net art, video, performance

Annie Abrahams

Participar en tiempo discontinuo

besides,

logoArchivoVirtual

Participar en tiempo discontinuo
Zara Rodríguez Prieto

Telón de fondo. Revista de teoría y crítica teatral, núm. 25, 2017, pp. 160-178.
ISSN 1669-6301
telóndefondo /25 (2017)

In the Virtual Archive for Performing Arts (AVAE), written in Spanish, Zara Rodríguez Prieto analyses besides, (page 165 – 170), the online performance project I did with Martina Ruhsam (2014 – ….), Blast Theory‘s Karen, and Miranda July‘s Somebody as examples of the different ways conversation and discourse participate in online performative practices.

Direct link to download the complete article. (18 pages)

Resumen
Este texto analiza el concepto de participación en prácticas artísticas performativas realizadas a través de internet. Mediante el análisis de tres obras el estudio aborda la idea de participación desde la conversación como dispositivo y desde la construcción del discurso a partir de la interacción en red. En ese proceso se atiende también a la fragmentación temporal de la conversación, impuesta por las características propias de la interacción virtual y a sus implicaciones en la creación de discurso en un espacio compartido.
Abstract
The text examines the concept of participation in performative artistic practices which have taken place through the Internet. Analyzing three pieces, this study addresses the idea of participation focusing on conversation as a device and on the forms of discourse developed since the beginning of networked interaction. The article also explores the temporal fragmentation of conversation imposed by the characteristics of virtual interaction and its implications for the creation of discourse in a shared space.

imflieger

What is visible and what is not? What escapes visibility? What (is) resisted the exhibition? What belongs to each temporal layer of reality / fiction? From these main issues (online meeting, how to be together in the distance, not becoming dominant, the conversation and the agency of objects) arise another series of secondary issues that affect, in one way or another, any online relationship such as the creation of a shared intimate space, the contingency, the corporal relationship, the silences and the fragmented communication.
Google translation of a description of besides, on the Archivo Virtual de Artes Escénicas (AVAE) website.

besides, started as a Turbulence commission made possible with funds from the National Endowment for the Arts.

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

Politics of Performance and Play

mastertxt

Thursday July 7 2016  14h15.
Lipsius 019,
Cleveringaplaats 1,
Leiden.

Besides, subjectivity is no longer a privileged site for emancipation
Networked performance
Annie Abrahams and Martina Ruhsam

In the frame of The Politics of Performance and Play. Feminist Matters conference, Institute of Philosophy, University of Leiden.
Panel: Performance, Agency and the Posthuman.
Conference programme

‘…if we really engage in storytelling as a sym-poietic practice, which is propositional and invitational, then we have a chance for re-worlding. Play always involves the invitation that asks ‘are we a “we”’? A “we” that does not pre-exist the propositional risk and testing.’
(Donna Haraway, 2015)

Martina Ruhsam and Annie Abrahams started the  performance series besides, – on Object Agency in June 2015.
This will be the 5th performance in this series.

“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…”

Filed under: Conference / lecture, Of interest, Performance, , ,

besides, compressed … video, script


(©Dina Lucia Weiss)

“We falsely equate the audience with the public instead of always viewing it as separate from the public, as something by means of which we temporarily leave the public outside and rehearse new adventures in how to be together through being separated.”

The first phrase of the performance besides, compressed by communication (On Object Agency), that Martina Ruhsam and I did last Saturday online and Im Flieger* in Vienna, was a citation from Bojana Kunst’s book Artist at Work. The last phrase was a variation on Hito Steyerl’s How Not to be Seen: A Fucking Didactic Educational .MOV File.

Here is the video of the screen recording (35 min) :

The complete text / script where we based the performance on and the logfile of the online chat are available from bram.org/besides

“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…” Extract from “besides, what are we doing ?” Notes on the performance series, 03 2016.

* In the frame of Stoffwechsel – Ökologien der Zusammenarbeit.

