net art, video, performance

Annie Abrahams

Huis Clos / No Exit – Remediating the Social

Three public preparation sessions / Three performances

Remediating the Social – ELMCIP conference
Edinburgh College of Art, University of Edinburgh, in collaboration with New Media Scotland and University College Falmouth

With Annie Abrahams, Ruth Catlow, Ursula EndlicherNicolas Frespech and Igor Stromajer.

The project is a follow-up of Huis Clos / No Exit – On Translation presented on 29/05/2010 at NIMk in Amsterdam.

This time the preparations for the performances are public.
Via huisclos.mosaika.tv you can see us. You can comment, do suggestions, give ideas in a separate chatwindow.

Preparation as Performance
Preparation 1  :  25 October 6pm GMT
Preparation 2  :  2 November 2pm GMT (find you local time)
Preparation 3  :  3 November 2pm GMT (find you local time)

Performances :
1 November 8pm GMT
A networked performance Exposition on the New Aesthetic
Edinburgh College of Art

free entrance without reservation
Online huisclos.mosaika.tv>(find you local time)

2 and 3 November 3.30pm GMT
Edinburgh College of Art

streaming interface Ivan Chabanaud mosaika.tv
technical assistance Jan de Weille

Will we choose to use more or even less rules? Will we need a leader or continue without one? Maybe Ruth will become a leader naturally because she is only one authorized to use English, the language understood by all. What can we share? How can we position ourselves? What kind of voice will be possible?

More information including an image and a .pdf of the first preparation session : bram.org/huisclos/beyond
Information en français.

25/10/2012 5pm, email to performers :

Remember
Never panic. Nothing can go wrong.
Even if all but you disappear the performance goes on, the others will come back.
Networks are fragile.

What will we do :
Work together to get an idea for the performance of next Thursday (when we will only speak our mother tongues)
Decide together what we will do next Thursday, when there is an official ELMCIP performance announced and to be executed in front of the conference public.
Today we are allowed to speak English.

5 min VideoCollage of the final 3 performances (70 min)
I – Exposition on the New Aesthetic.
II – Newer Aesthetic.
III – The internet is not as good as it was yesterday.

Filed under: Performance, , , , , , , , , ,

Wie zaait zal oogsten.

Le 1 décembre 2011 Simon a planté des graines pendant la performance Huis Clos / No Exit – Training for a Better World au CRAC à Sète. Voilà ce qu’il en est le 1 janvier 2012.


Art Documentaries
a fait un très beau compte rendu en photo et son de cette performance.
Complete photoset sur flickr.

Filed under: Performance, , ,

Performance Huis Clos / No Exit au CRAC à Sète

Training for a Better World - Annie Abrahams
Photo 2010 performance Huis Clos / No Exit – On Translation, NIMk Amsterdam. Courtesy: Olga Westrate.

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Huis Clos / No Exit – Training for a Better World

Le 01/12/2011
Performance avec David Lavaysse, Emilie Schalck, Marguérite Leudet, Simon Nicolas, Sophie Valero et Valérie Severac.

Nous aurons, un serre-joints, des clous, un marteau, du bois, un jeu de cartes, des livres, des plantes, des couvertures, des instruments de musique, un vélo d’appartement, un tshirt superman et de la terre pour nous entraîner.

1er décembre 2011, à 19h00
Tous publics – Entrée libre.
Centre Régional d’Art Contemporain Languedoc-Roussillon
26, Quai Aspirant Herber
34200 SÈTE – France
Tel : 33 (0) 4 67 74 94 37

Dans le cadre de l’exposition Training for a Better World au CRAC de Sète, Annie Abrahams présentera une performance “Huis Clos / No Exit“, où 6 artistes, via des ordinateurs et des webcams, tous dans des endroits isolés, dispersés dans l’espace, se partagent un espace d’expression et de responsabilité, un terrain de jeu, un laboratoire : la projection de leurs images et son dans une seule vidéo projection devant le public. En exécutant un protocole de performance écrit par l’artiste, ils créent en direct devant les yeux du public un récit contemporain sur la problématique de la communication à distance et la dynamique dans un groupe dispersé, sur l’être ensemble possible dans un monde connecté.

