A.LTER S.ESSIO PERFORMER ART GROUP

A.lter S.essio
“Loss”
via highlike submit
A.lter S.essio的组织Panem Et Circenses负责制作和行政管理,是Fabrice Planquette基于各种艺术合作发起的一个部分。
Fabrice Planquette偶尔邀请各个领域的人共享一个创意空间。 他给出了第一个动力和方向,每个人都有自己的语言,敏锐的感觉和前景。 2007年底,开始创作表演。 该系列已经由LOSS,LAYERS,ENDURANCE,EXTENSION(S)和ASCENSIO开始,并将继续进行SURFACE,DESERT(三重奏)和ENSEMBLE(7位舞者的作品)。 所有这些部分都是相互联系的:套件,互补,并行,对立。 他们遵循着对人类及其所处环境的探索的进步。 与环境,自己,对方面对

WHITEvoid

Universe
WHITEvoid ontwierp en realiseerde de dynamische LED-installatie met de nieuwste innovatie van WHITEvoid’s huismerk Kinetic Lights: de videodriehoeken met HD realtime streaming. De productie van het hele project werd ondersteund door het lokale L!VE Kingway-team in Beijing. De precieze kinetische bewegingen van verschillende vormen en vormen speelden de rol van een ‘acteur’ of ‘performer’ in plaats van ‘slechts een achtergrond’ te zijn (zoals meestal het geval is bij videowalls of projecties). Gecombineerd met de uitvoering van een volkskoor, stelde deze multidimensionale video-installatie artiesten in staat om in realtime op het podium te communiceren met het universum‘.

Julien Prévieux

Where Is My (Deep) Mind?
Dans Where Is My (Deep) Mind ? quatre performers incarnent différentes expériences de Machine Learning. A la fois expérimentateurs et sujet d’expérience, les acteurs donnent à voir une gamme de processus d’apprentissage automatique allant de la reconnaissance des mouvements sportifs aux techniques de négociation d’achat et de vente. Gestes et paroles codifiées, transférées à des machines ignorant tout du contexte culturel, produisent autant de dérapages ou d’erreurs inattendues, contrefaçons comportementales aux accents comiques.

FUJIKO NAKAYA

中谷芙二子

fog sculptures
ok-offenens kulturhaus linz

In 1970 Nakaya created her first fog sculpture when commissioned by the group Experiments in Art and Technology (E.A.T) to make a work for the Pepsi Pavillion of the Osaka World Exposition. In creating a work of white mist enclosing the building, Nakaya became the first artist to have used fog as a sculptural medium. E.A.T is an organisation devoted to facilitating working relationships between artists and engineers. Nakaya worked with American engineer Thomas Mee to create the fog for her Osaka commission, the technique for which she has continued to use, with minor moderations, for her subsequent fog sculptures since.Whilst Nakaya has also worked in film and video, it is her use of fog for which she is best known. Nakaya has used pure-water fog to create installations, performances, stage-sets and environmental park designs, often collaborating with other artists or with performers, choreographers and composers. Nakaya’s interest in fog has developed from its relation to our visual sense. In a thick fog we become disorientated, frustrated at our inability to see. In this way, Nakaya’s sculptures activate our other senses, to compensate for our loss of sight.

Hussein Chalayan

フセイン·チャラヤン
ЧАЛАЯН
후세인 샬 라얀
Gravity Fatigue

Fashion designer Hussein Chalayan has created elasticated costumes and sequinned garments for performers in his first self-directed dance production (+ slideshow).The production is split into 18 chapters that each explore themes of identity, displacement and invisibility.

TRISHA BROWN

تريشا براون
트리샤 브라운
トリシャブラウン
Триши Браун
Walking on the Wall
The performers stood, and walked, and ran parallel to the floor along two adjacent walls while suspended in special harnesses rigged on cables to trolleys on industrial tracks along the ceiling.

BANDALOOP

100 Northern Ave
You’ve probably never seen anything like this before. Six members of the vertical dance troupe BANDALOOP descended the façade of the new 100 Northern Ave. building commemorating its grand opening at Boston’s Seaport District. The performers are held securely by special rigging allowing them to mesmerize audiences with dynamic physicality and intricate choreography. BANDALOOP honors nature, community, and the human spirit through perspective-bending dance. A pioneer in vertical performance, BANDALOOP seamlessly weaves dynamic physicality, intricate choreography and climbing technology to turn the dance floor on its side. Under the artistic direction of Amelia Rudolph, the work re-imagines dance, activates public spaces, and inspires wonder and imagination in audiences around the world.

