“As I sat, immersed in Goh’s fantastical vision and the sheer discipline and inventiveness with which she realised it, I was deeply grateful… every movement is considered and can only come from a highly disciplined dancer with a creative imagination that can render the human body strange and newly oriented. I was gripped by Sky Blue Mythic, a work both coherent and continually surprising, its choreography, music and design coalescing to generate a provocative, utterly memorable otherworld”
– Keith Gallasch, RealTime, “Sky Blue Mythic: Angela Goh’s fantastical myth making”, 26 July, 2021. https://www.realtime.org.au/sky-blue-mythic-angela-gohs-fantastical-myth-making/
“[Goh] is a technically brilliant dancer… In Sky Blue Mythic she moves in ways that oscillate between being so mechanically precise and so seemingly physically impossible that it’s best described as being inhuman”
– Anador Walsh, “Beyond Human”, The Saturday Paper, Issue 391, March 19, 2022
“Not a single action feels unnecessary and she moves with a silken quality that defies the forces of gravity and friction. Goh is exploring precisely the boundaries of what the body can do and what it means to be human… with courage, intelligence, inquiry and fortitude. Wonderful.”
– Deborah Jones, “Sky Blue Mythic: Angela Goh extends her 2020 Keir Choreographic Award-winning solo and makes another winner”, Limelight, 28 May, 2021. Full Article: https://limelightmagazine.com.au/reviews/sky-blue-mythic-unwrapped-sydney-opera-house/
“Elegant and fuss free… [her] body becomes an instrument of power over the numinous forces binding space and time”
– Daniel Mudie Cunningham, “Blue skies, blood moon”, Artlink, Issue 41:2, August 2021
“Magic.”
– Deborah Jones, “Goh’s Bold Statement Secures Keir Prize”, The Australian, 14 March, 2020
Axe Arc Echo
“Over two hours, Goh takes the audience on a journey through time and with time… at once vast and finely detailed… Temporal distinctions are undone and reimagined, broken down and remade over and over again… the limits imposed by linear temporalities and human perception are ruptured. Goh contorts all sense of direction with her body, twisting around in time, just as one can in space… She is able to hold this immense room. More than that, she fills it… The longer you watch, the more you realise what a feat it is.
– Bree Richards, “Axe Arc Echo, Angela Goh”,Performance Review, 12 June, 2024. Full article: https://performancereview.online/reviews/axe-arc-echo-angela-goh
“The performance is itself a heroic feat… Arms slice the air like unravelling clock hands. Limbs crawl forward in eerie rhythms. A body oscillates between lying and standing with factory- like precision… The artist’s manoeuvres are so meticulous they conjure things otherworldly: machines and creatures that are ancient or from an unknown future… Goh challenges horizontal, linear understandings of time with something multilayered and kaleidoscopic… an experience that reverberates through body and mind long after the two-hour performance concludes.”
– Johanna Bear, “As Above, So Below”, Look Magazine, Feb-March Issue 2023
“The formidable sense of foreverness makes me weak in the knees… She holds space (and time) with precision and control. There is something fervent in watching ‘Axe Arc Echo‘.”
– Ira Ferris, “Review: Axe Arc Echo”, Critical Dialogues, Issue 15: Time, March 2024
“The moment Body Loss begins, time slips and space shifts. Choreographer-performer Anegla Goh has the audience beheld by her presence…Goh’s dancing of Body Loss transcend[s] gestures into beacons of otherworldly potential… transmogrifying body-time-space… a conjuring of the transcendental, transformational, recalcitrant and uncanny.”
– Caitlin Dear, “Tethering the Ephemeral: Angela Goh’s Body Loss as precedent for the acquisition of dance”, Un Magazine, 17 July 2024. Full article: https://unprojects.org.au/article/tethering-the-ephemeral-gohs-body-loss-as-precedent-for-the-acquisition-of-dance/
“The artist Angela Goh creeps across the parquetry floor of the Grand Courts in a movement so strange that you could swear her body was moving backwards and forwards at the same time. Part reptile, part bot, part dancer, she begins to examine her surrounds, her fingers extending around architraves, columns, picture rails and archways… she reaches higher and scales the walls of the Grand Courts. Meeting the lofty heights of the gilt-framed paintings, she hauls her body upwards and outwards and backwards. All the while, her voice, layered and looped, fills the space with a ghostly siren song. Visitors from all corners are drawn in.”
-Lisa Catt, “Art that is slippery”, The Sydney Modern Project: Transforming Sydney’s Art Gallery of New South Wales, 10 December 2022.
