performance - Blogs - dance-tech

PRESENÇA EM ESPAÇO E TEMPO REAL Workshop Performance, Lisboa

Posted by Marlon Barrios Solano on May 13, 2010 at 3:12pm

Por Adina Bar-On (Israel)

Dia 17 e 18 de Maio 2010, das 10h às 19h
com apresentação pública do workshop Domingo 16 as
20H

O workshop consta
de:
De 4 sessões de
3/4 horas cada.
75% de prática 25% de teoria.

Objectivo:

a) Como projectar o indivíduo como
identidade e o seu pensamento num movimento minimal e ao mesmo tempo
cheio de expressão.

b) Como mediar uma transformação, visualmente ou através de
sugestão, em diferentes espaços.

c) Como descrever, ou ser protagonista de um dado contexto existente, social
dinâmico.

Materiais requeridos:

5 objectos à escolha, de diferente ou igual caracter (de qualquer
tamanho), que tenham um forte significado para o participante. (por
exemplo: Objectos a que se tenha uma ligação sentimental, ícones
religiosos ou um ícone nacional, um objecto de caracter sexual)
http://www.polishinstitute.org.il/en/events-blog/events-visual-arts/details/100-Aesthetics-and-Bias.html?short=1

About the artistst:

Adina Bar-On, Israel, 1951. Adina Bar-On is a pioneer performance artist in
Israel. She toured around Asia, including Hong Kong, last year with
Seiji Shimoda, the award winning Japanese
performance artist. In the past 30 years, Bar-On has produced more than 20 performance pieces. An
exhibition of her video works and photographic documentation of her
works will be held in Para/Site Art Space from July to August. Bar-On
will perform her new work «Disposition» outdoor.
Since 1973, Bar-On started to experiment with performance. She makes use of her body
movement and voice to communicate with the audience. Her work
emphasizes interaction and connection. Audience’s emotion follows
Bar-On’s behaviour. She breathes, blinks, quivers, swallows. The
charged moments excite the audience internally and externally.
Adina Bar-On was born in Kibbutz Kfar Blum, Israel in 1951. She stayed with
her family in the United States at the age of thirteen. She went back
to Israel at 18 and in the next year joined the Bezalel Academy in
Jerusalem majoring in painting. In 1973 she had her first performance
in the Academy. The Academy’s psychologists were asked to watch the
performance in order to give opinion. Bar-On received a warning letter
from the directors of the Academy informing her that she had to go back
to traditional media in order to graduate. On one hand, Bar-On went
back to painting, on the other, she performed in the places outside the
Academy such as gallery, museum, cultural centre and art space. She
even extended it to non-art establishments such as youth club, shopping
arcade and private home. Last year Bar-On toured to Budapest, Japan,
Macau, Hong Kong, Russia and Poland.
http://www.ccca.ca/performance_artists/f/fado/adina/adina_perf1/index.html

Adina Bar-On
is widely recognized to be Israel’s first performance artist,
creating work since the 1970s. Her performances are remarkable for
their sensitivity, emotional depth, and for Bar-On’s
willingness to tackle difficult and controversial subjects. Bar-On lives and works in
Tel-Aviv, dividing her time between teaching (performance and visual
communication) and her art practice, which
includes performance art and video. In the past several years she has toured extensively in
Europe and Asia. This is her first trip to Canada. A book about her work in
English and
Hebrew was published in 2001 with the support of the Herzliya Museum of Art in Israel.

oficina epipiderme
Local: Fábrica Braço de Prata, Lisboa
Investimento: 50€ e 35€ ( preço com desconto a estudantes e desempregados, com justificação)
N.º máximo de participantes: 20
Inscrição: epipiderme@gmail.com
TM: 91 7093674

NITS SALVATGES (WILD NIGHTS) 5th edition - April 23 and 24th, 9pm / CCCB (Barcelona)

Posted by La Porta on March 25, 2010 at 6:00pm

Nits Salvatges (Wild Nights) is a research project that invites different artists to visit residual or tangential environments that open up new lines of investigation within their own personal evolution.

8 new performances by: Esther Ferrer, Oscar Abril Ascaso, Abraham Hurtado, Colectivo 96º, Elena Córdoba - Cristóbal Pera, Amalia Fernández, Gérald Kurdian and Davis Freeman.

Friday April 23th

- Esther Ferrer
- Colectivo 96º
- AmaliaFernández
- OscarAbril Ascaso

Saturday April 24th
- Abraham Hurtado
- Elena Córdoba - Cristóbal Pera
- GéraldKurdian
- DavisFreeman

Where: CCCB - C/ Montalegre, 5 - 08001 Barcelona
When: at 9pm
Price: 5 euros / Reduced: 3 euros - Friends of the CCCB, students, retired, unemployed persons, identification cards of professional associations of scenic arts, identification card libraries, Carnet Jove. Sale anticipated at the ticket offices of the CCCB from the 23/04. Sale of tickets with discounts at ATRAPALO

Interview with Thomas Dumke: On CYNETart and new media performance

Posted by body pixel on January 31, 2010 at 10:30pm

Back in October I spoke with Thomas Dumke about CYNETart Festival and performative arts in the context of new media art. Our conversation was possible thanks to Sonja Lebos from UIII.org, Association for Interdisciplinary and Intercultural Research, based in Zagreb. Sonja's organization is deeply rooted in architecture, urbanism and new media art.

Thomas Dumke with the background by Monolake Live Surround Taken from ds-x.org

Thomas then gave a lecture in the net club Mama about the history of Festspiel Haus Hellerau, Trans-Media-Akademie Dresden and the festival.Thomad Dumke studied history and sociology from 1997–2002 at TU Dresden, postgraduate in culture & management. Since 1999 Thomas Dumke is part of the international festival for computer based arts CYNETart in Dresden, in 2000 he initiated together with DS-X.org the »microscope session«, an event for audio-visual concerts, founding member of TMA Hellerau in 2001, from 2006 he has been the director of the CYNETart festival. He is a member of the artist collaborative DS-X.org.

Let’s start with the concept of your festival CYNETart… I find it very interesting and slightly different in comparison with other media art festivals, because you didn’t give up from the body…TD: The Trans-Media-Akademie organizes annually the CYNETart Festival and we understand media art more as a research approach and within this we are focused more on the changes of our perception and self image of our movement or our body feeling in relation to ongoing mediation and mediazation processes.We are interested even in our relation with the human environment. This is somehow our, lets say, scheme or issue. If we have this scheme for body and space relation or our body environment relation, the question is how we can use media technology to make us aware of this relation? There are also somehow rational aspects, because we are using objects with technology. It’s not esoteric, para-psychological or whatever.

