The impossibility of organizing a public meeting with 8 European artists in a time of the Covid19 pandemic

Our daily lives have been profoundly changed by technological and digital innovation, and artists and institutions are able to make use of these advances to change the way they create work, and how they present it to audiences. The further context of the COVID-19 pandemic has meant a profound change in the relationship between the public and projects such as those presented by these eight artists.

Following two public presentations (adapted to new health and safety requirements, and with minimal travel) at our European partners, Colectiv A in Cluj (RO) and Duplacena as part of the Temps d ‘Images festival in Lisbon (PT), the artists projects were schedule to be presented at le GRRRANIT, Scène nationale, Belfort at the end of 2020. The COVID-19 pandemic did not give us the time, or the possibility to physically share with you the eight prototype artworks resulting from this two-year experimental process integrating transmedia approaches across different disciplines of the performing arts.

We have co-created a showcase site with the artists which will soon be available. This site aims to showcase those prototypes, giving as much of a sense as possible of how they create new, shared, interdisciplinary and experimental stories as well as new forms of public participation.

While waiting, find interviews of the artist and their videos.

 

Clara Chabalier (FR)

Defence Before Survivors

installation, performance, and human/machine dialogue device

The Defence Before Survivors is inspired by The Invention of Morel, a novel written by Argentine author Adolfo Bioy Casarès in 1940.

The Defense Before Survivors proposes the audience to follow the writing process of The Invention of Morel ’s narrator: fascinated by Neo-malthusian theories of overpopulation, he wants to gather the arguments that would defend our generation in the court of the following ones. And if he had to take into account not only the living ones, but also the pictures we create and that haunt us – ghosts of technology?

A fugitive hides on a deserted island. Tourists arrive, and his fear of being discovered becomes a mixed emotion when he falls in love with one of them, Faustine.  The fugitive decides to approach her, but an anomalous phenomenon keeps them apart : she does not react to him. He assumes she is ignoring him; however, his encounters with the other tourists have the same result. Nobody on the island notices him.
He comes up with all sorts of theories about what is happening on the island, but finds out the truth when Professor Morel, the host of the island, tells his guests he has been recording their actions of the past week with a machine of his invention, which is capable of reproducing reality. He claims the recording will capture their souls, and through looping they will relive that week forever.
My final aim is to set up a theatrical adaptation based on this novel. This prototype shows the research I’m doing in order to find how this questions  resonate nowadays, and how to write my adaptation. I think these novel has a very brilliant point of view on the relationship we have with technology : how similar is the narrator’s attempt to talk to the tourists, to our interacting on the Web with videos, texts, sounds, produced in the past, and looping on and on, like ghosts?

With the artistic and technical collaboration of  Johan Lescure.
And the participation of Gérard-François Dumont, demographer, editor-in-chief of “Population & Avenir”, Rector at University Paris La Sorbonne; Camille Alloing, Professor at Social and Public Communication Department of University of Quebec in Montreal (UQAM), author of several books about e-reputation; Fanny George, Maitre de conference in Science of Information and Communication at La Sorbonne University – Paris, a researcher in numeric representations; Charlotte Debest, Doctorate in sociology, author of “The choice of a Life without child”.

This project received a development grant from DICRéAM (CNC).

Clara Chabalier (FR)

Director and actress based in France. Creator of transdisciplinary works and contemporary theater.
Graduated from the Regional Actors School in Cannes and CNSAD.
The theatrical space is for her a place where virtuality is initiated into reality, through dance, music, photography and visual arts.

SITE : www.compagniepetrole.com/

Defence Before Survivors a presentation by Clara Chabalier (FR)

Clara Chabalier about Open Access project

Raluca Croitoru (NL)

Neutral Buoyancy

sound installation

The installation proposes a soundscape that connects bodies in water with bodies of water through physical, technically-mediated and speculative immersion. A dialogue emerges between corporeal sounds, terrestrial and underwater ones, in which fluidity replaces predilections for the solid and the fixed.

