MNEMOSINE 0.2

Mnemosine.02 is the second phase of a trilogy initiated by Madrid-based group Medea 73. For the second phase, Performing Pictures have been invited to collaborate on an installation and performance which takes short-term and long-term memory as its starting point, developing and enriching the first phase.
The project will focus on representing the individual's personal memory, and the colonizing influence upon it of personal and historical events, as well as the impact of technological innovations. The work will confront both performer and audience with his or her own memory, its failures, and the reinvention of one's self through the selective memory of events.
The project will emerge through exploration of personal history and the mechanisms used to construct it. The aim is to research a type of language that questions the role of both spectator and performer. In how many different objects is our personal memory deposited and discharged? How does the structure affect the work on stage? Are there conscious or unconscious limits to artistic representation?

MEDEA_73 aims to produce a style of theatre that brings together text and movement to reveal a vision of humanity stripped of its conventional disguises and protections. MEDEA_73 was created in Madrid in 2002. Inspired by the idea of bringing together geographical and theatrical extremes, MEDEA_73 have members from Argentina, Spain, Mexico, Germany, Colombia, Portugal and Britain, and is free from one national tradition, drawing instead on the talents and cultural influences of each of its members. Mnemosine01 -the first part of the Mnemosine-trilogy- was highly successful and has been performed over 70 times in more than 10 countries.

http://www.medea73.com

 

CINÉSENSE – (com)motion pictures in public space

Cinésense is a three-year artistic research project in collaboration between Performing Pictures at Interactive Institute and Tema Q, Linköpings Universitet, with support from the Swedish Science Council (Vetenskapsrådet).
The project explores urban artwork in two relationships, first interacting with the place of display and second in interaction with its public. The project is based on a series of screen-based works by Geska Helena Andersson and Robert Brečević that respond to movements of the audience in various ways. The research is led by prof. Karin Becker, and the project has recieved a grant from the Swedish Research Council, 2006-2008.

Associated researcher: Karin Becker

Acting professor at Tema Q (Dept. of Culture Studies),Linköpings University as well as professor at the Department of Journalism, Media and Communication (JMK) at Stockholm University. Her research field lies within Photography and representation in public, institutional and private settings, photojournalism histories and practices, visual culture, visual ethnography. Prof. Becker is a collaborator in the Cinesense project, where she will investigate the relationship between spectator and art in public spaces.

 

GUILD FOR REALITY GENERATORS AND INTEGRATORS (gRig)

gRig is a group of European artistic and cultural operators gathered around a mutual purpose; to research and create meaningful situations in hybrid (or mixed) reality, where digital media and physical materials, objects and spaces are increasingly intertwined. Generating inspiring and playful situations in this reality requires skills from a variety of artistic technological and scientific disciplines. Most complementary collaborations in this context tend to happen on the edges of knowledge-fields, where different perspectives and approaches can be synthesized into hybrid forms of creative expression. Hybrids between artistic interventions & scientific experiments, responsive installations & audio-visual performances, film & games and many more. It is on these fuzzy edges that experimental technology and contemporary culture truly amplify each other's potentials. We have found these edges to be the most fertile ground for innovative advances in current artistic practices.
For several years the gRig partners have worked together, exchanging information and resources; in European projects, informal networks and symposia, working towards a sustainable and extendible conceptual, organisational and technological support structure for artistic expression in hybrid realities. With gRig we will formalise our collaboration over a longer time-span, strengthening the bonds between the partners through a joint research, production and presentation programme.

Project start: January 1st 2007. Supported by the EU Culture 2000 program

gRig Process site >>

The guild consists of:
FoAM, http://fo.am Brussels (Belgium - project coordinator)
Time's Up, www.timesup.org, Linz (Austria)
KIBLA, www.kibla.si, Maribor (Slovenia)
Interactive Institute, www.tii.se, Stockholm (Sweden)
Intermedia, www.intermedia.uio.no/, Oslo (Norway)
Nadine, association for experimental new media arts, www.nadine.be , Brussels (Belgium)

 

Sensing Channels

Sensing Channels brings together 3 artist groups from different parts of the Nordic region, with the aim of creating three new works pushing the boundaries of the art of interactive, moving images. The 3 groups (Performing Pictures/Sweden, Onctotype/Denmark and SOLU/Finland & Spain), will produce one new work each; and disseminate these through exhibitions/events, open labs and a seminar.

Although the artists have their roots in different practices, they have three characteristics in common: the first is that they have adopted the associative bond (i.e working as a group or collective) as their way of behaving as artists, the second is that they use the moving images as their medium, and the third is that their artistic expression involves advanced technological developments and inventions, which are strongly intertwined with the artistic expression. The use of video is the nexus joining these dual associations on a pragmatic-artistic level.

The artists involved in the project Sensing Channels will work with moving images in relation to the following keywords: the flexible/elastic, the mobile, the changeable/reactive and the temporal (and in some cases the multi-channeled). in personal renegotiations of the channeling ‘contract’ made up by/within established video/movie formats (the feature film, the tv-series, the youtube-video-blurb, the art video loop in a gallery). The groups have all had different (and highly personal) reasons to question these formats. Some have wanted to investigate issues around language and montage or other constituating models for cinematic expression, some of us have simply wanted to express/build something that couldn't be done in another way than by renegotiating how a 'movie takes place'.

The project is supported by Nordic Culture Point

 

WAVES

During the time period from May 1, 2006 to April 30, 2007, The center for new media culture RIXC in Riga in collaboration with co-organisers (OKNO/Belgium, TESLA/Germany, PROJEKT ATOL/Slovenia, ELLIPSE/France, Performing Pictures/Sweden) organised the project WAVES which investigated electromagnetic waves as the principle material – the medium – of media art.
…Since more than 100 years, electromagnetic waves have been used for communications - from the wireless telegraph to radio, television, satellite, mobile phones and now also wireless network technologies. Despite a rich tradition of media art work using waves, the most creative experimentations with/within the electromagnetic spectrum often have remained invisible, leaving the innovative potential of waves underexploited…
At large, the project was a manifestation of creative explorations, discoveries and new ideas for both past and future. Artistic expressions of “waves” from the last century was brought into spotlight, and the potential for future innovation revealed.