Jacob Korn and his Harmony Universe (c) Taken from ds-x.org

It’s cybernetics! It means that everything is provable. But we think that we can use technology to make things experienceable or sensible, what in normal case is not experienceable. We are trying to establish with our CYNETart Festival a platform to present a different kind of performative installation works or even stage performances. We have also workshops and club events for the younger audience.So, it’s also a community oriented festival, because it seems that you want a reaction by the audience?TD: Yes! This is also very important. We don’t want to be hermetically closed for the audience. That’s what we are really trying to achieve within Tele-Plateus project where we would like to establish virtual environments, interactive environments in the public space.Tele-Plateus should function in that way with a public stage, or even something like a star gate for other cities. Virtual environments should be connected to each other, to give the citizens of these cities the possibility to interact with audio, sound and visual elements. Somehow, this is an abstract way, nothing like Skype connection or so. Today, you can make face to face connections like on TV.

Photo: mb21 backup taken from t-m-a

We are really trying to stay at some abstract level, because we know from previous experiences that when you hear and focus on one point, then you are able to activate your potential imagination. I mean, literally I don’t know you, but I have got the feeling of you…If I have a contact with your shape or with your sound, maybe I don’t know you, but your are on remote and I have a contact with your generated sound. And you are interacting with my sound, too. This is this point, we meet each other on the sound level and the task for the audience or the composer is to give a set up of one environment, which should be easy going or just easy approachable to have this kind of experience.Experience in which I am with somebody, but for instance three people with me projected in one space, of course this is hyperspace and it’s only in mind. It’s not for real, because all scales and environments are on different places and in that particular time, if you are active with each other, we are sharing one space, and this is sound space and the space in your head.

Mortal Engine by Chunky Move (c)

I’m glad that you mentioned just now this important aspect of hyperspace in the context of perception or mental space, lets say colloquially ‘in the head’…TD: Yeah, yeah. Even the whole process that is going on at the moment, if we really observe the internet natives, these new generations that are going up… My experience was like this, if you met somebody offline. Let's say it in terms of online and offline reality. There are totally different intentions in real life, a totally different way of perceiving things. That’s sometimes funny for me, but it does not have to be funny for other person.

Ballettikka Internettikka (c)

Even if you are in the relationship with somebody who is not online, she or he can’t understand what you are doing all the time. This is a thing in our cognition process, what Marshal McLuhan have postulated in the 60’s. This global village metaphor which is now happening… From the mental point of view, the fact that we are all coming together is based on television, online life and social media thing. This got somehow real, this webness and activities…Of course, and this urge to be connected… and the feeling when you are offline that something important is happening online, and you are not there to see it or try it… sometimes it’s haunting… How do people react to you concepts?TD: We have got mostly positive responses to what we do. I think, it’s always a decision of their own, if they got it right, if they understood this abstract level of sound and visual aspect. Somehow, we are all conditioned by Hollywood and totally illusionary media worlds that have to be colourful and more real then real in details. What we are doing is totally opposite. We use the senses with sound with an aim to make an impact, but a real one. Also, it gives you a chance to put there your own stuff according to things you actually perceive and receive.

Jacob Korn Live AV with hypecycle (c), taken from ds-x.org

For instance The 'Schlamp' installation by Frieder Weiss and Emily Fernandez has opened pretty interesting discussion on computer games, does it make a difference if I’m shooting on a real person or 'real character' that looks more like a real body? Or maybe I’m only shooting on black square or an abstract thing. I think that in a psychological way or mentally it makes no difference. Our neurons and brain have the same neuro-electric processes whether we are shooting digitally or for real.We had interesting experiences while presenting installations where people were projected on the street or on the floor. After some time passers would start to jump or trying to hit digitally projected people. They just kicked them out and showed that they don’t have respect for the virtual re-presentation because it’s not real. I think, this case shows the current issues even if you look to finance market. It’s raising up on the virtualization of the world.

Chunky Move (c)

Why the market has collapsed? Because there is no relationship to the real world. Like in the past we had the relation to the material world, like gold used to be in the past. It was like a never ending game. How we are dealing with this virtual reality thing? Is it a quite similar world? For instance, we are jumping faster but in the music industry, actually everything is the same, there are terms like sharing, copy right and so… The question is what is this virtual world? Why we are sharing so simple, because we can digitally re-produce things quite simple. We do not care about copyright anymore.

Photo: tma (c) taken from bodynavigation

I’m still buying vinyl, because I are really like music, but I can’t share or copy this vinyl. So, it’s something that has this aura thing which I think is increasingly present lately, to experience things in our real environment. A good aspect of virtual environment is that you can’t reproduce a video, a record or a CD, but you have to experience it by yourself.In the same category we can discuss on watching interactive dance, because dancer can experience this interaction but the audience not. Dancer is inside and the audience is not. This is one quality aspect and it has some kind of aura. This self experience can be in local virtual environment or in networked virtual environment. This is new, it could be development and comprehend.

Photo: Zeitgeist by Hjørdis Kurås

But the whole story is pretty much based on performative aspects, dance...TD: It’s based on performance. Actually, we don’t like to work with dancers, we have a local school in Dresden and there are lots of dancers. The thing with dancers is that they are educated somehow in the direction of the quality of movements, release techniques, different dancing techniques and so. You know, it looks like Forsythe or it looks like something else. Of course, there are different types of new students coming to the new repertoire and they would like to test generated sound and visuals.Usually, they are coming with all the movements they have learned in school and they don’t listen to the sound or just react to this base, which is a mistake. But, what is happening during this processes? If you have a feedback effect or closed circles you are inside this instrument, and inside this environment you have to react to each other.

Do androgyns dream of electric sheep by An Kaler, dancer: Gregory Holt

Sure, it's not important what dance technique you're using, but the way you comprehend movement as it is...TD: It doesn’t make sense if you make a ‘William Forsythe movement’ because the instrument and your environment don't know that. Hence, it doesn’t recognize that. The instrument recognizes your movements, intensity or something like jumping. But, it doesn’t recognize the special quality of typical dance forms. I don’t like to work with professional dancers because you have to push away this conditioned way of how to move through space.There is no sense to do some technique in such environment. This is our approach. You have to experience by yourself and you have to use it like an instrument. Even piano players use different interpretations, especially in comparison with Jimmy Hendrix and the way how he used electric guitar.

