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 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>(find you local time)

2 and 3 November 3.30pm GMT
Edinburgh College of Art

streaming interface Ivan Chabanaud
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 :
Information en français.

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

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, , , , , , , , , ,

BEYOND (spectacle) – Episode I

Une ailleurs, une autre ici. Ces deux personnes sont connectées via une interface utilisant une webcam. Elles retranscrivent physiquement et en mouvement, comme des marionnettes, le texte écrit dans deux fenêtres (tchat en direct). Deux personnes liront ce texte en direct et à haute voix pendant que les deux performers exécuteront – le mieux qu’ils le peuvent- le protocole et les actions.

Beyond (spectacle) Episode I
Performance Annie Abrahams & Igor Stromajer,

Programmation Performances / Curator Madeleine Filippi
Vendredi 19 Octobre 2012 – 19h30
Room 7.2. 7 rue des filles du calvaire 75003 Paris

Streaming Ivan Chabanaud
Technical assistance Jan de Weille, Pierre-Henri Petillault
Reader for Annie : Marie Lavoquet
Reader for Igor : Thomas Roussel

Igor in Hamburg and Annie in Paris will be united in a webcam performance interface. Igor and Annie will be the marionettes to be put into (e)motion via the text written by the public on their smartphones. Two speakers will read this text aloud in front of the public while Annie and Igor will execute as good as they can the protocol and commands proposed to them.

Marionettes / Scripting Reality / On Manipulation / Txt Theater / Public Collaboration Dynamics

Photo Madeleine Filippi.

More images on flickr

As much an exercice in collectif writing as a performance.
Command log files:

Read the rest of this entry »

Filed under: Performance, , , , , ,

Housework, Gender and Subjectivity: Cultures of Domesticity

In  Domestic Dancing (2007) Olia plays the accordeon, while I am vacuumcleaning.

The work from 2007 is presented in

Housework, Gender and Subjectivity: Cultures of Domesticity

Monday, October 29th, 2012 through November

Opening reception, 6:30pm in the Gallery,

The Reynolds Gallery, University of the Pacific, Stockton, California

About the Exhibition:

Housework, Gender and Subjectivity: Cultures of Domesticity is an exhibition inspired by the work of feminist media artists working with issues of spectatorship, self, and identity. The exhibit, curated by independent scholar/artist/curator, Molly Hankwitz, focuses upon domestic space as site for the investigation of multiple aspects of gendered subjectivity, from the experience of real women and their performance as spectacularized subjects to notions of women’s place and our response to patriarchal, psychological and social oppression.

Across cultures, the role of the wife, the daughter, and duties of domestic labor within the household from cleaning to cooking to childcare and sex are frequently expected from women. In dominant western media, especially commercial advertising working to maintain a status quo, the stereotype of the perfect “housewife”, her duties and commitment to products remains a powerful ideology despite progress in feminism to speak alternatives. This stereotype has been the object of significant comment and critique for women artists in the history of art.

Housework, Gender and Subjectivity: Cultures of Domesticity brings together a group of contemporary feminist artists who dig into the gendered emotional, experiential and psychosocial domestic realms attached to ‘house’ and idealized versions of womanhood. The artists examine domestic labor and women’s place within it. Guest curator and published feminist, Molly Hankwitz brings together borders and boundaries of domesitc space where the housewife stereotype and the spectacle of domestic labor can be revisited as an art historical idea.

Read the rest of this entry »

Filed under: Exhibition, Net art, , ,


Online exhibition ~
from October 18, 2012 to December 31, 2012

With Annie Abrahams, Anthony Antonellis, Alain Barthélémy, Laura Brothers, Marco Cardioli, Gregory Chatonsky, Claude Closky, Caroline Delieutraz, Constant Dullaart, Nicolas Frespech, Emilie Gervais & Sarah Weis, Emilio Gomariz, Julien Lacroix, Julien Levesque, Filipe Matos, Albertine Meunier, Lorna Mills, Antoine Moreau, Mouchette, Fabien Mousse, Esteban Ottaso, Rafaël Rozendaal, Nicolas Sassoon, Antoine Schmitt, Nicolas Sordello, Linda Suthiry Suk and Systaime.

The exhibition seeks to highlight Net Art creation, proposing to unite around a common interface different generations of artists who use Internet as a medium.

Artists invited by Caroline Delieutraz and Julien Levesque.