Performance réalisée avec l’aide à la Création de la Région Languedoc Roussillon.
Avec le soutien de Kawenga Montpellier et U-StructureNouvelle Montpellier.
Résidence préparatoire  le 27 et 28 novembre au Domaine d’O, domaine départemental d’art et de culture, Hérault, Montpellier.


Captures d’écran pendant la résidence au Domaine d’O.

Photos of the residency at Château d’O.

 

 

Filed under: Performance, , , ,

Exercises in remote collaboration – Huis Clos / No Exit – (or, “how cyberformance reveals intimacy”)

by Annie Abrahams for ISEA 2011 Istanbul

In 2009 I started the artistic research project Huis Clos / No Exit. In this project I use a specially developed interface to unite several people remotely in a shared performance space that becomes subsequently both a laboratory and a playground. The performance experiences using this interface, suggest that today’s intimacy is no longer revealed through private images but through behaviour captured in real time interactions.

Nowadays, people use webcams to film themselves and to express their ideas and feelings to the unknown other that will look at their videoblog. People rarely use their web- or phonecam to talk to someone else. The use of Skype is either very business like or restricted to family members. In Internet applications as Chatroulette people rarely exchange more than a glance. What they look for is their alter ego or an opportunity.
In her book  “Alone Together” Sherry Turkle [1] describes how we hide more and more behind technology, how intimate communications start being something to avoid rather than to look for, how smartphones help us to flee our fear for the other, how we learn to control our relations via interfaces and how we are adapting our behaviour to this new situation.
Facebook teaches us how to simulate intimacy, how to make relations easy, clean, and without danger.  At the same time these relations also become superficial and makes us ask: Who are we when we don’t perform? Why can’t we show our vulnerable, messy sides? Why can’t I be boring and cherish solitude anymore?
In a society where authenticy and privacy become endangered it is important to find ways to access our vulnerabilities and doubts, to make them public, to cherish our messy side, to make place for the beast in the beauty, to go back to reality, to claim the human.

In 1998 I worked with at least 8 other French artists, I never met, on a collaborative website called lieudit.org . The site and the collective died in 2000 but I still have very nice memories of for instance our IRC rendez-vous during the launches of the virtual exhibitions we organised. Collaborating in a shared website was very stimulating, but in the end we couldn’t find a common goal to make us negotiate better our differences and so we split up. It was very frustrating to learn that behind our machines we couldn’t overcome these political and philosophical and emotional differences, that problems were exaggerated and stayed insurmountable.

This was the first time I noticed that collaboration using machine wasn’t easier, maybe not more difficult either, but different from ordinary face to face communication. Later experiences with online collaborative creation interfaces as for instance Furtherfield’s VisistorsStudio confirmed this.

So when in the early 2000 people started talking, dreaming and glorifying the advantages of Internet collaborations, I was very doubtful and somewhat vexed and decided to start thinking about how to use the recently developed streaming interface of panoplie.org for working on these problems. (1)

In telematic performances intimacy is not there where you think it is. The Big Kiss performed with Mark River (of MTAA) in New York in 2007 [2]  might have looked as an intimate performance, but in fact it was closer to a “drawing à deux” session than to a real kiss. (even if it did awake intimate feelings as drawing on paper of a kiss might have done too). In the telematic performance “One the puppet of the other” with Nicolas Frespech (Paris 2007) [3], we felt most intimate, most close together when we didn’t exchange, when we were waiting, when nothing happened.

In 2008 I started Huis Clos / No Exit :  A networked performance series investigating collaboration  at a distance – the project was also about relational dynamics in a dispersed group. [4]  With an interface developed by Clément Charmet (panoplie.org) and Estelle Senay (x-réseaux – Théâtre Paris Villette) I could unite the images and sounds of the webcams of up to 6 participating performers in a mosaic. The physically separated performers could share borders and interaction surfaces in a common virtual space and become co-responsible for the mosaic image projected in front of the public during performances. At all times they had this same mosaic image on their screen.