Keith Lam

Heliocentric
“Heliocentric” is a lighting sculpture represents the movement of universe. It dialogues to its history (from temple to school to creative hub) and its functionality (welcoming people connect and learn the universe)
With the lighting arrangement, kinetic movement of the light, and the performer , it shows the relationship between universe, knowledge and human.

Jonathan O’Hear, Martin Rautenstrauch & Timothy O’Hear

DAI – the Dancing Artificial Intelligence
DAI is an Artificial Intelligence artist. What this means is that it* thinks; it doesn’t follow a script or act randomly. In its first physical form, DAI is a performer and is inviting you to view its movement creation process. During the process DAI has been exploring its body and its environment, searching for ways to overcome some of the limitations that the physical world has imposed upon its virtual aspirations. This project is a reaction to the rapidly growing importance of artificial intelligence (AI) in our lives. Simple versions of AI are already everywhere, and today we are at a turning point where the first machines capable of learning through experience, like us, are making their appearance. This raises all kinds of ethical and moral issues and we want to be involved in this debate in our own way.

Maria Guta and Adrian Ganea

Cyberia

Performance & live computer generated simulation

A postmodern fairytale, Cyberia takes place somewhere in a cold distant East, stretching between and endless imaginary realm and a vast physical space. It is a westwards journey towards a promised future with no arrival and no return. There is no here or there, only a twilight zone between a departure point and a simulated destination. Between digital video projections and a physical setting, using the mechanics of a video-game engine with a motion capture suit, Cyberia is the simulation of an endless pre-climax state where a performer and a CG avatar dance as one to the rhythms of an imaginary West. In a world oversaturated by digital data –mysticism and paranormal are as popular as ever. Emerging technologies are increasingly incorporated in a form of postmodern spiritualism, as Arthur C. Clarke points out: “Any sufficiently advanced technology is indistinguishable from magic.

Art+com

Chronos XXI
Chronos the god of time, permanently destroys and recreates. He who symbolises evanescence and return, was the thematic point of departure for the creation of the kinetic media installation Chronos XXI. The piece is a ‘finger exercise on antiquity’ by our Creative Director Joachim Sauter and was created during his residency at Villa Massimo in Rome. A pendulum continuously swings in front of a monitor. This motion controls the slow synthesis and destruction of depictions of Chronos on the monitor. Chronos appears in various interpretations by painters of the late Renaissance, Baroque and Classicism – as a man who disrobes Veritas, as a performer of volatile music, or docking Cupid’s wings, or as children and crop eating, a scythe and an hour glass carrying, beardy and winged old man.
video

Urbanscreen

Spektrum
SPEKTRUM is an interplay of light, music and the performers. The use of projections in a theatrical context was a very pleasant experience for us, for when projections are used indoors, they can be controlled so precisely that amazing changes of perspective are possible. Once the stage is perceived as a platform, once as a white cube, once the spatial perception itself is completely challenged. As the three different elements of the performance merge into one unified language, SPEKTRUM is able to be many things at once: playful and yet fierce, touching and yet disturbing. Less a narrative than an emotional and sensory experience SPEKTRUM challenges the mind of the spectator in a quite a poetic way.

KOKI TANAKA

田中功起
Everything is Everything

The eight-channel video installation, Everything is Everything, was created for the first time to be shown at the 2006 Taipei Biennial, curated by Dan Cameron. For this work, the artist and two assistants spent a total of eight days recording their interactions and interventions with readily available items, including hangers, glasses, towels, air mattresses and toilet paper, all found in the city of Taipei. The physical properties of these objects have been tested (a metal hanger is stretched to the breaking point) or their uses have been expanded (a level placed on two table legs becomes an improvised obstacle). Tanaka and his assistants experimented with these objects several times indoors and in public, and their explorations were compiled into eight separate video loops lasting from 1:19 to 1:50 minutes. Tanaka’s narrowly cut frame of each scene often features performers from the neck down or removes them completely from the scene, thus focusing the viewer’s attention on the simple, repetitive objects and acts being performed.

