Coro pêndulo
Pendulum Choir é uma peça coral original para 9 vozes A Cappella e 18 macacos hidráulicos. O coro é constituindo por um corpo vivo e sonoro. Esse corpo se expressa por meio de vários estados físicos. Sua plasticidade varia de acordo com sua sonoridade. Varia entre sons abstratos, sons repetitivos e sons líricos ou narrativos. Os corpos dos cantores e suas vozes brincam com e contra a gravidade. Eles se tocam e se evitam, criando polifonias vocais sutis. Ou, apoiados por sons eletrônicos, rompem sua coesão e explodem em um voo lírico ou se dobram em um ritual obsessivo e sombrio. O órgão viaja da vida à morte em uma alegoria robótica onde a complexidade tecnológica e o lirismo dos corpos em movimento se combinam em uma obra com acentos prometéicos.
.
Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir is constituted by a living and sonorous body. This body expresses itself through various physical states. Its plasticity varies according to its sound. It varies between abstract sounds, repetitive sounds and lyrical or narrative sounds. The singers’ bodies and their voices play with and against gravity. They touch and avoid each other, creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and explode in a lyrical flight or bend in an obsessive and dark ritual. The organ travels from life to death in a robotic allegory where technological complexity and the lyricism of moving bodies combine in a work with Promethean accents.

Ritual
An undisclosed location. Dry land under a scorching sun. Something abominable has happened here in recent memory. Now a ritual is taking place. The remains of what was once human are flickering in darkness. Nature is reclaiming what is hers. She is savage and unforgiving. She is laughing at us. Her sinister laughter echoes in the emptiness. Ritual re-imagines the notion of site-specificity within the mediated landscape. The digital and physical work for this exhibition sit in a forgotten mining town somewhere in the California desert. The viewer is invited to interact with Triantafyllidis’ new live simulation, sculptures and custom electronics blurring the line between the real life and online experience

Ascent
Ascent is a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level. The light and the fog create a monumental dynamic space that is participatory, the space that opens up a new dimension and directs the attention toward the bodily sensations in the explicit environment. The viewer is free to approach the work according to its own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.

SPARK
Organic fireworks SPARK illuminates the city as a new sustainable celebration. Artist Daan Roosegaarde became inspired by the magical light of fireflies, and the desire to update the ritual of fireworks. The result is SPARK, a poetic performance of thousands of biodegradable light sparks which organically float through the air. SPARK inspires visitors to wonder and reflect.

Liminal Lands
Liminal Lands is an environmental multiplayer experience shared by four people at the same time. Each person transforms into the basic elements controlling life across the landscape: Algae, salt, water and mud. As they embark on a communal ritual experience, people morph and change throughout their journey, exploring each new world from a changed perspective of the landscape. Visitors move across different scales and global weather conditions, shedding their human perspective as they are pulled into six different realms inspired by the macro-landscape.

Windows of the Soul
In de installatie Windows of the Soul gebruikte Sonia Falcone haar spiritualiteit als centraal thema en presenteerde ze dit op de XVII Bienal de Arte de Santa Cruz de la Sierra, in 2010. De video-installatie was gemaakt van dunne, verticale blokken die rond zes meter en ongelijk uitgelijnd. Op de blokken projecteerde ze video gemaakt van korte en kleurrijke componenten die elk een deel van haar persoonlijke leven vertegenwoordigden. Ze mengde kunstmatige en natuurlijke landschappen om de eenheid en het belang van beide in het menselijk bestaan ​​te benadrukken, en de boodschap die ze wilde overbrengen is dat leven mooi is, vanaf het moment van conceptie door alles wat de mens doet en voelt in zijn leven. Haar missie was om hoop te sturen en aan te geven dat er een belofte is voor een betere toekomst.