Photo by: Matthias Härtig/TMA Hellerau taken from flickr

It’s different and at the other hand it’s the same in performing arts and in fields where you have to think on how to move. Even sometimes children or common people are much better for that, because they are free minded to do it. They don't think something like Oh, I'm not doing this right or I don’t act like this! But, because they do spontaneous things and even then, slowly and by listening, step by step they can get the felling on how to move or to figure out the environment. It’s very important to get the feeling how it is inside. What is happening when I move and what's the feedback I got. ‘When I’m shouting in the wood it always come back to me’ principle is similar to electronic interactivity.You mentioned before William Forsyth… He is very connected with the city of Dresden…TD: Since 2006 he has his residency in Dresden. Something like a special cultural policy contract among the cities of Frankfurt and Dresden with the states of Hessen and Saxony. These four partners finance the Forsythe Company. Three or four times per year he comes to Hellerau in order to work with dancers.

Synchronous Objects by William Forsyth

What do you think about his data visualization project Synchronous Objects? I was really surprised when I saw it...TD: Oh, you mean his improvisation project… His method is more about archiving. His technology DVD is more about how the Forsyth method is working. He chose one of his performances One Flat Thing to show it on the internet. It’s totally complex documentation, notation and interpretation of his choreography and performance. It’s amazing, but it’s archiving.The other aspect that I haven't experienced yet is the use of technology in his stage work. I mean, I saw what he was doing with the sound manipulations. He was influenced by neuro-science and he took the idea of what is going on in neuro science to re-adapt it into his dance pieces.

Cynetart 2009, Automatic Clubbing taken from flickr

Where do you see CYNETart festival in comparison with the similar European festivals and what kind of opportunities artists can have within your framework?TD: I would say that we are really unique because we are really focused on this concept of performing arts combined with new technologies. We are not doing only exhibitions and public events like workshops, screenings and so. We are interested in the working processes not only in single, produced and ready for the market art piece.We want our guests to demonstrate their working processes and stuff like that, but at the same time to get in contact with the audience.This is really important. We like when these sides, artists and the audience exchange their position. That means, that we really like this participatory approach in installations, as well as the younger audience within our clubbing programme. OK, we have this unique location, die Festspiel Haus Hellerau where we can use these big halls for dance pieces or bigger installations. There are also small stages and smaller halls where we usually organize meetings, smaller exhibitions and so...

Johannes Birringer (c)

Our Call for Proposals is internationally recognized, it usually starts in December right after the festival is over, and what is also unique is our scholarship for new media art with an amount of 6.000 Euros. We also have a big grant project supported by the Ministry of Art and Science with an amount of 10.000 Euros. Of course, for our contests and awards we have a grant of 5.000 Euros. So, that means that we have a lot of money to spend, and we want to spend it on a quality programme. I mean, in comparison with the mayor media art festivals in Germany and Europe, like Transmediale, these sums are not so big...

Cynetart 2009, Automatic Clubbing taken from flickr

What do you think about low budget technologies, DIY technologies in the context of media art?TD: When you compare different motion sensing systems, you can find among them many really low budget projects, especially compared to motion capturing system which is really expensive and needs very sophisticated equipment. You can work with an average computer, the only thing that you need of those special equipments is a TV card or an observation cam, but if you spend maybe 5000 Euros, you can have it by your own.This is somehow the middle level, this DIY level and it will be used more and more, because technology is getting smarter and cheaper. We will have a generation that will be capable to do everything by their own. I think this will be the future!

Language Game by Kobakant (c)

Even in the context of Internet, the so-called digital culture or internet natives... I think there would be more and more projects specially designed for this kind of audience, also taking place only on the internet which would know to differ real present activity in the future. Then E-tribal art, and of course this RFID thing...I know that Johannes Birringer from Tirier University is doing infrared sensitive clothes. This is quite interesting from sevelar aspects, one thing is this possibility of connecting everything, but then the author must ask himself, what can we do with this multiple connectivity?Thanks a lot, Thomas!This interview was previously published on Personal Cyber Botanica blog

Interview with Hotel Modern: Theatre VJs on brutal themes

Posted by body pixel on November 5, 2009 at 4:30pm

Back in June, during Eurokaz – The International Festival of New Theatre, Arlene Hoornweg and Pauline Kalker from theatre company Hotel Modern gave me an interview about their work. We weaved our talk around two of their performances - Kamp and The Shrimp Tales.

Photo by Herman Helle from Kamp

Hotel Modern is not a typical theatre company. Because of their visual aesthetics and the multiple use of cameras, sculpture, puppetry and various sound devices, you can find them regularly in books that cover topics of expanded, live cinema and new media art in cinematic context.For those of you who admire the work by Slinkachu, Nathalie Djurberg, Marcel Dzama, Josef Nagj, Tadeusz Kantor, Walter Martin & Paloma Munoz etc, the relation with Hotel Modern is like a theatre extension of visual arts.

Let’s start with the concept of your company… the concept is wider, it involves theatre aspects, but you are also notable company in the field of expanded cinema… but there is a lot of applied arts present even on your web site… I would call it visual art…. When did you decide to choose such aesthetics?Arlene Hoornweg: We like that!Pauline Kalker: Yeah, we have the website with many rooms. I think, it’s because when we made our first performance somebody suggested us if we would like to do a music theatre. That person thought that this was maybe something for us, we were very young at that time. Then she got an idea…Arlene Hoornweg: Yeah, I was playin’ guitar. That was after theatre school, and Pauline and I were searching a bit. After theatre school I realized I want something else. I wanted to perform, but I also liked music. So, I started to play guitar and I really liked making songs and I really got into that. Then the theatre director said, you can make a music performance if you want. I said, OK! Let’s do that. Then we asked Arthur Sauer, the composer to work with us. He still works with us. And then the three of us made a music performance and it was fun.

Photo by Leo van Velzen from The Shrimp Tales

Arlene Hoornweg, Herman Helle and Pauline Kalker

PK: Yeah, it was fun to go really into technique, because he had these little boxes which distorted our voices, like making high voices and pitched it. He had many different instruments, and Arlene gathered texts around the theme of life and death. She made a number from every text, like a song and Arthur had all these instruments and it was really like playing. It was fun to play with the technique of his music and sounds, to make a kind of landscape of sounds. I think we both like playing with it.AH: But we also found out what we can tell with text, what we can tell with music, for example. And that’s also what we do now, what we tell with images? What we can tell with text? We can tell a lot with images, and you can tell a lot with music; and you can tell something with text…

Photo by Leo van Velzen from The Shrimp Tales

PK: They all have their own possibilities. We both like the fact that the level of imagination in our performances is very high. I think we like to be in another world, to create the whole world, not only text. We want to create a really new universe. You need different senses for this. Because it’s not only one dimension, it’s not only people and text.For instance, like our latest performance we did with shrimps. It’s called The Shrimp Tales, actors are real shrimps. If you have a world that is populated by shrimps, which perform human activities that’s even more imaginative. Especially with cameras and small models Herman (Helle) is using in ‘Kamp’, you have literally a whole world build.

