All Posts (6)

Sort by


Kyung Lee is a movement, performance, and video artist. She enjoys nicknames and things like nicknames.  She will be in residency at the Lake Studios in Berlin  the whole month of June 2014.

She will be focusing on her inquiry on “performance.” She would like to expand her research on performance through interactions with artists in Berlin. She will meet/interview each artist individually and ask her/him to do a minute of performance, whatever “performing” means to the artist in her/his current artistic research and interest. She will accumulate all the performances into a video art on the theme of performance.


Along with the video project, she will engage in daily research (inside and outside the studio) on what performance is to her.

In her proposal she states:

"At the end of this seemingly unattainable inquiry – for I believe that the seductiveness of performance lies in its ever-changing nature – I will present a performance piece. This work will be shaped by my research and physical practice as well as by the interactions/collaborations with other artists.  I would like to meet you if you are an artist currently in Berlin. Please email me to: "


Read more…


Download here

Feedback culture in artistic circles and practices is increasingly growing and changing; many methods have been developed, adapted and modified in order to essentially support the creative process and realisation of a work. We are seeing ever more formats that open up the rehearsal process to receive feedback and communicate with audiences in a manner that goes beyond the known artist talk. Also within artistic education contexts, the desire is mounting for more quality-structured feedback that can guide students in both a critical and reflective way through their creative endeavours. Feedback is everywhere, and as a means to reflect, gather and share resources and methods on this expanding field the “Laboratory on Feedback in artistic processes” was initiated within the frame of “Teachback” – one of the modules of the project "Life Long Burning"in collaboration with HZT Berlin (Inter-University Centre for Dance) and Uferstudios Berlin.

The lab, held between 17th  and 19th  January 2014, invited a group of people who shared an interest in the topic. Over the two and a half days the group practiced, articulated and discussed different approaches, aims and experiences of existing methods of feedback. The idea was that a number of feedback-methods should be applied and tried out within the lab, as opposed to merely remaining on a theoretical discursive level.

Some of the questions that the meeting focused on were: What are the pitfalls of feedback? Where does it go wrong or become enforced? How to avoid feedback being a fashionable thing to do? How do we learn, improve and widen our means of giving and receiving feedback? How is this implemented in art practice and education today? How can the expertise and practise of feedback be passed on and grow, and what differences does it make, giving and receiving feedback depending of the perspective you take: for example as an artist, as a student, as an educator or a curator?

Here you can listen to the audio documentation of each contribution during the lab:

Siegmar Zacharias

Charlotte Vandevyver

Emma Tricard

Nik Haffner

Inge Koks and Frederik Le Roy

Britta Wirthmüller

Allison Peacock and Charlotte Vandevyver

Frank Bock

Jörg Koslowsky

Eva Meyer-Keller

Dejan Sr


Read more…

In the summer of 2013, I invited several artists to freely explore the AR space and its art making potential. Conceptual and technical support was provided and the artists were given complete access to their own AR channel and virtual studio.

dance-tech is pleased to announce the launching of the first dance-tech Augmented Reality creative project developed by NY dancer and choreographer Adam H Weinert.


Adam created THE REACCESSION OF TED SHAWN as a digital installation in The Museum of Modern Art without the museum’s consent.

He "placed" a permanent installation of his recent performances at MoMA in the AR environment. Through the use of the AR app, visitors are able to view footage of his performances simply by using their smartphones or tablet to the museum galleries where he performed in October of 2013.

His project implicate the  uses of the mobile technology questioning notions and affordances of exhibition space, archive, participation, institutional legitimation, interfaces and mediation.

More about the project

From project website:

"By installing the re-performances of Ted Shawn's choreography inside the museum walls, Weinert strives to perform an act of “Reaccession”.  This perlocutionary flip, made possible by the use of AR and video documentation, trespasses on the museum and exposes aspects of its relation to its audience, to dance and to dance history usually unseen.  The Reaccession of Ted Shawn challenges notions of the archive and re-performance as understood by recent scholarship in performance studies and art history by way of digital, performative intervention and offers a new vector for displaying performance in museum spaces - one which honors the vision of the authors and transforms the museum into more than a cenotaphic display."