A first experiment took place in November 2008 in the International Laboratory Interactive digital media on stage organized by NU2’s in L’Animal a l’Esquena, in Celrà, Spain. In one of the tests I asked three performers to execute a protocol that stated that, before leaving the performance interface they were to compliment the others after having insulted them. It was strange and beautiful to see how they couldn’t stop complimenting and saying nice things to another. Later I became more and more aware of how the performance interface, besides allowing observation of behaviour in collaboration and auto-organisation, can also reveal private, intimate behaviour to the public. The cyberperformers are so occupied by their interactions, that they don’t have time to negotiate their image as they mostly do on the Internet.

I talked about machine-mediated  revelation of intimacy in an interview with Maria Chatzichristodoulou published in Digimag in Oct 2010. [5]

I always look for situations that make any attempt at escaping from exposure impossible. In general I do not rehearse my pieces. If this is necessary –for instance, due to technical reasons­– I write new protocols for the final performance. I try to find ways to penetrate the other performer –just for a second I want them to expose themselves to me (and to our observers) in an action, or a response, that is out of their control. I want them to unveil something they usually hide or only disclose in situations of complete trust, of complete intimacy. I want to know how they function, not by them telling me, but by me almost forcing them to reveal an instance of their ‘hidden code’ in public. I want us to go beyond self-representation and the control that this requires. Am I really forcing them to do this?… No I am not. What happens is that the situation in itself –that is, the telematic performance interface, the protocols, the flaws in the streaming connections– rewrites the conditions of communication in a way that makes this revelation possible, if not inevitable.”

Because I think we need to counterbalance the tendencies to make our Internet-mediated relations cleaner, faster and more and more secure I started paraphrasing Rancière “The real needs to be trapped in order to be available for thought”. [6] (2)

Notes

(1) From 2006 – 2009 I organised with panoplie.org the Breaking Solitude and later the Double Bind webperformance series . While they started out as performances around the idea of the internet as a public space of solitude they became more and more involved with experimenting “different ways of being together” What can we share, what do we share, how are we interacting and what is this technology doing to us? http://2008.panoplie.org/2008.panoplie.org/#//DoubleBind

(2) Because the Huis Clos / No Exit interface makes people film their own image, a collaborative cyberformance using it can also be staged as a live production of  an autonomous video, available for reflexion. http://bram.org/huisclos/toutvabien/indexang.html

References

[1] Sherry Turkle, “Alone Together: Why We Expect More from Technology and Less from Each Other” (New York: Basic Books, 2011).

[2] Annie Abrahams, “The Big Kiss”, 2007, http://www.bram.org/toucher/TBK.html (accessed September 7, 2011).

[3] Annie Abrahams, Nicolas Frespech, “One the puppet of the Other”, 2007, http://www.bram.org/confront/sphere/indexeng.html (accessed September 7, 2011).

[4] Annie Abrahams, “Huis Clos / No Exit”,  2009, http://bram.org/huisclos/indexang.html (accessed September 7, 2011).

[5] Maria Chatzichristodoulou, “Annie Abrahams, Allergic to utopias”, Digimag 58 October 2010, http://www.digicult.it/digimag/article.asp?id=1902 (accessed September 7, 2011).

[6] Rancière Jacques, Le Partage du sensible. Esthétique et politique (Paris: La Fabrique, 2000)

Panel : Intimate TV: Webcamming & Social Life-logging In the Surveillant-Sousveillant Space.
Chair: Paula Roush, Maria Lusitano
Presenters: Annie Abrahams, Margarida Carvalho, Cinzia Cremona, Eunice Gonçalves Duarte, Helen Varley Jamieson
Date: Sunday, 18 September, 2011 (13:00 – 14:30)
Location: Sabanci Center,  Room 3, Levent

Filed under: Articles / Texts, , , , , , , , , ,

6×6/36

For this first opus of the Whish You Were Here! Serie, focusing on the theme  of Mobility, the two curators, Cyril Thomas  and Jean-Luc Soret, have selected works  by artists with very different aesthetic  approaches: Annie Abrahams, Beatriz da  Costa, Nicolas Frespech, Antti Laitinen,  Albertine Meunier and Servovalve  (Gregory Pignot and Alia Daval).