Photo by Herman Helle from Kamp

You have small models and you can be in that world, then you can make them talk with one another. You need sound to make an atmosphere. I think, if you have different media like music or visual art with sound and little bit of text sometimes, the imagination becomes even more intense, more then having only a painting. Well, it’s not better then another, it’s just what we like.You have many layers; that’s natural…AH: Yes, that’s the way we look at life. That you have so many layers, that there is not only one. There are lots of artists who want to have the essence, or a focus they are trying to pick up. That’s also very nice, but we want to pick everything out of the world to show the richness, and the layers. We also want to show the enormous cosmos.

Photo by Hans Werlemann from Rococo

Your performative technique is very specific… where would you place yourself as performers?PK: That’s different from each performance. For instance, in The Shrimp Tales we are using these little microphones and we are dressed up like we are a kind of glamorous or punk band with light on our faces. We are moving the shrimps and we do a lot of voices, we really have to make shrimps performing. At the same time we also have screenings and projections on the wall.So, the audience can see huge shrimps in a shrimp world and can be focused on it. They can also look at us; we are also performing as actors, playing the scenes and animating the shrimps, doing the voices of shrimps. The audience can watch us, too. We are really performing as actresses, we are really there. We are showing emotions on the face, and we are aware that the audience is sometimes looking at our faces to see our emotions, and then they look at the shrimps again.

Photo by Herman Helle from Rococo

With ‘Kamp’ is more sober. We are part of a machine. We are there, but we are like in a machine. In that way our bodies are telling the kind of objectivity that in ‘Kamp’ is kind of objective, in factual way. Our performing is anonymous and factual, we have really choreography. We sit down or get up in the same time, the rhythms of our bodies and the moves in that way are related to dance. We are really aware of how we stand or how we look. We choose a neutral way of being there. In ‘The Great War’ we have the text, and the text is a bit like songs, but for acting… it’s very very short. We do it like text but more in a song way. We are aware of our voice.When we are a part of the machinery we are also partly technicians at the stage, like cameraman. We have to run around getting the machinery going. At the other hand we also make sounds on the stage.

This multi-functionality is pretty logical these dayz… Besides, it’s the way you express yourself within many different techniques… you function like a post rock band…PK: Because we are a group, it’s more like a band. Herman brings his models, I bring the story line, Arlene her performing skills, you know. So, when thinking about the content, we did all things together. Composers are bringing sounds, and we all bring stuff together into the whole artwork. So, the artwork has a special energy.Yeah, it’s a mash up of your ideas and thoughts…. Could you describe me the processes of your work?AH&PK: First, we never now! (laughter)PK: After every show we have to start all over again. It’s like a cliché, but it’s true. You think you know nothing.AH: Yeah, nothing. What we are going to do?! Sometimes you get nervous, but sometimes you don’t. Then we start to write down our ideas and thoughts. But it also depends of the project. For ‘Kamp’ it was a very specific idea that came up. For ‘The Shrimp Tales’ the ideas came from many different ways and we had gathered them and developed it from ideas we had last few years.

Photo by Joost van den Broek from The Great War

PK: There is always a starting point. There is always this one person who has the beginning idea, because only one head pumps up. So, for ‘The Shrimp Tales’ it was my idea to get shrimps out. Actually it was a comedy idea; basically I wanted shrimps performing people. Then we had some ideas and we decided to do it on the stage. So, that’s much opened and very specific. We had an idea from before, the idea of showing the city. So, that’s how we connected it. What’s in the city?! What happens in the library, or in the museum, or hospital?AH: Then we decide either we want them on the ground or on the tables.

Photo by Joost van den Broek from The Great War

PK: Going from these ideas there are many moments to turn on your fantasy. We really have to make it work. We collect many ideas and then we choose the one we like the most. After that, Herman makes the model of that and we collect our stories and connections in the plot. We want to get the atmosphere of these places.Herman first makes very simple model which we use for improvising things. Then we start to talk and write a little bit to work it out. We combine many ideas, and then we choose the one we like most. We pick them together and make a good scene of it. In the process we also make a lot of crap, so we choose really good ones. That’s basically like shooting with a lot of bullets.

Photo by Joost van den Broek from The Great War

You are cleaning the mess of ideas…PK: Yeah! First, we create a mess of ideas, because we have to create a lot of ideas in order to play with them.AH: And, of course, we discuss a lot about it. What the performance is about, and what structure does it have? Why we want to use some things, why not other, and so. In ‘Shrimps’ we ended with fifteen scenes in thirty minutes, and that’s a lot.PK: In ‘Kamp’ it was different, because the story was already there. We just had to decide what part of the story we want to show. At the end we finally chose the basic things, maybe like a cliché – gazing, crimes. For us, we don’t want to be original in what we tell. We want to tell the basic things and the most shocking, the basic things in a way.

Photo by Joost van den Broek from The Great War

For instance, there were also medical experiments in Auschwitz and we wanted to have a scene also showing that. Because, we didn’t want to use texts, the image of medical experiments that we made didn’t communicate at all. Then we decided not to put it in. Not everything has to be in and dedicated. Instead of that, we thing that it has to be consistent and in a way balanced. We also have execution in performance, but we didn’t show every way of execution, but only one. It was quite difficult to choose which element we want to show. So, that was another path.AH: Some things are the same, and some not because the material is different.

Photo by Herman Helle from Kamp

Seems like covering the topic of Auschwitz in ‘Kamp’ had stronger effect with puppets and big screens, instead of acting… People find hard to comprehend the fact of evilness… Atrocities and killings are happening now in this very moment in Africa, Asia… but we are never enough prepared for those facts…PK: I think it’s good to have different ways of telling. As preparations for Kamp we were watching documentaries with interviews of the survivors. I think that’s the best way of telling… just listen to the stories by people who were there. That’s really authentic, but it’s good to have other ways to complete the whole image. There is not one way, the best way of showing that.I think, with the testimony you can get the story from really the first source. It’s very very good to try to show it with images, documentaries or, like us, with puppets. It’s good to have these different ways of going around the theme.There is not one good way. It should be from different art forms to different media. Monuments, radio and so, actually everything that contributes the commemoration, reflection and realization of what happened.

