net art, video, performance

Annie Abrahams

Angry Women take 5


21 04 2012 19h30
l’ancienne laiterie Les Bouillants, à Vern-sur-Seiche
Angry Women Take 5
vernissage /  opening event of Frontières

With / Avec : Annie Abrahams, Bérénice Belpaire, Ienke Kastelein, Inès Kchaou, Julie Châteauvert, KRN, Laurie Bellanca, Pascale Barret, Paula Roush and Simona Polvani.

12 Minutes long 9 women in front of  their webcams, connected via a common interface to internet, will express their anger, their irritations. In contrast with the four previous performances in the Angry Women series, this time, the women will be able to act on their presence in the interface – this way they will try to get as close as possible to their anger.

Pendant 12 minutes 9 femmes devant leurs webcams, connectées via internet à une interface commune vont exprimer leur colère, leurs énervements. A l’encontre des 4 performances antérieures les femmes vont cette fois-ci pouvoir agir sur leur présence dans l’interface – elles vont ainsi essayer d’être au plus près de leurs colères.


Extrait 2.30 min. on https://vimeo.com/40947840

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

Analyses & reactions Raw Brut Angry Women

– acting versus performing / on gender / conducting and directing / pro and cons of the mirror situation / performance strategies / scripting and improvising / recording or not recording –

Download .pdf (8pages, a mix of French and English) http://bram.org/angry/women/analyses-raw.pdf

Annie Abrahams, Ienke Kastelein, Julie Châteauvert, Martina Ruhsam, Helen Varley Jamieson, Antye Greie, Paula Roush & Lucille Calmel.

“…Quant à la colère, notre contenance m’étonne toujours….Quant au choeur cependant: un million de choses à dire… d’affection, je crois avoir préféré la première version, celle avec trop de gens, celle avec les délais, les décalages, les difficultés d’orientations, les erreurs d’identification de voix, de parole, de direction, celle des échappées, et de l’orchestration fragile, fuyante, précaire… mais qui en arrive tout de même à ce silence final…qui impressionne. Sa durée aussi, qui laisse le temps aux fluctuations des états, le temps de dire ce qu’on sait déjà, le temps d’essayer de l’action, le temps de regarder les autres, le temps de se taire, le temps de tenter de s’arrimer aux autres, le temps de tenter d’influencer les autres, le temps le temps d’oser des paroles nouvelles inconnues de soi même, on ose cachée par le délai, on ose pour voir s’il y aura relais, on ose parce qu’on a le temps de devenir téméraire et de se dire, ah ouais? what if? et que c’est un peu ça aussi l’énergie de la colère: “ah ouais? what if?”

la grande grille, la possibilité de placer des regards, vers les autres et droit devant, vers ces autres qu’on ne voit pas. Le temps aussi de bien vivre le fait qu’on n’est pas ensemble pour vrai, enfin oui, mais non, et de sentir qu’il y a fiction possible… de découvrir qu’on peut faire semblant en se regardant les genoux de regarder sa voisine du dessous. et ça dit que la colère peut être fourbe.
mais ça dit aussi, qu’en colère, dessous, on peut aussi bien rigoler.
et puis ça laisse le temps de s’imaginer, ceux et celles qui verront et de les inclure…”
Extrait d’un émail de Julie Châteauvert 13/01/2012.

“…I enjoyed the multiple frames and all the heterogenous ways of how to deal with this situation. What I like a lot is the contingency that the performance implies and exposes. It is obvious that it is not really clear or determined for us what is going to happen. That makes it very interesting to watch. I love the silent presence of the woman in pink in the middle of the picture in take 1. I also love the big scream that you did together and the fists and the silence afterwards. I realised that understanding the language is somehow important because before we tried I thought that it´s nice that noone is really understandable and that it´s more about creating a kind of sound-carpet. But for me it was quite hard now to watch the take in French in which I almost couldn´t understand anything. So, I realised, that for me (from a spectator´s view) the content of what we are saying is not irrelevant and that understanding some bits and fragments of our talking is important…”
Extract from an email by Martina Ruhsam 14/01/2012.

Angry Women is a performance project about groupdynamics, remote communication and collaboration and female anger. bram.org/angry/women

Filed under: Articles / Texts,

Angry Women take 3 & 4

04 12 2011 18:30 Brussels  and online


Capture d’écran de Take 3 en français. vimeo.com/33492100


Screencapture of Take 4 in English. vimeo.com/33498082

Performance: Angry Women take 3 & 4  with Anne Laforet, Annie Abrahams, Antye Greie, Bérénice Belpaire, Hedva Eltanani, Hortense Gauthier, Ienke Kastelein, Jule Chateauvert, Laurence Moletta, Laurie Bellanca, Lucille Calmel, Martina Ruhsam, Olga P Massanet, Pascale Barret and Simona Polvani

Prototypes for · pour · voor transmission

Verbindingen/Jonctions 13
30 November → 4 December 2011

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

Women, Art and Technology

July 6, 2017
Angry Women I video 27 min in
Women Art and Technology, an exhibition curated by Arterial for Zone and The Waterfront Club. (London)

With also work by Carla Gannis, Emily Lazerwitz, Gretta Louw, Caro Halford and Martha McGuinn.