32 rue vandenbranden
The script of physical actions is inspired by the Japanese film A ballad de Naraiama (1983), by Shohei Imamura, the one with tearing images, like that of the son carrying his mother on his back, embraced by the wind, climbing the mountain to put her on the summit until death, as the local tradition says that every septuagenarian must have an equal destiny. In the same village in the late 19th century, parents used to sell babies to survive. These material and spiritual miseries do not bring literals to the stage. Rather, they are essentials that make the show a fabulous visual poem written in and with the body and the scenic space. The song is also celebrated at the height, with moments such as Stravinski’s The Bird of Fire suite, and the song Fline on you crazy diamond, by the band Pink Floyd.

Conheça seu criador
Uma performance teatral ao vivo / escultura de luz cinética com drones quadrotor, LEDs, espelhos motorizados e faróis em movimento dançando em uma alegre celebração de balé robótico da tecnoespiritualidade. Explorando UAVs (veículos aéreos não tripulados) semi-autônomos programados por computador como um meio de desviar e desviar a luz e criar esculturas de luz flutuantes dançando ao som da música. Máquinas que tradicionalmente são fornecedores de vigilância e opressão; são artisticamente redefinidos para serem fornecedores de música, dança, alegria, celebração e criatividade.

Trono
Questo lavoro cerca di esprimere quella premonizione come un immenso “trono vacante fluttuante”. Se istanze di potere e autorità hanno governato sin dai tempi antichi e le piramidi forniscono un esempio, dobbiamo chiederci cosa ci riserverà il futuro. Creata con riferimento alle forme dei carri delle feste e dei santuari portatili che compaiono nei rituali e nelle festività d’Oriente, la scultura fonde le odierne tecniche di modellazione 3D con applicazioni in foglia d’oro che risalgono all’antico Egitto. Nel centro frontale c’è una stanza vuota, spazio sufficiente per far sedere un bambino di 2-3 anni, suggerendo che la nuova intelligenza è ancora in uno stato giovane. Specchietti luminosi e sferici posti al centro davanti e dietro. Realizzati in lamina di platino, rappresentano “gli occhi che guardano il mondo”, dove quello frontale guarda al futuro e il retro si riflette nel passato.

Seven Curtains

In ihrer ersten Einzelausstellung in Österreich zeigt Ulla von Brandenburg als Teil einer spezifisch auf den Hauptraum der Secession zugeschnittenen Installation ihren neuen Film “Die Straße”. Die Kamera des Schwarz-Weiß Films verfolgt in einer einzigen ungeschnittenen Einstellung die Aktionen der DarstellerInnen, die von Brandenburg in einer ephemeren Kulissenstadt aus weißen Leinwänden unter freiem Himmel in Szene gesetzt hat. Durch die stilisierende Szenerie, die geheimnisvollen und rätselhaften Rituale, welche die Interaktion der SchauspielerInnen untereinander bestimmen, und das Lied, das sie abwechselnd singen, haftet dem Film eine besondere Poesie an.Wie der Film so lotet auch die Installation die verschiedenen Wirklichkeitsebenen und Grenzbereiche zwischen dem Sein und Schein aus. Vor die Filmprojektion stellt von Brandenburg eine begehbare Bühnenkonstruktion und initiiert durch verschiedenfarbige Theatervorhänge, Treppen, Tribünen und ZuschauerInnenebenen ein Spiel mit dem Davor und Dahinter, Außen / Innen und letztlich eine Konfrontation der BetrachterInnen mit sich selbst und ihrer Rolle. Wie häufig im Werk Ulla von Brandenburgs dient der Vorhang als ein Mittel, um einen Übergang zu markieren von der realen Welt in jene des Theaters, in einen geistigen Raum, in dem die Imagination, Träume und das Unbewusste regieren und keine zeitlichen oder räumlichen Schranken existieren.

Schwingungen
“Oscillations” präsentiert eine Gruppe von Statuen aus Bronze, Alabaster, Marmor und Stein, die in einer großen und eindringlichen Installation platziert sind. Die Statuen stellen alte, prähistorische Venus-Statuen dar, die einer Ära vor 15’000 Jahren Ausdruck verleihen, als Frauen zum ersten Mal die Kraft psychoaktiver Substanzen und die Reisen des Geistes erforschten. Humeau navigiert mit diesen Venus zwischen den Welten, während sie Statuen sprechen: Ihre Stimme schafft einen Oszillationsraum zwischen der menschlichen Welt und der Geisterwelt und nimmt die Besucher in diese Art von schamanistischem Ritual mit.

