17.6 – 16.7.2022, Distant Feeling(s) #9 Online Affects, Video Essay Gallery, Exhibition 2, Filmexplorer, CH. Curation: Chloé Galibert-Laîné. In her curational text she wonders – does watching this video actually require closing one’s eyes while it plays?
Are affects more than just the expression of pure subjectivity? What happens when we do not know how to watch? What do watching experimental films and watching video essays have in common? How should we understand the performance of watching?
These and other questions punctuate the podcast discussion of Online Affects between the three curators: Chloé Galibert-Laîné, Kevin B. Lee and Johannes Binotto. Listen to it if you are interested in understanding states of spectatorship.
Filmexplorer focuses on movies as sources of experience, and not as commodities to be consumed.
On Dec. 30, 2021 Distant Feeling(s) #9 integrated Bjørn Magnhildøen‘s project Past Convention .. a public convention announced after it has already taken place. It deals with time as a convention, a protocol of interaction we have with the world.
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Distant Feeling(s) #9, Sunday, December 26, 6PM – 6.15PM GMT+1
DF#9 is the fifth annual activation of Distant Feeling(s), again sharing time together, online, without speaking and with our eyes closed.
We invite all interested to take part in this recurring activation of Distant Feeling(s). To come together in an electronically powered energetic flow – (re)thinking the conditions of a present moment.
Merci Floris Taton. Le 29 janvier 2018 nous avions un entretien de 1h37 via skype. Enfin je peux te lire.
Résumé : Depuis les années 1970, le féminisme inspire les artistes de la performance. Cette décennie pionnière est très documentée, mais qu’en est-il pour les trois décennies suivantes ? Le féminisme dans les vies et les œuvres d’artistes de la performance en Europe et en Amérique du Nord entre 1980 et 2010 propose, par le biais de vingt-cinq artistes dans dix-sept pays un état des lieux du féminisme de la deuxième et de la troisième vague. L’objectif de la recherche est d’éclairer les artistes de la performance et leurs productions au regard d’enjeux féministes. Trois volets sont abordés : les prémices des parcours des artistes, les sources et formes de l’influence féministe et sa place dans les œuvres.
“La puissance de l’art d’Annie Abrahams est aussi forte que son travail est sous-évalué.” :)
12/11 – 05/12 2021, Van Gogh TV, Piazza Virtuale*, exhibition** at the Künstlerhaus Bethanien in Berlin and online.
For the first time now, Künstlerhaus Bethanien is presenting the material remaining from that large-scale art project in an exhibition. Original works, video recordings, sketches, plans, photos, and other historical material will be on view, alongside technical relics of “Piazza virtuale”.
Other works by Mieko Shiomi, Miranda July, Fred Forest, Yann van der Cruyssen and Annie Abrahams/Daniel Pinheiro will also be shown in the exhibition in order to contextualize the work of Van Gogh TV.
Distant Feeling(s) – Van Gogh TV installed in the exhibition.
* Piazza Virtuale by the artists’ group Van Gogh TV was not only the biggest art project ever to have been on TV – from a contemporary perspective, the project was also a precursor to present-day social media. The ground-breaking television event, which took place during documenta IX in 1992, was a TV experiment in which users could create media content themselves.
** By Karel Dudesek / Benjamin Heidersberger / Mike Hentz / Salvatore Vanasco and team. Curator: Tilman Baumgärtel
24/10 15h Paris time, Distant Movements, 90 min. workshop + performance. Registration closed, but you can join us here for our performance, 17h Paris time, 6pm Athens time.
In the article I explain the background of the invitation to participate in a private Alcho performing session. Alcho = Performing Alchorithms = Sharing processes through evolving protocols.
In Alcho** Annie Abrahams asks: Is it possible to create an algorithm that includes human behaviour, that evolves over time and in the process integrates aspects of the personalities of all the participating individuals? Because there are humans involved Annie thinks the project will probably turn out to be an erratic, iterative, evolving, experiential happening.
While at the start I was interested in the evolving of a performance when treated as an algorithm executed by humans, this interest later moved to the written traces; to the written instruction sets, as markers of the evolving Alcho processed through humans by writing and performing.
