net art, video, performance

Annie Abrahams

removal – double bind


I already watched Robin Nicolas‘s video removal several times since he made a .mov version available on they became what they beheld. Now you can also watch a fullscreen version on vimeo. It’s simply  beautifull.

Removal – deletion, suppression, cleaning, disappearance, withdrawal, ablation, expulsion, transfer, liquidation, remotion, clearance, elimination, eradication, purge, riddance, dismissal – The deconstruction of space in response to the release of voice

Start : I don’t know if you are with me, if you hear me, if ……………..hello can you hear me?……………….End : Mrs Robinson, do you hear me? Can you hear me? Are you reading my lips? Can you hear me? What are you doing? Why are you looking out of the window? I am trying to talk to you. I need you to hear me. And that was it. She just turns her head and starts looking out of the window, and that’s the end of my story, there is nothing else left. That is it. End of  story.

Removal is the video version of  Robins’ participation in the  Double Bind webperformance series of 2008 – 2009.
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As a biologist I learned Double Bind to be a situation with no exit, whatever one chooses one looses, and this leads to illogical, inhibited, ambivalent and misplaced behaviour. Double Bind is the result of conflicting cues about a particular situation. An animal that cannot decide between attack and flight is going to eat or scratch.
Does double bind describe our actual relation to technology?

I asked 6 artists to reflect on this and to propose a performance in the double webcam performance series on panoplie.org.

Surveiller Punir "Double Contraintes Foucault"Surveiller Punir “Double Contraintes Foucault” Pascal Lièvre reads a page of Foucault’s Discipline and Punish / Surveiller Punir, while attached to his friend Mathieu, who reads the same page. Their “échec” to read together in the same pace shows us the limitations of the machine power? Vidéo

Bras de tête et Tête de fer K.Kliniques, Justine Abittan et Caroline Delieutraz. They sing, cry, whisper their disconcerting foolishness while they try to be in one and the same space where there is not enough room for two, ignoring the empty space just besides.

julien plus agnèsPuzzled Julien Lassort, assisted by Agnès de Cayeux, shows a clown, a Pierrot, sensible, twofold, man and woman: robotised. Pierrots are generally know for their sadness and trusting naïveté, their oblivion to reality and their distant and moonstruck character.

renee turnerPostcards from her desktop Renee Turner cites Derrida : “I would like to write you so simply, so simply, so simply.”  Two simultaneous streams, a  RSS and  a mix of real-time transcription and pre-written material defied the transparent one to one relation between experience and language.

jean françois blanquetAuto/Hetero Jean-François Blanquet presents  two  heteronymes: jeanfrançois blanquet using his computer to find a job and  TITsANUS using his for fun. In the end the alternating presence of both of them seems to drive their author and the machines crazy.

The  Double Bind webperformance series of 2008 – 2009  was a follow-up of the Breaking Solitude series of 2007 – 2008 .

ps I am reading Double Bond the biography of Primo Levi by Carole Angier. “Something one cannot understand constitutes a painful void, a sting, a permanent stimulus that insists on being satisfied” Primo Levi, 1960.

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Context

“Between November 2006 and February 2008 I organized with panoplie.org two seasons of rendezvous on the web called “Breaking Solitude”, “different ways of being together”. 14 Artists accepted to do a performance in the experimental situation created in the virtual salon of panoplie.
Some features, such as time limits (between 5 and 20 minutes) and a refusal to pod cast the performances related these events to traditional contemporary art performances. Others like the participation of the public using a chat window made them to a new experience for both the artist and the public.
The performing artist was confronted to the brute and often emotional reactions of his public, which were not always as respectful as in art centres, museums and galleries.
The participating audience had the privilege to assist in a performance, to see and hear a person during an act of creation without having to subject to the social rites of the art world. The only thing that remains from the performance is its immediate feedback, the text written by the audience. (Archives have been destroyed – article « Breaking Solitude », dernier salon (du Net) où l’on cause  sur Poptronics – announcement on nt2 UQAM.

