Posts Tagged ‘screendance’

MIRAGE @ Nuit Blanche

MIRAGE at Nuit Blanche in Toronto last week-end, presented by Abilities Arts Festival.  We got 545 people through the black space and more than 1000 in the white space.
2 great reviews: NOW magazine: ‘…sensational…spectacular movement performance, accompanied by compelling electronic music. 45 minutes of jaw-dropping beauty. For free. A perfect example of why Nuit Blanche rocks.’ by Susan G.Cole
BLOGTO: ‘ My favorite for the night….intense and unforgettable. Personal, immediate, complex: it was the only Nuit Blanche installation I would have paid money to see.’ by Matthew Harris.
some photos of the preparation

TRIPTYCH with Jeannie Lewis

Part of a series of triptychs shot with 3 cameras. My enquiry is based on the trajectory of movement
from breath to extreme extension of the body, rhythmically across 3 screens.
The text reflects the performers’ thoughts & impulses during the action.
Here is a mock-up with the 3 screens in one, with the singer Jeannie Lewis.
Am still editing the 3rd triptych with Anna Yen and her sword.

TRIPTYCH with Ruby Rowat

Since February, I am editing a series of triptychs shot with 3 cameras.  My enquiry is based on the trajectory of movement from breath to extreme extension of the body, rhythmically across 3 screens.  The text reflects the performers’ thoughts & impulses during the action. Here is a mock-up with the 3 screens in one, with the amazing trapeze artist Ruby Rowat, using pendulum!

Part 1, Presentation Dec 09

After 3 months of my fellowship, I presented to peers what I have done and what I am preparing : the first part of the presentation was about ‘Screendance’, second part about ‘Networked Performance’.  I delivered the presentation twice: – at Igneous studio with 18 people, on December 6, 2009 – download transcript – online with 12 people from 3 different time zones(!), on December 13, 2009, on UpStage and using audio on USTREAM. Download the log.  Below is the video of the 1st part of the online presentation about ‘Screendance’ For the 2nd part of the online presentation about ‘Networked Performance’, see this post (netperf category).
The sessions were followed by a critical response process facilitated by James Cunningham.


Weaving through and into the frame, so many legs, on the move, moving out.  Each one is leading and following, following the finest of threads.
– direction, editing, sound: Suzon Fuks – music: Jeff Turpin – music recording: James Cunningham –

If I am interested by the extension of the screendance definition to multidimensional and multiscreens in live performance, I also work for one screen as a vocabulary/syntax/foundation work.  So, “Threads”, first work made during my fellowship, is for a standalone screen, investigating how to go beyond the frame with caterpillars moving in a long line  (old footage sleeping in a draw for some time), diving in with very close ups, entering in textures, exploring the borders, geometry, depth, going in/out of the frame.

Revisiting old works, I realised after making this video, that my very first image piece (with photos and polaroids that I digitised at the end of 2009) was titled FILS: French word for threads!…cycle…..

moving surface

“Muto” by Blu
was shown during SEAM symposium by Claudia Paren at the end of her presentation “Dancing Facades”.

Deadlines – January10 update


31  January 2010 – dança em foco – International Video & Dance Festival
The 2010 edition will take place in August in Rio de Janeiro followed by other cities, with free public showings.
The applications will only be accepted though the site.

5 February 2010 – Arizona State University Art Museum Annual Short Film and Video Festival
guidelines no longer than 10 minutes
The festival is an annual event, taking place in April of each year.
a still image from your entry in digital format (.jpg) for the Web and publicity purposes.
send your DVD copy with a brief description of the work + name + e-mail +phone numbers + mailing address.
Entries selected for the festival will become part of the festival library.  By entering the festival, you give the ASU Art Museum permission to make copies of your work for press and educational purposes.
John D. Spiak – ASU Art Museum
Arizona State University
Tenth Street and Mill Avenue
Tempe, Arizona 85287-2911

12 February 2010
Please submit to the  online portal
Symposium on Computational Aesthetics in London England on 14-16 June 2010
Artistic submissions are invited across the broad range of mediums
covered by
Computational Aesthetics. Specific examples include, but are not
limited to:
•    artworks that employ real-time visual processing;
•    artworks that employ computer graphics on the web;
•    2D or 3D artworks that run on stand-alone consoles;
•    virtual worlds created for the web;
•    game art pieces that run on stand-alone consoles or the web;
•    performances that include live computer graphics and/or live real-
time visuals; and
•    artist presentations, posters or screenings that explore topics
related to computer graphics, modeling, and/or real-time visuals

