Posts Tagged ‘festivals’

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

Call 4 participation to “Sprinkler Fountain” for the 101010 UpStage Festival

SPRINKLER FOUNTAIN by Suzon Fuks (Australia), Miljana Peric (Serbia) and Tara Rebele (USA) can be plotted as a net with many idea-sourcing knots, rain of conceptualized drops, cradle for discontinuous fluxes in which particles of waterdreams and waternightmares meet each other for a moment or two.

It is a place where you can leave your waterstory, waterpoem, watersketch, or whaterever: > subject: water.

It is a time when you can get other kinds of aesthetic fluctuations, through the force of streams which have to be caused by decorative and dramatic tidal resonances.
We can’t tell you any more, because this plot is highly dependent upon the coming myriad of tiny aqua-semantical dataflows.
The only saying that would flow around for now is: to sprinkle or not to sprinkle?

SPRINKLER FOUNTAIN is part of VIRTUAL FOUNTAINS:  for 101010 UpStage Festival, there will be presentation of initial ideas of a new project about WATER, a currency in all cultures, a compelling issue providing metaphors and vocabulary for creative exchange online and on-site.

In other words: please send us before the festival memories, tales & media about water that you are happy for us to use: > subject: water, or just turn up at the fountain on the day! we will post a link closer to the date.

Backyard Dances & Electrosmog Festival

James and I participated in BACKYARD DANCES, an on-line community dance which tempted to bring the ordinary and the local to the global stage through a collection of backyard video streams performed by Becca Wood and dancers in Berlin, Brisbane, Oklahoma, Taipa, Auckland City and Auckland Waterview. These locations were linked by the same sound score made of a mash up of backyard videos sent by contributors responding to a call for participation.

Backyard Dances was made for the Electrosmog Festival performance/events program.
ElectroSmog is a new festival that revolves around the concept Sustainable Immobility. The festival introduced and explored this concept in theory and practice. With Sustainable Immobility they refer to a critique of current systems of hyper mobility of people and products in travel and transport, and their ecological unsustainability.

UpStage 090909 showreel


KEDJA09-body-data-spaceIn October 09, KEDJA Oslo encounter was focusing on Dance and New Media.

Kedja from Creation Editor on Vimeo.

TELE-PLATEAUS event this morning 6 Dec 09, at 5am (Oz time) in the context of Cynetart Festival in Dresden. Aim of Tele-Plateaus: to establish a permanent network allowing for direct audiovisual real-time interactions between similarly configured public sites and performance stages across Europe. Tele-Plateaus is composed, controlled and structured by movements of people from different cities. Within these networked stages and sites people from Dresden, Madrid, Norrköping, and Prague (among the first connected cities) can dance and play together. They can simultaneously create pictures, sounds, and light effects by means of their own movements without operating any additional interfaces. The shared virtual hyper-site is based on the generation of data that is available for processing to all computers within a common network. Movement parameters (speed, spatial position, etc.) are captured and digitalised by camera-based motion system and exchanged between computers at distant locations with a technically similar configuration.
DANCETECH was producing the streaming of the event and diffusing interviews about the processes experienced by artists participating at the preparation of the event.
(I found some interviews posted afterwards here)

CALLS: Next Wave, Circuit Soup & Move The Frame

Next Wave and Reeldance are commissioning 5 new short screendance pieces by artists under 30. more info click here – deadline 21 October
New screendance festival presenting works using high street shops as the venues rather than traditional art spaces
Move the Frame offers an on-going list of up-coming dance film festival and funding submission deadlines

090909, peter greenaway & online performance experiments (from paris and munich)

Cool, 090909 finished!  20 hours marathon, which was about 26 hours for me (with 4hours sleep) between last rehearsals, making last minutes media, recording, performing and watching other performances (I love to take part as an audience member)!  Briefly: interesting new drawing possibilities with the performance LINES (bravo Ben Unterman and team from Canada), effective and sobre animations in SMITHS,  beautiful graphics and sounds in MAUI.  I didnt see all of SNOW WHITE but enjoyed watching part of this twisted version.  Interesting to have at time some provocative thoughts in audience chat.

Last week, I heard an interesting and entertaining talk at writers festival about science-fiction & science! Believable or not, true, non-humans, future of our imagination,…
Saw some early films by Peter Greenaway on Sunday. We are lucky: big retrospective at GOMA cinematheque. Inspiring and also funny to see how some specific interests are still in the air: frame and rhythme / narrative & absurdity & surrealism……. “water wrackets” good treat for the eyes.
In “The Draughtsman’s Contract”, the frame in the frame (perspective drawing viewer in foreground of the filmic frame) is still stirring thoughts about the container, the contained, the abyss/huis clos, also how people move laterally in and out of the frame, like sliding doors.

Brisbane Festival started with an exhibition of LAND by Ulf Langheinrich, experiential digital field, like a macro imagery of particles forming, deforming and reforming spaces.  Powerful and hypnotic, I wished I could walk through this landscape, instead of being seated frontally.  “Genesis” (showing of a work in progress) with its multi-layered projections, although still needs to develop in terms of dramaturgy and playtime for devising, offered already clear and rich propositions.  I enjoyed this clarity and the openness for audience interpretation.

I am participating in the the last theater show ever experiment, preparation phase, opening dialogues…
Annie Abrahams mentioned an
interesting theater experiment at the whole theater show organised from Théâtre La Villette in Paris takes places on the Internet.
Am in Sydney at the SEAM symposium, so will continue writing in the “travel” space of the blog.

screendance – intro

The fellowship, awarded to me by the Australia Council for the Arts, will allow me to dive  into old footage I collected over the years and didn’t have time to address.  I will be able to watch, catalogue, note, and dig into what was potentially latent material, things that i preempted, sensed, but that I will be able to see and articulate more clearly with distance. This is something that I did for FRAGMENTATION, showing how valuable it is to take time to reflect.  I wrote more on this in an article in  Fragmentation has been screened in a dozen festivals and more than 25 venues so far, which I will try to update in the top menu “about” > screendance festivals.

My interest in performance for the camera comes from my performing arts and visual arts education. I discovered the camera when I was at La Cambre in Brussels, a school formed on the philosophy of the Bauhaus, examining how different artistic disciplines inform each other.  La Cambre is where I completed my Masters in Visual Arts. The camera was a great tool to unify the performance and visual spaces and it allowed me to notice the dance of light: the light in perpetual motion, revealing what we see.  The camera became like a pen: documenting but also writing and refining ideas, drawing the frame.  At that time, it was a super8 film camera, with the tactile feel of cutting and pasting the celluloid in a linear fashion. With the digital reign, I became more and more interested in editing, which allows the designing of the space visually and auditively.