Martin O’Brien is an artist and zombie. He works across performance, writing and video art. His work uses long durational actions, short speculative texts and critical rants, and performance processes in order to explore death and dying, what it means to be born with a life shortening disease, and the philosophical implications of living longer than expected. He has shown work throughout the UK; Europe; USA; and Canada, and is well known for his solo performances and collaborations with the legendary LA artist and dominatrix Sheree Rose. His most recent works were at Tate Britain in 2020, the ICA (London) in 2021, and as Writer in Residence at Whitechapel Gallery in 2023. He is winner of the Philip Leverhulme Prize for Visual and Performing Arts 2021. Martin has cystic fibrosis and all of his work and writing draws upon this experience. In 2018, the book ‘Survival of the Sickest: The Art of Martin O’Brien’ was published by Live Art Development Agency. His work has been featured on BBC radio and Sky Arts television.

This portfolio shows a selection of work, focusing on my most recent pieces. They are exploring mortality and illness from a queer perspective. After I outlived the life expectancy for someone with cystic fibrosis, I playfully declared myself as living in zombie time…

Zombie Time

I was supposed to die, but I didn’t. Death did not come for me. In attempting to understand what it means to live longer than expected, I formulated the notion of zombie time. This is the temporal experience of living on when death was supposed to happen. Zombie time is a different relationship to death and life. It’s a form of enduring life when death is no longer the certainty it once was. It is no longer linear, it’s full of breaks and ambushes. In zombie time, you keep moving but not towards anything, just for the sake of moving. No goals, only desires. No plans, only reactions. The only constant is the presence of death but not in the way it once was, for the zombie knows death and breathes in death. Death is in me, instead of somewhere else.

Whitechapel Gallery Writer in Residence 2023

An Ambulance to the Future (The Second Chance)

Performance, Text, Video

Whitechapel Gallery, 2023

Performance #1 of 3, Writer in Residence

In an ashen place cadaverous bodies crawl through soot covered landscapes. A ghastly figure stands with whip in hand, unearthly sounds emanating from her mouth. A funeral procession for the living marches by, trumpets sounding, and the mourners weep but they don’t know why. A group of skeletal forms sit at a dining table as if awaiting a feast.  

The first work in my Whitechapel Writer in Residence trilogy. This piece mixed live performance, video, and text. The work was made to take place in the Whitechapel Gallery Cinema. It took the form of an illustrated story. I read the narrative live in the space. It followed the story of a man who made a pact with Death for eternal life. Video elements had been filmed in a crypt, and played during the telling. The text was broken into four chapters, with live actions occurring between them.

The full performance text is available to listen to below.

Overture For The End (An Ashen Place)

Durational Performance

Whitechapel Gallery, 2023

Performance #2 of 3, Writer in Residence

The screams of a crone echo through the valley, signaling someone is about to die. A great whirlwind of ash sweeps through the wasteland. Strange, unholy figures chant to a cruel deity. A masochist from hell wails in agony as he is crucified in honour of Death itself. Keep Breathing.

The second of three works as Writer in Residence at Whitechapel Gallery, this work was made for Gallery 2. The work was a four hour ceremony, a strange never ending funeral for the living, with other bodies performing as ghostly shadows to me. Through the work, I performed a series of actions in an attempt to become immortal.

Fading Out of Dead Air (Transmissions for the Necropolis)

Durational Performance

Whitechapel Gallery, 2023

Performance #3 of 3, Writer in Residence

The dead perform a séance for the living, but no one dares answer. The scratchy sound of skeletal hands-on wooden doors fills the air. Apparitions whisper to those who have taken their place. A hideous voice can be half heard calling out through the white noise of a radio. It sounds like nothing from this world, as if death itself was speaking.

For the third part of my Whitechapel Residency trilogy, I was interested in exploring ideas around voice and communication. Taking its inspiration from hospital radio, and pop culture references to ghosts being heard only through analogue technologies, this work explores the human desire to communicate, and record. In a strange and eerie landscape, I experimented with practices of recording and playing half heard voices and unholy sounds. The installation-performance ran for ten hours.

A scratchy sound of white noise emanating from a small radio fills the dark room. A faint voice comes through. It sounds like nothing from this world, as if death itself was speaking.

Somewhere else, sickly patients lay in hospital beds. They don’t understand why they are still sick. They listen to the hospital radio, but it doesn’t play their favourite songs. Instead, they listen to the sounds of a life once lived. 

Strange apparitions walk the long corridors, pushing their trolleys. Repeating their daily actions for all eternity. No thought anymore, just keep going. Gurneys roll by heading towards the morgue, as if pushed by an invisible hand. An iron lung rattles on breathing for those who have long since stopped. Their skeletal forms lay dormant inside, other than the air gusting through their throats and out of their open mouths. The clickty clackty sound of shoes walking down the polished corridors ring out through the night. The beeping of heart monitors ringing 24/7 warning that a heart has stopped, but the patients eyes still see. In the shadows, strange shapes move slowly. Their true form is unknown, and too ghastly to even imagine.

