Still Looking Good (2017)

Still Looking Good, a dance film, is a catalogue for the enabling infrastructures—physical, ethical, economic, biological—of human “Progress, Growth & Development”; a decades-old ideology. During the launch of the Orion Spacecraft, a video of which can be found on YouTube, the commentator can be heard to repeat over and over, “still looking good”. It is a statement that introduces uncertainty and appears hoping rather than confirming. A question is asked: Still Looking Good?

Director: Oliver Connew
Camera: Alice Connew
Editing: Alice Connew, Oliver Connew, Elias Elzenaar-Adams
Music: Till Bovermann
Dancers: Oliver Connew, Zwoisy Mears-Clarke, Marc Philipp Gabriel, Emily Ranford

Things That Move Me (2017)

Things That Move Me is a dance and a choreography of regulatory measures, a solo performance that reveals a broad infrastructure of capture and manipulation.

The “agenda” referred to at the beginning of the work and that serves as the show’s accompanying notes is copied below:

1. Navigating Uncertainty: a demonstration (15min)
2. Self-improvement/do more with less (5min)
3. Product Training (7min)
4. Working Ethics–it’ll be worth it! (7min)
5. Methods of Organisation (5min)
6. BREAK (5min)
7. Practising Idleness (you can do this too)

Choreographed and performed by Oliver Connew.

MAN-MADE (2015)


Taking inherent experiences of power, force and control, Oliver Connew and Gareth Okan perform alongside each other and send their male bodies into territory where these experiences are distorted and engineered to certain ends.

MAN-MADE is a work of power, relentless and reactionary with an over-zealous vigor reflective of an attitude of self-congratulation within the world’s powerful elite.

Music: Andrew Cesan
Lighting: Amber Molloy/Marshall Bull

Like This, Like Us (2013)


Like This, Like Us a duet consisting of Georgie and Ollie. Our personalities are diametrically opposed. To me, Georgie is absurd. To Georgie, I am ridiculous.
In this work, Georgie and I are two humanoids; hyperreal versions of ourselves, placed in a plastic-wrapped, ready-to-use world where the contemplations of science-fiction have invaded reality and supplanted the need for commonality.
The genesis of this work led Georgie and I into an investigation of historical and contemporary expressions of Western modes of individualism. We discovered a history of manipulation, every which way. Endless choices promote a feigned uniqueness, a requirement on the road to personal satisfaction.
Like This, Like Us presents a world dealing with the results of deception and forced distraction — a hypothetical future, a terrible present.
Alongside Georgie and me, stage designer Valentina Serebrennikova, lighting designer Amber Molloy, and musician Alfredo Ibarra, have worked their artistry to add integrity to a work that speaks to the strange familiarity of a bizarre situation.


An Unfortunate Willingness to Agree (2012)


Over a short period of a few years, all of my immediate family, including myself have packed up belongings, newly produced children, and fled my hometown, Wellington. The dozen or so of us are now globally scattered: Berlin, London, Santiago, Sydney, Auckland, Ongaonga. So, at times of significance, such as birthdays, weddings and Christmas, technology is called upon to tether a connection for a few short moments. Everybody knows this technology offers less than a satisfactory substitute for close, corporeal contact; everybody knows it’s a compromise.

This work directly addresses my not uncommon personal experience, and how it relates to current sociopolitical environments. With encouragement from movements such as the Arab Spring, Occupy, the plight of Pussy Riot and even the Tea Party, communities as well as individuals are questioning fundamentals of our societies, where we are headed, and questioning, too, a previous unfortunate willingness to agree. I believe that my personal experience is an epitomisation of the type of compromise that people have begun to rail against.

It has been a year since this work’s original conception. Initially concerned that it may have lost some of its original vigour and poignancy after a perceived lull in overt political retaliation in 2012, over the course of its second development I have been able to see that the themes of An Unfortunate Willingness to Agree persist to be current and relevant.

Unashamedly from a young person’s perspective, this work ultimately speaks of our desire for something much more human and honest.

Oliver Connew / February 2013

An Unfortunate Willingness to Agree, Auckland 2013 – excerpt no.1 from Salted:Singlet on Vimeo.

An Unfortunate Willingness to Agree, Auckland 2013 – excerpt no.2 from Salted:Singlet on Vimeo.

The Up and Down of It (2011)

A dance film made on some stairs at Athfield House, Wellington in early 2011.
Comings and goings.
Oliver Connew
Gareth Okan
Music: ‘100 Minutes of Silence’ – The Mint Chicks

The Up and Down of It from Salted:Singlet on Vimeo.