Antoni Rayzhekov and Katharina Köller

Somaphony

<somaphony> is composed of autogenous electronic objects that respond to stimuli and biofeedback wearable controllers. As it is connected with heart pulse, muscle tense, and movement of performers, real-time audiovisual visual composition is possible. The artist explores interdependence between digital equipment and performers that express behavior and cybernetic(artificial brain) relationship through this project.

Fuse

Ljós
Ljós (Icelandic for ‘light’) has been conceived in continuity with the research carried out by fuse* in the field of digital and performative arts, which explores the deep connection between light, space, sound and movement. In Ljós, the performer is the means that allows the viewer to access a surreal and dreamlike space, a dimension with no gravity nor time, made by sounds and images reacting and interacting in real time. A shape-changing universe, which evolves from amniotic fluid in the beginning – protecting and supporting the performer – to the setting for violent explosions and transformations later – leading her to a direct contact with ground and Earth.

Nicole L’Huillier and Sands Fish

Telemetron
Nicole L’Huillier and Sands Fish decided to explore how design and creativity might evolve as we begin to do more than merely survive in space. The Telemetron is a unique musical instrument that takes advantage of the poetics of zero gravity, and opens a new field of musical creativity. The project attempts to expand expression beyond the limits of Earth-based instruments and performers. Leveraging sensors, data transmission and capture (for performance after flight), as well as their experience as composers and performers, Sands and Nicole explore a new body language for music.

Anders Lind and Ulla Karlsson

Skogen/The forest
Skogen/The forest is an interactive sound art exhibition created by Swedish composer Anders Lind in collaboration with Swedish scenographer Ulla Karlsson. THE FOREST is created as a multiplayer orchestra platform for novices (or experts). Within THE FOREST the visitors becomes orchestra performers ready to explore preprocessed sounds from the Swedish forest in combination with sounds from a traditional symphony orchestra. THE FOREST was first exhibited at Norrlandsoperan, Umeå, Sweden in 2019.

Bruce Nauman

Nature Morte
Nature Morte focuses on Nauman’s long relationship to his own studio, a variation on his four unique multi-projection videos, Mapping the Studio (2001). Three viewing stations, each consisting of an iPad linked to a wall-sized projection, provide an interactive exploration of the 3D studio space. Only now the artist is absent, and the participant becomes performer as he/she manipulates the large scale video projections on an iPad using touch control. The participant is free to navigate anywhere throughout the space, selecting broad vistas or individual objects. Using a hand-held 3D scanner, Nauman recorded hundreds of images that allow participants to select an object and locate close-up anything found there, and further reorient the image to see an object from above and below, and at times inside-out. The resulting mobility intensifies the experience of the viewer/performer. Presenting a static, but immersive re-creation of his studio space, Nauman’s pieces once again play at the tenuous lines between the body and space, perception and physical material.

Michele Spanghero

Ad lib
The sound sculpture Ad lib. combines a medical machine for automatic pulmonary ventilation with a few organ pipes that play a musical chord to the constant rhythm of the mechanical breath, creating an artificial organ that is metaphorically a mechanical requiem that sounds incessantly. The title of the work Ad lib., an abbreviation of the Latin expression “ad libitum”, is a musical caption that gives the performer discretion of interpretation, allowing for instance to repeat “at will” certain bars of the score. The sculpture aims to refer to the situation in which people, who suffer from critical health conditions, see their survival tied to a breathing machine and, therefore, to the discretion of those who are taking care of them.

SANKAI JUKU

山海塾

butoh

TOBARI

“Over the 90 minute performance, I feel no less than transported. There are eight male performers, including Ushio Amagatsu himself. The dancers often move slowly, with incredible muscular control, fluidity and elegance. And suddenly the spell will be broken and they’ll run across the stage, their painted bodies leaving clouds of white powder hanging in the air like a shadow or ghost. Slow sustained movements are countered with tiny, minute gestures of the fingers. Hands are often gnarled, the joints contorted with incredible tension. It is mysterious, hypnotic and strange. The countenance of the performers is most arresting – behind the white paint, their faces reveal the fragility, humility, vulnerability and truth of their humanity.”Day Helesic

Freya Olafson

MÆ Motion Afterefffect
MÆ – Motion Aftereffect explores motion-capture, ready-made 3D models and monologues found online, ranging from experiences with virtual reality in live gameplay to out-of-body experiences and astral projection tutorials. The work addresses the impact of emerging consumer technologies associated with AR – Augmented Reality, VR – Virtual Reality, MR – Mixed Reality, XR – Extended Reality and 360° video. Monologues sourced from the internet provide the infrastructure for the work; an in-ear monitor feeds Olafson the monologues onstage, challenging her to listen and speak simultaneously. This dual action of listening and speaking enables her to embody a state of presence that references data streaming, live processing, and gaming. As a performer she becomes a conduit, medium, or interface, broadcasting edited monologues from the internet to the audience. The action of performing the work becomes like playing a video or VR game.