Breathing is heavy in this place. It is strained. The sounds of gargling often punctuates the beeping of machinery. The groans of agony beckon miserable creatures towards living cadavers. Flayed bodies count the seconds until they are no longer here. Blood stains the walls and phlegm the floor. This is a place of no hope.

Through all of this, the radio plays on. A deathly voice conducts procedures as if banging a drum to maintain a rhythm. There are some who find a strange comfort in the agony and discipline of this place.  ‘Fading, fading’ the radio says ‘fading, fading’.

The force of the grave is strong. We kneel in deep veneration. May we resist the allure of decay. Let us not fade. Let us not fade. Keep breathing.

My work has consistently returned to the breath as both material and conceptual obsession

This video work was made using edits of live performance actions, and shown in various group shows.

The Last Breath Society (Coughing Coffin)

Performance, Installation

Institute of Contemporary Arts, 2021

Commissioned as part of Waiting Times, a Wellcome Trust funded research project

A durational installation-performance. Over eight days, I worked with a series of nine coffins as materials. I moved them, stacked them, dragged them, was sealed inside them, used them as platforms, held them, carried them. I built live images, which disintegrated and reformed over the duration. The installation also included a series of ten artist films around the edge of the space, including works by Franko B, Kira O’Reilly, Ansuman Biswas, and Rocio Boliver, which I commissioned and curated.

The Way of the Shark

(A Parable for the Last Breath Society)

A woman tells her son to sit quietly. She tells him that he only has a certain number of breaths and when he has used them all, he will die. The child spends the next few hours, sat, holding his breath for as long as possible. He wants to preserve his life for as many years as he can. He hopes that he might never die. He hopes he might find a way to hold his breath for such a long period of time that the end will never come. The boy goes into training, each day he holds his breath longer. He grows into a young man and still practices his breath holding. He becomes a free diver, swimming under the sea with no oxygen. This helps him to spend extended periods of time without breathing. His life goes on, his only thought is to extend life through holding his breath. He remains silent most of his life. He only speaks when he really needs to. He spends most of his time alone, or standing quietly in the company of others. The man is pretty but never takes a sexual partner. He heard than sex makes breathing heavy, something to avoid at all costs. He listens to music and pities the singers, surely this can’t be good for their health. He is particularly disturbed by songs that use whistling, a terrible waste of breath.

Swimming under the water is his only pleasure. He swims near the sharks, marvelling at their power, speed and beauty. He is particularly fascinated by the white pointer, or great white as they are commonly known. He watches as it moves. The pointer must continually swim forward in order to survive. It can only breathe when water is running through its gills. The man wonders if the sharks too have a certain number of breaths. He wonders if they are conscious that their life depends upon a movement forward.

One day, the man goes out to dive. He climbs off the boat, the water is calm. In the distance, he sees the fin of a shark cutting through the water as if it was a surgeon’s scalpel cutting through a human lung. It moves rapidly towards him, and then vanishes underneath. He knows what this means, as pointers always attack from below. He turns towards the boat, but it was too late. He feels a great force below and the water turned red. He is dragged under the surface. The shark vanishes as quickly as it arrived, they do not like the taste of human flesh, and this was a mistaken attack. The man surfaces, his head above the water. He opens his mouth and for the first time since he was a small child, he screams. The breath forces its way out of his body. It is exhilarating. He screams again, and again, all of his energy went into the scream. He is out of breath but continues to scream in a mixture of agony and pure pleasure. And then he passes out. The blood is running from his leg, and he starts to sink. His mouth wide open in a frozen scream, he continues to sink. The water rushes into his mouth and begins to fill his lungs. He coughs, inhales, exhales, breathes. He is breathing in the water.

In this moment, he realises that his life had been for nothing. All this saving breath, it led, not to immortality but to this moment. This moment of drowning. As he breathed in the water, he felt alive for the first time. He imagines he, too, was a white pointer. He imagines that he needed to move forward in order to breathe in the water. He imagines that the water that was killing him, was actually sustaining him. He imagines that the blood in the water was not his own, but a seal he had bitten. This is perhaps the happiest moment of his life. His body stiffens and his heart stops beating. The water continues to enter his body and he sinks further and further down. The corpse sinks forever, it never reaches the bottom. The salt maintains the flesh for longer. Small parasites feed on the slowly decaying body. The death of one sustains the life of others. The creatures in the deep ocean are able to continue breathing because of this body. The shark that caused this event, continues swimming. It glides effortlessly through the water, always maintaining its forward motion, always pushing the water through its gills, always breathing.