6×6/36 belongs to the series Wish You Were Here! a series of thematic projects proposed by the Collectif NUNC, at the crossroad of printed and electronic publishing and new ways of exhibiting art. Three questions are at the basis of the project Wish You Were Here!: What is the role of exhibition catalogue for contemporary art? What is the relation between printed and electronic publication for exhibitions? How can artworks that are no longer « objects » be exhibited? In short, how to redesign and rethink exhibition and curation today?

6 x 6 / 36 – Déplacement / Mobility
Éditions Subjectile
8, rue Ferrand BP40506 — 59321 Valenciennes
ISBN : 9782365300001
Dépôt légal : septembre 2011

Bilingual print publication on self-adhesive paper.  Order from Subjectile. 9,50 € VAT included. A shipping charge may be added.
A digital version of the book (in French or in English) can be downloaded from the online bookshop Immatériel and printed on self-adhesive paper.

Launch : Wednesday 14 September from 1pm to 2:30 pm at the Sabanci Center, Levent (Istanbul) as part of ISEA 2011.

Information en français

Read the rest of this entry »

Filed under: Exhibition, Net art, , , , , , , , ,

ISEA2011 Intimate TV etc.

Panel Intimate TV: Webcamming & Social Life-logging In the Surveillant-Sousveillant Space

Chair: Paula Roush, Maria Lusitano
Presenters: Annie Abrahams, Margarida Carvalho, Cinzia Cremona, Eunice Gonçalves Duarte, Helen Varley Jamieson

Date: Sunday, 18 September, 2011 (13:00 – 14:30)
Location: Sabanci Center,  Room 3, Levent
Report by RadioCona

Annie Abrahams’s presents: Exercises in remote collaboration – Huis Clos / No Exit – (or, “how cyberformance reveals intimacy”).
(My presence at the ISEA 2011 is made possible by the Roberto Cimetta Fund)

Panel SENSORIUM: Interdisciplinary Practices of Embodiment and Technology

Chair: Janis Jefferies
Presenters: Ghislaine Boddington, Maria Chatzichristodoulou, Anna Dumitriu

Date: Sunday, 18 September, 2011 (09:00 – 10:30)
Location: Sabanci Center,  Room 1, Levent

Maria Chatzichristodoulou presents: Annie Abrahams’s Experiments in Intimacy

Panel: 6×6/36 : An Artists Book/Exhibition project

Chair: Cyril Thomas
Presenters: Jean-Luc Soret, Clarisse Bardiot, Annick Bureaud

Date: Wednesday, 14 September, 2011 (13:00 – 14:30)
Location: Sabanci Center, Room 3, Levent

At ISEA 2011 in Istanbul, the French-based Collectif NUNC (Clarisse Bardiot, Annick Bureaud, Jean-Luc Soret and Cyril Thomas) is launching the first notebook in the 6 X 6 / 36 series on the theme of mobility.

The six participating artists are : Annie Abrahams, Beatriz da Costa, Nicolas Frespech, Antti Laitinen, Albertine Meunier, Servovalve.

Filed under: Conference / lecture, , , , ,

Entraînement – festival OPEN

23, 24, 25 juin 2011
21h15

Huis Clos / No Exit -
Entraînement pour un Monde Meilleur

Durée 40 min
Jauge 20 personnes
Réservation :
resa@theatre-paris-villette.com

01 40 03 72 23

Salle Bleue
OPEN
du théâtre Paris-Villette
Festival des Scènes Virtuelles
Parc de la Villette
Metro 5,  Porte de Pantin
75019 Paris

INTÉRIEUR NOIR assis devant le grand écran, les interprètes compilés en temps réel.

Avec  Maryline Cuney,  Martine Klein,  Nathalie Lamande,  Patricia Liney, Aurore Mélody Rocher, Juste Rustiké, Virginie Will et Stéphanie Zygmut.


Archives
(photos, vidéos, protocole)


Les artistes que nous avons choisi d’inviter pour ce premier Open du Paris-Villette ne signent pas leur geste par une seule et unique forme de représentation.

