Fluidata is a project, James Cunningham and I developed over 2 years.
First stage was travelling around Queensland, 7500 kilometres, meeting people, giving workshops, and gathering media, data and stories.
Second stage was researching and making/developing an installation.
Third stage was working in residence at The Block, Queensland University of Technology Creative Industries Precincts in order to present an explorative installation, combined with performances onsite and online with a small team.
photos by Laura Steiner – performer-deviser Anna Yen – rehearsals and last showing of the work in progress developed during a residency at the Judith Wright Centre of Contemporary Art in Brisbane, 22 October 2011
Automate self-playing installation by Norway artists…poetic, humorous, strong. (I have to find details in my suitcase!)
It was the first room in the basement, the objects seemed to be recup from a beach and were making sounds when activated. they were moving on rails, there were 2 projectors on frontal, and one retro-projecting + 4 strong side diagonal lights which were performing as much as the objects.
Projection of submarine, water,… can’t say exactly. At time, projections were made to fit exactly the objects, inhabiting them. I dived into another world.
00:00 ‘Birthday Suits’ by Misha Le Jen, Russia – Extreme Costume
00:29 ‘Missing’ – Best Curatorial Concept of an Exhibit: Hungary – conceptual unity immersing visitors in an enigmatic, metaphorical world, focusing on the plight of the artist in contemporary society.
01:25 students models integrating video screens
01:53 Roman and Alexandra water waves modulating with different sound frequencies
02:35 student work, Serbia
02:52 staircases at the boxes (Intersections exhibition)
In the Boxes of Intersections – Intimacy and Spectacle: Intimacy and Spectacle is a special international project of the Prague Quadrennial of Performance Design and Space 2011 that explores space as creator of the audience/viewer and visual art/theatre relationship and performance as an important element of different art and cultural disciplines.
03:39 – 3 heads
05:23 – alone, in a dark box ….designed by Romeo Castellucci
06:29 – Australian students work – a wheel…
plan & photos of the shopfront for planning installation
Visits to artists encouraged me to formulate better and further the concept of VIRTUAL FOUNTAINS and what networked performance means. It also showed me that if the project is based on contribution and collaboration, it needed to be done in stages.
So Scotia and I made an installation performance at Tembi contemporary Gallery, followed by an artist talk and few days later I gave a workshop (next post).
The installation performance was closely connected to the gallery’s two ponds. Beautiful art space! Plastic bags full of water hung over the ponds (people use them here for drinking). Two of them contained a goldfish. There were 2 simultaneous projections on the walls behind the ponds:
– video of village people, grouped by age, drinking, mixed with images of waterfalls (from plenty to scarcity), ending on an image of drought
– animated loop of Scotia and I drinking from plastic bottles, using internet platform Upstage, with participation of Marlena Corcoran as a remote performer in Munich, performing/responding to me in real time. When the water diminished in the other projection, a wall of plastic bottles gradually covered the frame.
A soundtrack built up, consisting of a common ‘choosing’ rhyme (‘I love him, I love him not’ in 3 languages: Bahasa Indonesian, English and French) layered in crescendo and gave rhythm to Scotia for developing a movement variation inspired by water usage and then, piercing the bags (with same idea of plucking petals from a daisy) creating waterfalls from each into the ponds. This continued until only the bags with the fish remained.
At this point, 2 fish appeared on UpStage saying ‘I love the world, I love it not’ and developed a short ‘on-line performance’. Scotia released the fish into the ponds and piled up all plastic bags.
The cartoonesque fish on UpStage then introduced my artist talk about VIRTUAL FOUNTAINS. – photos by Elly Mangunsong –
Yes, got my both knees fixed (torn menisci), and I am on the road again!
I am following Bonemap process to make their new work COVE at KickArts/COCA in Cairns.
I wanted to learn more about Isadora software for which one of the collaborators (Jason Holdsworth) programmed a patch for particles (using Freeframe + a library he found online with Star Trek particles!!!) and in exchange I am documenting. Interesting work, but as usually with projections on black scrims, a nightmare to document! The audient (only 1 person can enter the cove at a time) dives the screen, interacting at several levels: with the projected visuals initiated by Russell Milledge, the surround sound by Steven Campbell and with Rebecca Youdell the performer who takes people on a memory/dream-like journey. To be experienced more than talked about! Below, a making of/behind the scene video.
I also went to a dance meeting organised by Arts Nexus about a Dance strategy developed for Far North Queensland: interesting to see the diversity of people and cultures, always same question about how to connect with the art world and generate audience interest while so remote from capital cities.
I gave 2 presentations of my work to students from James Cook University and listen to a group of them pitching their project.
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.