Here you can see some screenshots:



Media coverage:

An Artist Is Using Augmented Reality To Stage a Guerrilla Show at MoMA

A choreographer whose work was sold off from the gallery makes a surreptitious return – via visitors' smartphones.

Great work Adam!

Read more…


The festival, under the theme "Autonomy (im)possible?", is dedicated to
art, hacktivism and open culture and organised by Us(c)hi Reiter -, with the contributions of external curators: among myself,
Heath Bunting, and Margaritha Köhl, and the involvement of many other
people (read more here:

Below is a summary about the Disrupting Business Conference Track.

## Disrupting Business at Art Meets Radical Openness Festival

The increasing commercialisation of sharing and networking contexts is
transforming the meaning of art and that of business. Business is
progressively adopting hacker and artistic strategies of disruption in
the field of social media and information technology. In the business
culture, disruption not only means rupture, but innovation and the
re-design of behavioural tendencies, acting in ways that the market does
not expect. The Wikipedia Encyclopaedia shows the example of 'new-market
disruption' caused by the GNU/ Linux Operating System, which initially
was inferior in performance to other server operating systems like Unix
and Windows NT, but by being less expensive and collectively improved,
in 2010 Linux was installed in 87.8% of the worlds 500 fastest
supercomputers. As pointed out by Tatiana Bazzichelli in her book
'Networked Disruption' (2013) and in 'Disrupting Business' (co-edited
with Geoff Cox, 2013), to investigate the progressive commercialisation
of sharing and networking platforms, it is necessary to understand
business culture from within. What is the challenge facing artists and
activists working on a critical dimension of networking? The notion of
disruptive business becomes a means for describing immanent practices of
hackers, artists, networkers and entrepreneurs, working consciously on
artistic, political and technological practices. Disruption becomes a
means for a new form of criticism.

Saturday May 31, 19:00-19:40
## Disrupting Business: Towards a Critique of Art & Activism
by Tatiana Bazzichelli

At the core of this presentation is Tatiana Bazzichelli's research on
business disruption as artistic and activist practice. Her hypothesis,
described in the book 'Networked Disruption' (2013) is that mutual
interferences between art, hacktivism and the business of social
networking have changed the meaning and contexts of political and
technological criticism. Hackers and artists have been active agents in
business innovation, while at the same time also undermining business.
Artists and hackers use disruptive techniques of networking within the
framework of social media, opening up a critical perspective towards
business to generate unpredictable feedback and unexpected reactions;
business enterprises apply disruption as a form of innovation to create
new markets and network values, which are often just as unpredictable.
Bazzichelli proposes the concept of the Art of Disrupting Business as a
form of artistic practice within the current economical and political
framework. The notion of disrupting business becomes a means for
reflecting on immanent practices of hackers, artists, networkers and
entrepreneurs, highlighting empirical and theoretical interconnections
and contradictions, as multiple layers of intervention.

Saturday May 31, 20:30 - 22:30
## Openness and Liberty as Business Disruption
Panel with Marc Garrett /Furtherfield, Karlessi /Ippolita collective,
Nathaniel Tkacz /MoneyLab. Moderated by Tatiana Bazzichelli.

This panel traces the shift in the meaning of "openness" and "liberty"
in relation to forms of "business disruption". Since some years a
certain vocabulary of freedom and peer collaboration has been adopted by
the rhetoric of IT business and social networking. Do-It-Yourself,
sharing knowledge, hackability, and similar concepts first witnessed in
the underground interventionist realm of hacker culture and networked
art are today the core business for many enterprises. Many hackers and
activists have pointed out that the rhetoric behind Web 2.0 has been via
a progressive appropriation – and often, disambiguation – of hacker and
cyber utopias of the 1980s-1990s. In this panel activists and critical
thinkers reflect on the subject of co-optation of radical values by
business models, shedding light on the constant paradox of being
functional to the system while trying to disrupt it. Are openness and
liberty forms of business disruption by empowering flexible mechanisms
of revenues and the technical genealogy" of anarcho-capitalism?