Klaus Obermaier

克劳斯奥伯迈尔
the concept of … (here and now)

In front of a giant screen, two dancers interact with a cohort of cameras… Their movements are captured by infra-red sensors and projected onto the screen, whereby their bodies become the canvas on which new images take shape. The result is a shifting kaleidoscope of strange, living, quasi-mathematical visual worlds which sometimes seem to be emanating or even escaping from the dancers’ bodies. “Who decides which movement to make: the man or the machine?” Blurring the line between the real and the virtual, Klaus Obermaier loves to subsume his performers’ bodies and physicality in a disconcerting digital universe. With his latest creation, the choreographer/artist has taken a bold new step. He has constructed a system of projectors and infra-red sensor-cameras, trained upon the movements of two dancers. The performers thus find themselves thrown headlong into a living, moving graphical universe: their movements are projected onto the screen, but at the same time their bodies are illuminated by more projected images. This is a true artistic performance, pushing well beyond the frontiers of a standard dance recital, or even a contemporary dance show. A corporeal, temporal performance. A choreography which makes subtle use of its raw materials, deftly combining lights, video, perspectives and the real-time power of bodily movement.

Rhizomatiks Research ELEVENPLAY Kyle McDonald

discrete figures 2019

Human performers meet computer-generated bodies, calculated visualisations of movement meet flitting drones! Artificial intelligence and self-learning machines make this previously unseen palette of movement designs appear, designs that far transcend the boundaries of human articulateness, allowing for a deep glimpse into the abstract world of data processing. The Rhizomatiks Research team, led by Japanese artist, programmer, interaction designer and DJ Daito Manabe, gathers collective power with a number of experts, among them the five ELEVENPLAY dancers of choreographer MIKIKO as well as from coding artist Kyle McDonald. The result is a breathtaking, implemented beautifully, in short: visually stunning.

Josiah McElheny

Interactions of the Abstract Body
With ‘Interactions of the Abstract Body’ McElheny pushed these ideas further, creating a large and varied body of work that looks at how fashion and modernism have intersected and influenced each other, especially through the common language of the body. Crucially, McElheny animated this dynamic with the constant presence of a performer. By combining a continuous flesh-and-blood performance with static sculpture in the same gallery space, a first for White Cube, McElheny radically fractures the distinction between performance and exhibition.

Marshmallow Laser Feast

NEST

Inspired by Homer’s Odyssey
Loosely based on Homer’s The Odyssey, Marshmallow Laser Feast’s light installation lit the primary performance space within the chapel’s hazy internal dome. Grid-like projections crossed with mobile structures (designed by the architectural practice Studio Weave) as agile bodies crept over, in and through the many lit towers and surfaces. This first act was seen by the audience from the left and right balconies above. The second act, down flights of rope-lined staircases in the concrete basement, was more disorienting, lit only with triangular neon tubing and an eerie glow that seeped from an open door. The style of dance, in keeping with the more rapid and percussive score, by Canadian composer Christopher Mayo and electronic music composer / performer Anna Meredith, confronted the audience and was staged without boundaries dividing the dancers (some of whom were in street clothes) and viewers.

MARGOLIS BROWN

THE BED EXPERIMENT ONE

Witness as the covers are pulled back to reveal the rites and rituals of the untamable Homo Sapiens in its favorite nesting place — a giant bed! Like a bizarre nature documentary THE BED EXPERIMENT tracks four males and four females, who while confronting their deepest fears and desires, balance the witty and weird against the painfully true to life.

“As the piece proceeds, the focus shifts from mating rituals to the antics of lovemaking, from the battle of the sexes to baby worship, and from dreams of conquest to nightmares of disembowelment. The bed turns from the cradle of civilization into a hospital cot, from a sultry desert to a tundra of monsters. As the scenes evolve — the performance is a 60-minute continuum — the tone mysteriously oscillates between extremes of farcicality or pathos. How the performers effect these wondrous transformations is one of the Adaptors’ most singular professional secrets”. Alan M. Kriegsman

Antoni Rayzhekov

10VE:SEQUENCE FOR TWO
10VE:SEQUENCE FOR TWO is a duet for two amplified bodies equipped with wireless biofeedback and movement devices, measuring the performers heart-rate, stress-level, breath and movement. The synchronizations and correlations of the signals generate a musical representation of the occurring processes between their bodies.

