Participants 2017

April

24 (Mon) | 25 (Tue) | 26 (Wed) | 27 (Thu) | 28 (Fri) | 29 (Sat)

May

1(Mon) | 11(Thu) | 21 + 22 May (Sun+ Mon)

24.04.2017

Kisito Assangni is a Togolese-French curator, consultant and producer who studied museology at Ecole du Louvre in Paris. Currently living between London and Paris, his research focuses primarily on psycho-geography and the cultural impact of post-globalisation. He investigates the modes of cultural production that combine theory and practice. Assangni is heavily involved in video, performance and experimental sound.

His projects have been shown internationally, including the Whitechapel Gallery, Ben Uri Museum, London; Malmo Konsthall, Malmo, Sweden; Museum of Contemporary Art, Sydney; National Centre for Contemporary Arts, Moscow; Es Baluard Museum, Palma de Majorque, Spain; Torrance Art Museum, Los Angeles; Motorenhalle Centre for Contemporary Art, Dresden, Germany; Foundation 3.14, Bergen, Norway; National Museum of Contemporary Art, Seoul among others.
He has participated in symposia, talks and events at numerous international universities.
Kisito is the founder/curator of Time is Love Screening and [SFIP] project – Still Fighting Ignorance & Intellectual Perfidy (A platform for critical thinking, researching and presenting Video art from Africa).
www.timeisloveshow.org
www.facebook.com/timeisloveshow

TIME is Love

Established in 2008 by curator Kisito Assangni, TIME is Love Screening has travelled to major cities around the world exploring the theme of love in hard times and bringing every year a refreshing perspective on video art.

TIME is Love Screening aims to offer spectators a selection of works through which they can examine various artistic approaches and discover both the contrasts stemming from differences in cultural context as well as the common features due to the increasing globalisation of the art world. The program hopes to encourage the audience to reflect on the normative understanding of relationships in our modern society.

TIME is Love Screening has been held at ZKM Museum, Karlsruhe, Germany | Mur Nomade Gallery, Hong Kong | Torrance Art Museum, Los Angeles | Galerie Talmart, Paris | Pink Gallery, Seoul, Korea | Studio 1.1 Gallery, London | Peanut Underground Art Projects, New York | Rich Mix Foundation, Tiwani Contemporary, London | Zet Foundation, Amsterdam | TEA Museum – Tenerife Espacio de las Artes, Spain | Foundation 3.14, Bergen, Norway | Expressive Arts Institute, San Diego, USA | Hexagon Space, Baltimore, USA | Savvy Contemporary, Berlin | Kulter. Gallery, Amsterdam | Sint-Lukas Gallery, Contemporary Hotel Bloom, Brussels | Galerie Octobre, Paris | Photon Gallery, Slovenia | Museo/Centro d’Arte Contemporanea Ticino, Switzerland | Sazmanab, Tehran, Iran | [.Box ] Space, Milan, Italy | Espace apART, Guanghzou, China | City Art Gallery, Vovatanya Gallery, Kharkiv, Ukraine | Bildetage Gallery, Vienna, Austria | The Cornaro Institute, Larnaca, Cyprus.

Zofia Kuligowska /1988/ Poznan, Poland. Visual artist working in performance art and video. Performed, exhibited and participated in various – festivals, exhibitions and projects, in Poland and abroad: XVI Interakcje, Malta Festival in Poznan, SAVVY Contemporary Double Blind, PARADOX, X Forum Ostwest, Performance Art Meeting in Lublin, NE©XT Accelerator Residency in Amsterdam, Aesthetic&Bias student project in Poland and Israel. Awarded with the stipend for emerging artists by Municipality of Poznan. www.zofiakuligowska.com
My art came from the interest in limitations imposed on people, such as country borders, movement and body limits. I later understood that limitation creates conflict between inside and outside, which brought me to the concept of connections and relations between people. I see this as the place where an actual change can happen. Performance art gave me relevant tools to express ideas, visions and feelings. Through it I discovered the connection between art I make and my idea of art. A solid base for what I do is the trust to myself and to my path, and I am learing it all the time. I think Art has very much to do with Religion, it comes from unseen and requires trust, belief and faith to develop.