Filed under: networked performance, Performance, Video, , , ,

besides, compressed by communication

besidesImFlieger

besides, compressed by communication
Performance with Martina Ruhsam
March 19th 20h
Duration 30 – 40 minutes with discussion afterwards

Im_Flieger,
Im_flieger@Schokoladenfabrik, Gaudenzdorfergürtel 43–45/4. Stock/4C, 1120 Wien (U4 Margaretengürtel) >> map
Pay as you wish

To assist online go to water-wheel.net a little bit before 20h and click ENTER (please be patient, you might have to wait a few minutes before it will be working)

In the frame of Metabolism – Ecologies of collaboration (project & platform).
Stoffwechsel – Ökologien der Zusammenarbeit ist ein transmediales Forschungsprojekt mit unterschiedlich involvierten Künstler_innen und Theoretiker_innen und experimentiert mit strukturellen und künstlerischen Verschränkungen.

Im_Flieger is an Independent Artists’ Association – Platform and Experimental Ground for Dance, Performance and related Art Forms.

A real-time composition in which daily objects interrelate in an interface that usually frames the heads of humans. Annie Abrahams (In Montpellier) and Martina Ruhsam (in Wien) communicate by juxtaposing and resituating objects and by reading a text that is recomposed during the course of the performance. Unexpected links between thing and thing, object and text, image and sound appear. Sometimes the inorganic performers hijack the discussion. Scissors meet a knife which coincides with the word capitalism before being replaced by a little white box that is temporarily allied with anonymity. While matches and a paperbag are visible, a discussion about being post-image takes place, followed by the inorganic pulsations of a plastic nose and a plastic bag. The conversation meanders through unpredictable territories and is disseminated among various human and nonhuman agents.

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

besides,not

Filed under: Performance, , , ,

besides, what are we doing?

light

We started out with three very different meetings (See turbulence.org) and then decided to continue to explore one of them further; we restricted ourselves to a theme and made the project on “meeting online =” also a research on the relation between objects/things, text and the voice.
We began experiencing and experimenting the performances as an other method of thinking together about both object agency and online collaboration.

– We stage a collaborative performance project online.
– Meeting online =
– We are meeting online, trying to get more grip on what is actually happening in online webcam communication.
– This is a research project where we use performance as a tool.
– Using performance as a tool, is a way to create a common responsibility.
– We use an interface which doesn’t permit that either of us two can become dominant, an interface that has flaws, glitches, bugs, an interface that cannot be domesticated.
– We are not developing a performance – our performances are part of a research process.
My performances are a research tool, not an object ansich, not something to show off. (See allergic-to-utopias)

But the audience? Why should they be interested, What is it for them? They can think with us!

So far :
besides, the person I am becoming 1/06 2015
There are :
the interface : two webcam images side by side, one managed by Martina, one by Annie. Both images have exactly the same size and presence there is no power relation.
– a text
: a remix, done together, of phrases read and heard, collected over one month by Annie and Martina individually. We determined before who would read what part of the text.
objects : things : we will not use personal objects, things with a very specific personal history and they should not be too beautiful, as ordinary, casual, daily as possible.
What did we mean by that, why? We didn’t want things to be symbols. We almost entirely excluded also natural objects as flowers, leafs etc., because, they are already alive on their own and so are too symbolically loaded too.
The objects were placed in front of the webcam at before undetermined intervals.
the hands : hands who lay down the objects carefully.
two voices : as neutral as possible. Because the interface merges the sound of both webcams in one stream, there is no way for the audience to distinguish if a voice comes from the one or from the other webcam. They can only hear that there are two different voices, there is a dialogue.

What dialogue? Who is talking to who, who is addressed? Who receives? The objects replace the faces we are used to see in webcam images. We see them in close up – they become actors – we can believe them to be intimate, to have a relation. They too have a / are in dialogue. They too are elements being in the event. (1)

This is where the two subjects meet. This is where we meet.

In besides, the city is not a tree, 22/07 2015 we used a different, more narrative, mix of the same text collection. We decided to abandon the neutral voice and let the exchange be more natural allowing for affect to transpire (2). We speeded the rhythm and alternations.
Hands should be just careful installers, shouldn’t manipulate, nor stay too long in the frame.
For besides, smaller than a single pixel 28/11 2015 we made a new text collection. No natural objects at all were allowed anymore. Would the perceived agency of the thing change if we would enter and exit them at specific moments in the text? If we stopped talking while changing the objects? Would the objects become more present, have more influence if we allowed for moments without text?
We stayed with speaking the text in an ordinary manner. Would the dialogue be more fluent if we decided to use the texts fragments randomly? Would that give more dialogical power to our voices and rhythm? Would that help us to use text and objects equally in our perform thinking experience?