 

Nicolas Bernier

FREQUENCIES (A)
Sound performance combining the sound of mechanically triggered tuning forks with pure digital soundwaves. The performer is triggering sequences from the computer, activating solenoides that hits the tuning forks with high precision. Streams of light burst in synchronicity with the forks, creating a not quite minimal sound and light composition.

ELECTRONICOS FANTASTICOS!

Electro-Magnetic Band
Barcodress/Barcodance
ELECTRONICOS FANTASTICOS! project has been reincarnating various retired consumer electronics as musical instruments such as Electric Fan Harp, CRT-TV Drums, Air Conditioner Harp etc. The band plays them by catching electromagnetic waves. The Barcodress project aims to create the new kind of dance performance. The clothes which recorded sounds as striped patterns, and dancers, and the performers who scan the clothes, together make electric sound waves in real time. By expanding the principles of sound recording and playback to the body, we explore new possibilities for music and dance expression.

Ryoji Ikeda

池田亮司
이케다 료지
РЕДЗИ ИКЕДА
superposition

superposition is a project about the way we understand the reality of nature on an atomic scale and is inspired by the mathematical notions of quantum mechanics. Performers will appear in his piece for the first time, performing as operator/conductor/observer/examiners. All the components on stage will be in a state of superposition; sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness – these will be constantly orchestrated and de-orchestrated simultaneously in a single performance piece.

HENTSCHLÄGER AND LANGHEINRICH

Akemi Takeya
Granular Synthesis

“From a few expressions on the face of the performer Akemi Takeya to a frenzied exploration of the alter ego, any known context of meaning ends in the dissolved movements, is stalled in denaturalized redundancy, in machine pain. The semantic void is too loud to be amenable to meditative reception. The frontal images, the rhythmic structures generate contradictory emotions and great strain.”

HUANG YI & KUKA

A DUET OF HUMAN AND ROBOT
Huang’s pioneering work is steeped in his fascination with the partnership between humans and robots. He interweaves continuous movement with mechanical and multimedia elements to create a form of dance which corresponds with the flow of data, effectively make the performer a dancing instrument.

chun hua catherine dong

the double

The gestures in the performance are inspired by gargoyle, a legendary stone-carved grotesque with a spout that normally is designed to convey water from a roof. Mouth serves as the opening for food intake and in the articulation of sound and speech. However, when performers wear the mouthpieces, or when women’s mouth is forced to open, the mouth loses its function. In fact, it silences and disables the women because they are unable to talk when their mouths are widely pulled open. This performance explores another side of the unseen and unspoken—the vulnerability, struggle, shame, and suffering that we are uneasy to share and expose.
.

EJtech

Liquid MIDI
An experimental modular textile interface for sonic interactions, exploring aesthetics and morphology on contemporary interaction design. Trigger  pads and fader board are screen printed modules focused on AV performances, allowing the performer to build its set up regarding its needs.

RANDOM INTERNATIONAL

随机国际
rain room

Using digital technology, “Rain Room” is a carefully choreographed downpour—a monumental work that encourages people to become performers on an unexpected stage, while creating an intimate atmosphere of contemplation. Visitors can literally walk through rain, as though surrounded by an invisible magnetic field, and never get wet.

Kid Koala and K.K. Barret

NUFONIA MUST FALL
Kid Koala’s celebrated “live animated graphic novel”. Directed by oscar-nominated production designer K.K. Barrett (Her, Lost In Translation, Being John Malkovich). Performed, filmed, edited and scored in real time by a team of 15 performers including puppeteers, cinematographers, a string quartet and Kid Koala on piano/turntables. A romantic story about a robot on the verge of obsolescence.

Lindy Wilkins

android apparatus
Hillary Predko: Design + Textiles + Fabrication
Lindy Wilkins: Design + Code / electronics
Vanita Butrsingkorn: Performer @ Design Exchange, photos
Coco Freddie: Model @ Electro Threads
Miranda Tempest: Performer @ Android TO
My initial artwork didn’t feel like wearables as we conceptualize them now, but slowly my work morphed into artistic concoctions of cybernetic beings. I have an undergrad in computation arts, and a masters in digital media, so that definitely laid the groundwork for my explorations in this field.