Maciej Bernatowicz /1981/ Lublin, Poland. Finished Music School, studied and graduated from Maths and IT in Warsaw University. MA in 2007. Founder of Basement Systems Poland Company which creates software for railways, public transport and banks. 2008-2014 played bass in Plug&Play music band. During this period he played in several theatre plays in „59 minut” Theatre in Warsaw. Creates video-art and installations. He begun his interest in art in 2015, “Leminiscate Lazy Eight” is his debut.

Leminiscate Lazy Eight, durational performance, 2017
(length 100 hours, in English)

How to prove the Time is an illusion? It doesn’t exist beyond human brain-constructed world. There is past (memory), future (imagination) and present moment (consciousness). The performance piece refers to the idea of Time and to the idea of Love. Specifically the Love to Time.
For some reason I think the Time was made up for people to believe in, it is like the god we worship. It is invisible but has been given an excessive amount of control. I think future and past are as well accessible as present, its just beyond human abilities.
“Leminiscate Lazy Eight” is to be presented in public space, for the duration of 100 hours. It consists of two „sides” being represented by two people. I invited my partner to collaborate with me, he is mathematician. We will start the performance with short presentation of the art paradox. After that we will split in two aspects of Time: passive and active or meditative and capitalistic. I will represent Lazy eight becoming the symbol of infinity. During this action my partner will become a sand clock, going out hourly, collecting one found object (from Sofia’s public space) each time.
At the end we will do the speech about the Time and the art paradox, enriched with the experiences we had for the passed 100 hours – only being an Artist or a Monk gives you an opportunity to give the Time the Tribute of giving it attention for 4 days and 4 hours.

25.04.2017

Marta Jovanovic (RS)

G12HUB & Performance HUB (Beograd) – online presentation (in English)

G12HUB is an innovative gallery platform dedicated to development, production and promotion of performance and inter-media works. It initiates and encourages experimentation on the border line of live performance and digital space. Its program structure combines live performances, streamed events, digital encounters, dialogues, debate, exhibitions, presentations and workshops with the aim of promoting cross media and trans disciplinary approaches to art production and interpretation. Comprehensive archive of the gallery and its two educational platforms, PerformanceHUB and NELT Education Program, is available online. Most of the events that are not originally created as online works are streamed live through different available platforms and on G12HUB website.

http://www.g12hub.com/
https://www.facebook.com/G12Hub/

Mohamed Abdelkarim (born 1983 in El-Minya, Egypt) lives in Cairo. He completed his BA in Art Education in Cairo in 2005. And took part in the Ashkal Alwan Home Workspace Program 2011. Abdelkarim wrote his Master of Arts in Public Spheres at ECAV “Ecole cantonale d’art du Valais”, Switzerland, where he began producing textual works on the use of art and Knowledge, mainly in the form of performance, moving images, sound, and text at times a fusion of several of these, as well as the strategies in order to engage audience. Among other places, his works have been included in PhotoCairo 5, Contemporary Image Collective, Cairo (2012); Biennale Jogja XII, Yogyakarta, Indonesia (2013); Tokyo Wonder Site, Japan (2012); Sharjah Biennial (2013); ISOE [In Search of Europe] curated by Daniela Swarowsky (2013); and Do it in Arabic by Sharjah Art Foundation Co-curated Hans Ulrich Obrist (2016) and recently at Manifesta 11 at Cabaret Voltaire (2016). In his works Abdelkarim probes the narrative patterns of myth, history and ideology, by employing a variety of aesthetic forms: from cinematic and documentary strategies to performance; from oral storytelling to religious rhetoric. Personal anecdotes are interwoven with historical events, where real and imagined protagonists – reincarnate from one story to another, crystallising collective desires into fictitious personae. What emerges is a speculative historiography that relies as much on conspiracy theories, or cinematic convention, as on fact; where historical truth unfolds as an encounter between an event and its manifold mediation.

“Epistles on Knowledge Engagement”, lecture
How can we perform knowledge avoiding exhibitionality? The questions that I pose in this lecture aims to contribute to the ongoing debates brought by the raising questions related to [Art – Knowledge – Aesthetics], the feasibility of art without the knowledge and the validity of the aesthetics in an art product, and how we can perform knowledge in immaterial status, together with the effectiveness of the latter to deal with the complexity of the contemporary political and social issues.