Photo by Leo van Velzen from Kamp

AH: There are so many artists using different ways to talk about this theme for very different audience. There are different ways to get in touch with it. Some people came to our performance and they said: it’s so distant to me, you know. It doesn’t click. It’s good to have all these books and art forms to trigger them. That’s the way people can connect with the image and to get to emotions. Some people can easier connect with books, some through image…PK: People have different portrayals. It’s also different if you want to commemorate or if you want to grab information. These are different things. Those are different purposes actually. There are different things you can do towards the theme: memorizing, contemplating…

Photo by Herman Helle from Kamp

Connecting these things with what happened in Bosnia, or in Rwanda. That’s also a relation, to make connection with the world today. I’m happy to see that many artists within different media are relating with the theme, making different relations and actions towards it.Arlene & Pauline, Thanks a lot!Hotel Modern is at the moment at world tour. Check here dates; maybe they will stop by near your neighbourhood soon…(This interview was originally published on Personal Cyber Botanica: www.lomodeedee.com)

EUKINETIK-TECH. WORK IN PROGRESS. Desarrollo de software y sistema de mocap

Posted by BRISA MP on November 26, 2009 at 5:10am

WORK IN PROGRESSEukinetik Tech es un proyecto de Caída Libre / Brisa MP, que tiene como sentido estudiar el cuerpo en movimiento a partir de la informática. Más allá de la situación misma de interactividad que permita controlar video y sonido en tiempo real, entendiendo que un movimiento podría tener un sonido o una imagen, no como representación sino más bien como interpretación; los que preocupa en esta primera etapa, es estudiar el cuerpo desde lo que Laban nombra como “Eukinética”.Eukinetik-tech es un proyecto de creación de un software para danza y performance diseñado bajo un sistema interactivo en tiempo real que involucra imagen, sonido y cuerpo en movimiento. El proyecto experimenta en "physicalcomputing" teniendo como base el estudio realizado por el coreógrafo Rudolf Laban en 1928, quien determinó que los movimientos corporales se realizaban en base a tres cualidades: tiempo, espacio y energía l (“Eukinética”).

Creación de dispositivos inalámbricos para mapeo del cuerpo. Como primer problema " el espacio" , creando un sistema de motion capture (Mocap), en base a un sistema electrónico, un sistema de captura y programación que envíe datos sobre la posición de la zona mapeada en un espacio kinesférico. Tenemos que tener en claro que tenengo que alimentar un dispositivo inalámbrico, como lo hago seguro y liviano, que el cuerpo sea mapeable con luz o sin ella, que permita moverse sin demasiado peso en el cuerpo para que no nos limite tanto el movimiento.. desde acciones cotidianas hasta complejos movimientos de danza.Brisa MPFONDART Nacional 2009Santiago_ Chile

FilmingDance4web Video Dance Channel on YouTube

Posted by Pentacle's Movement Media on February 2, 2010 at 5:48pm

Movement Media showcases Filmmakers and Video Artists in our featured Countries Playlist:Catch the video of an exciting dance performance, 'SILENT COLLISIONS exerpt 1'http://youtube.com/user/FilmingDance4webEnjoy many other videodances on our Channel.

No Fixed Points in Space: Transferring Form, Time, and Narrative between Architecture and Performance

Posted by Marlon Barrios Solano on January 18, 2010 at 6:48am

No Fixed Points in Space: Transferring Form, Time, and Narrative between Architecture and Performance Date: January 26, 2010 from 6:30 pm to 8:30 pm EST Location: Columbia University Morningside Campus Miller Theatre: 2960 Broadway at 116th Street Contact: For further information regarding this event, please contact School of the Arts by sending email to arts@columbia.edu . Moderated and curated by architect Annie K. Kwon, No Fixed Points in Space will include a panel discussion with distinguished voices from both fields to explore the relationship between architecture and performance, focusing in particular on the notions of multiple perspectives and spatial plasticity. Panelists include: * Trevor Carlson, Executive Director, Cunningham Dance Foundation; * Michelle Fornabai, Principal, Ambo Infra Design; * Paul Kaiser, digital artist, Open Ended Group; * Paul Miller (aka DJ Spooky), artist; composer; writer * Tere O'Connor, Artistic Director, Tere O'Connor Dance; and * Bernard Tschumi, Principal, Bernard Tschumi Architects

Video of Bare Bones Butoh performance

Posted by Liz on January 12, 2010 at 8:54pm

This is "Snake Goddess". A piece I did last weekend at Bare Bones Butoh Presents 16. Enjoy!http://vimeo.com/8687572

Cool dorkbot-nyc meeting: cyborgs, food and roaches...!

Posted by Marlon Barrios Solano on September 30, 2009 at 6:30pm

What: dorkbot-nyc meeting When: 7-9pm, 07 Oct 2009 Where: Location One, 20 Green Street, north of Canal $$$: $$$FREE$$$ ******* The 35.453th dorkbot-nyc meeting will take place at 7pm on Wednesday, October 7th, 2009 at Location One in SoHo. The meeting is free and open to the public. Please bring snacks to share. YUMM. We're always looking for (and playing) more dorkbot theme songs! Bring or email one and we'll play it at the meeting. ******* Featuring the pale green and salt-forming: Torino:Margolis: Action Potential Torino:Margolis is a performance art team that crosses physical and psychological barriers, using invasive electronics and biomedical tools. They explore the idea that the self is transient, elusive and modular by playing with the notion of control and free will. In their new media/dance piece, Action Potential, they harvest a dancer's neuronal impulses using electromyography machines. Using Arduino and XBees, the signals are sent wirelessly to Pure Data open source software, which transforms the signals into sound. Sound/programming by Lee Azzarello and choreography by Dana Kotler. http://www.torinomargolis.com

Stefani Bardin: Chemical Proust: Remembrance of Things Pastiche I'm a media maker interested in the intersections of food, technology and science. By examining industrial food production alongside the media rich stylized presentation of food and using such tools as artificial smells (that "flavor" our food supply) and gastroenterology technology I look at food as both a mediating agent and phenomenological reference point within our society and how its role has changed through the modern influences of technology and corporate culture. http://www.petrifiedunrest.net

FQNN2MAFBVHE1JP.MEDIUM.jpg

Lee von Kraus: cyborgs and cybernetics I will discuss the roborat, roboroach, and other cybernetics stuff I'm working on. The roborat is a rat that is trained to move in directions specified by electronic signals sent to its brain via electrodes. The roboroach is a cockroach that is tricked into moving in specified directions by using mechanically actuated antenna stimulation. The 'other cybernetics stuff' refers to a goal of augmenting brains via induction of new circuit formation. http://leevonk.com ........................................................................ .........dorkbot: people doing strange things with electricity.......... ......................... http://dorkbot.org ........................... ........................................................................