Henry Cowell

The Banshee
Intérpretes: Joan Cerveró, piano
Víctor Trescolí, piano strings
A major figure in the modernist movement of the twentieth century, American composer Henry Cowell is celebrated for his avant-garde style and tireless advocacy of contemporary music.
Even in his early compositions, Cowell did something entirely different—instructing the performer to play a range of neighboring notes all at once by holding down the hand or forearm, known as the “tone cluster.”

LEAH SCHRAGER

Sunset Blvd
Leah Schrager is een digitale artiest en online performer. Ze is het model, de fotograaf, de kunstenaar en de marketeer in / van haar afbeeldingen. Haar visuele werken passen een schilderachtige esthetiek toe op lichaamsvormen en halen hun materiaal vaak uit haar conceptuele online praktijk. Haar online optredens zijn @OnaArtist (Instagram 3m) en Sarah White (The Naked Therapist). Met deze uitvoeringen onderzoekt Schrager thema’s als seksualiteit, representatie en distributie. Haar praktijk situeert zich in een hedendaagse broeinest van vrouwelijke (on) geschiktheid, opwinding, beroemdheid, fandom en commercialiteit die de biografie en arbeid van vrouwen in de hedendaagse mondiale samenleving wil onderzoeken.

LEAH SCHRAGER

Sunset Blvd
Leah Schrager is a digital artist and online performer. She is the model, photographer, artist, and marketer in/of her images. Her visual works apply a painterly aesthetic to bodily forms and often draw their material from her conceptual online practice. Her online performances are @OnaArtist (Instagram 3m) and Sarah White (The Naked Therapist). With these performances, Schrager explores themes of sexuality, representation, and distribution. Her practice is situated in a contemporary hotbed of female (in)appropriateness, arousal, celebrity, fandom, and commercialism that seeks to explore female biography and labor in today’s global society.

Leah Schrager

Infinity Selfies
Leah Schrager is a digital artist and online performer. She is the model, photographer, artist, and marketer in/of her images. Her visual works apply a painterly aesthetic to bodily forms and often draw their material from her conceptual online practice. Her online performances are @OnaArtist (Instagram 3m) and Sarah White (The Naked Therapist). With these performances, Schrager explores themes of sexuality, representation, and distribution. Her practice is situated in a contemporary hotbed of female (in)appropriateness, arousal, celebrity, fandom, and commercialism that seeks to explore female biography and labor in today’s global society.

IANNIS XENAKIS

Terretektorh
Terretektorh shows more concern for harmonic organization than the earlier, iconoclastic Pithoprakta, with its scatterings of knocking sounds and massed effects. Still, the concentration is decidedly on texture and movement, with narrow lines being bundled with a number of others in the same register to create a rawer sonic intensity that still has some basis in melody. Xenakis concentrates on the high and low registers, as did Varèse before him, and adds some unusual sound effects into the mix as well.

In Terretektorh and Persephassa, Xenakis creates the impression of movement by transferring musical material between groups of musicians using techniques developed from musique concrète. These works are further innovative because of the unique seating arrangements in which the space for the performers and audience are superimposed.
In this thesis,  demonstrating Xenakis’s early approach to spatial composition. The thesis builds on the work of other scholars and provides more insight as to how these fascinating pieces work.

Oliveira & Mateus Knelsen

Monomito
FILE LED SHOW
FILE FESTIVAL
Inspirado no “Herói de mil faces”, de Joseph Campbell, “Monomito” é uma performance multimídia em que um performer cruza o espaço público vestindo um aparato que reconhece padrões visuais de rostos humanos, “sequestrando-os” e projetando-os na máscara do performer, assim como em outros lugares do espaço por onde cruza.

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
БОБ УИЛСОН
Odyssey (Οδύσσεια)
The great epic work of ancient Greek poetry tells the story of Odysseus’s journey home after the Trojan War and what happens when the hero arrives at Ithaca. It is a transcendental tale that has always been the symbolic text par excellence about human adventure and the wanderings of existence in a harsh but exciting world.
Robert Wilson’s encounter with Homer is one of the major artistic events of this season. One of the most influential and acclaimed artists in world theatre brings his own unique approach to the material. The sensitivity, inventiveness and imagination of the great American director resonate with the Homeric spirit, creating a spellbinding new theatrical language. Eighteen carefully chosen performers and Wilson’s own internationally renowned collaborators bring all their artistry to bear on this unique venture, which is intended for all audiences, regardless of age or experience of the theatre.