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.

Throne
This work attempts to express that premonition as an immense “floating vacant throne”. If instances of power and authority have ruled since ancient times, and the pyramids provide one example—we must ask what the future will hold. Created with reference to the forms of festival floats and portable shrines that appear in the rituals and festivities of the East, the sculpture fuses today’s 3D modeling techniques with gold leaf applications that date back to ancient Egypt. In the frontal center is an empty room, space enough for a 2 to 3-year-old child to sit, suggesting that the new intelligence is still in a young state. Shining, spherical mirrors placed at the center in front and back. Made of platinum foil, they represent “the eyes overlooking the world”, where the frontal one faces the future and the back reflects into the past.

Oscillations
“Oscillations” presents a group of statues made of bronze, alabaster, marble and stone, placed in a large and immersive installation. The statues represent ancient, prehistoric Venus statues, which give voice to an era 15’000 years ago, when women explored for the first time the power of psychoactive substances and the journeys of the mind. Humeau navigates between worlds with these Venuses as they are speaking statues: their voice create a space of oscillation between the human world and spirits world, taking the visitors with them in this sort of shamanistic ritual.

Whispering Table
Four unique festivities celebrated by people of distinct cultures are assembled in an archetypical scene of congregation. Visitors approaching a round table filled with empty dishes discover that these are actually telling personal stories about the symbolic meaning of food and rituals. Written by a story writer, these stories are are based on interviews and research carried out for this piece. The content changes according to the dishes‘ positions and their distance to the others. Similarities and peculiarities of different food ceremonies explored in a playful and entertaining way. By changing table constellations, the visitors reveal more and more stories and become part of a participatory spectacle.

Skin Sucka

A project conceived with Clive van Heerden, Jack Mama (Philips Design Probes) and Bart Hess, Skinsucka explores a vision of our nano technology future whereby bio technology and robotics come together to question our attitudes of a synthetic future. Skinsucka reveals a future where microbal robots live in our shared spaces and autonomously they will undertake menial tasks such as cleaning our homes by eating the dirt. ‘Skinsuckas’ clean the skin, removing the vestiges of make up and providing the remedies to combat the excesses of the night before They swarm over the body extruding metabolized household dirt, dressing the body in a daily ritual of real time, customized manufacture – yesterday’s discarded clothing ready for recycling.” Clive and Jack’s work has consistently brought very diverse skills together in new innovation processes. In the late 1990’s they took designers and other creative skills into Philips Research labs in the Redhill, London and New York and created a specialist studio in London to develop the skills, materials and technologies for a host of Wearable Electronic business propositions in the areas of electronic apparel, conductive textiles, physical gaming, medical monitoring and entertainment.

Kissing Data Symphony
Intimacy Data Symphony is a poetic ritual for intimate experience of Kissing and Caressing each other faces, multi-sensory and socially shared in public space of merging realities. In live experiments with Multi-Brain BCI E.E.G. head-sets, visitors are invited as Kissers (or Caressers) and Spectators. Brain activity of people kissing and caressing is measured and visualized in streaming E.E.G. data, real-time circling around them in a floor projection. Simultaneously, the Spectators brain waves are measured, their neurons mirroring activity of intimate kissing and caressing movements, resonating in their imagination. The Spectators brain activity data are interwoven in the data-visualization. Brain activity of all participants, mirroring each others emotional expressions and movements, in interpersonal and aesthetic ways, co-create an immersive visual, Reflexive Datascape.

HARA
Guillaume marmin and Frédéric marolleau convey spiritual essence through visual abstraction in ‘hara’, an audio-visual collaboration for the 7th chromatic festival in montréal, québec. ‘Hara’, the anatomical home of energy according to japanese custom, is explored by various means. Music and light move through states of tension and calm, creating for each visitor a unique contemplative experience.