 My participation : La Fin d’un Monde. With : Voices by M. Philippe and Mme. Frédérique Mercy, volunteering firefighters in Delle, who read a text PeurS written by the visitors of (Sound engeneering : Rémy Bux. Production : l’Espace multimédia Gantner – Conseil Général du Territoire de Belfort &, An image of Rassur, a partcipatif drawing on the wall of my exhibition Training for a Better World Autumn 2011 at CRAC LR Sète.

Filed under: Net art, , , ,

Cyposium 2012

October 12, 2012 3:00 pm – October 13, 2012 2:00 am UK.
Online symposium on past cyberformance projects.

What dif­fer­ent kind of events hap­pened? What did they make pos­si­ble? What was spe­cial about the event? Why were things done in a cer­tain way and what were the results?

With Maria Chatzichristodoulou, Auriea Har­vey and Michaël Samyn, Alan Sondheim, Mil­jana Perić, Stephen A. Schrum, Joseph DeLappe, Adriene Jenik, Active­Lay­ers, Roger Mills and Maja Delak and Luka Prinčić.

For more information

The Cyposium is organised by Annie Abrahams, Christina Papagiannouli, Francesco Buonaiuto, Helen Varley Jamieson, Katarina DJ Urosevic, Martin Eisenbarth, Nathalie Fougeras, Suzon Fuks and Vicki Smith.

Filed under: Of interest

Live or Faked.

Theme Song Revisited – After Acconci will be screened during the ISEA2012 Latin American Forum on the 22nd of September.

I found some notes on the piece and on Low Lives (published on New Media Curating mailing list) that I would like to share here again :

“One of the important things about Low Lives, is that it tries to open up webperformances to the regular art world and on the other side may help regular performance artists think about what is specific about performing using streaming. This means the festival contains a lot of performance that only sees it as a performance venue, but there are also some exceptions.

Last year I did a performance called Theme Song Revisisted – After Acconci. Acconci at the time when he made Theme Song reflected in this work on the difference between cinema and video (on the intimate qualities of video) in a time artists started using video, but when videoart in galleries and museums wasn’t accepted yet. By taking Acconci’s protocol and adding just a layer on the image with my telephone numbers I tried to stress the difference in communication possibilities between 1964 and 2011. Unlike Acconci I was available directly for contact, the public just had to call me and I would show my face, start a live conversation with who ever might call. To my surprise nobody called but my friend Helen Varley Jamieson when the performance was almost over. Of course, I thought later (and reading Sherry Turkle’s book “Alone Together” confirmed this) telephone has become an intimate, almost private and dangerous way to contact people.

This example illustrates an important issue in webperformance: Is it live? Isn’t it faked? Yes this time it was life.
But does it make a difference? Sometimes yes, sometimes no. I have assisted in webperformances that turned out to be videos. I didn’t bother me because I believed in the story and it could have been live (fake glitches, time lapses etc. were carefully mounted in the video)
In my own work it always does make a difference. This is because I don’t tell stories, but do research :).  At the same time you can find lot of videos of my performances online. Why not? Some are proof or witnesses; some have the status of stand-alone videos others of remixes or even cinema. They are as real as the performance moments were, but they exist in a different conceptual frame and serve other goals.
Because in these performances the performers control their own image, a performance can also be staged as a live production of a video, and sometimes I think that this might be the only thing that makes it different from reality TV, but that is another subject.

For me the most important aspect of the live issue is the way it relates to control and power. Life performance always means accepting to show one’s own vulnerability, it includes the possibility of mistakes, errors, breaks, failure, etc. This absence of total control leads to extra excitement for the public (whether online or offline)”

When I showed the video of the performance in the show Training for a Better World in the CRAC in Sète, I had about two to three calls a week of amazed people checking if I really used my own phone numbers – Will people  call me again during this screening at ISEA?”

Cinzia Cremona, PhD student at the University of Westminster, London. asked me some questions about this piece by mail and on that occasion I wrote her another detail : “to be honest – I also wanted to play with my age. Giving the public only my voice and skin and then suddenly appearing as an older lady – I thought might de-stabilize my caller and so give the whole some extra “pepper” / I thought this augmented it’s potential to reveal honest human behaviour. It was a way to go against stereo types.”

More info on the Low Lives presentation at ISEA :

Read the rest of this entry »

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

Personne nous juge – Chanson

Why shouldn’t we sing too? Défi final de Living Rassur – test. Résidence Living Room Montpellier. Info.
Avec Annie Abrahams, Annalisa Cocozza, Claire Oyallon et Charlotte Winling.


Ecoutez ces sons pendant que vous regarderiez le slideshow de la rencontre performative sur flickr.