# Insider Liberties: A Technical Genealogy of Cryptography by Karlessi.
From cypherpunks to WikiLeaks and beyond. We will trace a genealogy of
liberties' concepts and their technical implementations, leading from
the cypherpunk movement (1990s) to WikiLeaks. We will focus specifically
on cryptography as the key-concept in order to foster, and defend,
liberties. Cryptography is in some way a disruptive concept and
practice. In this endeavour, we only use archives, to employ a
foucaldian terminology (Foucault 1969), provided by documents widely
published on the Web. We don’t have any insider information, leak or
whistle-blown secret. Nevertheless, we are insiders via our methodology
because we are not stranger to this genealogy, we are part of it, we are
involved in the construction of digital worlds since before the Web. We
just use a vast amount of data and act as human filters to reconstruct a
reliable account in reasonably good time.

# Marc Garrett will discuss the critical intentions behind Furtherfield,
its online community, the physical Gallery space, and the new
Furtherfield Commons and lab space, and its role as a radical arts
collective. For over 17 years Furtherfield has engaged in Art,
Technology and Social Change. Through this grounded knowledge, he and
his peers have witnessed that the mainstream art world as becoming less
relevant, due its reliance on neoliberal values through its unregulated,
marketing economies. If we are to disrupt the powers these conditions we
need to build beyond our silos and offer valid forms of imaginative
emancipation, we need something closer to people’s actual needs. He sees
connections between Radical Enlightenment from the 1800s, to new forms
of critical theory and art activism as possible solutions, and this
includes the practices of Hacktivism, Situationism, Net Art, Media Art
practice, P2P culture and networked art, alongside punk, DIY and DIWO

# Open Organisation and Monstrous Markets: How to be 'Actually
Disruptive', by Nathaniel Tkacz
What does an open mode, an open form of organisation look like? What are
the specific problems that it responds to and how does it constitute
itself? The problem or challenge of openness is not at all new, and it
has always been well suited to certain neo-liberal 'rationalities'. A
lot of seemingly progressive aspects of openness (collaboration,
participation, merit, ad-hocracy, spontaneous organisation, forking, and
so on) are in some ways old arguments in new clothes.
Perhaps the biggest question, or challenge, for openness is its
relationship to the ideology of the market in neoliberal thought. This
presentation reflects upon the concept of openness as an emancipatory
project, questioning organisation structures, and beyond that, economic
logic. I finish by turning to recent market experiments in network
cultures, experiments that are both compatible with some liberal and
libertarian doctrines, but take the logic of the market in monstrous

More about AMRO Festival here:

Read more…

DanceOn is Celebrating Michael Jackson!

DanceOn would love for you check out our #MJLove dance video campaign and tribute to the King of Pop!

Watch D-Trix's amazing dance video:

Spread the word that we want fans to submit their videos as well to go in our #MJLove Playlist on YouTube: Thanks so much #MJfam!


Read more…




6th InShadow - International Festival of Video, Performance and Technologies

December 2014

São Luiz Teatro Municipal, Teatro do Bairro and other venues, museums and galleries in Lisbon (Portugal)



a) Video Dance / the videos in competition run to 8 awards attributed by the Official Jury, Schools Jury, Vo'Arte Jury and Public. Entry form here.

b) Documentaries / the videos in competition run to an award attributed by the Documentary Jury. Entry form here.

c) Performance (solos) / Presented in alternative spaces in Lisbon. Entry form here.

d) Installations / Presented in alternative spaces in Lisbon. Entry form here.  


Read the regulations thoroughly here, fill in the online entry form for each genre at the SUBMISSIONS subtabs and send the film via wetransfer to (features: Quick Time, codec H264, in HD if possible) until 2GB (maximum capacity of wetransfer) or, alternatively, send the DVD and other elements as in the point B) of the regulations to:


InShadow – 6th International Festival of Video, Performance and Technologies

Rua S. Domingos à Lapa, nº 8N 1200-835 Lisboa, Portugal

E-mail (for questions related to the regulations and online entry form)

For file sharing please send to:

Tel: +351 21 393 24 10 or +351 91 404 04 71

Vo’Arte and InShadow Festival are on Facebook!

Like us!

We’re looking forward to receive your works!

Read more…

Blog Topics by Tags

Monthly Archives