Page 2 - Mistranslation Laboratory: An Unfolding

This book unfolds a body of creative materials developed in the Mistranslation Laboratory, a performance experiment sliding through 2016-2019.
Hundreds of participants created the artworks that fold through this book, too many to even attempt to collect the names, as the lab was, at times, continuously open for 12 hours at a stretch, at times with a constant flow of emotional- scientist-artist-volunteers.
Our most devoted fallible scientists include:
Devising of Mistranslation Laboratory structure and scripts: alys longley and val smith
Performance Arcade Fallible Scientists:
alys longley, Jeffrey Holdaway, val smith, Briana Jamieson,
Mistranslation Laboratory for the Sur Sur exhibition, Museum of Contemporary Art, Santiago, Chile (Bilingual edition):
Alys Longley, Macarena Campbell-Parra, Carol Brown, Daniela Marini, Natalia Bakulic, Angel Garcia.
Mistranslation Laboratory for the symposium Artistic Research, Serendipity and Sustainability, School of Art, Lisbon:
alys longley, José Quaresma
Mistranslation Laboratory for Experimental Dance Week Aotearoa and Auckland Fringe Festival:
alys longley, Jeffrey Holdaway, Christina Houghton, Clare Luiten, Zahra Killeen-Chance, Evie Logan, Sean Curham (light and darkness engineering)
The Mistranslation Laboratory is grateful to its curators and friends:
Sam Trubridge (Performance Arcade), Marisol Vargas (Sur Sur), Loa Bascunan Zegers (Museum of Contemporary Art Santiago), Gabrielle Vincent (Basement Theatre), Jeremy Hansen (Britomart), Lydia Zanetti (Auckland Fringe Festival) Lisa Samuels (Votive Poetics Symposium), Dance Studies, University of Auckland, Creative New Zealand
Artist Book Creation:
alys longley (writing, design)
Jeffrey Holdaway (design)
Printing at the University of Auckland Large Format Book Lab by Vicky Ormond
Box Design: Louise James
Thanks to Rosie and Elena Holdaway, Helen Longley, Karen Blake, Caroline Yoon, Evija Trofimova, Esther Fitzpatrick, Helen Sword, Kisha September, Macarena Campbell-Parra, Dance Studies, University of Auckland.
Funding for this book was provided by the Faculty of Creative Arts and Industries, University of Auckland.