We perform experimenting thinking together using words and things and the affects transferred via our voices. We experiment performing thinking together using words and things and the affects transferred via our voices. We think performing experiments together, We experiment thinking performance together, We experiment performing thought …

(1) “According to Bakhtin, in order to ‘overcome’ the separation and opposition between art and life, between art and culture, the elaboration of a ‘first philosophy’ is required: The philosophy of event-being. Art and life cannot and must not tend towards identification, as was the case with the Situationists, for example. But, in order that the enriching, excessive and productive difference between art and life be able to express itself, it is necessary to possess a theory which, whilst maintaining the irreducible differences between these two dimensions, articulates them in the achievement of the event.” Maurizio Lazzarato in Dialogism and Polyphony. geocities.ws/immateriallabour/lazzarato-dialogism-and-polyphony.html
(2) “According to Bakhtin, the voice or intonation, not yet captured in the ‘phonetic abstraction’ of language, is always produced ‘on the threshold of the verbal and the non-verbal, the said and the non-said’ and it is through it that it addresses itself to the other. This address is affective and ethico-political rather than linguistic. It ‘appropriates, travels, avails itself of linguistic and semiotic elements, confirms and drifts away, critiques and legitimates meanings and established intonations’. ……………It is only when the voice penetrates and appropriates words and statements that the latter loose their linguistic potentiality and turn into actualised expression. It is only at that moment that words and statements are encumbered with the a unique and non reproducible role in verbal exchange.” Maurizio Lazzarato generation-online.org/p/fp_lazzarato6.htm

Notes on performance series besides, with Martina Ruhsam, 03 2016, Annie Abrahams

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

besides, smaller than a single pixel – pixxelpoint performance

November 28th 2015 18h30
besides, smaller than a single pixel,
networked performance
Martina Ruhsam and Annie Abrahams
pixxelpoint 2015 festival, Nova Gorica (Slo), Gorizia (I)
Curator: Igor Stromajer

You can assist in Nova Gorica or online in Waterwheel
(please come a bit early because the streaming interface needs time to load – upto 3min.)

Martina will be streaming live from the Nova Gorica City Gallery in Slovenia and Annie from Villa Waldberta in Feldafing, Germany.

besidesPixx2

besides, smaller than a single pixel is a real-time composition in which daily objects interrelate in an interface that usually frames the heads of humans. Annie Abrahams and Martina Ruhsam communicate by juxtaposing and restituating objects and by reading a text that is recomposed during the course of the performance. Unexpected links between thing and thing, object and text, image and sound appear. Sometimes the inorganic performers hijack the discussion. Scissors meet a knife which coincides with the word capitalism before being replaced by a little white box that is temporarily allied with anonymity. While matches and a paperbag are juxtaposed, a discussion about being post-image takes place that is followed by inorganic pulsations. The conversation meanders through unpredictable territories and is disseminated among various human and nonhuman agents.
– text / script of the performance already available before .pdf
log of tchat during the performance.
– screencaptured video archive

Before the performance at 5PM Martina gave a lecture The It As Actant in the Nova Gorica City Gallery. Here is the .pdf of this lecture.

Filed under: networked performance, Performance, , , , ,

besides, – some reflections on the first three performances

Now online : Reflections on the three first performances besides,

Annie .pdf
Martina .pdf

More information : videos, scripts, chatlogs, notes on the website of Turbulence who commissioned these performances (with funds from the National Endowment for the Arts).

Why would two naked women (with white skin, Western) visible online be subversive/critical? There is the terrifying practice of using the web for the purpose of exposing oneself relentlessly, even ones naked body. And there is a whole industry exploiting these acts. There is the problem that one cannot get these images down from the net – once they circulate in its tentacles.
Usually we look into the face of someone but we don´t see the body of the person. It is covered with clothes. Especially in online-communication the interface usually frames the head, the face. In
Besides, dear body, there are two bare bodies without a face. It could also be two different bodies. It is not so much about the individuality of these two bodies or the (hi)stories that have sedimented in them. It is about reaching out to one another, to link to one another. It is about disrespecting limitations and boundaries (of the image, the body, the space etc.)
I consider
Besides, dear body, as an experiment and the result as a poetic moving image of holding on to each other in all our vulnerability (I think we succeeded in showing nudity as a fragile costume) – no matter what the physical distance is. Indeed, via virtual/online-communication we are able to create linkages, to induce closeness, the feeling of being interwoven with other people´s threads, thoughts…During the online-communication one is „sharing distance“ with someone or some persons and it can be a very intimate experience.
At the same time online-communication emphasizes solitude. At the latest when one closes the interface, or one shuts down the computer one is alone. There is no way of going out to the foyer or to the bar and seeing the persons that were part of the event, watching the performance. There is not even certainty about the fact that there was anyone watching.

