i/c382f481f550964efcf01c0c6433ca784af3b60974643366c7ae8857238511dc/Maria-Baoli_Also-8400.jpg" /> <img width="750" height="936" width_o="750" height_o="936" data-src="https://freight.cargo.site/t/original/i/fce9cf23c55437b03461331cef1d84b356d37338845665988f3c9a158900558a/IMG_1337.jpg" data-mid="97337364" border="0" src="https://freight.cargo.site/w/750/i/fce9cf23c55437b03461331cef1d84b356d37338845665988f3c9a158900558a/IMG_1337.jpg" /> <img width="4368" height="3744" width_o="4368" height_o="3744" data-src="https://freight.cargo.site/t/original/i/d6956d1841d3d5a65193775760b4a6f94f77b970042d37b05faddfefc1dc8896/_MG_5883-Eimi-Maria-Baoli.jpg" data-mid="97337266" border="0" src="https://freight.cargo.site/w/1000/i/d6956d1841d3d5a65193775760b4a6f94f77b970042d37b05faddfefc1dc8896/_MG_5883-Eimi-Maria-Baoli.jpg" /> https://eimi-leggett.com/Contact Mon, 01 Feb 2021 14:22:02 +0000 Eimi Leggett https://eimi-leggett.com/Contact Contact&nbsp; Get in Touch eimi.leggett@gmail.com IG @e_mlegit&nbsp;<img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/f12825c1b40aa4f43ea5da0faabc409cc83f8009163a884978e24d4aa745af2d/IMG_8650.JPG" data-mid="97339248" border="0" data-scale="20" src="https://freight.cargo.site/w/1000/i/f12825c1b40aa4f43ea5da0faabc409cc83f8009163a884978e24d4aa745af2d/IMG_8650.JPG" /> https://eimi-leggett.com/Artistic-Interests Mon, 01 Feb 2021 14:22:02 +0000 Eimi Leggett https://eimi-leggett.com/Artistic-Interests Artistic interests Identity - Repetition - Context - Transparency - Multiplicity - Expectation As a movement artist who has relocated to multiple countries and cultures throughout my life, my artistic journey has been hugely influenced by the search for my identity, or rather the potential qualities of such identities. After reaching my mid 20s, I felt very disinterested in identifying myself based on my nationalities (Japanese and Australian). Yet where I come from is still often the first question I’m asked when meeting a stranger.Experiencing isolation, I began being interested in ideas of multiplicity and complexity, as well as the urge to fully belong to many identities. I then encountered the idea of Polyness, as suggested by philosopher and artist Thomas Talawa Presto in his lectures at P.A.R.T.S. Polyness or Polycentricity means that there are multiple centres valued (or working) equally and without hierarchy. The example given here was a movement task, where the centre of motion is initiated from both the chest and the hip. This way of dividing attention requires caring for different positions with the same amount of energy at the same time. This is a belief system that I try to apply to my day-to-day life (which involves tragic mistakes and failures) as well as within the decision making in my artistic process. When working in the studio, I try to be conscious of my polycentrism, and often find myself rotating and stretching my attention in different directions at once. This has resulted in quite literally using spinning as a meditation practice or embracing the desire to be covered by something else to perform. This cocoon-like security has allowed me to evade consequences that could arise from working many things at once, while still allowing for dense focal points for the audience to contemplate. Sharing intimate details while looking everywhere at once, revealing myself through plastic. Never looking into the spectators eyes, hoping to outdo their expectations, good or bad.Since moving to Belgium, I’ve had the privilege to let myself be interested in other mediums other than the blackbox context, where I can intentionally play with disappointments, using multi medium tools such as improvisation, projections, and unique light designs. Repetition has become something of an evil obsession, where my body is completely present and dancing remains my primary creative