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

the psychotron installation
Now one of Doug’s stunning installations is available in edition format. The Psychotron Framed – a video piece based on the 12-petal lotus flower symbolising eastern spirituality’s heart chakra – has been harnessed into a purpose-built viewer that can hang on a wall or stand freely on a flat surface. The piece is currently only available by collection from The Outsiders London gallery. Order now and Doug will assemble the materials in two weeks.“For centuries, circular figures containing symmetrical patterns have been used as a tool for meditation,” says Doug of his original Psychotron on display at Bedlam. “The mandala, the yantra and visualisations of the various chakras, all conform to radial design principles that have been refined throughout the ages. Now those principles have been ruthlessly plundered for the creation of The Psychotron.

Return to Sender
Disarm music box
For the work group Disarm, he was able to use 6,700 weapons confiscated in the Mexican drug war and transform these into musical instruments[…] They play well-known, classical music pieces from the respective manufacturer’s country of origin. A musical box made with Glock pistol parts plays Mozart, Beretta barrels Vivaldi, while Reyes’s weapon of choice for Swiss songwriter Mani Matter is the Carabine. Reyes is concerned with «upcycling» – transforming an instrument of death into a musical instrument that stands for dialog and exchange. He undertakes this transformation process with the conviction that the physical act is always accompanied by an idealistic one and appeals to the spiritual dimension of this quasi-alchemical operation towards the good.

science lab studies

Joyce Ogden is an artist based in Southern Indiana whose work explores the human relationship to nature, time, and ritual.

Ikon of Eros

The tempo of the music changes frequently, illustrating love that at times may be almost austere and at other times ecstatic. In the second movement an ethereal female chorus is suddenly punctuated by deep percussion instruments and gives way to an almost erotic middle eastern beat, contrasting a pure spiritual love with a more physical, sensual form.

SONNTAG aus LICHT

Sonntag aus Licht takes as its subject our solar system and the relationships of all the planets that orbit the sun. In this opera, the earth and life on it is represented as the result of the union of light and water. These two elements are presented in the first scene, and the rest of the opera celebrates the evolution of life, of plants, animals, humans, and above all this the planets, moons, and heavenly constellations. The opera has a pronounced ritualistic and meditative character, with very little that can be described as dramatic action.

振り子の合唱団
Pendulum Choir

Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir stands on tilting platforms, constituting a living, sonorous body. That body expresses itself through various physical states. Its plasticity varies at the mercy of its sonority. It varies between abstract sounds, repetitive sounds, and lyrical or narrative sounds. The bodies of the singers and their voices play with and against gravity. They brush and avoid each other creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and burst into lyrical flight or fold up into an obsessional and dark ritual. The organ travels from life to death in a robotic allegory where the technological complexity and the lyricism of the moving bodies combine into a work with Promethean accents.

Роберт битва
No Longer Silent
Robert Battle’s dramatic ensemble work No Longer Silent, set to Erwin Schulhoff’s percussive score “Ogelala,” features dancers evoking a complex and mysterious ritual. Originally created in 2007 for The Juilliard School, Battle’s alma mater, the work was part of a concert of choreography that brought to life long-forgotten scores by composers whose work the Nazis had banned. Powerful phrases stir the imagination with images of flight and fatigue, chaos and unity, and collectivity and individualism as dancers, clad in all black, travel in military rows.

Taking in her paintings is like opening your eyes after a nap in the sand. The colourful masses on her canvas appear to be in motion, plunging the spectator into a semi-conscious state. Beyond the merely pictorial, Ana Montiel’s works read like spiritual, dreamlike invitations, that hit you with a feeling of satisfaction and involuntary entrancement. Any tangible form looks acid-washed; a silhouette or a ray of sun gives way to a sfumato of light and pigments. The artist is interested in the conceptual issues of perception and phenomenology, based on the premise that reality is nothing but a collective and controlled hallucination.