“To what extent might the ocean operate as a necessary “disorientation device” for theory and philosophy, a milieu that denatures our normative habits of orienting to the (terrestrial) world through language?” (Melody Jue, Wild Blue Media: Thinking Through Seawater (2020))
Neutral Buoyancy is a body of work thinking with and through the properties of the aquatic environment.
I worked with sound to explore concepts of fluidity, buoyancy, and physical and speculative immersion. Using a hydrophone, I listened to and recorded several underwater environments, capturing the sound of tides and bodies swimming, along with acoustic traces of industry and cargo movements, such as boat engines and operating cranes.  The resulting soundscape combina field recordings with musical elements and sound effects; it connects aurally bodies in water –  human bodies, cruise and cargo ships – with bodies of water, such as the Maas, the North Sea, the Black Sea.
Accompanying the soundscape and the installation in the Botanical Garden in Cluj (RO), I made an experimental publication* that combines fragments of text with photographs of drawings I cut into raw clay. Each page of the publication is woven through the cover and is not numbered, de-hierarching the order, and allowing for fluid re-orderings and readings.

Raluca Croitoru’s project is partially supported by CBK Rotterdam.

Raluca Croitoru (NL)

Raluca Croitoru is a visual artist and performer originally from Constanta, currently based in Rotterdam. Her artistic practice merges multidisciplinary approaches from the fields of fine art, choreography and performance. She is interested in the relationship between the body and power structures, especially the specificities of the body under capitalism.

SITE : https://ralucacro.hotglue.me/

Neutral Buoyancy excerpt by Raluca Croitoru

Raluca Croitoru about Open Access project

João Estevens (PT)

uncanny valley

performative video-installation

uncanny valley is a hybrid transmedia piece about a digital performer meeting the audience. The storytelling evolves interdependently through different mediums: (1) a performative booklet, (2) a video installation, and (3) a one-to-one digital performance. This work incorporates the dynamics of online communication and interactivity to explore the possibilities of social media platforms as a way to create a continued connection between the performer and the spectator.As in previous works, this object continues an ongoing artistic research about performing arts, technology, and digital culture. The length of this experience is dissimilar to every spectator since each conversation evolves differently. As the lines between reality and fiction blur, both the performer and the spectator can assume diverse roles, becoming virtual friends, lovers, therapists, or assistants. But in the end, this will always be a performative experience.

João Estevens (PT)

João Estevens is a performance maker and researcher based in Lisbon. His artistic practice focuses on new dramaturgies and hybridity, combining performing arts and multimedia. He is interested in topics as the fragility of the human condition, power, and cyberculture to create his work.

SITE : http://joaoestevens.com/

uncanny valley teaser by João Estevens

João Estevens about Open Access project

Olinda Favas (PT)

Untitled

installation and performance

Olinda proposes an oneiric journey from a gallery of real or fictional portraits of dreamers, apprehended in a mysterious transition between vigil and sleep. It is in this material-immaterial threshold and in the unconscious-conscious dialogue that the subject dreams. It is this realm of symbol and memory that the viewer can explore here.