tool where I can play with the audiences non-verbally, and continuously surprise even myself. The moments I cherish most are when I feel that I am playing with the (un)expectations of the audience by being transparent with my decisions on stage. Even when performing underneath another layer, (layers of material, of thoughts, of emotions, etc) I feel aspects of liveness in performance art, where potentially “anything” can happen. This will always remain my main attraction in life, where the unexpected magically keeps happening. https://eimi-leggett.com/CV Mon, 01 Feb 2021 14:22:02 +0000 Eimi Leggett https://eimi-leggett.com/CV CV&nbsp; Education: 2019-2021 &nbsp; PARTS ( Performance Art and Research Training studios), Generation Twelve Training cycle PARTS STUDIO programm ( MA in dance) generation one&nbsp; 2016-2019 London Contemporary Dance School ( The Place) Susi Earnshaw Theatre School ( London, UK) - Japanese Alevel and Speech and Acting Levels) Centre for Advanced Training &nbsp;in Trinity Laban, ( London UK)Others Shoreditch Youth Dance Company ( SYD) works by, Lee Smikle, John Ross, Mafalda Deville. Performing in locations such as, The Place, Southbank Centre, Pheonix Dance Theatre, Hackney Empire( 2014 NACA-New Adventures Choreography Award performance.) Scholarship Awarded from &nbsp;Program of Overseas Study for Upcoming Artists, sponsored by the Agency of Cultural Affairs Government of Japan. 2017-2019 The Wells. Inc , Working as a recurrent translator and assistant teacher in Tokyo, for contemporary dance workshops ( by SYD, Lee Smikle, Kenneth Tharpe CBE, Damien Lee Stirk) Internship to UK based Dance Company Igor and Moreno for two weeks.&nbsp;Attending their performance of "A Room for All our Tomorrows", organised by &nbsp;Dancehallern, at Corpus Copenhagen. Then attending a week residency at SAL'A in Sassari, Italy.Works:2025 Performing in the premiere of&nbsp; “Tender Friction” by Azahara Ubera in Beyond Black Box festival hosted by WP Zimmer and in Dansand Festival supported by KAAP.&nbsp; Performing and supporting “Tanin”by Nathaniel Moore and Hamed Dehqan At Horst Arts and Music festival in April. Participating in Atlas program at Impulztans festival mentored by Chirstopher Mathews, creating a site specific version of Coppelia_q Continue touring “While we are here” in Kaunus LT for Contempo festival, Spider festival Ljubljana, Trafó House of Arts in Budapest, CC Sint-Niklaas, Motel Mozaique Festival at Theatre Rotterdam.&nbsp; 2024&nbsp;Touring “While we are here” in, Leuven STUK, Ghent CAMPO (Ghent International festival), Deinze Leietheatre, Marseille MuCEM (Festival de Marseille), Lille Latitude Contemporaine (festival latitude contemporaines), IT Santarcangelo Festival, Les halles in Brussels,&nbsp; BIT Teatergarasjen Bergen Norway,&nbsp; CAMPO x 404&nbsp; x Wintercircus Ghent , De Brakke Grond in Ghent,Love at First Sight festival in KAMBALA Antwerp,&nbsp; Premiering “Ray of light and How to Hold” with Mary Szydlowska on the building opening of Museum of modern arts(MOMA) in Warsaw. Mentoring for 3 projects during PARTS Summer Residency. Performing and supporting “Tanin” by Nathaniel Moore and Hamed Dehqan, Work in progress showing at deSingel 2023 &nbsp; Participating as a performer in “While we are here” by Lisa Verrbrugen, production by CAMPO, Premired in 08/12/2023 In Magdalenazaal in Brugge, Belgium,&nbsp; Touring in 2024. Performed as a dancer in “Tender Frictions” by Azahara Ubera Biedma for Kaaistudios in the frame of openstudios for Workspacebrussels. Performed as the Lasagna women for “Resurgescore” by Nahtaniel Moore at Level five in the framework of Tripsitting. Working as an outside eye/ tech assistant for Mary Szydlowska’s “An attempt at transparency”, a performance curated at Komplot Brussels. 2022 Participated as a performer for “NO BULL ICE” installation event with Pieter Jan Ginckels at NRW-Forum Dusseldorf. Working mostly as a background actor, featured Extra and dancer for multiple Tv shows, Commercials and Movies. Performing for video sequences for “The Diabolical” painting series by Trong Gia Nguyen filmed in La Patinoire Royal/Galerie Valerie Bach. Working as an outside eye for Mary Szydlowska’s “Leak” performance at KASK &amp; Conservatorium / School of Arts Gent. 2021 A dancer in “Walk with Amal-Chased” production by Sidi Larbi Cherkaoui/Eastman company. Participating as an intern for the creation period of “A Curse Poem” by N.E.S.H.A.A for the month of January at Vooruit.“The Search for the liveness” for the graduation creations. Presented at PARTS Studios graduation presentations.Altered version of “The Search for the liveness” was presented in collaboration with PieterJan Ginckels for the SleepersDreamers project with Studio Snowflakes supported by C.I.V.A institute. "What attention forms" with Jacques Ligot, Mooni Van Tichel, Timothy Nouvak and Mary Szydlowska at C.I.V.A. institute in the frame for Institution building Chapter 0- Hospitality in August. “I feel very at home in here” was presented at Sueur Festival on the opening night. 2020 initiated weekly balcony performances for neighbors and friends during the first lock down period from April to May. “ I feel very at home in here” from materials that were used in balcony shows. presented at PARTS in June, and at Gif shows in collaboration with Artists Commons in July. Collaboration with Leonie Kuipers for the residency presentation at Zsenne.be. 2019Studio programme 5 week intensive at Ecole De Sables in Senegal. Camping Asia (18th Nov-29th,) Organised by Taipei Performing Arts Centre and Centre Nationa de la Danse."Somnia" by Anna Teresa De Keesmeaker &amp; PARTS students at KunstenfestivaldesartsPhotography series Collaboration with Maria Baoli, published by Neo2 Magazine, Graduating PARTS Training cycle generation twelve, "Rice", "Twelve ton Roses", "Dear Dear/Bear bear", "Rosas Dans Rosas" &nbsp;at Generation Twelve Festival 2019 (GXII festival) Sharing workshop "SpinWorkshop" at GXII Festival and at Ecole De Sables Senegal. "What attention forms" with Jacques Ligot, Mooni Van Tichel, Timothy Nouvak at BOZAR "I have somethings to say" presented at Volksroom&nbsp; 2018&nbsp; Creating and presenting video work, "Martinio'clock" "Rosas Dans Rosas" Anna Teresa De Keesmeaker PARTS@Work "Twelve Ton Roses" Trisha Brown, reformed by Kathleen Fisher, Student Winter performance . Teaching workshop "Lets take a walk" at SAL'A "The Project" Installation collaboration performance with&nbsp;Keren Kaiser and Fouad Nafili, Premired in Student Performances PARTS, performed also at Cafe Le Recre. "If you're happy and you know then" Solo work, La Fabrique at CND Paris "Drumming" Anna Teresa De Keesmeaker, La Fabrique at CND Paris "I have somethings to say" Cafe Le Recre Photo series by Maria Baoli for AlsoJournal. " I have somethings to say" Solo creation, premiered at PARTS@Work " Mermaid Performance" by Inga Huld Hakonardottir, Nuit Blanche 2018 Brussels "HellHole" film production presented in Berlinale Panorama 2019 "Love Party" by Camille Dejaan, 2017 " Early works" Trisha Brown, Fous de Danse Paris "120 gestures" Boris Charmatz, Fous de Danse Paris " Look up till you fall" ( curated by Sandy Williams) as part of PARTS;SOLOs, Opening and Closing for Kunstenfestival "Drumming" by Anna Teresa De Keesmeaker " Look up till you fall" Performance at Dansand Festival as pert of PARTS;SOLOs. Street improvisation by Benjamin Vandewalle, Dag Van de Dans2016 PARTS@Work composition presentation by Daniel Linehan. "No, This is not an emotional piece" solo work, at Student Performances&nbsp;at PARTS&nbsp;, &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; in Tokyo, commissioned by The Wells. Inc during SYD summer workshop. " Corpse Rebelle" film production by Carole Rouquier.Earlier - 2016 "Eclipse" by John Ross NACA Award, commissioned by SYD, performing at Pheonix Dance Theatre, Hackney Empire.&nbsp; "Murmur" by Mafalda Deville, Rich Mix London. "Hansel and Gretel- Earlier edition" by SYD, collaboration with Lee Smikle. "Encyclopaedia of Emotions" by Anna Briton, London Contemporary Dance School performance day. "Sliding with my troubles" Solo Work, LCDS "Rumplestiltskin" London Children's Ballet, Peacock Theatre. "Nutcracker" Role of Clara, Tokyo Association of Ballet. https://eimi-leggett.com/Video-Camera-Works Mon, 01 Feb 2021 14:22:02 +0000 Eimi Leggett https://eimi-leggett.com/Video-Camera-Works Video/Camera WorksShowreel &nbsp; 🦚 Recent improv videos <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/8b6cbc332a47124f09e54af01ec7f4f340e1ddeb2fc34daef927ec4faecdcca6/rice-3_orig.jpg" data-mid="97341881" border="0" src="https://freight.cargo.site/w/1000/i/8b6cbc332a47124f09e54af01ec7f4f340e1ddeb2fc34daef927ec4faecdcca6/rice-3_orig.jpg" /> Rice Premiering at Generation Twelve festival 2019 as a film installation. Rice is a film commenting on the intimacy between human touch being lost through consumerism and capitalism. The two bodies’ skin on the screen ( being androgynies) plays with the rice as a material and its movement in the air or against the skin as a display of tactility, of abundance and dependency. The rice as a symbol represents wealth, possessiveness and attachments.&nbsp; The film installation runs for 25 minutes and the audience are encouraged to stay as long as they wish. for more information;www.parts.be/gxii-festival <img width="1067" height="800" width_o="1067" height_o="800" data-src="https://freight.cargo.site/t/original/i/97dcaec27260265d7a42c973d0e10d452ecabd03b96d9b896e746d65f3f57d11/img-9075_1_orig.jpg" data-mid="97342642" border="0" data-scale="47" src="https://freight.cargo.site/w/1000/i/97dcaec27260265d7a42c973d0e10d452ecabd03b96d9b896e746d65f3f57d11/img-9075_1_orig.jpg" /> <img width="750" height="748" width_o="750" height_o="748" data-src="https://freight.cargo.site/t/original/i/db44697687aa7684aef91a289856b3aa9a2d072289e7472995890c0d70d20b1b/img-0154_1_orig.jpg" data-mid="97342632" border="0" data-scale="39" src="https://freight.cargo.site/w/750/i/db44697687aa7684aef91a289856b3aa9a2d072289e7472995890c0d70d20b1b/img-0154_1_orig.jpg" /><img width="746" height="747" width_o="746" height_o="747" data-src="https://freight.cargo.site/t/original/i/e0275c20570ebf62d3cb2b560c4089a6ee1118cac0d517dd2147b015f1f15d4b/img-0155_orig.jpg" data-mid="97342633" border="0" data-scale="35" src="https://freight.cargo.site/w/746/i/e0275c20570ebf62d3cb2b560c4089a6ee1118cac0d517dd2147b015f1f15d4b/img-0155_orig.jpg" /> <img width="1136" height="1136" width_o="1136" height_o="1136" data-src="https://freight.cargo.site/t/original/i/19aead0f8a8db07cab7a0a73336c9c2b635d212feff0780774fe40295ba93304/IMG_9066.JPG" data-mid="97342376" border="0" data-scale="34" src="https://freight.cargo.site/w/1000/i/19aead0f8a8db07cab7a0a73336c9c2b635d212feff0780774fe40295ba93304/IMG_9066.JPG" /> Bodyparts Body parts is a ongoing photography series published on Instagram, exploring highlighting parts of the photographer's body by micro zooming and through another medium. Martinio'clock A film made in protest of creating art with high definition, Defined commercially acceptable movements, accompanied by socially acceptable external sources, seamless music and elite audiences. This is a creation of art being a DIY art, homemade by mac laptop, organic movement created by Martini at 2 am, at the creator's home with furnitures being the audiences to her performance. https://eimi-leggett.com/Writings Mon, 18 Aug 2025 12:10:54 +0000 Eimi Leggett https://eimi-leggett.com/Writings Writings How does an artist write when their primary expression is through dance and their body.