“Body Loss is a dance of grief-stricken composure and weightless attention… Goh takes on the surrounding gallery infrastructure, testing the limits of her own strength as she climbs architraves, hangs from constructed walls or mounts plinths… Suddenly her stage is vertical; an act that situates the work within the same context as the other artworks in the gallery… a marvel of virtuosic strength and persistence.”
– Erin Brannigan and Zoe Theodore, “Body Loss, Angela Goh”, Performance Review, 23 April 2021.
“Angela Goh’s transformation through dance, was equal parts defiance and mischief… a compulsively watchable performance.”
– Nicole Serratore, “Beyond Whiteness: A January Festival Wrap-Up”, American Theater, Feb. 02, 2018. Full article: https://contemporaryperformance.com/2018/01/20/in-performance-angela-goh-desert-body-creep-coil/
“Desert Body Creep is something of a post-anthropocene hallucination. As Goh literally moves through choreographies, sounds, and objects, the mundane becomes uncanny… It’s a methodical yet dizzying evolution involving a giant gummy worm, a mint-hued crushed velvet tube, and shrinkwrap, underscored in cinematic turns by shredding guitar solos, pop music, and Goh’s own voice in haunting choral overtones. The result is a captivating, unaffected disorientation posing questions of objectification inside the environment and the body.”
– Sara Lyons, “In Performance: Desert Body Creep”, Contemporary Performance, Jan. 20, 2018. Full article: https://contemporaryperformance.com/2018/01/20/in-performance-angela-goh-desert-body-creep-coil/
“Tender, disciplined, shapeshifting… The patchwork of referents that make up Desert Body Creep — including art, cinema, literature, pop and the internet — are individually familiar. But they come together in unexpected ways: fear is funny, worms elicit tenderness, abjection has poise and structure. Goh short-circuits, too, any totalising concepts about the body — about the female body — and about what it means to be human.”
– Gemma Weston, “Review: Desert Body Creep”, Un Magazine, Issue 11.1, 2017. Full article: http://unprojects.org.au/magazine/issues/issue-11-1/desert-body-creep/
“The cyborgian goddess brought down to us in human form. …In a world ravaged by technocapitalism, she is at once indifferent and stimulated, passive and powerful, the contradictory offspring of our near future… This is the body augmented and extended to be more sensual and more powerful.”
– Amelia Wallin, “Review: Uncanny Valley Girl”, Running Dog, October 26, 2018. Full article: http://rundog.art/uncanny-valley-girl-angela-goh/
“Goh’s body moves with eerie precision… It’s dystopian but also quite funny and weirdly beautiful… Uncanny Valley Girl isn’t cyberfeminism exhorting networked utopian futures, nor is it an enactment of paranoid fears around dystopic simulacra… Goh cultivates a passionate attentiveness to a vast spectrum of nuance.”
– Tessa Laird, “Discursions: Angela Goh, Uncanny Valley, Girl”, Art and Australia, April 6, 2018. Full article: http://www.artandaustralia.com/online/discursions/angela-goh-uncanny-valley-girl
“Angela Goh’s Scum Ballet was a remarkable feat of contradiction and harmony… Goh continually surprised and engaged audiences… The magic of Goh’s performance came through its straddling of intentionality and organic movement, the result of which warped any sense of real world time…”
– Isabella Cornell, “Chaos and Control in Angela Goh’s Scum Ballet”, Runway Magazine, Nov. 30, 2017. Full article: http://conversations.runway.org.au/conversations/chaos-control-angela-gohs-scum-ballet/
“Seductive and mystical, Scum Ballet is a litany of lucid passes… Goh relays an unrelenting cache of suspenseful and haunting moments.”
– Zoe Theodore, “Reviews: Scum Ballet”, Un Projects, Dec. 21, 2017. Full article: http://unprojects.org.au/un-extended/reviews/scum-ballet/
“an exquisitely creepy collapse between the threat of violence and its opposite, love and care… Throughout the piece there are seamless shifts between the group and the individual, between dissonance and subsequent alignment. This is testament to Angela’s strength as a choreographer”
– Naomi Riddle, “Review: Scum Ballet”, Rundog Magazine, Dec. 1, 2017. Full article: http://rundog.art/angela-goh-scum-ballet/
“a collective expression of strength and considerable endurance”
– Keith Gallaasch, “Angela Goh, Scum Ballet: Female Magic”, RealTime, Dec. 5, 2017. Full article: http://www.realtime.org.au/angela-goh-scum-ballet-female-magic/