In this new season Breaking Solitude becomes Double Bind.

Is our relation to the computer and internet double bind, bound, bond?
I am your friend but you will never know me?
Remote presence, ubiquity, multiple personality, absence of the body? Does this make us schizophrenic? How do we adapt?”

Annie Abrahams September 2008.

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Filed under: Curation, Of interest, Performance, , , , , , , , , , , ,

Double Bind web performances

15 December 20h30 Paris time web performance in the Double Bind series of panoplie.org.

Renee Turner presents
Postcards from my desktop
rtscreen

“I would like to write you so simply, so simply, so simply.” **
Jacques Derrida, “The Postcard: From Socrates to Freud and Beyond.”

Postcards from my desktop is a performance mixing RSS news feeds and simultaneous transcription.  Sending snippets of communiqués across the ether, the work plays with interpretation, point of view and the imperfections of streaming technology.
Seeing the desktop as an exotic place where the world converges through RSS, the performance explores the limits of translation, immediacy and communication.

A video of this performance http://vimeo.com/4153597

Renée Turner writes digital narratives and has been a member of De Geuzen: a foundation for multi-visual research since 1996.  Her work can be viewed at http://www.geuzen.org/ and http://www.fudgethefacts.com/

Double Bind is initiated and organised by Annie Abrahams.

Surveiller Punir "Double Contraintes Foucault"Oct. 20th.  Pascal Lièvre: Surveiller Punir “Double Contraintes Foucault” Vidéo


Nov. 17th.  K.Kliniques, Justine Abittan et Caroline Delieutraz : “Bras de tête et Tête de fer

julien plus agnès
Dec. 1st.  Julien Lassort : “Puzzled” Avec l’assistance d’Agnès de Cayeux.

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Double bind : Projet d’écriture partagée sous contrainte

http://bram.org/ext/db

You can find some thought on my collective writing projects in “Artistic Textual and Performative Paths in New Media Correlations: An Interview with Annie Abrahams” by Evelin Stermitz published in Hz

17/09/2008 – 27:09:2008 MUSEE DES RENCONTRES, galerie Cortex Athlético, Bordeaux.

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

8

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 2008 [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://aaaliasing.net/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”, 2008, 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/issue-058/annie-abrahams-allergic-to-utopias/ (accessed August 30, 2016).

[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

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Training for a better World – workshop

6-10 décembre
Workshop Training for a Better World
école nationale supérieure d’art Villa Arson, Nice
(sur l’invitation de Christian Vialard)
9 décembre
Participation à distance de quelques étudiants de l’ENSA Bourges.

Le Workshop Training for a Better World se fait dans le cadre du projet Huis Clos / No Exit et participe au processus de préparation d’une exposition au CRAC de Sète en automne 2011.

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Vidéo, un art, une histoire 1965-2007

Double Bind webperformances dans le Off de l’exposition
Vidéo, un art, une histoire 1965-2007


Formation :
Les nouvelles technologies au service des arts

13 14 nov. 2008
Musée Fabre
Montpellier

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Annie Abrahams

loz1photo Loz

Annie Abrahams Born in 1954, Hilvarenbeek, Pays Bas Lives in France since 1987

Mail : bram(dot)org(at)gmail.com
Download: cvbio.pdf in English (336 Ko)
Book – 20 pages with images .pdf 2.3 Mo
Bio et cv en français

Doctoraal (M2) in Biologie University of Utrecht 1978. Diploma (MA2) of the Art school of Arnhem 1985.

Annie Abrahams has a doctoraal (M2) in biology from the University of Utrecht and a MA2 from the Academy of Fine Arts of Arnhem. In her work, using video, performance as well as the internet, she questions the possibilities and the limits of communication in general and more specifically investigates its modes under networked conditions. She is known worldwide for her net art and collective writing experiments and is an internationally regarded pioneer of networked performance art.
Abrahams develops what she calls an aesthetics of trust and attention and creates situations meant to reveal messy and sloppy sides of human behaviour, where she traps reality and somakes that reality available for thought.