Gabriel S Moses, 1982, Jerusalem, is a Berlin based media artist with a Masters degree (UdK Berlin) and a millennial complex. In other words: he knows how to lie about why he lied about what ur kids are saying about u behind ur backs on the smartphone u bought them. In 2014, his project Enhancement won 1st prize at the conference ‘The Anthropocene Project. A report’ at HKW, Berlin. He has also showcased in Transmediale (Berlin), Lenbachhaus (Munich) and FILE (Sao Paulo).

www.gabsmoses.com

______

Adam Etzion, 1987, is a Tel Aviv based writer and researcher. His research revolves primarily around literary science fiction, metafiction, narrative theory and interactive storytelling. In other words: he’s into heavy omphaloskepsis. He is currently pursuing a degree in English Literature at Tel Aviv University, and has co-organized and produced multiple cultural events around Israel dealing with the intersection of science fiction, art, culture and technology.

McFly McFly – Time travel within social media’s metafiction
(2017, Panel Presentation, English, 40 Mins)

The online panel and demo at SU2017 will summarise the latest research and production stages of the McFly APP, currently being developed in Hangar, Barcelona:

It is assumed that grand narratives are ineffective today in an age of ‘post-ideology’. But even in a world said to be run by algorithms, story is key in locking people into the grid. So much has been said about control through gamification but much too little has been discussed of the role of story. And if indeed our social media are a radical mix of interactive game and non/fiction, could they then not be considered a metafiction? And what does this imply on the rules of engagement? Could we hop in and out? Could we alter our timelines almost as if we were time traveling? And what if someone were to beat us to it? Would they have the power to alter our recollections radically enough to change the outcome of our actual reality?

We take these questions very seriously; as serious as space time continuum; as serious as flux capacitors. The web has swallowed us whole. It is orchestrated by subversive mastermind propagandists and deflectors and by trolls who unleash virulent butterfly effects on us. Still, we wonder, is there something left to be done to salvage our seemingly predestined doomed fates? Could we, as users, unleash counter butterflies of our own?

For what it’s worth, the primary objective of this interdisciplinary project is to try to fix the course of history, first by identifying the unaddressed dangers of contemporary digital culture, then by disrupting the prefabrications found within its design and operation. In other words, yes, we’re very serious about time travel.

Project developed in the frame of the research residency programme Membrana #2.

Membrana #2 is an initiative by Hangar

In the frame of Imagit

Tatiana Koroleva (born Westen Siberia , Russia, lives in Montreal, Canada) is a multi-disciplinary artist and researcher who works in the mediums of performance art, video art and creative writing. A graduate of a doctoral program in Performance Studies (Humanities), Concordia University (Montréal) and a part-time professor at Studio Arts department, Koroleva explores intersections of performance art and ritualistic practices. Focusing on participatory aspects of performance art, Koroleva introduces innovative methods of interaction with the audience based on adaptation of ritualistic practices to the context of late-capitalist societies. Since 2004 Koroleva has performed locally and internationally including her participation in Miami International Festival of Performance Art (FL, USA), International Biennale of Performance Art Deformes (Santiago, Chile), International Women’s Film Festival (New York, USA), Body Navigation International Dance Festival (Saint-Petersburg, Russia), Itinerant Festival of Performance Art (New York, USA), and Nuit Blanche Festival of Contemporary Art (Montréal, Canada).

(Un)disciplined Bodies: Ascetic Transformation in Performance Artect

Lecture

Pasquale Direse (IT)

Artist, project manager and multimedia interactive designer
Founder, artist and designer at medialize.it
Professor of Methodology of the design for the public art, Academy of Fine Arts of Ravenna

medialize.it
romeopenmuseum.org
latuscreativity.it
facebook.com/FestivalLuminaria
facebook.com/ArchitecturalDressing
accademiabellearti.ra.it