The work outlines an oneiric journey based on real or fictional portraits of dreamers, apprehended in a transition between vigil and sleep. It is in the material-immaterial threshold and in the unconscious-conscious dialogue that we dream. This is the domain of the symbolic and memory that can be explored here. The narrative expands in multimedia installation, digital book draft, and (future) performance. It intersects Fernando Pessoa’s theatrical play The Sailor, 1915, his poem Europe, 1934, and anonymous dream reports, reel tape homemade recordings, acetate print of the anthropomorphic map of Europe by Heinrich Bünting, 1587; performance; video; OH projection; draft online publication. *
Ancestral practice, reporting and exploring the content of dreams allowed knowledge about cultures and societies. They reflect the dreamer’s inner life, his network of relationships and environment. Telling dreams can facilitate the encounter with unconscious aspirations, fears, and guilt that crave for representation and structuring. Following this sociocultural dimension, the project aims to develop dreamtelling performative events in which the participants expand dreams.
Sleepwalking through landscapes with a reel recorder. Object bought by my parents, emigrated in France, after winning a horse race game, and secretly brought back to Portugal … Portrait in motion through times and voices from memory, to come and go, to be and belong. Silent journey juxtaposed by the subtitles of a dream reported by a character in the play. This dream evokes a sailor lost on an island, who unable to return to his homeland, and suffering from remembrance, dreams of a new homeland that becomes more real than his reality. In the face of fatigue and uncertainty, the sailor tries to return to his homeland, but does not remember anything … It is not known how the dream ends, if it continues, if everyone is part of it or if someone woke up … What happened to the sailor? The silence is interrupted by homemade recordings, between songs – adult and children’s voices in a (multi)linguistic nonsense – Portugalês; in interviews about television shows and cartoons; comic war calls, originally 1962 vinyl texts. Constructed conversations upon awakening, perhaps the thought of conversation… What is the past but a dream, a creation? Tension between sensation and memory. The dreamer’s imagination upon awakening modifies the dream, retroactively. My projected body becomes simultaneously (?), a character that tells the dream, part of the landscape, subject of the experience of dreaming. On the journey, the elements of the dream seek continent – Europe – feminine map, geographical poem. Other times and representations converge in this dream, painful projection, individual and social, identity, symbolic and mythological heritage … The vigil is a state of work: the creative process of a non-materialized book. Poetic sketch fragmenting, on the pages, an unknown horror, the transience, suggesting a sense of fluid identity and reality, as if everything were a dream – an open path to possibilities. The dream becomes a request for closeness, for someone to compose their own dream about it, re-dream. How does this dream continue?

Olinda Favas (PT)

Actress, performance artist, teacher and director based in Portugal.
Olinda finds magic in the expression: „What if …” This simple formulation opens up possibilities in life and art … It is also the reflection of her multidisciplinary work in which error, fragmentation, multiple voices and presences unfold in a poetic and performative intersection.

SITE : https://ofavas.wixsite.com/olindafavas

 

Untitled excerpt by Olinda Favas

Olinda Favas about Open Access project

Adrian Ganea (RO)

The bloodless shades shed tears

transmedia installation

Based on recent studies in biology related to the theory of symbiosis, Adrian offers an installation of automated puppets and a computer simulation of symbiotic life forms. It is about questioning through technology, the conditions of „living together” and the possible means of coexistence of organisms, whether biological or not.

Link to download the simulation
(Running on Windows 64bit) press keys for graphics settings: 1(low) 2(medium) 3(high) or 4(ultra) press esc to quit

Adrian Ganea (RO)

Adrian Ganea is an artist born in Romania in 1989.
He is drawn to the unreal, intrigued by the magic of the intangible and the ethereal, he seeks the sorcery that incarnates the virtual into solid matter. He is fascinated by the ways the bodiless nonmaterial subject can materialize and transpire into the real world. In his work, he aims to enact the production of fiction, often reflecting on its increasing automation.
His practice ranges from designing scenography to programming CG simulations and composing videos. He graduated at UDK Berlin, receiving a masters degree in Set Design with his project “Cyborgia” based on Paul B. Preciado’s essay: “How Pompeii invented Pornography, The “Gabinetto Segreto” and the Sexopolitical Foundations of the Modern European Metropolis”.

SITE : http://adrianganea.com/

Bloodless Shades Puppets by Adrian Ganea

Bloodless Shades Puppets prototype by Adrian Ganea

Adrian Ganea about Open Access project

Alison Neighbour (WAL)

The (Future) Wales Coast Path. A journey and encounter in public space

installation

Responding to the slow crisis of sea level rise unfolding around the world, Alison invites the audience to take a journey through the landscape and to consider what we might lose, and what we might gain. How do we adapt and welcome change?