Until the last breath is breathed.

Until the Last Breath is Breathed

Video Installation, Performance

Video Installation: Dada Fest, St George’s Hall, Liverpool

Performance: Tate Britain, London

This work was the culmination of my practice up until this point. I performed 30 actions to camera during the 30 hours leading up to my 30th birthday, my life expectancy. This was all performed in an abandoned morgue. The video was then used to create two works, under the same title. The first in a video installation, using three screens and an edited version of the 30 actions to camera. The second is a performance lecture. This uses select actions from the video alongside a series of live actions and texts. The texts are prophecy, foretelling a world where the sick rise to prominence. This lecture also introduces my concept of Zombie Time.

Older Solo Work

Documentation of these works are available on my public website, www.martinobreinart.co.uk

Until the Last Breath is Breathed  2019-2020. Installation version at DaDaFest (Liverpool), live performance version at Tate Britain (London)

It’s Good to Breathe In… 2014-2019. Performed at Venice Week of Performance Art, Dartington Hall Estate (Totnes), Grace Exhibition Space (New York), Dublin Live Art Festival, Take Me Somewhere Festival (Glasgow)

If IT Were The Apocalypse I’d Eat You To Stay Alive 2015-2016. Funded by Arts Council England and The Artsadim Bursary. Performed at Toynbee Studios, DARC Studios (both London), Live Art Bistro (Leeds), In Between Time Festival of performance (Bristol), MAI (Montreal) 

The Unwell  2015. Film commissioned by Art Space (Coventry) as part of the City Arcadia project. To be premiered at SPILL Festival of Performance 2016.

Taste of Flesh/Bite me I’m Yours: 2015. Commissioned by Arts Catalyst as part of the European initiative ‘Trust me I’m and Artist: Towards an Ethics of Art and Science’. Performed at The White Building (London), Waag (Amsterdam)

Anatomy of a Bite: 2015. Commissioned by MAC for the exhibition ‘Disrupted’

Last(ing): 2013. Performed at SPILL Festival of Performance

Breathe for Me: 2012-2015 Funded by British Council and Arts Council England. Performed at Grace Exhibition Space (New York), In Between Time Festival of Performance at Arnolfini (Bristol), Dansehallerne (Copenhagen), Performatorium Festival of Queer Performance (Regina)

Regimes of Hardship #1 and 2: 2012. Commissioned for and performed as part of a six month residency at Performance Space (London). #3 in collaboration with Sheree Rose

Mucus Factory: 2011-2014. Commissioned by the Live Art Development Agency (LADA). Performed at LADA’s Access All Areas (London and New York), Chelsea Theatre (London), Spill Festival of Performance (London), Performance Space (London), Chapter Arts Centre (Cardiff), Kapelica Gallery (Ljubljana), The Basement (Brighton), Edinburgh Festival 2013, Abrons Art Center (New York)

Since 2011 I have collaborated on many works with the infamous LA artist and dominatrix Sheree Rose. Her partner and collaborator, the legendary Bob Flanagan died in 1996 of cystic fibrosis. Rose and I have made a series of works that continue their legacy. Now in her 80’s, Rose and I explore death, aging, grief, and illness together in live performances and installations.

Collaborations with Sheree Rose

Documentation of these works are available on my public website, www.martinobrienart.co.uk

We Walk with Zombies Down the Prim Rose Path with Martin O’Brien, Sheree Rose, and the Ghost of Bob Flanagan, 2019, performed at Queer City Cinema, Regina, Canada. In collaboration with Sheree Rose

The Ascension, 2019, at Jason Vass Gallery. Collaboration with Sheree Rose.

The Viewing  2016. Commissioned by DaDaFest. Collaboration with Sheree Rose.

Sanctuary Ring 2016. Commissioned by Spill Festival of Performance. Collaboration with Sheree Rose

Dust to Dust: 2015. Commissioned by ONE National Gay and Lesbian Archives, USC (LA) with additional funding from British Council and Arts Council England. Collaboration with Sheree Rose

Do With Me as You Will/Make Martin Suffer for Art, (2013), Performed at LAX Sanctuary Dungeon (Los Angeles). Created in collaboration with Sheree Rose.

The Baby, (2013), Commissioned by Live Art Development Agency and Queen Mary University of London for Peopling the Palace Festival, The People’s Palace (London). Created in collaboration with Sheree Rose.

Regimes of Hardship # 3: 2012. Commissioned for and performed as part of a six month residency at Performance Space (London).

Thank you Ma’am, Please May I have Another?, 2011, Performed at Live Art Development Agency’s Access All Areas: Live Art and Disability (London). Created in collaboration with Sheree Rose.