City Open Museum: towards the society of artists era
Lab/open debate
City Open Museum is the concept of an open lab and debate about the theme of urban space as place of social co-creation and creativity, of artistic poiesis, of the generation of new memory and experience.The idea is to “enter out and exit in” the public space considering it an open museum, an expanded place for new social experiences and co-creation mediated by the surprise and emotion of art, by the participation, by the creative use of the emerging technologies. To consider the public space as a place for the free expression of the public art, to valorize the common heritage and the urban texture making it responsive, reactive, alive skin able to exchange information.
The conventional use of new media technologies pushes us to delegate our memory to computers and machines. The conteporary era runs at the speed of light where reality becomes difficult to recognize and to analyze. Rays of data compose a vaste mosaic of pixels in the form of images assuming all kind of forms, projected through all kind surfaces, devices, screens. A fascist conduction of light that beams mostly toward a unidirectional consumption: from the image “uniformers” to the image consumers. The mouse pointer and our fingers become paradoxal: they point one solely direction while they can navigate all of them.
The uniformed images seem to divore reality: everything is possible. The capacity of art would be to break such a system of consumption and determinate the short cicuit through which give space to a shared, aware, social creation of new images.
Such a possibility would have already come true in the society of information considering the lemma “information” in its etimological and epistemological signification: the process of giving form to something (in – formation, towards the form).
The idea of the city as open museum sees the possibility to dream the urban space and the Territory as an always active and alive workshop for human art and creativity. A place where to give form to the new society of artists…
The workshop has started in Rome Capital City in 2015 with the institutional sustain of Roma Capitale, and it saw its second edition last september in occasion of the project MuseOn the second edition of the Rome Open Museum Exhibition R.O.M.E. It involved an international participation by several public institutions in India, China, The Netherlands, U.S.A. and the project is settled as an open workshop which can be dislocated and become partner with other productive realities like the wished collaboration with the Sofia Underground Performance Art Festival.

Tina Mariane Krogh Madsen is a Danish, Berlin-based independent artist researcher and curator, who works in the intersection between performance art and media. She has an education from the College of Arts Crafts and Design in Nørresundby (DK), where she began studying performance art in 1999, and holds additionally a Master of Arts in Art History from Aarhus University (DK). Madsen has presented her performance work internationally in various forms and contexts, e. g. at the Fljótstunga Artist Residency in Iceland, the Electropixel Festival in Nantes (FR), Wolfart Project Space in Rotterdam (NL), Grüntaler9 in Berlin (DE), the Interface Politics Conference in Barcelona (ES), the Crossover project in Kiel (DE), at Spanien 19C in Aarhus (DK), and the Piksel Festival in Bergen (NO).

http://tmkm.dk/

Body Interfaces – site-hacking: critical urban performance practice, workshop

This Body Interfaces workshop centers around the possibilities of analyzing and recapturing urban space through performance practices and thus hacking its normative functions through
the use of the body and its relation to site and environment. The workshop will explore territories, observe and intervene! Time will be used as a central element in structuring the form of the interventions as well as time is connected to the way the body will use movement in urban space. Referring to the method of Tina Mariane Krogh Madsen’s Body Interfaces research, the body will be used as a data-gathering tool to explore places and interact with these. It introduces spatial theory and tactical intervention practices, where the body will be a technological tool that can be used as a critical instrument. In the area where the workshop will take place initial hierarchies and power structures will be deconstructed through physical engagement with the selected site, facilitating a type of data-mining with the body.

26.04.2017

Ilina Konsulova (b. 1985) is a contemporary visual artist who lives and works in Sofia, Bulgaria.

http://ilkonsulova.tumblr.com/
http://ilkonsulova.tumblr.com/selected-presentations

Аrt After the Transition – Presenting Maestro Prince Papa Jan /ili “S kakvo 6te ni zanimawat kuratorkite idnite 10 godini”/, 2016, Performance-lecture
(Duration: 20-30 min)

AATT-PMPPJ is a non-sense ironic presentation/talk on what is going to be the art trend according to young female Bulgarian curators the next 10years – the post-communist transition period. As I hope they’ve drained the shit out of the communist past at last! Still, I guess they forget one of the shiniest artfigures of The Transition – Maestro Prince Papa Jan. Iconic for the past, representative for nowadays, mysterious/predictable as the future itself!

Valko Chobanov (b.1991) is a Bulgarian artist, born in Plovdiv. He works in the fields of scenography, media arts and painting.

https://www.facebook.com/valkobestartist/?ref=ts&fref=ts
http://vylko.tumblr.com/
http://vimeo.com/valko
http://newhive.com/valko/

I have a pale Cultural dissonance, yeah like whatever f**k it and feelings and stuff.
2016, performance
(60 – 80 minutes)

This performance aims to develop combining a TV show, in which representative of the audience will take part, and a law-quality performance art of a bad performance artist. Its realization will happen as a mixture of different genres as well as of various topics. The performance piece will pay attention to some of the contemporary cultural phenomena and events in Bulgaria and also to some analogical to them from around the world; it will mix real information and documentaries with faked ones and will include minimal absurd humor.