على فوجيموتو
후지모토에
על פוג’ימוטו
НА ФУДЗИМОТО
infinity ring pavilion
An investigation into the ergonomics of seating in both private and public environments, the Infinity Ring takes the preconception of predefined spaces and their rituals and wraps it around a ring, creating a continuous strip of inhabitable spaces. The entire ring is then rotated, thereby generating infinite configurations of space-between-space, creating endless ways to sit, climb, lie down, crawl on…resulting in spatial configurations that are much richer than the sum of its parts.

INFINITUM
INFINITUM is an immersive art – architectural installation presented at the Sharjah Art Museum on the occasion of the Islamic Arts Festival 2019/20, 22nd Edition. Arches are typical in Mosques’ design. […] Islamic Arches buildings are typically constructed of stone, wood being rarer in the original Middle Eastern homelands of the Umayyads. The rows of Columns and Arches give a visual impression of limitless space, as a metaphor of the progress for human civilization, maximizing spiritual symbolism and visual appeal – progressing towards an ideal civilization. It refers to centuries of human civilization and the creation of prospective in social spaces and the openness to open possibilities of human life.

(ego hiperrealista) + (juguete del viento) =
Custic combines models, costumes and various other objects that inspire him, using them to give form to abstract concepts surrounding humanity and its evolution. Spirituality, religion, relationships and sexuality are all explored through a lens preoccupied with fragmentation, pataphysics, optical balance effects and technological art.

masks
“I have been inspired by many artists of the past and present to arrive at this moment of creativity. I have been inspired by some wonderful spiritual teachers to arrive at this moment of beauty and mystery. I invite you to share in my vision of this mystery“. Steve Fields

TechnoShamanism
I reclaim spaces for underrepresented communities with the use of technology, ritual and the speculative. Whether it be a citizen “sousveillance” suit to monitor police activity, a Techno-Shamanistic religion that virtually renders ritual, or archeological artifacts from future African cultures, I find it imperative to work collaboratively with other artists and local communities.
Ayodamola Tanimowo Okunseinde (ayo) is a Nigerian-American artist, designer, and time-traveler living and working in New York. He studied Visual Arts and Philosophy at Rutgers the State University of New Jersey where he earned his B.A.

BODIES INC
Bodies INC 2.0 is dedicated to creating ways to PROTECT YOUR THIRD EYE! Our proprietary body parts, textures and sounds are embedded with deeper meaning and energy – we give you the power you need to function successfully in the spiritual and material realms. Once you become (in)INCorated into our magical system, you will have an opportunity to apply the secret techniques and empowerments. Become a member and a door to collective emergent systems will open for you to function in multiverses now hidden from view!

أليس أندرسون
爱丽丝·安德森
アリス·アンダーソン
앨리스 앤더슨
Алиса Андерсон
COCOON
Alice Anderson’s giant installations created out thousands of feet of red colored doll hair are a thing of wonder. Selected for its relationship to her own bright red hair, Anderson selected the material to refer to her childhood where she invented rituals based around her hair to calm her anxieties when left home alone. Draped over buildings, walls, and every imaginable surface, Anderson’s work is just as much about reinterpreting an everyday material as it is about coming to terms with the ghosts of her youth.

About Endlessness
La nueva película de Roy Andersson, una especie de secuela espiritual de A Pigeon Sat on a Branch Reflecting on Existence, está compuesta por una serie de viñetas narradas por una mujer joven desde un futuro indefinido: una pareja flota por una Colonia en ruinas; un padre se detiene a atar los cordones de los zapatos de su hija bajo la lluvia; un cura con crisis de fe busca ayuda de un psiquiatra que lo único que quiere es llegar a tomar el colectivo de vuelta a casa. La película, por la que Andersson ganó el León de Plata a Mejor Director en el último Festival de Venecia, es otra muestra de su talento para captar la esencia de la vida, transitando entre la comedia y el drama, entre la alegría y la tristeza. Y todo esto en apenas 76 encantadores minutos.