Pendant l’exposition Training for A Better World d’Annie Abrahams au CRAC LR les médiatrices de cette exposition ont écrit des phrases collectées auprès du public sur un mur de l’exposition. Ce texte a été photographié et puis effacé. Sa retranscription sur papier était à la base du travail pendant la résidence de 4 jours avec ces mêmes médiatrices.

5 rue fouques, 34000 Montpellier

Filed under: Performance, , , , , ,

Living Rassur – Test, Résidence au Living Room

du 10 au 15 septembre

avec Annie Abrahams, Annalisa Cocozza, Claire Oyallon, Charlotte Winling

Matériel : – une chaise pour chacune – le texte du mural retranscrit et imprimé – du papier à mettre sur le mur pour noter collectivement des réactions, des souvenirs  – un zoomH4 – soundstation mp3 portative,  petits baladeurs – petites enceintes  –  mégaphone.

Rencontre performative le vendredi 14 septembre à 19h00

5 rue fouques, 34000 Montpellier
+33 (0)4 34 40 62 00 / +33 (0)6 62 52 61 59

Pendant l’exposition Training for A Better World d’Annie Abrahams au CRAC LR les médiatrices de cette exposition ont écrit des phrases collectées auprès du public sur un mur de l’exposition. Ce texte a été photographié et puis effacé.

Original 400 x 200 cm. Une image de ce texte (7207 x 3024 pixels) est à voir ici.

Est-ce que ce monde a besoin des phrases rassurantes ou plutôt de l’inverse? Pourquoi, comment, qui rassurer ?
A quatre, les femmes vont se pencher sur ces questions, se repencher sur le texte issu de l’exposition de l’automne dernier et si possible y donner voix.

Archives sonores ici – photo’s ici.

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

Trouble … Tafellaken – l’insulte – vidéo

Performance TafelLaken 01/06/2012 Trouble#8 Bruxelles

Compte rendu de Sylvia Botella dans
Trouble 2012, l’impureté sans conditions
La huitième édition du festival de performances bruxellois

Tout est dans tout. Sans empathie, sans fascination, la performance s’interroge seulement. Elle interroge notre monde en crise mais pas seulement. Elle dit que notre monde est crise. C’est ce que révèle, chaque soir, Lady Zone dans le salon de la Maison des Arts. Que ce soit Valérie Cordy lorsqu’elle déclare, énonce la catastrophe économique, écologique, sans cesser d’ouvrir des fenêtres vidéo/son dans Astéroïde ; Annie Abrahams qui s’insulte et demande qu’on l’insulte dans l’étrange Taffellaken portée par la violence et dont la violence est le seul horizon ; ou Lucille Calmel, dans Dark Matters (Outreciels), la machine tout contre la peau pour mieux l’achever, l’ensevelir. Elle tue la machine qui ne promet plus rien. La performance est autant dans le monde qu’il est en elle. La créature/Pascale Barret nous le rappelle en nous faisant entrer dans la danse. La performance est la greffe monstrueuse entre les chairs du performeur et du monde, brouillant les distances, débordant les frontières et pulvérisant le temps

Read the rest of this entry »

Filed under: Articles / Texts, Performance, Video, , , , ,

Oppera Internettikka – Protection et Sécurité – article


page 115 – 117 de Numérique et transesthétique
Édité par Gérard Leblanc et Sylvie Thouard,
Éditeur Presses Universitaires du Septentrion
ISBN-10 2-7574-0373-7
ISBN-13 978-2-7574-0373-0

Oppera Internettikka – Protection et Sécurité
Performance inter-média
Annie Abrahams & Igor Stromajer
Opéra National de Montpellier Languedoc Roussillon
, France, 15 décembre 2006.

Filed under: Articles / Texts, performance, , ,

Upcoming / ongoing

  • May 24 – August 2, Séparation in Afterflash exhibition, ELO’s The NEXT
  • 24-28/08 Constallationz : la matinale, 3 émissions radio, Résidence Espace Gantner, Bourogne.
  • 19/05 – 19/11 2021 Moving Paintings (1998), Sans Objet, Centre Pompidou.
  • PWEM, Art was only a substitute for the Internet, The Wrong Biennial, 2021-2022.
  • Distant Movements with Muriel Piqué and Daniel Pinheiro – ongoing
  • End of 2021 Distant Feelings with Daniel Pinheiro – yearly reconnexion

Find :

Join 100 other followers


Annie Abrahams
%d bloggers like this: