Lindsey Drury is an artist, educator, and scholar (PhD, Freie Universität Berlin/ University of Kent). She is a research-track postdoc within the Cluster of Excellence “Temporal Communities: Doing Literature in a Global Perspective” (Freie Universität Berlin), where she works on performance history and methods of digital historical research. She was awarded an Erasmus Mundus Fellowship (2015-2019) for her PhD research and was the first MFA student in dance at the University of Utah to be awarded a Graduate Research Fellowship (2007-2008). Her research has been further funded by two grants from the German Academic Exchange Service / Bundesministerium für Bilding und Forschung (FUBright). Forthcoming works include a special issue of the journal Interface Critique (co-editor, 2023) and a peer-reviewed article in the first dance-focused special issue of Postmedieval (edited by Kathryn Dickason, 2023). Other writings include an article on the historical revisionism of Thomas Hanna in Dance Research Journal (April 2022), an essay and numerous short texts in the MARKK Museum exhibition catalogue Lightning Symbol and Snake Dance: Aby Warburg and Pueblo Art (Berlin: Hatje Cantz, 2022), a peer-reviewed article for the European Journal of Theatre and Performance (Sept. 2021), and an essay for Institution is a Verb: A Panoply Performance Lab Compilation (Operating System, 2021). She has been a guest speaker in many contexts, including at the Universität Hamburg, Sorbonne Université, the University of Kentucky, École des hautes études en sciences sociales (EHESS) and Le Centre national de la recherche scientifique (CNRS). She has been a guest researcher at the Warburg Institute and the Bibliothèque interuniversitaire de Santé (Paris).
Drury has danced improvisational scores of “Bessie” and Guggenheim award-winning choreographer Yvonne Meier and performed as a guest artist in the work of La Pocha Nostra led by MacArthur “genius” awardee Guillermo Gómez-Peña. Her artistic practice has been supported by the European Cultural Foundation, Queens Art Fund, the Brooklyn Arts Council, and through residencies at Pioneer Works, the Brooklyn Arts Exchange, Gibney Dance, and Cora Dance in New York City. Her works have been presented at the Queens Museum, St Mark’s Church, Issue Project Room, Judson Church, ZK/U Berlin, Brooklyn Arts Exchange, Momenta Art, Chashama, and elsewhere. Drury’s performances have been featured internationally in Budapest, Berlin, Cologne and at the University of the Arts Helsinki and Universidad de las Américas Puebla, Mexcio. Her performance works have been called “performance from an unknown civilization” (Hyperallergic), “compelling new performance” (Huffington Post), and as “staging the death of patriarchal modernism” (PAJ, MIT Press).
Drury has been a co-organizer of workshops and conferences on the history of the body, decolonization and artistic, research, and digital arts, humanities, and theories. She curated the first series on Post-Dance (Brooklyn International Performance Art Festival), as well as presentations of the work of the 90’x Collective (Tbilisi) and Chloë Bass (NYC). She currently sits on the board of the Association for Performance Art Berlin. Previously, she co-founded the Woods Cooperative (an artist-run rehearsal and performance space in Queens) and initiated the feminist working group No Wave Performance Task Force (2012-2018). Present and previous collaborators include Esther Neff and Brian McCorckle (Panoply Lab, NYC), Lorene Bouboushian (Chicago), Matthew D. Gantt (NYC), No Collective (Japan/USA), Samira El Khadraoui (croxhapox, Belgium), and Joël Verwimp (Berlin).