Choreography/algorithm by Naoto Hieda*** after Alcho performance during the Alchorisma**** platform presentation 01/07/21
Do you also want to experience Alcho? Contact me privately and I will also perform for you.
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* The Institute of Unnecessary Research, or IUR as it is often known, presents a new paradigm in the way artists are engaging with the world through trans-disciplinary arts practices. Part arts collective, part think tank, the IUR is a global hub for researchers and artists working experimentally, and deeply engaged with curiosity-driven research.
** Alcho has originally been developped with RYBN during Alchorisma: a work-session organised by Z33 and Constant in December 2018.
**** Alchorisma alludes to the relationships between algorithms, charisma, rhythm, alchemy and karma. It looks at integrating cosmogenetic views with the charisma surrounding technology, at ways to infect existing algorithmic models with ideologies that acknowledge the importance of co-existence with non-human entities.
An Experience of Angry Women (published on the Magdalena website and on the festival website) is the text Shelly Quick wrote about her experience of participating in my workshop Angry Women and the subsequent performing at the Bodies:On:Live Festival. I am very happy with her feedback. Thank you Shelly!
… Kind of like sticking a sliver under the audience’s skin, giving them something to worry at for some time to come…
…Performing in Angry Women doesn’t/didn’t solve anything, and that, as one of my co-performers pointed out, wasn’t really the point. It has changed something though, at least for me…
...I wanted to be involved in this festival: I wanted to see what could be done with theatre online. What could be done by women, many of them of a certain age, non-digital natives, who were daring to say, “We will not be silenced by these circumstances, we will find a way to keep putting our work out there. Our work is important and deserves this attention.”…
More information on the Angry Women (2011 – ongoing) project here.
I love the way the experimental conversation (interactive, generative) for which Naoto Hieda invited me evolves. He uses keywords and hashtags in what looks like a simple hypertext structure, but actually is based on code and javascript.
We started with #anders, #contrainte and #error. The conversation is ongoing. memoires.glitch.me
This is an image Naoto made after I had send him a photo and a short story.The photo made him think of something romantic, maybe a Monet image. He wrote: “Then I thought about generating an image using an algorithmic model but I stopped because I hate AI generated images. They lack imagination. Instead I made a small program to generate another reality of the photo, which doesn’t look like Monet but it is some thing.” And he also send a link to the code he used: https://editor.p5js.org/micuat/sketches/alaRE_uCJ
Attentionsss An online textual session by Constallationsss A methodological and theoretical attunement of the evening
12/07/2021 18h30 – 23h DIVADLO X10 Charvátova 10/39, Praha 1, 110 00 𝗖𝗼-𝗽𝗿𝗼𝗱𝘂𝗰𝘁𝗶𝗼𝗻: Nultý bod – Zero point festival, Montag Modus – Y-Events series
Photos Libor Galia (c) @Nultý bod a Y Events
A reariting of extracts from Yves Citton’s “The Ecology of Attention”. Anarchives (Notes, video, images)
“The third characteristic phenomenon of joint attention situations is therefore to be found in the IMPROVISATION PRACTICES that they necessarily call for: showing yourself to be attentive to the attention of the other requires learning to get out of pre-programmed routines, so you can open yourself to the risks (and techniques) of improvisation. Everyone knows how to improvise, because everyone has learned to participate in a conversation – where no one knows in advance what their interlocutors are going to say.” Extract from The Ecology of Attention, Yves Citton, 2017 ISBN: 978-1-509-50373-5
July 1 19:30-21 CEST presentation by Annie Abrahams of Alcho a performative algorithm as part of the launch of the collective publication of Alchorisma.
Z33 and Constant invite you to this launch. There will be three live interventions customized to the setting of the launch. Anne-Laure Buisson will present the Celtic Map of Trees, Annie Abrahams will present Alcho and there will be one surprise act!
If you missed the performance of Alcho and are interested, please read the meta-instructions and contact me privately to get a re-enactment.
My question: “Is it possible to create an algorithm that includes human behaviour, that evolves over time and in the process integrates aspects of the personalities of all the participating individuals?” Because there are humans involved I thinks the project will probably turn out to be an erratic, iterative, evolving, experiential happening. I am interested in the written traces; in the written instruction sets, as markers of the evolving ‘Alcho’ processed through humans by writing and performing.
net art, video, performance 
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