Lorna Mills is a Canadian visual artist, working on the field of net art and new media art. She is renowned around the world through her animations, video art and gifs. Lorna Mills has actively exhibited her work in both solo and group exhibitions since the early 1990’s. She is also one of the founders of Red Head Gallery in Toronto. She is also a new media art curator, realizing several projects around the world, and hermost recent curation project is exactly Ways of Something.

Ways of Something, parts 3 & 4
2014-2016, video project
(60 minutes)

The screening is realized as part of the ON! Media Arts project of eXAF.org
Ways of Something consists of four separate parts, created in the time period 2014-2016. The project consists of one-minute videos by network-based artists who commonly work with 3D rendering, gifs, film remix, webcam performances, and websites to describe the cacophonous conditions of artmaking after the internet. Curated and compiled by Lorna Mills, this is a contemporary remake of the popular BBC series created by art theorist John Berger (Ways of Seeing, based over Burger’s book, and exploring, basically, how we look at art). It is, in effect, art about art about television about the internet.

The screening is realized within ON Media Arts Platform of eXAF.org

supported by National Cultural Fund of the Ministry of Culture of Bulgaria

SOFIA UNDERGROUND PERFORMANCE ART FESTIVAL
20TH ANNIVERSARY PARTY
The festival for performance art and border forms of art Sofia Underground will celebrate it’s 20th anniversary with a club intervention. In the Wednesday night of the 26 th of April the Hunt club will host a party where the selection will be handed to three extraordinary ladies, each of which will showcase different experience and approach towards contemporary techno.

Location: club Hunt (1 Bulgaria Square, Sofia)

Line up:
23:00-24:30 – Snezhana
24:30-03:30 – Electric Indigo
03:30-06:00 – Y.UNAN & Random Input

Electric Indigo
/indigo:inc, female:pressure/
(Vienna, Austria)

Maybe some of us remember her playing one of the first big parties in Sofia. Yes, twenty years passed since then. Specially invited for the 20 th anniversary of Sofia Underground and with the kind support of the Austrian embassy in Sofia, Electric Indigo will return to Bulgaria for an exclusive 3 hour set. Composer, DJ, musician and a visionary. Definitions that we usually put to men. But in this case we talk about Austrian artist Susanne Kirchmayr, aka Electric Indigo, who has gained legendary reputation as a persistent techno selector. She started playing in her hometown of Vienna back in 89. She released her first record in 93 while she was working at hard wax in Berlin. She has her own label indigo:inc. In 98 she started a network for female artists called female:pressure, which nowadays includes over 1700 artists from all fields of art and music.
Touring the world, but also a guest lecturer at some prestigious art institutions in Vienna, Susanne was awarded with a honorary mention at Ars Electronica in 2009. She appeared at various locations like Wien Modern with a audio-visual performance, or with multi-channel sound installations at CTM Festival, Klangspuren, Dunkle Zeiten.
Despite all that Susanne remains a underground artist with her own distinctive and deep understanding of experimental, deep and textured techno. Her sets are sharp, involving and direct. Fine detail work combined with careful placement in space and time is what can we expect from one techno’s finest on a Wednesday night in Sofia.

https://soundcloud.com/indigo

Y.UNAN & Random Input
/WNC100/
(Istanbul, Turkey)

Y.UNAN (ака JulieWinters) comes from Istanbul, where she works as a DJ since 2004. She also worked as a art director, editor and resident DJ for some alternative spaces and events like Dirty, Suma Beach and Wake Up Call, but she also played at Club Villa and Soju Bar in Berlin. In 2088 she participated the Red Bull Music Academy in Barcelona and played the famous Razzmatazz. She is a eclectic selector, but recently she specialises in deep and melodic techno. Specially for Sofia Underground she will present her new 100 minute long audio-visual project warneverchanges where she collaborates with visual artist Random Input.

https://soundcloud.com/juliewinters

Support: Snezhana (BG)

Snezhana will take care for the proper warm up introduction from the Bulgarian side. Some may know her from the legendary Vlaikova bar. Some have read her now defunct Beatbucket blog and Easterndaze features about contemporary sound she likes. Today she randomly plays at private venues and co-runs the Sunday Relief matinees at craft-beer bar Kanaal. Her podcast for Бетон and the music she selects speak clearly why she was invited to open this party.