She has performed and shown work extensively in France, including at the Jeu de Paume; the Centre Pompidou, Paris; the CRAC, Sète; the Paris–Villette theater and in more than hunderd international galleries and museums including The Museum of Contemporary Art, Zagreb; the Black Mountain College Museum + Arts Center, Asheville, North Carolina; the Espai d’Art Contemporani de Castelló, Spain; the New Musem, New York; the Armenian Center for Contemporary Experimental Art, Yerevan; Furtherfield gallery, London; Aksioma, Ljubljana, and NIMk, Amsterdam, in festivals such as the MoscowFilm Festival; the International Film Festival, Rotterdam and the Stuttgarter Filmwinter (1prize 2011), and on online platforms as Rhizome.org and Turbulence.

She teached at the university of Montpellier in the arts department. (2002-2005) Autumn 2005, she started provi&testi: meetings around art works to become, not yet finished, trespassing habits; and +++plus+++ editions. From november 2006 to january 2009 she curated the project “InstantS” and organized the “Breaking Solitude” and ”Double Bind” webperformance series on panoplie.org. In 2012 she co-organised the first Cyposium – online symposium on cyberformance, and published an article on webcam mediated communication and collaboration in JAR #2 (Journal of Artistic Research). In 2013 she started with Emmanuel Guez the project ReadingClub, an online venue for collaborative reading and writing performances. In 2014 she published two books: “from estranger to e- stranger” with CONA and Aksioma, Ljubljana; and “CyPosium – the book” published by LINK editions and la Panacée, co- edited with Helen Varley Jamieson. Since august 2015 Abrahams is the artistic director of a thesis by Muriel Piqué (University of Aix-Marseille).

Annie Abrahams was born as a farmer’s daughter in a small village in the Netherlands in 1954. When she is going to high school for the first time, she stays mute for three days, the time necessary to learn to express herself otherwise than in the local dialect. Having obtained a doctoral in biology in 1980 she leaves her post as an assistant researcher at the university because her colleagues didn’t appreciate she read Dostojevski in her spare time. Annie is teaching biology at high school and obtains a diploma in painting at the art school in 1986. In 1987, with a two years grant from the Dutch government for young artists she is going to live in France, where she stays until now.
There, using a custom-made computer program called DOEK, she learns to use a computer to help her to construct and to keep trace of the installations she makes with her paintings on complexity. Annie Abrahams shows her computer drawings for the first time in her show “Possibilités” in l’espace Forum in Nice, France in 1992. When in 1996 she creates a ‘meeting place’ in a show in Nijmegen, Annie uses the computer to be present from a distance. Since then she produces net specific work and starts “Being Human” (low tech mood mutators / not immersive 1996 – 2007) her most important web work, that explores interpersonal relations on the net. This work concentrates on the possibilities and limitations of communication on the net and has been shown in various international new media and video festivals and shows. (Skopje, Mexico City, Tallinn, Seoul, Atlanta, Montreal, Athens, Clermont Ferrand, Tokyo, Bristol, Seattle, Split, Rotterdam, San Fransisco etc.) Her work evolved into Internet related research pieces among which Huis Clos / No Exit : a networked performance series investigating collaboration and relational dynamics in a dispersed group, and Angry Women.  Lately Abrahams continues investigating the role of empathy, things, the voice, absence and presence in online communication and the concept of “being with” in projects as besides, On Object Agency with the choreographer and theorician Martina Ruhsam and DistantFeeling(s) with Daniel Pinheiro and Lisa Parra. Abrahams often collaborates with other artists as for instance Nicolas Frespech, Antye Greie, Curt Cloninger, Mark River from MTAA, Laurie Bellanca, Helen Varley Jamieson and Igor Stromajer among others.