SPONSORS NEEDED FOR DANCE PERFORMANCE & FILM PRESENTATIONS

Posted by Mina Rios on August 29, 2009 at 8:00pm

In an effort to promote public interest in dance performance in the city of San Diego, Mina Communications will be producing an ongoing series of dance films with live dance pre-shows. To make these events possible, financial support from sponsors is necessary. Anyone who is interested in helping to generate sponsors will receive a commission for their efforts.Sponsors who support this campaign will receive ample media exposure through PR and the Advocacy Advertising campaign that will be produced to promote the events and professional dance performance in San Diego. To learn more visit: http://www.minacommunications.com/id18.htm

CIMATICS\09 \FESTIVAL - call for artists

Posted by body pixel on July 22, 2009 at 3:30pm

Cimatics - Brussels International Festival for Live Audiovisual Art & VJing - invites all artists, creatives and producers to send their submissions for the next Cimatics festival.Cimatics festival takes place from 20th - 29th November 2009 at various locations in the centre of Brussels.Festival theme: New CitiesCimatics is an audiovisual festival that is closely connected to contemporary digital and urban practice. Cimatics 2009 aims at encouraging all projects that focus on the relation of both cultures. This theme is not a statement but utters the question of how to approach digital and urban culture not as 2 separate layers, but as a single given. Send us your ideas, lectures, performances or videos for 'New Cities' by using the form below. Note that also non-audiovisual work is highly appreciated.Pre-selectionAccepted media: DVD, Blue-Ray, HD DVD, Mini-DV, CD (please don't send any original/master work, only copy of good quality or first gen, also don't send data DVD with movies on: DVD's should play on a consumer DVD player & CD-ROM's should play on a Mac/PC)Mailing costs will be borne by the entrant. Hard copies will NOT be returned.LanguageWorks submitted must be in French, Dutch or English or have subtitles in either of these languages. Works in other languages must be accompanied by a text list in English.Deadline: 31/07/09Contact:CIMATICS 09c/o Cimatics vzwOnderwijsstraat 51B-1070 BrusselsBelgiumPhone: +32 [0] 2 520 07 82Fax: M: +32 [0] 475 497 110E-mailinfo@cimaticsfestival.comURL: www.cimatics.com/entries

Zehar magazine. Performance Issue

Posted by karla kracht on September 27, 2009 at 8:13pm

the new edition of the magazine Zehar, a publication by basque art centre "arteleku" is talking about performance. Publication is downloadable at the website (see link below) Languages: Spanish and Euskadi....

ZEHAR #6565 PERFORMANCE EDITIONThe current edition of Zehar asks of us, through performance, a dual task: to detach ourselves from the mere immersion in the images of which each moment of our daily lives is composed and also to refl ect on how these images are shaped and on the imperceptible relationships that are gradually woven between them.In the same way that there are different ways to understand a performance, there are also manifold ways of making use of it. The use of the performance put forward in this number is like that of a broom employed to gather up and tidy the accumulated visual material that we have. The aim, then, is to arrange all the visual material that surrounds us and the structures that are brought to life and made sense of by these images, so allowing us to develop through them and to create new spaces that can respond to our needs.We have put into print the edition exercises that different people have shown when faced by the accumulation of images of our surroundings. It will therefore be a chain of exercises in series, a kind of incomplete series of scores or rehearsals for different and possible performances. Some of the proposed exercises are theoretical, others deal with performative experiences and, fi nally, there are also actual performative exercises perse.ZEHAR_65_EN.PDF — PDF DOCUMENT, 5369KB---------------------------------------------------------------------------------------------------------65 PERFORMANCE EDICIÓNEl presente número de Zehar nos propone, a través de la performance, realizar un doble ejercicio: abstraernos de la mera inmersión en las imágenes que van componiendo cada uno de los momentos de nuestra vida diaria y reflexionar acerca de cómo se van conformando dichas imágenes y de las relaciones imperceptibles que se van tejiendo entre ellas.Así como hay diferentes maneras de entender lo que es una performace, hay también múltiples formas de hacer uso de ella. El uso de la performance propuesto en este número sería como el de una escoba utilizada para recoger y ordenar el material visual que vamos acumulando. Se trataría, pues, de ordenar todo el material visual que nos rodea y las estructuras a las que dichas imágenes dan vida y sentido, lo que nos permitiría desenvolvernos entre ellas y crear nuevos espacios que respondieran a nuestras necesidades.Hemos trasladado al papel los ejercicios de edición que diferentes personas han realizado ante el cúmulo de imágenes de nuestro entorno. Será, pues, una cadena de ejercicios en serie, una especie de partituras o ensayos inacabados para diferentes y posibles performances. Algunos de los ejercicios propuestos son teóricos, otros tratan sobre las experiencias performativas y, por último, hay también performances propiamente dichas.ZEHAR_65_EN.PDF — PDF DOCUMENT, 5369KB

Call for Videographers/Filmmakers

Posted by Marc Kirschner on September 26, 2009 at 4:54pm

TenduTV is seeking to update its potential referral list for dance organizations seeking video and film work, and is seeking companies experienced in high-end video production worldwide.We are only seeking companies who can deliver HD product to broadcast specification (for example, PBS or BBC spec).Please submit your contact information, as well as links to your website, reels/samples and general rate cards to content@tendu.tv

SOS (State of Space)

Posted by Ashley A. Friend on June 5, 2009 at 6:36am

A weekly collaborative workshop in NYconducted by Ashley A. Friend at Wow Café Theatre every Monday 10am-2pm for the rest of June...!It began in May and it is open to all who are interested in technology and performance.A weekly group dedicated to experimenting with space, light, projection, video,sound, and whatever other technology is brought to the group.Space—Setting—Light—Architecture—Environment—Experiment—Educate (re-educate) self and others—Research—Test, try, see, support, safe space—Interpret—Sites (Controlled spaces and chaotic)Workshop—Clinic—Seminar--Discussion/Action Group—Meeting—Collaboration—Ideas—Shared—Concepts actualizedDraw up idea, discuss, collaboratively piece together and viewed in space.The weekly task or investigation will be ideally discussed one week in advance.Technology as emphasisLight, video (live-feed or footage), objects in space, spatial constructions,audience/performance space relationshipTime:Mondays 10am-2pmDates:May 18th, 2009May 25thJune 1stJune 8thJune 15thJune 22ndJune 29thThings to know about wow:• The space will be left exactly as it is found• sos will be donation based and all donations go to wow• sos will bring a projector(s) as needed for workshops• sos is open to anyone in the community who is interested inperformance and technologysospc1.pdf