15 February 2010 Naoussa International Film Festival
– The subject of the films depends on the judgment and the inspiration of the creators. The film has to be mainly created by using digital means. The total duration twenty (20′) minutes for fiction and animation films, ten (10′) minutes for experimental category.
– Please send your film in a DVD (PAL) for the process of selection.In case your film will be selected you should send to Naoussa International Film Festival a projection copy in DVCPRO or DVCAm or miniDV or BETA format.
– completed 18 months maximum before the date of the Festival.
FILL IN ELECTRONIC APPLICATION FORM, print it, sign it and send it along with the film with the indication: “No commercial value, only for cultural reasons” + CD or via e-mail to Stills  (in electronic form*) + Photos directors/perforamers (in electronic form*)
TO: Naoussa International Film Festival- Digital View Department – Katsoulaki 1 – Naoussa, 59200 – Greece

28th February 2010

17th – 23th June 2010 Munich  short film festival 2010 (Germany) (reelport)

28. February 2010
SIGNES DU NUIT – Paris  (reelport) 31. March – 11. April 2010 – deadline: 28. February 2010
– allowed genres: fiction, documentary, experimental, video art
– 30 minutes max. lenght for shorts
– full lenght for documentaries
– films must have been completed on January 1st, 2008 or after
– screen ratio for 35 mm / 16:9 or 4:3 for DV / Sound/Son: PAL or NTSC
– language sequences should have English or French subtitles

28. February 2010
From 10th to 13th June, accompanied by video installations, workshops, concerts and parties.

1 March 2010 – Companhia de Dança de Almada (Portugal)
“International Platform for Choreographers” and/or “Video-Dance Showcase”
Companhia de Dança de Almada (Almada Dance Company) is organizing a large forum for performing, meeting, dancing and interacting, to be held in Almada from 16 to 18 September, 2010.  Individual choreographers or dance companies are welcome to submit their projects.  Download the Conditions and the Proposal Application Form

2 March 2010 – [self ] ~imaging
// artists portraying themselves in film and video
– The films/videos may be produced between 2005 and 2010
– Excerps of videos or films are not accepted!!
– Duration: max 10 minutes
– Only one film/video can be submitted.
– Productions using language and/or text other than English need English subtitles.
– The preview copy should be preferably made available online for review and/or download as Quicktime . mov, Windows Media .wmv, Flash video .flv – minimum size 480×360 px, preferred 640×480 px
–> if no own website is available, alternatively the film can be submitted via a free upload/download service, for instance, SENDSPACE – – or PANDO –
Once selected, the artists/directors will be invited to send a hardcopy of the selected video on DVD in best screening quality

5 March 2010

31 March 2010
in May 2010 NapoliDanza – PARTICIPATION RULES
All the companies, videomakers and producers will be admitted to participate sending us a work about dance belonging to one of the following categories:
· A – Recordings of shows or studio processing of shows
· B – Video creations
· C – Documentaries and/or ethnic dances
Participants have to:
•    Compile the online entry form on our web site, in each part ( as correct and complete as possible) for each video subscribed –
•    Mail us
1.    a DVD copy of the video, PAL format only, which will remain as part of the Napolidanza videodance archive and will be used only for not commercial purposes.
2.    1 CD containing at least two still photos in JPEG format about the video, including the back stage working and write information on the support itself (avoid paper prints) and a brief outline (in .doc or .pdf format) about the content of the video (even with printed page attached).
3.    (New) For works whose duration exceeds 3 mins. you must send us also a teaser (duration max 3 mins.) on a second DVD copy (always in PAL format) for free publishing on on-line archive on our website
The folder must be sent to:  NAPOLIDANZA c/o Marilena Riccio – viale Nicola Fornelli 8, 80132 Napoli – ITALY

2 April 2010 –  One Minute Films of OMFC
(One Minute Film Collection)

5 April 2010 – CologneOFF VI – Cologne Online Film Festival
festival theme: “Let’s Celebrate – memory & identity in an experimental context”
– The full-length films/videos may originate from the years 2004-2010.
– Excerpts of videos or films are not accepted!!
– Duration: max 10 minutes (exceptions up to 15 minutes are possible)
– Max 2 films/videos can be submitted.
– Productions using language and/or text other than English need English subtitles.
– The preview copy should preferably be made available online for review and/or download
– as Quicktime . mov, Windows Media .wmv or Flash video flv (size 640×480 px)
After selection the artists/directors will be invited to send a hardcopy of the selected video on DVD in best screening quality.
Entry form.