Arterial thanks Furtherfield and Articurate for their cooperation.

Filed under: Exhibition, networked performance, Video, , , , , ,

ANGRY 1 & 2

12 12 2012 19h, 24h – Paris time – find your local time
Online in the multi-platform programme of the UpStage Festival of Cyberformance.
Two performances for Testing – 1 2, 1 2, 1 2
IRL 18h30 à Kawenga territoires numériques, Montpellier

Annie Abrahams with/avec Derek Piotr, Ursula Endlicher, Bérénice Belpaire, Laurie Bellanca, Gretta Louw, Antye Greie, Martina Ruhsam, Sébastien Zaegel, Christophe Alix, Simona Polvani, Pascale Barret, Julie Châteauvert, Ienke Kastelein, Suzon Fuks, Gaetan Rusquet and Igor Stromajer.

Streaming interface: Ivan Chabanaud mosaika.tv – Kawenga scène(s) numérique(s)
Technical assistence: Jan de Weille

ENG
ANGRY will be the 7th and 8th performances in the frame of Angry Women: an artistic research project on remote communication and collaboration using anger as a pretext. You can also say that it is an artistic research project on female anger using webcam performances as a facilitator.

So far six experiments have been done. Five different approaches with only women and one with only men. Testing 12,12,12 will be the occasion to continue this series and to experiment with a mixed male / female version for the first time.

Information, images, vid(eé)os, text(e)s: http://www.bram.org/angry/women/

FR
ANGRY est le septième volet du projet Angry Women, un projet de recherche artistique concernant la communication et la collaboration à distance en utilisant la colère comme prétexte. On pourrait également dire que c’est un projet de recherche artistique autour de la colère féminine qui utilise des performances en ligne comme méthode.

Jusqu’à maintenant, six expérimentations avec des approches différentes ont eu lieu. Cinq performances avec ne que des femmes et une avec seulement des hommes. Testing 12,12,12 est l’occasion de faire une performance mixte pour la première fois.

Performance protocol en français .pdf
Performance protocole in English .pdf 

9 Screengrabs ANGRY 1 http://www.flickr.com/photos/bramorg/sets/72157632235502051/ …
10 Screengrabs ANGRY 2 http://www.flickr.com/photos/bramorg/sets/72157632235572337/ …

“La colère, si elle est prétexte au départ, ne s’est pas sentie, directement, mais plutôt qu’une réaction primaire elle semble plutôt donner naissance à une expression profondément singulière, peut être une manière de “déjouer” l’adversaire en lui proposant une forme non pas qui l’écrase ou le domine, mais qui pourrait peut être, un court moment lui faire perdre les pédales, ou les manettes: “I don’t want to be manipulated“. A l’heure ou n’importe quelle information s’échange, se télécharge, se pirate, se récupère, se contrôle, où on pourrait remplacer le mot “information” par le mot “vie”, ta proposition condense un temps absolument autre et absolument vrai à la fois, qui, si on reparle de l’adversaire, pourrait bien lui échapper…enfin!” Réaction par mail de Jean-Marc Demay .pdf

ANGRY1Kawenga
ANGRY 1 projection at Kawenga territoires numériques

Filed under: Performance, , , , , , ,

Hadaly & Sowana, Cyborgs & Sorcières – espace Gantner.

Visuel par Nadia Diz Grana

Angry Women Take 1 sera présenté dans l’exposition Hadaly & Sowana, Cyborgs et Sorcières à l’espace Gantner, Bourogne.
Vernissage : 12 oct. 17h.
Commissaire Cécile Babiole.

L’exposition réunit des artistes qui questionnent les technologies au sens large et leur rapport au corps.
Ces artistes, Annie Abrahams, Caroline Delieutraz, Camille Ducellier, Lynn Hershmann, Kaori Kinoshita et Alain della Negra, Albertine Meunier, Julie Morel, Aniara Rodado, Tabita Rezaire, Christine Tamblyn, Suzanne Treister, Stéphane Degoutin, Agathe Joubert, Lola Perez-Guettier et Gwenola Wagon réinventent les figures de la cyborg ou de la sorcière, comme autant de symboles de puissance, de résistance, d’ironie et d’utopie.