Rudolfo Quintas

SWAP
SWAP é uma performance audiovisual interativa para palco criada no cruzamento entre a dança e a visualização de movimento. A performance explora o conceito do corpo como sistema autopoiético intimamente ligado ao seu contexto, onde a mente, as emoções, o sistema nervoso e meio ambiente são um só – o corpo. Um organismo em permanente recursividade, regeneração e transformação, principio enunciado pelos biólogos Maturana e Varela. Em SWAP a visualização artística do movimento expõe os fluxos invisíveis que percorrem o interior e exterior do corpo, de acordo com a nossa percepção micro ou macro alteram a nossa leitura e compreensão da realidade. São geradas animações interactivas compostas por milhares de partículas em constante movimento que reflectem a relação entre o corpo do performer.

FREUDENTHAL AND VERHAGEN

Dutch collaborators Carmen Freudenthal (photographer) and Elle Verhagen (stylist) have been working together since 1989. Their collaboration with fashion designers, performers and other artists results in a wide variety of work, which is always recognizable for its humorous approach of daily life and its use (and abuse) of contemporary imagery and (photo)graphic techniques.

Anna Halprin

Parades & Changes
Parades & Changes, replays is a full scale re-creation of the masterpiece Parades & Changes, a major 1965 work of American postmodern dance legend Anna Halprin. The provocative Parades & Changes, Halprin’s first “collective creation” dynamited the codes dominating dance by exposing the process of performance: improvising around several “scores,” dancers dress and undress, inventing gestures and vanishing naked in rolls of skin colored paper. This “ceremony of trust,” as it was named by Halprin, seeks to utilize dance as a medium for being together: her prolific composition addresses the process, the place, the action, and the performer as both unique and corresponding entities.

Nir Arieli

“Dancers are performers, the process of creating a still image gives them a similar satisfaction to the one they get when the lights come up on stage […] The camera functions as the audience. They are eager to actively contribute to the success of the work. I’m often working with them in a very abstract way of directing, and they are able to translate my words into physical states.”

Compagnie XY

Il n’est pas encore minuit..
Experience this quintessentially French circus spectacle of 17 nimble young performers creating a 360 degree alternative universe of acrobatics, dance, music and human pyramids. With a mass of finely honed, agile bodies, they surge, they merge, and they whip up a physical frenzy to form a breathtaking journey through the air and on the ground.

OKAREKA DANCE COMPANY

Mana Wahine

“Mana Wahine is above all a rich fusion of choreography, music, tikanga Maori and performance practices, AV, lighting and performance design … enriched and enlivened by the dancing of five powerhouse performers.” Raewyn Whyte, Theatreview

LINDER STERLING

לינדר סטרלינג
ЛИНДЕР СТЕРЛИНГОВ

Nascida em Liverpool no ano de 1954, Linder Sterling (nascida como Linda Mulvey e que assina apenas Linder) é, além de artista plástica, performer e musicista. Hoje, após ter morado durante dez anos em Manchester, onde estudou na conceituada faculdade de artes Manchester Polytechnic, mora em Lancashire.

HOWARD SCHATZ

Говард Шатц
הווארד שץ
霍华德沙茨
هوارد كاتس

Working with uncommonly graceful and aquatically gifted dancers, models, and performers, photographer Howard Schatz has found joyous inspiration underwater. The images in H2O take advantage of water’s unique properties- light, clarity, buoyancy, and reflectivity-to create a delightfully serene and otherworldly aesthetic. At once uncanny, lithe, athletic, and mysterious, the figures in Schatz’s photographs transform the pool into studio and stage.

FREUDENTHAL AND VERHAGEN

Circles
Dutch collaborators Carmen Freudenthal (photographer) and Elle Verhagen (stylist) have been working together since 1989. Their collaboration with fashion designers, performers and other artists results in a wide variety of work, which is always recognizable for its humorous approach of daily life and its use (and abuse) of contemporary imagery and (photo)graphic techniques.