FEED ME
FEED ME is a ludic experiment that explores the relation between the artwork and its public. With a self-ironical approach, the project is calling the subjects of monstrous and perpetually insatiable Tra to her feeding ritual: the entire exhibition is a live organism that feeds on the energy produced by the movements of the public. It is an interactive multimedia capsule that carries a dynamic platform where everything moves, pulses and reacts to motion on a common rhythm. The exhibition space is structured in narrowing concentric circles, creating several worlds that include each other and cocoon around a magical protection space, thus the public is activated on several levels.

Tesseract
Tesseract is a collaboration between Charles Atlas, Rashaun Mitchell, and Silas Riener. It is an evening-length presentation in 2 parts separated by an intermission: a 3D dance film featuring 7 dancers and a live proscenium performance with 6 dancers. The film offers speculative worlds and alternate possibilities in bold visual environments. The performance includes live-video capture with multiple cameras, mixed by Atlas and projected into the stage space. Images obscure and reveal moving bodies behind a translucent scrim, magnified and refracted by Atlas. Through collective action we forge a link between human ritual conjuring and new technological magic. Between the past and the future.

MSHR is a collaborative project by New York-based artists Birch Cooper and Brenna Murphy. The duo produces sculptural synthesizers, ritualistic installations and performances that use light and audio feedback to generate sensory experiences. MSHR emerged in 2011 from the five-person art collective Oregon Painting Society.

TETRAGRAMMATON
A dialogue between these two artists on themes of myth, ritual and meaning, as much about their exhaustion and propensity to bewilderment as any potential they may inhere, for recuperation for and by language, culture and society. Joey’s work, ‘Religiously observant’, is inspired by alchemical and occult ideas, the world of spirits and hallucinations. The wall print features a gold CGI blazon of the Tetragrammaton It references the Sumerian mythology of the Annunaki a race of ancient chthonic fertility Gods, subsequently inscribed in a series of publications by Zecharia Sitchin (a kind of elder statesman of conspiracy theorists worldwide) as descendants of aliens, who enslaved the human race to extract gold from the earth. John’s work similarly ranges over territories of opposition: between ancient and contemporary; mythic and kitsch; between the viscid and primordial. It takes as its subject the vector of congealment, in the Marxist sense of the way labour power is congealed in commodities and so forth, extending this metaphor into an aesthetics of myth and ritual, emptied out, flattened, compacted like a sedimentary layer of anthropocene garbage, for the post-historical epoch.The sound component provides an aural complement to this structure of refuse, exhaustion and abjection. Mixing pre- or post-linguistic utterances, grunts, groans, screaming: a kind of secular glossolalia chaotically interwoven with whalesong, deep techno and political oratory.

Kiesler’s longest-running project was Endless House, a single-family dwelling whose biomorphic form and lack of corners strongly contrasted with the hard geometric edges that defined most modern architecture of the time. He sought to design a structure responsive to the occupants’ functional and spiritual requirements. He developed his ideas for the house over several decades, creating numerous sketches and models. Although plans were made to build a to-scale model in MoMA’s Sculpture Garden in 1958, they did not materialize, and the project remains unrealized. Nonetheless, Kiesler’s Endless House concept was highly influential and stands as a strong expression of his bold statement: “Form does not follow function. Function follows vision. Vision follows reality.”

video

Holoscenes
Lars Jan is a director, media artist and artistic director of Early Morning Opera, a Los Angeles-based art lab specializing in live performance. Along with co-producers MAPP International Productions, Early Morning Opera is currently developing HOLOSCENES, a hybrid of performance, installation and public spectacle featuring a series of rituals gathered from sacred and secular spheres and performed in a triptych of hydraulically-animated, jumbo aquariums.

Cages
Rothschild’s practice involves both conceptual and socio-political ideas alongside traditional approaches to making sculpture. Through an investigation into form and materiality, her works balance, stack, wrap and knot materials around geometric shapes and structures – such materials that often appear to transcend their physical limitations, hover between representation, symbolism and actual form. By deliberately destabilizing physical and visual characteristics in her work, Rothschild not only questions the aesthetics of art, in particular minimalism, but also those of belief in social liberation and spiritual movements.