soundcloud.com/betongroup/006-bb

soundcloud.com/intersectionss/intersections-sneji

soundcloud.com/beatbucket

27.04.2017

Daina Pupkevičūtė (LT)
I am a sound and performance artist, organizer and curator (International Performance Art Festival CREATurE Live Art, as well as educator (lecturer, performance art workshop facilitator). My inquiries are those on the body, it’s presence and absence, relationship between the body and the other; womanhood and shame; illness and health in public discourse and social stigma associated with having a certain condition; power and resistance in both physics and politics; (hi)stories and the role of an individual story in the Big narrative, thus they are always revolving about the human condition: how I am and what we are, and what is happening to us in a particular moment in time and in a particular place.

CREATurE Live Art is a carefully curated yearly festival, dedicated to live art only. We promote the liberty and the responsibility of live action, which might be thought-provoking, shocking, as well as soothing, nurturing ones tolerance, pushing the limits and breaking the boundaries one imagines to have.

Diogo da Cruz (b. Lisbon 1992) is a conceptual artist based in Lisbon and Munich, working in an interdisciplinary field of speculation. His projects call into question some certainties and prejudices of our society, through a rigorous and impertinent research about concepts familiar to the general public. Very often he creates symmetric and ironic objects, position in a stage-like installation, which end up being part of a performance piece.

He received a BA in Sculpture from the Faculty of Fines Arts of the University of Lisbon in 2012 and a Diploma from the Akademie der Bildenden Künste München in 2016, where he study at the class of the professor Hermann Pitz, being also guided by the guest professors Ceal Floyer, Andrea Fraser and Tyler Coburn. In 2016, Diogo participated in the Independent Study Programme at Maumaus – Escola de Artes Visuais in Lisbon, where he had seminars by Jürgen Bock, Simon Thompson, Emily Wardill, Manthia Diawara, Alberto Toscano, Claire Bishop, João Enxuto and Erica Love, Helmut Draxler, Gertrud Sandqvist et al.

His work has been shown in group exhibitions in Portugal, Germany, Austria, Spain . Greece and Sweden, and also solo exhibition in Germany. Diogo’s recent exhibitions include: ‘WORDCOIN’ at CASA-ANIMAL from Musa Paradisiaca as part of the program of BoCA – Biennial of Contemporary Arts (Lisbon, Portugal, 2017) ‘ARTYPOLY’ at SUPERMARKET Art Fair 2017 (Stockholm, Sweden, 2017); ‘, oder?’ group exhibition at Kunstarkaden (Munich, Germany, 2017); ‘Running out of time’ presented at Kythira Biennale – Timeless Observatory (Kythira, Greece, 2016); ‘Enésima Intempestiva’, group exhibition at gallery Àngels Barcelona, (Barcelona, Spain, 2016); ‘Necessary Art’ and ‘The gravity of time’ – solo exhibitions at the Akademie der Bildenden Künste München (Munich, Germany, 2016); ‘KOMPROMISS-QUALITÄT Deutschland’, group exhibition at gallery Aa colections (Vienna, Austria, 2014); ’15 meters of me’ solo exhibition at ROUNDABOUT – Adalbertstraße 11 (Munich, Germany, 2014); ‘Ciência e Arte’ group exhibition at the Museu Nacional de Soares dos Reis (Porto, Portugal, 2013).

The gravity of time, 2016, lecture-performance
(15 minutes, English)

‘The gravity of time’ started with the creation of a book that gathers distinct perspectives about time perception, time measurement and time in social behaviour. Ideas from philosophy, biology, neuroscience and physics are presented side-by-side with my own art practice and personal experiences. Using a writing style characteristic of an academic essay, its content is rather speculative and ironic at some point. By comparing distinct notions of different disciplines, I pretend to show how unsure and relative is this relevant concept that accompanies us everyday, defending a general slow down. During this process, I was continuously creating different pieces. These are mostly symmetric, ironic or critical interpretations of the concepts addressed in the book.

This project was shown in Munich and Barcelona as an installation, that is both the art piece itself and a stage for the presentation of the ideas from my research, within a lecture-performance. For Sofia Underground 2017 this lecture-performance will be presented within the lectures program of the festival, giving now a space for a discussion around the themes at stake.