When studying biology I had to observe a colony of monkeys in a zoo. I found this very interesting because I learned something about human communities by watching the apes. In a certain way I watch the internet with the same appetite and interest. I consider it to be a universe where I can observe some aspects of human attitudes and behaviour without interfering. (for instance in ViolenceS http://bram.org/indexviolence.html )
I am also interested in providing a situation in which the visitors, by leaving a personal trace, collaborate in revealing a collective voice, participate in the emergence of a staggering beginning for a language of the multitude. I am convinced these collections contain a revelation of actual tendencies in society (our contemporary being) and procure us a kind of cartography of the other. (I am looking for ways to introduce the web-created-text objects in real space, to inseminate these collections with physical energy, I want to give “flesh and bones” to what exist as potential in a computer and what appears as only light on a screen)
On the web I am also experimenting with the possibilities of making visitor behaviour (by clicking, choosing, participating, the visitor reveals the work of the artist) the content of an esthetical contemplation (see Separation , Painsong, Karaoke)
. “Interview with Annie Abrahams” by Béatrice Bonfanti 2005.

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. Annie Abrahams. Allergic to Utopias, Interview by Maria Chatzichristodoulou fir digicult, 2010.

We perform experimenting thinking together using words and things and the affects transferred via our voices. We experiment performing thinking together, We think performing experiments together, We experiment thinking performance, We experiment performing thought together using words and things and the affects transferred via our voices... Extracted from besides, what are we doing? Notes on besides,… by Annie Abrahams 03/2016.pdf

Want to know more on how I practice the relation art/science in my performance art, the role of its audience, what means intimacy in networked performances and to be a female artist. Read this interview done by Maria Chatzichristodoulou in 2010.  It is still actual!

Information in Fr on http://bram.org/info/aaf.htm (en français)