Angry Women Take 1 Extrait (6’14”) Avec Annie Abrahams, Lucille Calmel, Julie Chateauvert, Caroline Delieutraz, Suzon Fuks, Helen Varley Jamieson, Inès Kchaou, Ienke Kastelein, Olga Kisseleva, Laurence Moletta et Paula Roush.
Angry Women est un projet de Annie Abrahams.
Développement interface : Estelle Senay – théatre Paris- La Villette.
Assistance technique: Bérénice Belpaire.
Co-production : Labomédia Orléans, résidence dans le cadre de Géographies Variables.

Filed under: Exhibition, Video, , ,

De-centralized Web?

crac-banner_d

The Big Kiss (2008) and Angry Women (2012) are shown together with Michael Szpakowski’s, House and Garden (2009) during the Decentralized Web Summit in San Fransisco.

August 1st and 2nd,
San Francisco Mint,
88 5th Street, San Francisco, CA.

For Ruth Catlow, who curated Furtherfield’s screening room as a part of the “creative track” programmed by Sam Hart and Mindy Seu for DWS, these 3 artworks exemplify an attitude to artmaking particular to the Web before the great centralisation – these are works that speak from the origins of the P2P movement, a time in which communities began to form around new modes of networked interaction.

The Internet Archive’s Decentralized Web Summit is dedicated to creating the web we want [and the web we deserve]. We are convening those who want to build a web that…
Remembers. Forgets. That’s safe. That cares about people. That’s a marketplace. That’s a public square. That learns. That’s magical. That’s fun. A web with many winners. A web that’s locked open for good.

Filed under: Exhibition, Of interest, , , , ,

Training Entanglement with whom?

With amazing artists and machines, cables and you.

cap7

With Igor Stromajer, the pseudo-artist, who inspired me when in 2001 he started his famous Ballettikka Internettikka online performance series. We met in 2006, when he came to Montpellier to perform an Oppera Internettikka with me and a mezzo-soprano in the Opéra National de Montpellier Languedoc Roussillon. Over time we continued to collaborate actively in projects as The Big Kiss, Angry Women, HuisClos/No Exit and Beyond (spectacle) among others.

With Antye Greie (also known as AGF), a renowned composer, music producer, sound artist & curator, poet, feminist and activist, that I respect deeply. I performed 13 short performative conversational meetings online with her. We talked about html, wind, pixels, law, mothers, key frame, snow, philosophies, fruits, thinking and islands, humans and words, nuts, recording quality, law, shopping, wind, patriotism, love, ocean space, sound rate, communism, dancing, languages and salad, family and future. She also was a very active participant in the Angry Women project. We never met for real.

With Soyung Lee from South Korea who I never met for real neither, and with whom I never performed before. In 2016 I discovered her enchanting work Displaced when researching language practices and art. I tried to write about this hybrid performance and asked her some questions that are published here. Now she participates. Yes!

With Huong Ngô, an American artist, who I first met when I was in New York in 2010 for a Rhizome event and The Big Kiss performance with Mark River in OTO. Accidentally we met again some years later in Paris at an opening. We share an interest in the entanglement of language, identity and power relations and I admire the way she connects personal and political histories using a conceptual, interdisciplinary, and often collaborative approach. See for instance The Voice is an Archive or The Silent Period. Now we collaborate for the first time. Yes!

With Daniel Pinheiro, a Portugese video artist interested in telematics performance, who I met last summer in Porto where he participated in my ELO keynote performance Ours Lingages as singer, dancer and computer operator.  We had been collaborating before in the Distant Feeling(s), a tele-shared experience project (with also Lisa Parra), after I once participated in their LAND project. I especially appreciate the always very interesting observations and analyses he writes down. We will continue collaborating for sure.

With Helen Varley Jamieson, who coined the word cyberformance. I share a project called unaussprechbarlich and a book called Cyposium – the book with her. We had numerous online encounters in different online venues as for instance the Upstage platform, that she co-initiated. Helen is a feminist and a very fierce defender of the use of open-source software.

Many thanks to Randall Packer the symposium chair who made this possible!

Online En-semble – Entanglement Training
Live Online Performance Thursday, 29 March 2018, 7am-10am CDT / 8am-11am EDT / 2pm-5pm CEDT / 8pm-11pm SGT
In the frame of Art of the Networked Practice | Online Symposium – Social Broadcasting: an Unfinished Communications Revolution, School of Art, Design & Media, Nanyang University, Singapore (29 – 31 March 2018, a collaboration between the School of Art, Design & Media, Singapore; LASALLE College of the Arts, Singapore; and The School of the Art Institute of Chicago, Department of Performance, USA).