Kalas Liebfried (born 1989 in Bulgaria) is a multimedia artist. Since his degree in philosophy at the
LMU Munich, he has been studying New Media and Sculpture with Prof. Stephan Huber and Prof.
Julian Rosefeldt at the Academy of fine Arts Munich. In his narrative works – including video,
sound, performance, lectures and sculpture – he is attended to the adaption, appropriation and translation of
found footage and questions of authenticity and intertextuality.

Selected exhibitions/projects:
Blind Carbon Copy, AkademieGalerie, Munich (2017)
pOsteuropa, Kunstarkaden, Munich (2017)
Noises, Brooklyn Fire Proof, New York (2016)
There Will Be Blood, Ludwigskirche Munich (2016)
Business-Business, Atelier Alen / privat flat, Munich (2016)
Busbisiness, Galeria Victoria, Sofia (2016)

REPLICA REPLICA, lecture performance, 2017

(pprox. 45min, English, premiere)

This is a lecture performance based on Walter Benjamin’s conception of time and space in interaction with a work of art and performance as a form of possible future. The lecture includes projections of video footage and quick performance moments, which materialize the theoretical structures of the lecture.

28.04.2017

Guy Königstein
Confused in a world abundant of conflicts, discrepancies, paradoxes and their constantly competing representations, Guy Königstein interacts aesthetically with his environment: he manipulates political narratives, translates personal memories into visual objects, creates tools for speculative engagement with the present, cooks provocative dishes, excavates future archaeological findings, publishes silent manifests, and performs flexible biographies and practices.
Privileged to shift between fact and fiction, between soft and hard media, between the stage and the plinth, between the online and the offline, between himself and his image, Königstein is thankful.

Hundred Years

The participatory installation wishes to highlight the time period of hundred years as a gap of potential. It invites visitors of Sofia Underground to actively perform a mental time-journey. Provided with a stencil, colourful spray paint, and blank sheet of paper, they are challenged to create commemorative posters in memory of future events. The intention is to disposition in a far, unknown point of time, imagine a future past, and experiment with shapes and textures, colours and intensities to develop an abstract graphic message.

Viktoria Kieffer & Aimé Politanski

We are actually two students at the HEAR, previously the Decorative Arts School of Strasbourg, Victoria Kieffer studying Artist Book and Aimé Politanski Ceramics. Micro-publishing, installations, contemporary and urban dance are part of our different practice. Increasing awareness of social issues including queer culture visibility is our main common purpose.

http://covidecastelnau.tumblr.com/

100 SANS SANG [sã] / Fluids Talk, 2017, audio-visual performance

(15 min; in French, English and Bulgarian)

This performance is the result of a virtual epistolary relationship, between Aimé based in France and Victoria in Bulgaria.

For four months the circulation of our bodies and informations across different parts of Europe and the Middle-East leads us to the creation of a safe space, destined to share what we collected, built by warming dance, poetry, and tea party.

Collaboration with friends, lovers, local people, foreigners, strangers, travelers.

Tom Marioni was born in 1937 in Cincinnati, Ohio, attended the Cincinnati Art Academy, and in 1959 moved to San Francisco, where he still lives. His first sound work, One Second Sculpture, 1969, was celebrated in the 2005 Lyon Biennial as presaging the work of many artists today who use sound and duration as subjects. His first museum show was in 1970 at the Oakland Museum of California. Titled “The Act of Drinking Beer with Friends is the Highest Form of Art,” it was an early example of social art as a sculpture action. Over the years, Marioni was invited to repeat the work in various contexts around the world.

In 1970 Marioni founded the Museum of Conceptual Art (MOCA), which he described at the time as “a large-scale social work of art.” Until the museum closed in 1984, he organized many groundbreaking shows, including “Sound Sculpture As” in 1970. MOCA has entered history as one of the first alternative art spaces. Marioni had one-person shows in several significant venues for early conceptual art, among them the Richard Demarco Gallery in Edinburgh in 1972 and Gallery Foksal in Warsaw in 1975. In 1977 he had a solo show, “The Sound of Flight,” at the de Young Museum in San Francisco.