23 April 2010 – VISIONI DAL FUTURO festival international contest
second edition .:IridescentWorlds:.
Torino May 28-29-30 2010 Cinema Massimo, Hiroshima Mon Amour
New competition announcement Video and Live media
Visions from the Future 2010 calls all the videomakers and audiovisual researchers to create, shaping image and sound, works that pass through us to imagine IRIDESCENT WORLDS.
Entry Form

30th of April 2010K3: Short Film Festival Villach – Awards
The uniqueness of this festival is the courageous mix of engaging and disturbing films.
send films with completed entry form to:
Fritz Hock
c/o K3: Int. Kurzfilmfestival Villach
Eichenweg 16/15
9520 Treffen-Annenheim


TANK TV: An open Call for open minds welcomes submissions. Each piece of work is judged on its own merit rather than on name or history of the artist. In this way, exhibits the known and unknown artist side by side.

deadline 1 September 2009 – 1 September 2010
Java Museum – Forum for internet Technology in Contemporary Art will be celebrating in 2010 its 10th anniversary and is looking for Internet based art from the years 2000-2010
details, regulations and entry form

from 27 January 2010 – SFC – Shoah Film Collection
A Virtual Memorial Foundation/VideoChannel
More information and entry form.
-The films/videos may originate from the years 2000-2009
-Only complete films are accepted, no excerpts!
-The films/videos can be submitted only in a digital format –> Quicktime, AVI, mpeg2, .flv via an upload platform like SENDSPACE – or an URL online
-The duration of a film/video may be min. 1 minute and max. 15 minutes, the duration may be exceeded, but only on request.
-Max. 2 films/videos may be submitted
-Films/videos produced in another language than English, need in any case English subtitles

SEAM – screening photos & notes

‘The Fall’ video by Nikki Heywood and Heidrun Lohr had both strong and clear content and aesthetic, underlining the kinaesthetic feel of the fall.  (courtesy to Heidrun Lohr for the 3 last photos in this gallery).  I still keep images in mind of the floor/screen moving and blurring at the same time with this impression of giving way under the feet, as well as the screen (later in the piece) being the surface/membrane between the indoor and outdoor worlds.  I also liked the screen work R.U.N. shown at the end of the symposium by Paul Gazolla, playing on visual illusion of the body being suspended somehow in time or space with camera taking only 1 or few frames per second, while audiowise we were going through the physical breathe of the run!

2 screens were positioned in a right angle on the second day screening evening. It was used twice: for Sam James’ and Gretel Taylor’s works.  Sam uses 2 images side by side in each screen which makes it 4 frames within the space, where performers are jumping from real to 3D sets through editing transitions, which I liked, allowing each frame to rotate and made me think about a Rubik’s cube, like the screen surface hides other facets… I was wondering why the work wasn’t presented for 4 screens? with a possibility for audience to maybe enter a space or walk around it?

After listening to the paper of Physical TV, promising an interesting interaction and use of Second Life (SL=3d world on internet) with real space and dancers, I was disappointed for several reasons.  First, to see that SL was just used as a set (projected behind the dancers, like in ancient theater painted flat backdrop but, yes, changing thanks to the animation), second that there wasn’t possibility for audience to be online, third the use of narrative as a need for linking real to virtual (in the tradition of Disney cartoon!).   On the other side, I was impressed by the programming of the SL avatars’ gestures, obviously they had a bigger range of movements than usual avatars, mirroring the movements of the real dancers.  But I couldn’t stop wondering for which purpose?   I will write more about SL in further posts in the Networked Performance section of the blog, as I am interested to see how platforms on internet can be used for active performance.

Maybe I missed a possibility of extending the dialogue/questioning during SEAM about the interests people have in using virtual world(s), mixing real and virtual bodies.  What can be the interactions of these bodies as performers but also with proximal and online audience?  What is the leap in  screendance between 1 screen, multiscreens, screens creating fixed/movable spaces acknowledging  depth of the projections?  How do content and form(s) interact, grow together or not?