Extract from Martina’s reflections.

ThisPerson
SomeThing
dearBody

I know I would never have done a performance on aging (besides, Dear Body,), showing myself naked if I hadn’t been confronted to my own possible ending. It felt soothing to connect my nude body to the image of Martina’s much younger body. It felt as if we created a continuum in difference and made a statement that said „don’t worry, this is life“. I wanted it to be a gift.
Afterwards there was a big shock when I looked at the recording of the performance, when I looked at my naked body. I see this body every day in a mirror, but the video image is not the same as a mirror image – there was no head, no action going on, just the body to look at. It took time to overcome my personal aversion to my own aging body, to accept the breathing image, to accept its reality, to let the video live as an independant object showing aging, a tender connexion, and a crack.
Extract from Annie’s reflections.

Filed under: Articles / Texts, networked performance, , ,

besides, the city is not a tree – #6pmeu

objectsMoney6PMeu besides, the city is not a tree

July 22, 6pm (CET). A  performance by Annie Abrahams and Martina Ruhsam.
In collaboration with OUDEIS, laboratoire pour les arts numériques, électroniques et médiatiques in Le Vigan, France. Live documentation and reactions via https://twitter.com/oudeis_levigan.
Streaming Ivan Chabanaud / mosaika.tv. Duration around 20 min.

A follow-up of Martina and Annie’s Turbulence commission besides, the person I am becoming.

On Object Agency. Collected words and objects – overheard phrases, poetry, academic citations, a piece of concrete, foam, money, a lamp. What if objects ? …

For besides, the person I am becoming, for one month we collected text – overheard phrases, poetry, magazine, academic citations and objects. While preparing we decided the objects should not be personal, not be too beautiful, as ordinary, casual, daily as possible. We wanted the objects to act as much as the words we selected from our collection. This resulted in what Igor Stromajer called a “theory-meditation“. https://vimeo.com/131117816 For besides, the city is not a tree we want to try out another more narrative version of the text collection, to speed up the rhythm and to see what meaning might arise from such a text object layering.

Event in the frame of 6PM Your Local Time Europe: a distributed contemporary art exhibition, taking place all over Europe in art institutions, galleries and artist studios at the same time, and documented online under the same hashtag.

Watch the performance here : http://bram.org/besides. While watching, please post images, text and videos on your Twitter and Instagram using the hashtag #6pmeu. The images feed will be transmitted in real time to www.6pmyourlocaltime.com.

6PM Your Local Time is curated by Fabio Paris for Link Art Center. More information http://www.linkartcenter.eu/archives/3580.

Filed under: Event, performance, , , , , , ,

besides, – 3 online performances

Annie Abrahams and Martina Ruhsam.

June 11 2015 : besides, the person I am becoming. Duration 20 minutes. The audience can interact via a chatwindow.

June 12 2015 : besides, moved by some thing. An intimate conversation on death and illness. Duration undetermined. No interaction with the public.

June 13 2015 : besides, Dear Body, Duration 3 minutes. With public chatwindow, so we can discuss afterwards.

19h CET – 1pm EDT – online bram.org/besides
Streaming Ivan Chabanaud / mosaika.tv

Three online experiments by Annie Abrahams and Martina Ruhsam, who will investigate the performative potential of computer-mediated performance. By listening to each other´s gestures (in a visual and acoustic sense) they will choreograph each other despite being geographically far away from each other – Annie will be in Montpellier, Martina in Berlin. More information (motivation, preparations, intentions, context, tests, images, bios)

besides, Dear Body,

besides, moved by some thing

besides, the person I am becoming

everything is on-the-fly, we don’t rehearse, we prepared technics and format together, content is taken care of individually – nothing can go wrong – we create experience … an encounter with the invisible public

Filed under: performance, , , , , , , , ,

Upcoming

* 4-9/12 Qu(o)i <=> agence <=> Quand Résidence Labo NRV Subsistances, Lyon.

* 29/03 15h30 Online En-semble – Entanglement Training 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.

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