Ils se manifestent ici, sur un plateau de théâtre, ou bien ailleurs, à distance, sur ce territoire des réseaux de communication. Des artistes attentifs ou indifférents au cadre technologique, c’est selon…
Ils inventent, interrogent les cartes de ces mondes connectés, celle du temps et celle de l’espace, pour les publics. Ils nous livrent leurs propositions assemblées en ce premier Open du Paris-Villette, festival des scènes virtuelles. Les scènes de ces artistes existent bien, elles sont réelles et virtuelles à la fois.  Patrick Gufflet Read the rest of this entry »

Filed under: Performance, , , , , , , , , , , ,

La coopération n’est pas toujours …

Mercredi 15 juin 2011 18h
Campus Montpellier SupAgro
Site de la Gaillarde

La coopération n’est pas toujours, ne démarre pas toujours au quart de tour.

Performance Huis Clos/ No Exit
pendant les Rencontres MousTIC  2011 – Les réseaux, écosystèmes de l’intelligence collective ?

Avec Sandra Bébié Valérian (artiste plasticienne), Bérénice Belpaire (artiste plasticienne), Mathias Beyler (comédien, metteur en scène) et Muriel Piqué (danseuse chorégraphe).


QR code Extrait de 4.37 min de la performance de 34 min.

Les fonctionnements en réseaux modifient nos comportements collectifs et individuels et nous invitent à repenser la façon dont nous coopérons et nous organisons. Ils ouvrent de nouveaux espaces de rencontres, d’échanges, et de production commune.

Plus d’informations, photos etc : http://bram.org/huisclos/moustic et sur http://moustic.info/PageEpisodeArtiste

Filed under: Performance, , , , , ,

Huis Clos / No Exit – Tout va Bien

Reality needs to be trapped in order to be available for thought

Huis Clos / No Exit – Tout va Bien
demo – performance, 30 March 2011
for the “Self-Reflexivity and Cinéma Verité” session
curated by Martine Neddam for the Studium Generale 2011
Cinema Clash Continuum – Film & History in the age of Godard
Rietveld Academy, Amsterdam.

Annie Abrahams with: Balthazar Berling, Lola Bezemer, Rozemarijn Hermans,Tirza Kater, Alexander Laurie and Anna Orlikowska

Interface development : Estelle Senay – Théâtre Paris – Villette
Videocapture : Bérénice Belpaire
More information on the seminar

I spend one afternoon with the students to prepare this demo – performance. Before we had some email exchanges. Here is the content of one of these mails :

“I don’t want to tell stories, neither am I interested in his stories – in history, maybe in her stories, but that’s another subject…
Read the rest of this entry »

Filed under: Performance, , , , , , , , ,

Video, protocole, photos On Collaboration workshop Toulon


12 – 15 janvier 2011 Workshop
Huis Clos / No Exit – On Collaboration
Session 3
avec le CNRR/TPM et INGEMEDIA/Université -Sud Toulon-Var.
Participants: étudiants techniciens et étudiants comédiens.

Les câbles ont une mémoire. Les techniciens doivent faire l’expérience de performer eux-mêmes. Les couvertures sont un chez soi. Les comédiens doivent maîtriser leur outil eux-mêmes, leur netbook avec webcam et casque-micro doit devenir une extension. “Qu’est-ce un cyborg?” “Qu’est-ce un mutant?” En lisant le texte Collaborations pendant qu’ils marchent, contraints par les câbles qui les lient comme un cordon ombilical au réseau, les performeurs entrent dans la salle où le public peut découvrir leur corps augmenté après n’en avoir vu que des images partielles. Ils dansent sur Daisy Daisy la première chanson chantée par un ordinateur. A la fin il sort. Nous écoutons des compliments.

EnglishPhotos – Vidéo (28min)

Filed under: Performance, , , , ,

Upcoming

* 21/10 - 4/11 2014 Mie Lahkoo Pomagate? (can you help me?) show at Axioma Ljubljana.
+14 11, 21h ReadingClub session Hors Série sur William Burroughs.
* 5 - 12/12 2014 Pixxelpoint 2014 festival Nova Gorica.

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