2017 txt Eng Reading as Writing, Coding as Public Performance, Daniel Temkin / esoteric.codes. 2017 txt Eng Addictive Behaviours: Interview with Artist Annie Abrahams by Marc Garrett and Ruth Catlo for Furtherfield. 2017 txt Eng The Laboratory of Networked Behavior, Randall Packer, Third Space Network. 2015 txt Eng Choose your muse interview: Annie Abrahams, Marc Garrett, Furtherfield. 2015 txt Fr Annie Abrahams, Le principe d’incertitude .pdf, pages 12-13, Gaspard Bébié-Valérian, MCD #78. 2014 txt Slo Annie Abrahams: Jezik v svetu med realnim in virtualnim Pogovor z umetnico ob njeni aktualni razstavi 29 10 2014 ob 06:28 Pina Gabrijan, Potrpežljivost in pozornost (Patience and Attention), DEVNIK Nov 3, Mojca Pišek., V performanse vložim tisto, ?esar ne razumem Interview Annie Abrahams Tanja Lesni?ar – Pu?ko, Dnevnik 17/04. 2014 txt Eng Igor Štromajer & Annie Abrahams by Gretta Louw, BOMB Magazine April 21st 2014. 2013 txt Fr Entretien avec Annie Abrahams (page 20 – 33) INFRA 02  Editions Macrosonges 2012 txt Eng Annie Abrahams interview by Alessandro Ludovico, Neural 43, Autummn 2012, Networked Tangibility, ISSN 2037-108X. 2012 txt Eng Annie Abrahams Interviewed by Christina Papagiannouli. 30 November [Online] 2012 txt Eng Trapped to Reveal – On webcam mediated communication and collaboration, article by Annie Abrahams for JAR2 (Journal of Artistic Research), ISSN 2235-0225. 2012 txt Eng Today I conversed with, Interviewed by Filippo Lorenzin 20/05. 2012 txt Fr Ita Being Human /Tweet-intervista a Annie Abrahams Tweet Intervista by Simona Polvani. 2011 vidéo Fr INTERVIEW DE LA BOITE # 28 – ANNIE ABRAHAMS C’est à Sète (intime -personnel) 2011 video Eng Reportage made for “Simeio Art” by Evi Tsirigotaki and Philippe Vu for the Greek public television  NET . 2011 txt FrConversation avec Annie Abrahams“, livre avec Manuel Fadat 60 pages. 2011 txt Fr| Interview | Annie Abrahams |” Entretien par Aleksandra Smilek pour Paris-art.com. 2010 txt EngANNIE ABRAHAMS, ALLERGIC TO UTOPIAS“, Interview by Maria Chatzichristodoulou for Digimag 58 2010 txt EngAnnie Abrahams and life in networks” by Maria Chatzichristodoulou [aka Maria X], Lecturer in Theatre and Performance – School of Arts and New Media -The University of Hull @ Scarborough, for Digimag 54. 2010 txt Frqui suis-je? Annie Abrahams (1999)” Review, article, Cyril Thomas, Magazine electronique du CIAC no 37. 2010 txt FrLa vie dans les réseaux d’Annie Abrahams“, by Maria Chatzichristodoulou [aka Maria X] for Digimag 54 translated in French for Poptronics. 2010 txt Eng Artistic Textual and Performative Paths in New Media Correlations: An Interview with Annie Abrahams by Evelin Stermitz. 2010 txt EngIf not you not me – catalogue essay“, Ruth Catlow, Catalogue txt for the show in HTTP gallery, London. 2009 txt Fr SORTIR DE SA BULLE : ENTRETIEN CROISÉ ENTRE ANNIE ABRAHAMS ET ALBERTINE MEUNIER par Cyril Thomas. 2009 video Fr Derrière l’écran : Entrevue avec Annie Abrahams  10 min.  Paule Macrous Patric Mondou. 2009 video Fr Entretien avec Annie Abrahams. Annie Abrahams présente son film “The Big Kiss” lors d’un regard croisée avec Agnés de Cayeux dans le cadre des RIAM 06 à Marseille. 2008 video FrRencontre avec Annie Abrahams“, Video interview with Charles Prémont for Le Lien MULTIMÉDIA. 2008 radio Eng Radio interview Annie Abrahams by Ida Hiršenfelder  2006 txt Fr Entretien avec Annie Abrahams pour une mémoire. 2005 txt EngInterview with Annie Abrahams” by Béatrice Bonfanti for weblogart. 2003 txt Fr Eng Pavu.com interviews anniea for P2P 2000 txt Fr Interview with Annie Abrahams par Bertrand Gauguet in Archée.

Articles on the work of Annie Abrahams :  http://bram.org/info/articles.htm Articles sur le travail d’Annie Abrahams : http://bram.org/info/articlesf.htm

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Upcoming

* 8/2 2018 19h30 Présentation Chantier :

Qu(o)i <=> agence <=> Quand.

Les Subsistances Lyon.

* 5/3 – 16/3 Workshop La performance en ligne comme outil de dévoilement ? ESA La Réunion.

* 29/03 15h30 Online En-semble – Entanglement Training Online performance directed by Annie Abrahams with Antye Greie, Helen Varley Jamieson, Soyung Lee, Hương Ngô, Daniel Pinheiro and Igor Stromajer, Art of the Networked Practice symposium, School of Art, Design & Media, Nanyang Technological University, Singapore.
* April, Residency Lingagens in Künstlerhaus Villa Waldberta, Feldafing, Germany.
Magdalena München, 21/4 19h30 unaussprechbarlich, theater  Hoch X, München, 25/4 19h30, Meta Theater, Moosach.

* 26/05 12:00pm (UTC-4) haunted.by.waters Online performance directed by Curt Cloninger with Annie Abrahams, Alma Alloro, Jason Scott Furr, Carrie Gates, Peter Kusek, Justin Lincoln, Rosa Menkman, Randall Packer.

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