net art, video, performance

Annie Abrahams

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:

Read the rest of this entry »

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

Net Work Platform Münich

Annie Abrahams participates in
Net Work by Gretta Louw with

Angry Women Waiting 2011 – 2014
One the Puppet of the Other 2007 with Nicolas Frespech.
Dec. 12 19h CyPosium – the book Presentation and Performance. 2014 with Helen Varley Jamieson.

PLATFORM Kistelerhofstr 70  Munich
3 November – 31 December 2014

Opening hours:
Mo – Fr, 10 – 19h

Vernissage:
27 November 19h

Net Work is an exhibition, curated by current PLATFORM artist in residence Gretta Louw , that  looks at work being made at the intersection of performance and net art. The emerging genre of ‘networked performance’ can make powerful statements not only about the development of art history, but also our relationship to technology, and the impact that this has on the direction that culture, society, the workforce, and psychology are taking.

The exhibition includes work by Gretta Louw, Luke Munn, Igor Štromajer, Annie Abrahams and plan b (Sophia New und Daniel Belasco Rogers), as well as a new project developed by Louw during her residency at PLATFORM: The Net Work Compendium is an evolving collection of short videos, from artists working with networks and performativity, offering viewers a unique introduction to this avant garde mode of art-making.

Filed under: Exhibition, , , ,

Subversive Systeme. Poetische Transfiguration des Digitalen.

logoSubversiveSysteme Subversive Systeme. Poetische Transfiguration des Digitalen. Group Exhibition Stadtgalerie Mannheim, Germany. Press conference: Tuesday, 21. October, 11 am. Opening: 23 October 2014 at 8pm. Open: 24 October 2014 – November 30 2014. Curator: Benedikt Stegmayer

Artists: Annie Abrahams, [epidemiC] / Franco Berardi, plan b, Volker Hartmann-Langenfelder, Igor Štromajer

I will present : The Big Kiss (2008) (with Mark River, MTAA)

Angry Women take 1 & 2  (2011)  (With Albertine Meunier, Anne Laforet, Caroline Delieutraz, Hedva Eltanani, Helen Varley Jamieson, Ienke Kastelein, Inès Kchaou, Julie Chateauvert, Karen Dermineur, Laurence Moletta, Laurie Bellanca, Lizvlx, Lucille Calmel, Simona Polvani, Martina Ruhsam, Hortense Gauthier, Olga Kisseleva, Pascale Barret, Paula Roush, Sabine Revillet, Suzon Fuks and Ursula Endlicher. – Co production : Labomédia Orléans, residency in the frame of Géographies Variables / Aide à la création Région Languedoc Roussillon)

Huis Clos / No Exit – Beyond (spectacle) I, II, III – Exposition on the New Aesthetic. – Newer Aesthetic. – The internet is not as good as it was yesterday. (2012) (With Igor Stromajer, Nicolas Frespech, Ruth Catlow, Ursula Endlicher – co-production ELMCIP) Read the rest of this entry »

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Meaningful connections – article Elena Perez

liminalities10-1 liminalities2-2

Liminalities issue 10.1 Special issue of the journal of performance studies, Liminalities, based on the outcomes of the Remote Encounters: Connecting Bodies, Collapsing Spaces and Temporal Ubiquity in Networked Performance conference in 2013.  Edited by Garrett Lynch (University of South Wales) and Rea Dennis (Deakin University).
 c
Meaningful connections: exploring the uses of telematic technology in performance, Elena Perez compares On Love by Annie Abrahams FR, Denise Hardman UK, Ben Robinson UK, Tony Chapman UK, Derek Piotr USA, Hedva Eltanani UK, Martina Ruhsam SI, Antye Greie FI and Pascale Barret BE, and make-shift by Helen Varley Jamieson and Paula Crutchlow.
 c
ON LOVE creates an intimate space where it is safe to be honest

Download .pdf

Elena Pérez is a researcher, theatre practitioner and experimental game designer. She is doing her PhD (2009-2014) in the department of Art and Media Studies at the Norwegian University of Science and Technology (NTNU), where she is looking at how digital media impacts contemporary performance, more specifically, how digital media challenge theatrical conventions in multimedia theatre, telematic and pervasive performance.

Abstract.

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

soirée ART VIDEO à o25rjj

espaceCiapp26 01 19h Soirée ART VIDEO
Espace o25rjj à Loupian

Extrait Angry Women take 5  et The green oaks / Les chênes verts seront présentées.

Les chênes verts  Le diviseur commun d’un séjour à l’hôpital psychiatrique et la famille est un jeu de cartes. “Là où il n’y a pas de normes que des règles, j’étais très heureuse en jouant aux cartes”
Duration : 5 min Year : 2006
The green oaks The common divider of a stay in a psychiatric hospital and a family is a card game. “There where there are no norms, only rules, I was happy playing cards”

Filed under: 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

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an alternative documenta

Angry Women take 3
presented in

an alternative documenta (…what a 21st century documenta could look like )

… it may also be correct to assume from this list that documenta 13 also looks backward to the 20th century, presenting a ‘postmodern’ view of things.

i propose in this blog to present a set of artists and projects that look forward, into the 21st century…

by Christian Lutz

Filed under: Exhibition, , , ,

IRL SPAMM Waiting


Waiting
(before Angry Women take 2) presented in exposition SPAMM, Galleries Brussels, festival Transcultures. (03/05/2012 – 20/05/2012)

Exposition + événements du 03 au 20 mai (Vernissage le 2 mai à 19H). Ouvert de 12h00 à 18h00, fermé le lundi. Entrée: 5 euros.

IRL SPAMM @ GALERIES / TRANSNUMERIQUES #4 / BRUSSELS

Filed under: Exhibition, Net art, ,

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,

Upcoming

* 19/03 2017 Presentation in Avant-garde, theatre and everything else, Łódź, Poland. Invitation Ryszard W. Kluszczynski.
* 21-24/03 2017 Workshop Performance en réseau, 23/03 18h. Conférence Agency Art, CNAC, Châlons-en-Champagne.
* 18/06 2017 11h. Talk Networked performance art and engagement, Internet, Arte y Compromiso, Centre Culturel Puertas de Castilla (Murcia).
* 19/06 2017 19h. Une pratique du texte numérique qui dévoile. Invitation Yan Rucar, Centre culturel international de Cerisy-la-Salle.
* 18-22/07 Performance Ours Lingages, ELO 2017, University Fernando Pessoa, Porto.

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