The (Future) Wales Coast Path is a series of public artworks and events that invites us to reflect on the impermanence of the land we take for granted. It highlights the impact of sea level rise locally and globally, combining hard data and human connections to start conversations about how we adapt to our shrinking landscape.
A series of lighthouses are sited along the possible future coast line of Wales. Their lights respond to tidal data from areas around the world already feeling the day to day impact of rising seas, signalling a warning of what is to come, and providing a place of sanctuary and convening in the landscape. In this prototype, the lighthouse sits in the small village of Magor, on the edge of marshland about 2km from the seawall of the Severn Estuary. Its light responds to Global Sea Level Observing System data from a tidal buoy near the town of Chittagong in Bangladesh, in the Bay of Bengal. The idea of this lighthouse came from a desire to sound the alarm, to start a conversation, to connect people to think about how we can adapt to the future. I wanted to physicalise this idea of impermanent land in the landscape itself, so that it can be felt in a way that a map or a newspaper article can’t offer. The lighthouse is intended as a point of convergence, a place for encounter, and a site of pilgrimage, from the past shoreline to the future.
To access the work, a walk is marked from the current coastline to each lighthouse on the future coastline, encouraging visitors to walk from the present to the future and feel the time, rhythm, and distance of that journey in their bodies.
A geolocated sound map is co-created with communities in the Indian Sundarbans and layered onto these walks in the Welsh landscape, inviting the voices of those at the centre of the storm to lead our steps.
A guidebook accompanies the work, co-created with members of the local community as part of an engagement programme around the siting and installation of the lighthouse and the walking route. It features maps, imagery, and words that sum up the community’s relationship to this place and their feelings around adaptation and loss, as well as research facts and a guide to the different experiences within the work. 

Alison Neighbour (WAL)

Artist and Scenographer from Wales, Alison creates socially engaged and site responsive installations and performances. She is interested in scenography as a starting point for storytelling and seeks to offer space for audiences to become co-creators of the work.

SITE : https://alisonneighbourdesign.com/

The (Future) Wales Coast Path a presentation by Alison Neighbour (WAL)

Alison Neighbour about Open Access project

Mateja Stanislava Rot (SL)

Sprites of Meadowlands

urban game

Changing the scale, moving the eyes, Sprites of Meadowlands addresses the exploration of hidden spaces in the botanical garden. It starts with a walk and all the details that can characterize the morphology of the garden. Viewers are invited to participate in a game designed to activate a specific urban location, in this case the garden. Playing with what is hidden and what is shown, Teja questions our perception of reality and social practices in the city.
It starts with a walk and all the details that can characterize the morphology of the garden. You are invited to participate in a game designed to activate a specific urban location. Playing with what is hidden and what is shown, the project questions your perception of reality and social practices in the city.

Contributory augmented audio platform: https://meadowlands.surge.sh/

With special thanks for Flaviu Petean’s precious help and insights in creating this game.

Mateja Stanislava Rot (SL)

Urban innovator based in Slovenia.
Works at the intersection between urbanism, architecture and activism.
She is particularly interested in the creative transformation of public spaces and in regaining the right to spaces, seeking to contribute to the sharing of public space as a common good.

Sprites of Meadowlands by Mateja Rot

Mateja Stanislava Rot about Open Access project

Marion Thomas (FR)

Survival Kit in Male Territory

transmedia soundtrack in public space

Marion gives us a different view of feminist struggles: that of the enemy.
The public, equipped with headphones, is guided on a walk in the urban space to explore the world of Incels *. This experience mixes a personal story with that of an incel. During this tour, each spectator will be able to personalize their experience to enter the mysteries of masculinists.

* The incel subculture (English neologism for involuntary celibacy) designates misogynist online communities whose members define themselves as unable to find a romantic or sexual partner. Those who claim to be incels are almost exclusively men who gather on the internet around a common cause: hatred of women.

Marion Thomas (FR)

Author, director and performer, divides her time between Nantes and Lausanne.
She studied staging at the Factory (Haute Ecole de Théâtre de Suisse Romande).
Seeming the reality very disappointing, she meets on the internet with bizarre people. From these virtual errances, Marion draws points of view later integrated into broader narratives to create spaces of friction and conciliation. She likes video games, constructivism, horses and feminist science fiction.

Survival Kit in Male Territory in Belfort by Marion Thomas

Survival Kit in Male Territory Teaser by Marion Thomas

Marion Thomas about Open Access project

Leave a Reply

Your email address will not be published. Required fields are marked *