Filed under: Conference / lecture, Event, Performance, , , , , , ,

workshop + conférence au CNAC

22-24/03 2017 Workshop Performance en Réseau – Introduction au Centre National des Arts du Cirque à Châlons en Champagne. Avec les étudiants de l’Ecole Boulle en DSAA1 Événementiel et médiation et les étudiants de la 30ème promotion du CNAC.
cnacCirqueDouble

Préparation / déroulement du workshop .pdf
23 Captures d’écran plus photos sur flickr.
Exercisesexister en double – toucher à distance – coördination – jouer la taille – le rapport – le monstre – la rencontre (ou pas) – disposition, abstraction, rhytme, mouvement de la webcam.

Exercice : deux webcams et un objet en mouvement.

23/03 2017 18h00. Conférence au CNAC
La beauté dans l’erreur ? – Oser le désaccord et la contradiction !
Qu’est-ce qu’une performance dématérialisée ? Est-ce que cela existe ? En montrant des exemples comme Angry Women et Angry Men, Annie Abrahams parlera des ses spécificités. Elle abordera le rôle du corps en ligne. Elle crée un espace liminal d’expérimentations, de rencontres, un espace intime, presque vierge, un ailleurs pour découvrir un mouvement pur. Le travail d’Annie Abrahams se base sur une esthétique de l’attention et de la confiance. Il dévoile ce qui est caché et met en avant ce qu’on n’a pas envie de voir. Annie Abrahams revendique la beauté de l’erreur et de la maladresse.
C’est une position politique, une opposition, un contre, mais aussi une réparation, une restauration, une correction, une thérapie, une cure, un antidote.
Que pourrait être un tel approche dans un environnement, ici au CNAC, où l’erreur peut être fatal et la maladresse un outil ? Nous allons essayer d’y réfléchir ensemble.

Preparation de la conférence performée .pdf

Vidéo d’un moment très spécial de cette conférence – lecture sur l’intra-action (Karen Barad)

Merci A Cyril Thomas, Claire Brisson et Eric Dubois pour l’invitation et la confiance.

Filed under: Conference / lecture, Performance, Workshop, , ,

inter – intra – action (Eng)

Interaction was the word I used 20 years ago when I talked about my work in hypertext. Today I need other words: one word, I already wrote about it in my last post, is Agency Art. Another might be Intra-action. I first met it in Mousse magazine #34 (2012), pp.76–81: “Intra-actions” – Interview of Karen Barad by Adam Kleinmann. You can download the interview here.

This word could be usefull to analyze my works of collaborative performance art, as for instance Angry Women, where it is not really clear what is causing what, where the agency is – not between clearly distinguisable entities, but coming from within a whole, where server conditions, individual computers, webcam and sound devices, as well as the voices and images of the co-performers, local light conditions and family situations are all entangled in what Barad would call the phenomenon.
Barad uses quantum physics to articulate a feminist view on the philosophy of science. She builds on Donna Harraway and Niels Bohr. It is not easy to understand her and I was happy to find this video that seemed quit clear.

Video Written & Created by: Stacey Kerr, Erin Adams, & Beth Pittard

But when I transcribed the spoken text, I gathered my understanding might be superficial. Concepts like phenomenon, agency, apparatus all mean something different in different contexts. And when I read in the English wikipedia: “For Barad, things or objects do not precede their interaction, rather, ‘objects’ emerge through particular intra-actions. Thus, apparatuses, which produce phenomena, are not assemblages of humans and nonhumans (as in actor-network theory). Rather, they are the condition of possibility of ‘humans’ and ‘non-humans’, not merely as ideational concepts, but in their materiality.”, I was sure I wasn’t completely getting it (yet) – to be continued.
I feel intra-action will give me a clue on why Agency Art is something not popular in the humanities, in media art etc. (yet).
Here is the transcription of the video:

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Filed under: Articles / Texts, Of interest, , , , , , , ,

Upcoming

  • May 24 – August 2, Séparation in afterflash exhibition, ELO’s The NEXT.
  • 26/05 14h30 Utterings Panel: Toward a Supra-Semiotic Telepresent Communication. ELO 2021.
  • June 23, 16h, online performance workshop Angry Women, @MagdalenaOnlineFest 
  • June 25th 16h30 and June 26 20h Angry Women online performance @MagdalenaOnlineFest 
  • 27/06 13h participation in 6 Writers Be Like BodyObsolete by Suzon Fuks @MagdalenaOnlineFest 
  • 01/07 online Alcho performance in the frame of the presentation of the Alchorisma website.
  • Ongoing Constallationsss

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Annie Abrahams
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