By James McCrea On Friday 22 February, the John Cooper Studio on Monkgate appeared less like a performance space and more like an abandoned laboratory, in preparation for Samir Kennedy’s solo performance, Looks Like God. As such, the audience was presented with no context aside from Kennedy’s still body—mostly bare—in a nearly pitch-black room. A low-lying table separated him from the viewers, cordoned off by bright-yellow hazard tape. The air trembled with the sound of an am

By Katherine Baird The performance festival SLAP is a brilliantly accessible opportunity to express new and exploratory art, and The Faun Project certainly does both. A collaborative work between choreographers (award-winning Beth Cassani and Joseph Mercier of the performance company PanicLab) it succeeds in being cognitively and aesthetically engaging, a sociological spectacle that seeks to speak with you rather than at you. As the audience files into the intimate studio spa