Matter Design

Megaphones
Each megaphone shapes sound in a unique way—variably in line or perpendicular to the performer, with narrow or wide washed bands of sound, some split into multiple directions, while others focus on a point. These family of megaphones are revealed through a series of tableaux. more

Camila Krantz and Renata Passos

monstros aquáticos
Museu de Arte Contemporânea de Niterói
Performers: Iaia Toledo, Renata Passos e Vinicius Possal
video and pictures: Camila Krantz, Filipe Britto e Hélio Carvalho

LINDER STERLING

לינדר סטרלינג
ЛИНДЕР СТЕРЛИНГОВ

The bodies, objects and surfaces were recognisably 21st century, but details and composition seemed oddly out of time, not least because the imagery was excised from print magazines and not from the internet, but also because the completed works so readily recalled Linder’s first photomontage experiments. Her pairings of different types of consumerist desire, which once declared themselves as critiques of misogynist objetification, are now equally a part of an abiding artistic practice. For example, looking at a particular conjunction of mock-ecstatic porn performers and ornate confectionery, we get the “message” but know too that we can only be in the obsessive, repetitive world of Linderland.

DIMITRIS PAPAIOANNOU

ΔΗΜΉΤΡΗΣ ΠΑΠΑΪΩΆΝΝΟΥ
ДИМИТРИСОМ ПАПАИОАННУ
NOWHERE
This central scene is dedicated to the memory of PINA BAUSCH

NOWHERE explores the nature of the theatrical stage itself, a spatial mechanism continually transformed and redefined by the human presence to denote any place, and yet designed to be a non-place. 26 performers measure and mark out the space using their bodies, pitting themselves against its dimensions and technical capabilities in a site-specific performance that can be presented nowhere else.

MARTIN KALTENBRUNNER

reactable
file festival

The ReacTable is a collaborative electronic music instrument with a tabletop tangible multi-touch interface. Several simultaneous performers share complete control over the instrument by moving and rotating physical objects on a luminous round table surface. By moving and relating these objects, representing components of a classic modular synthesizer, users can create complex and dynamic sonic topologies, with generators, fi lters and modulators, in a kind of tangible modular synthesizer or graspable fl ow-controlled programming language. The instrument was developed by a team of digital luthiers under the direction of Dr. Sergi Jordà. The “Interactive Sonic Systems” team works in the Music Technology Group within the Audiovisual Institute at the Universitat Pompeu Fabra in Barcelona, Spain. Its main activities concentrate on the design of new musical interfaces, such as tangible musical instruments and musical applications for mobile devices. The reactable intends to be: collaborative: several performers (locally or remotely), intuitive: zero manual, zero instructions, sonically challenging and interesting, earnable and masterable (even for children), suitable for novices (installations) and advanced electronic musicians (concerts). The reactable hardware is based on a translucent, round multi-touch surface. A camera situated beneath the table continuously analyzes the surface, tracking the player’s fi ngertips and the nature, position and orientation of physical objects that are distributed on its surface. These objects represent the components of a classic modular synthesizer. The players interact by moving these objects, changing their distance, orientation and the relation to each other. These actions directly control the topological structure and parameters of the sound synthesizer. A projector, also from underneath the table, draws dynamic animations on its surface, providing a visual feedback of the state, the activity and the main characteristics of the sounds produced by the audio synthesizer.

Mette Ingvartsen

The Artificial Nature Project
In The Artificial Nature Project a new encounter between human and non- human performers emerges from the following questions:What does it mean to make a choreography for materials where human movement is no longer in the center of attention?How can one address the force of things, materials, objects and matters as something that acts upon humans?What is the relationship between the animate and the inanimate world?
The outcome is a performance that literally throws things around. Materials fly through the air giving rise to a landscape that constantly transforms itself. Throughout the performance the view is persistently changing: a calm contemplative site may turn into an energetic chaos of stuff being projected into space. Or, a flood wave becomes a storm of confetti whirling through the air, rushing over the stage. The theater stage gets covered with and traversed by various objects and raw materials, creating a disastrous mess of small, thick, light, big, heavy, thin, breakable and resistant things.

CHRYSSA VARNA

Industrial Improvisation

The project investigates how kinetic design and industrial robotics can embody the complexity of movement found in contemporary dance. Using structured improvisational techniques, a combination of pre-choreographed and improvised performances have been designed to form a gestural dialog between a dancer and two robotic performers. The result is an emerging set of movements that construct an unpredictable and evolving choreography.