Levitating Woman
The way American artist Matt Johnson (born 1978) experiments with shapes and materials is apt to take the spectator by surprise. His creations are endowed with whimsical as well as subtle aspects. Drawn towards the mysterious and spiritual, Johnson remains deeply rooted in art history as he comments on life’s complexities. He often chooses materials that seem to conflict with his subjects.

MIST
The Prayer
MIST envisions a world in which mass extinction has accelerated to a point of no return; where non-human beings have become spiritual, capable of self-transcendence and mystical experience, because they have no other choice. It is as if promethean punishment (the trauma of reason) were visited on them for humanity’s crimes in the pursuit of planetary mastery.”

Last Child in the Woods
In her work, Melanie Bonajo examines the paradoxes inherent to ideas of comfort with a strong sense for community, equality, and body-politics. Through her videos, performances, photographs and installations, she studies subjects related to how technological advances and commoditybased pleasures increase feelings of alienation, removing a sense of belonging in an individual. Captivated by concepts of the divine, Bonajo explores the spiritual emptiness of her generation, examines peoples’ shifting relationship with nature and tries to understand existential questions by reflecting on our domestic situation, ideas around classification, concepts of home, gender and attitudes towards value.

The Garden of Earthly Delights
Based on his own novel “Metaphysics”, Lech Wajewski’s film is an erotic treatise on art, love and death. When British art historian Claudine learns that her cancer is terminal, she abandons caution and takes her lover, Chris, on an extraordinary journey to Venice, where their passion finds fulfillment in the fantastic paintings of Hieronymus Bosch. Videotaping their trip, Claudine intends to leave Chris a haunting record of their emotional and spiritual discoveries.

6&7
Tao Ye rejects any attempts to harness his work to narrative, which is why he numbers his choreographies rather than naming them. Numbers 6 and 7 were choreographed one after the other, but are presented here as a single work. 6 takes us into a dark world: six black-clad dancers emerge out of a foggy landscape resembling smog-choked Beijing. They start moving with one ‘voice’, treading the ground firmly and dancing—chiefly with the upper part of their bodies—a ritualistic dance which stretches the human body to the very limits of its flexibility. An equally minimalist soundtrack and the exceptional lighting design of Sweden’s Ellen Ruge, a close collaborator of Mats Ek, who has done a lot of high-profile work here in Greece, complete the raw materials of this performance-experience.

6&8
In 6, his six dancers move in dynamic and hypnotising unison, in a shifting landscape of light created by Swedish lighting designer Ellen Ruge. His latest work 7 continues Tao Ye’s fascination with pattern, precision and ritual, and is distinguished by a sound track of acoustic effects generated by the seven dancers’ own bodies. Both 6 & 7 will be accompanied by specially commissioned music from Chinese indie folk composer Xiao He.

Museum Motus Mori
“In 2018 we started our new project Motus Mori, in which Katja is going to research and preserve movements which are in danger of extinction. Motus Mori is a longterm project (2018-2020) that consists of an ungoing research with multiple presentations like a choreographical TED-talk, mobile movement laboratories, field researches with divers groups of people, large movement expositions, city- rituals… This way Katja and her team will work on a growing collection of endangered human movements.”

Absent Engagement
Alexandra Zierle (DE) and Paul Carter’s (UK) collaborative work is interdisciplinary, multi-sensory and often site/context responsive, spanning performance, happenings and interventions, sound, video and installation. Through their collaborative practice, Zierle & Carter critically examine different modes of communication and what it means to be human, addressing notions of belonging, dynamics within relationships, and the transformation of limitations. Their work sites an embodied investigation into human interactions and encounters, acting as an invitation to venture into the spaces in-between the external and internal, permanent and transient, spoken and unheard. The work fundamentally explores society’s conventions, traditions, and rituals, often flipping them on their head, reversing orders, and disrupting the norm.