&nbsp; One of the greatest challenges I’ve faced after graduation was the fact that I, as an artist would meet people whom I’ve never met before through language. All of the applications for residencies, for spaces to perform to reaching out people for a coffee everything was through writing before ever actually meeting the person behind the screen. All my life I’ve danced and hence my primary communicaiton tool/technology/ expression has always been through tactility and through movements. Fueled by my neuro diversiency, it has always been easier to explain myself through shoulder-to-shoulder conversations, random beautiful words and grand gestures. I’ve often wondered if it has to do with my relationship to English as a second language but as I get older and live half of my life outside of where I was brought up in, I realized it has to do with the articulation and the academic English writings that I struggle with. It is not in my vocabulary to speak in those academic language. ( not necessarily to do with the content of these intelectual conversation, but often there is a judgement to what vocablurary you used to express your practice changes completely how seriously you are taken as a “serious” artist.)&nbsp; For this reasons, I embraced and welcomed ChatGPT. I believe it is part of my writing practice to ask for help from the AI who have learnt my linguistic pattern and understands the underlining many subtext of meanings that I often fail to include in my writing. I enjoy the process of thinking that accomodates when writing a prompt, ( which personally I already know the answer by going through the process of creating a prompt,), I learn my instictive grammer pattern that has become more european which creates a bittersweet feeling towards this land that I live now and most of all, I relearn what I wish to express through their specificity and articulation. It’s a joy to have this support next to me.&nbsp; Although I do aknwoledge its problematic sides, ( energy source, slow death of humane art including music and visual art, its effect to education) I still would not refuse its use. Although, I want to dedicate this page to different collections of writing pieces that I hope to slowly accumilate. It is a hard practice for me that comes with waves of insecurities. But I’m hoping by practicing writing along side the highly pressured writings( applications) , perhaps one day this will be more easy and free, as I did and felt as a child writing fantasy novels. Or who knows, one day I’ll quit everything, runoff to a cottage to write a novel about being in love with Prince of sand who has PTSD. 💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️💭️ On Nudity in Performances. -AKA where are the fem fantasy fairy princess queer people- -This is all about private places in foreign spaces- -11th August 2025- Vienna, Bears in the Park studios.&nbsp; This is a letter essay that I had the pleasure to write during the Atlas residency program in Impulztans festival 2025. While working on yet another version of&nbsp;Coppelia_q I’ve intictively decided to perform with my naked body. It was about embracing new challenged in my life, ( I’ve never performed naked in my whole life) but aesthetically, contexually it made sense. Upon sending a photo to my mother back in Tokyo, she had a reaction that was both expected but still surpringing. My initial reaction was defensive, however upon realizing why I was reacting defensively and understanding further how can I explain my reasonings, I became interested in writing a letter essay, written for both my peers at Atlas, and for my mother.&nbsp; -without ChatGPT -5 pages&nbsp; -printed and presented alongside the performance&nbsp; Read Here&nbsp;