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Ceschi + Lane
Ceschi + Lane is the collaboration between Valentina Ceschi and Kate Lane.

Their practice sits between performance and visual art, exploring costume as a body based scenography and meaning-maker in time-based works. They are interested in the duality of the everyday and the spectacular and the dramaturgical strength of costume within performance in the expanded field. 



Ceschi + Lane's work has featured at the Prague Quadrennial 2015 and the World Stage Design Festival in Taipei 2017 as well as ACT Festival Bilbao, Make: Believe Exhibition at the V&A and the A.A. Bakhrushin State Central Theatre Museum in Moscow. It has been developed with the support of Arts Council England, Lithuania Council for Culture, Jerwood Arts, Arts Printing House in Vilnius, the Point Eastleigh, the Barbican and Ovalhouse in London and recently, thanks to a Seedbed Commission with 101 Outdoor Arts Centre, Ceschi + Lane have been developing work for outdoor and public spaces.


They are interested in how performance can exist across multiple platforms that can engage audiences in ways that enrich their experience beyond the live event. These 'echos' of the live performance exists as satellite short films or 360VR that capture the spirit or essence of the work. In these they are exploring the intersection of memory between the live and the recorded.

"Ceschi + Lane's work is highly distinctive and of a genuine quality that stands them apart. Their powerful use of scultural costume and choreography is fresh and inventive and their work in the case of Greenham with bone conduction headphone technology is genuinely innovative."

(Simon Chatterton, 101 Outdoor Arts, Newbury Corn Exchange)


"Nothing prepared me for the tiny wonder that is Trinity...The piece examines the way that women’s bodies and biology have been obscured, occluded and fetishised over the ages. To an ominous neo-gothic soundtrack by Demetrio Castellucci, we see a parade of startling and evolving images referencing, among other sources, high fashion and medieval painting.” Luke Jennings for the Observer on Trinity (2016)

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