La Ribot - llámame mariachi - Première in Geneva

Posted by Anouk Furst on July 8, 2009 at 3:00pm

La Ribot will present her new creation, llámame mariachi, in Geneva on the 29th,30th and 31st of August 2009 during La Bâtie - Festival de Genèvewww.batie.ch_____________________________________________Direction, choreography and set La RibotInterpretation and cameras Marie-Caroline Hominal, La Ribot, Delphine RosayVideo and stage light design Daniel DemontMusic atom™Sound supervision and music Clive JenkinsVideo editing Sylvie RodriguezLight, video and sound technicians Stéphanie Rochat, David ScrufariVideo set construction Victor RoyPhotographies in video Miguel de Guzmán__________________________________________" In llámame mariachi, the moving body, the dancing body, is filmed by a camera that not only captures images, but that also conveys the experience of dancing. The camera‘s point of view provides an insider’s perspective on this experience and places it in other realities.It is not an innocent, lifeless camera that might move by accident because attached to the body, it is a camera that watches, that breathes; it is a camera that is…The camera is not a tool, an instrument, a fixed object, an invention. On the other hand, the body is used as an instrument and the camera becomes eye, brain, gaze, intention.…The heaviest “responsibility” for the one who dances is to be in harmony with the space (floor, walls, chairs, other bodies…). Llámame mariachi speaks of this experience. The attempt to find harmony is precisely what the camera captures with its unforeseen events, its approximations, by conveying an experience of a physical and intellectual nature rather than formal and aesthetic…Mambo brillante... Everything a lot slower! One has to invent the continuous movement of the camera. The body anticipates, like in dance, the movement and the action – and the camera cannot keep itself from looking, from thinking…"La Ribot, notes, March 2009www.laribot.com

Dimension Chameleon: Hiroaki Umeda at Japan Society 5/14/09

Posted by dancememo on May 29, 2009 at 6:00pm

We saw Hiroaki Umeda's light show and have written a little review about it. The focus was on the interaction of the body with his immersive environment. Feel free to take a look!Dimension Chameleon: Hiroaki Umeda at Japan Society 5/14/2009

photo from www.hiroakiumeda.com

Interview with Robert Hylton: I think, I’m a dance junkie!

Posted by body pixel on May 19, 2009 at 11:30am

Robert Hylton is an ‘urban classicist’… being continuously tainted with the virus called street art in its most refined sense…As a youngster he was involved in the UK’s underground Hip Hop scene (break dance and popping techniques included), then jazz dance&stylez, and after a while he realized that contemporary dance might work for him too in a very coolish way…

Photo: Robert Hylton Urban Classicism (c)

As a very young artist he was a member of many street art crews, for instance Bamboozle; then he decided to blast himself to the next level by studying contemporary dance at the Northern School of Contemporary Dance.In 1999 he founded Robert Hylton Urban Classicism which could be considered as a dance company, production crew and a training platform within whose Robert ‘transmits’ his knowledge and artistic vision.As a real ‘gimme some tunes’ artist he often collaborates with respectable DJs, among them also with Billy Biznizz - UK’s well known DJ, producer and remix-maestro who did some stuff for the House of Pain, Jade, N.W.A, 4Hero and Mark Morrison.

Robert Hylton performed at many international festivals either as a solo dancer either with his own crew. He was a member / guest performer of several dance companies, such as: Jonzi D, JazzXchange and Phoenix Dance. Hylton is also well known for his hip hop/art/educational movies: Urban Classicism South Side, Two Sugars with My Hip Hop please…, The Real Thing, Frames, Urban Classicism, Urban Voodoo, Jaffaman, Simmetry, etc.This spring he spent some time in Zagreb (Croatia) with b-girls and b-boys from the School for Contemporary Dance ‘Ana Maletic’ and the local company What Evaa in order to work with them… they successfully presented their skills almost two months ago where else but on the street…

Photo: Robert Hylton Urban Classicism (c)

I took few minutes of his time to chat a little bit with him at Dance Week Festival, and here is some stuff on street art from Jaffaman, ops… Robert Hylton’s perspective…Yo, Robert! The blood in your veins is the blood of a street artist, somebody artistically raised on asphalt with urban background… those are your foundations… what sort of ‘switch’ has happened when you decided to accept other forms of expressiveness?R: I think I’m a dance junkie, you know. The challenge of learning to dance was good. Culturally, hip hop is in my heart and my brain. Contemporary as well, it’s just a part of dance and I found that I was able to learn it, so I kept it, but I always returned. I mean, I never left hip hop and it was always there. But I enjoy both paths and that’s why I bring to the next generations of contemporary dancers discipline and how to work in the studio. So, fortunate I’m able to kind of help other people. If they just wanna stay hip hop - often come straight hip hop dancers to work with me; but when you are in a rehearsal studio and you make them work, there has to be some rules.

Photo: Robert Hylton Urban Classicism (c)

It’s obviously that you take care a lot about soundz in your artwork… not just ‘gimme some beatz and tunez’ attitude… but a lot of classics, down tempo, trip hop, ambient… you mix it all… seems like they are all equal in your choreographic language? Basically, how do you treat sounds in your work?R: If I like it, I’m drawn to it. I think, even with hip-hop music… when hip-hop first came through, it was an amalgamation of many many different sounds. There was no formula, it was whatever the DJ thought could work for the crowd and listen to. Now, it’s a formula. It’s a straight-forward beat, and it loses its reliance it has back then. So, specifically for this project, before I came, because I didn’t know anyone, I just put a lot of different types of music in my computer and then when I met everyone I just thought: Well, this music makes a language to particular people to keep them in the comfort zone. And I think the music ballet is an important part of dance. If I like it doesn’t matter what it sounds like as long we dance to the music, whether it’s classical or ambient, as long it helps to those textures more then anything else.

Photo: Robert Hylton Urban Classicism (c)

How did you manage to get the street vibe in your choreographies to fit in your style to theatre stage? Do you even think about that? Does it concern you at all?R: I think it’s a part of a natural evolution. Hip hop is young, about 35 years in its growth from the first wave in the seventies, and then in the eighties it was like the big media hustle, now it’s defined like: who the body- architect is; what the vocabulary is; what the history is and I think that’s a rich culture. Self-expression, inventiveness and all this things. So, I think that now there are more tools and it’s a combat to any kind of cultural birocracy in a way of policy. So, like ballet was a peasant dance, was a folk dance when it started. Hip hop is now a folk dance that is changing. You know, it’s a stage of a natural evolution at the moment. Now teachers require knowing the name of every single move in hip hop like in ballet. When you know the name of every move, then you know what the vocabulary is. Therefore, you are building something. It becomes a dance that grows with a form and structure, now excuse to the old ways of thinking.

Photo: Robert Hylton Urban Classicism (c)

You run workshops and dance classes all around the planet. What do you want to accomplish with your dance classes?R: It’s an experience of teaching and developing. Again, wherever I was: New Zealand, Croatia, Indonesia, etc. going with the basic knowledge and vocabulary with the intention to get everyone to dance, to challenge everyone. It’s inside of me and it’s the challenge that I like and it’s always very successful. Then, this education challenge is here… And this is what it takes for me to get on stage, basically. When you come with the honesty, all the things you use are the fundamentals of dance and the experimentation. When people don’t know the fundamentals of dance I would teach them fundamentals of dance. I would challenge them with experimentation. My intention is, wherever they are, to try to push them further.You get the satisfaction from it…R: Yeah, I think I get the satisfaction from it because the more they push themselves forward the more environment in the culture grows, the more it looks to be growing up, the more looks to be organized and I think it just helps the general development of dance, whether it’s fusion, contemporary, hip hop or whatever is hip hop in it’s purest form.

Photo: Robert Hylton Urban Classicism (c)

What do you think about Banksy, the graffiti artist… you probably know that some people are buying his artworks for a lot of bucks, an artwork that essentially belongs to the street and to all people?R: Yeah, I mean Banksy is a graffiti artist in a graffiti sense; he is not necessarily from hip hop background and all that stories. He is very clever, great political references and he does a great job. Banksy is definitely an outlaw, like the older graffiti artists were, when nobody knows who he is - in that sense is hip hop; and he takes big risks and gets away with it. But he is also a businessman. I know his manager; he is a good friend of mine.It’s a good marketing…R: Yeah, it’s a good marketing as long he keep that outlaw that it’s all business and that street artist can be on that level. I think, back again to dancers, that hip hop performers even when they know they wanna be b-boys, they have to learn some business; which is a part of organization when you are professional: contacts, business negotiating and all this. It takes them away from not just dancing on the street. Banksy was not just painting on the walls, he has books out, and his work is in art galleries. If his work is not in the gallery he will sneak by himself and put it there (laughs).Robert, TNX a lot!This interview was originally published on Personal Cyber Botanica: www.lomodeedee.com)

Cyberpunker dancing on sharp vibes: Mr. Hiroaki Umeda

Posted by body pixel on May 1, 2009 at 1:22pm

Hiroaki Umeda is a multitasking artist… he enjoys dancing, choreographing, making videos, messin’ up with light & stage design, mixin’ soundz, writing a blog, working on site specific projectz, enjoying the nature… and he is definitely not a ghost in the shell but a real man!

Hiroaki Umeda was a photography student at the Nihon University in Tokyo, then suddenly at the age of 20 he realized that he’s more into moveable thingz… he took ballet and hip hop classes… and begun to work on his own solo pieces… in year 2000 he founded a company entitled S20 with whom he has produced till now 5 dance pieces: Ni (2001), while going to a condition (2002), Looming (2003) and Finore (2003), Accumulated Layout (2007), Duo - new version (2008).

He’s been known as a performer using heavily technology in his artworkz, therefore Hiroaki Umeda was a guest at many cutting-edge festivals related either with dance or contemporary art such as: Japan Dance Festival (Korea), KunstenFESTIVALdesArts (Belgium), Yokohama Dance Collection (Japan), Uovo e Contemporanea (Italy), FIND Festival (Canada) etc.Last year he was an artist-in-residence at the Chaufferie which is Philippe Decouflé’s rehearsal space, and the result was his newest performance ‘Accumulated Layout’.

Hiroaki Umeda attacks all your physical and mental senses with light and soundz. He uses subtle electronica and ambient sound (some soundz are even at the edges of music concrete) simply to pull you into his world… but he never let you go…The stage design is totally zen: pure minimalism… with dancer in the middle, but it’s not set up as a ‘saint’ persona in the middle of a stage altar… he is your guide… but not a dictator…

Having such a clear vision of space means that he has to be completely self-confident in order to maintain body&mind related focus…His movements and choreography are based on strong, fast, energetic, snatched movements which you can label as ‘hiroaki umeda language’, influenced by street art performative forms and highly tensive stillness he borrowed from butoh and ballet… and he is sooo good in it… a perfect mix… he is like a DJ asking himself ‘where is the pain?’, the answer is: everywhere!… but Umeda finds his way to challenge it…It’s interesting how he is managing and combining those different forms of expressiveness…Read the rest of the post on Personal Cyber Botanica: www.lomodeedee.com

Studying "virtual worlds" in school

Posted by Allison on September 8, 2009 at 2:13am

My new grad school program is called the Interactive Telecommunications Program, or ITP. ITP is within the Tisch School of the Arts at NYU. This is actually my second Master's degree. One of my major interests is in studying dance and movement, and technology. This semester I'll be taking a class on Virtual Worlds. I think I should spend some time researching virtual performance, and I'm interested in discovering the similarities and differences of virtual worlds and other studies in Computer-Supported Cooperative Work.

openEPAF - call for emerging performance artists

Posted by karla kracht on July 31, 2009 at 1:07am

The Centre for Contemporary Art Ujazdowski CastleEuropean Performance Art Festival openEPAF 2009We invite emerging performance artists to submit performance art proposals.epaf-festival.blogspot.com/2009Artists who are qualified to participate in the festival will receive:materials, equipment and CCA space required for performance;board and lodging during the festival;photographic and video documentation of the performance presented during the festival;a fee of 1000 PLN and as far as possible travel costs.Performances presented at openEPAF will be selected by a jury consisting of artists and art critics.In order to participate in openEPAF, you have to submit an application containing the following:1. first name and surname, biographical note, artistic CV, address.2. short description (not longer than 120 words) of the proposed performance, including information about a duration of the performance, materials, equipment and space required.3. video material with the documentation of previous performances on DVD video, miniDV or VHS (with a description containing the title, date and place of the performance)Language of the application: English, PolishNotice: this call for proposals is addressed only to artists from performance art area.We will not accept theatrical performances.Proposals should be submitted personally or by mail to the address below;And by email (only the information specified in 1 and 2 above).EPAF 2009Centre for Contemporary Art Ujazdowski Castleul. Jazdow 200-467 WarszawaPolandopenepaf [at] csw [dot] art [dot] plepaf-festival.blogspot.com

Note: this page contains paid content.

Note: this page contains paid content.

Note: this page contains paid content.