He has done installation/performance works at the Whitechapel Gallery in London (1972), the Institute of Contemporary Art in London (1973), the Centre Georges Pompidou in Paris (1980), and the Folkwang Museum in Essen, Germany (1982), among other museums. He has produced sound works for radio stations KPFA in Berkeley and WDR in Cologne, Germany. In 1996 he organized The Art Orchestra and the group performed at the Legion of Honor Museum in San Francisco.
Marioni was included in “For Eyes and Ears” (1980) at the Academy of Fine Arts in Berlin, “Live to Air” (1982) at the Tate Gallery in London, and “From Sound to Image” (1985) at the Stuttgart Staatsgalerie in Germany. His work was shown in “Out of Actions: Between Performance and the Object” (1998) at the Museum of Contemporary Art in Los Angeles, and “The Third Mind: American Artists Contemplate Asia,” (2009) at the Guggenheim Museum in New York City.

Drawing is central to Marioni’s art, and in 1999 he had a drawing retrospective, with a catalog, at the Mills College Art Museum in Oakland. In 2006 the Contemporary Art Center in Cincinnati presented a survey of his work and published a catalog. Marioni is the author of Beer, Art and Philosophy, 2003, a memoir, also Writings on Art 1969-1999, and Fabliaux Tom Marioni Fairy Tales. He was editor/designer of VISION magazine published by Crown Point Press, 1975-1981. Issues were titled “California,” “Eastern Europe,” “New York City,” “Word Of Mouth,” (phonograph records) and “Artist’s Photographs,” and published prints, since 1974.

Tom Marioni received a Guggenheim Fellowship in 1981 and three grants from the National Endowment for the Arts during the 1970s. His work is in the collections of the San Francisco Museum of Modern Art, the Museum of Modern Art in New York, the Stadtische Kunsthalle in Mannheim, Germany, the Pompidou Center in Paris, and other museums. He is represented by Gallery Paule Anglim in San Francisco, the Margarete Roeder Gallery in New York, and the Carl Solway Gallery in Cincinnati.

Appearance, 2000, invisible performance

TOM MARIONI WILL MAKE AN UNSCHEDULED APPEARANCE SOMETIME DURING THE EXHIBITION (a printed card)
This is an invisible performance. and is a work from 2000 first made in the Oakland Art Museum California.

Georgi Yamaliev was born in 1978 in Yambol, Bulgaria. He works in the field of contemporary art – installation art, performance art, actions and video. Currently, lives and works in Sofia, Bulgaria.
Central theme in his search is related with the problems, achievements, relationships and challenges in the virtual world and the increasingly developing new technologies and social, cultural and global issues and problems. Georgi has participated in prestigious festivals such as Sofia Underground Performance and Contemporary Art Festival, M-tel Awards for Contemporary Bulgarian Art, CON TEMPO Festival, Water Tower Art Festival, Low season at Theatre workshop Sfumato, as well as in many other exhibitions and projects in Bulgaria, Germany, Slovak Republic and Romania, Morocco.

Deadline, performance
13 min.

This piece explores how any deadline functions – as an incentive or impediment – related to the realization of a certain goal.
The term deadline originates from prison camps during wars, and refers to a physical line or boundary beyond which something ends, can not be gone or is not allowed.
The contemporary usage of the word refers to a narrow area of time or a certain point in it, in which one task must be fulfilled. Once this time has passed, it may be considered overdue. In this case, if the work tasks or projects are not completed within the deadline, this could adversely affect the rating and performance. Possible failure could lead to frustration, stress, disappointment and mediocrity. Traditional perception of time is in the form of a straight line that has a direction of movement, and the deadline is a line that does not move but causes a cut from it. This is the time limit for performing a particular activity. One of the key functions of the deadline is directly related to motivation. Motivation in its essence stimulates the individual in his efforts to achieve the desired goals. It refers to the beginning, direction, intensity and persistence of behaviour. Scientists define motivation as an incitement to some activity. It is caused by the desire to achieve concrete results due to side factors. In its essence, the deadline is an external stimulus whose purpose is to motivate us.
Does the performance affect the question of how far the deadline is an incentive that motivates us or is it a factor that creates stress and anxiety?
Is it capable of excitement or frustration of imagination and creativity?

Anette Friedrich Johannessen is a Norwegian artist. She did her BA at Camberwell College of Arts (London), after educating from KiB art school (Bergen). Friedrich Johannessen has participated in several exhibitions and shows (both solo and collaborative) in Norway and internationally. She is a member of Performance Art Bergen (PAB), and has co-organized and engaged in local and public performances on several occasions.
Anette works mainly with Live Performance and Video art where she explores the meaning of simple and everyday rituals that helps us to create and support our own identity. She finds inspiration in the variety of systems we create to make sense of everything and how we act in order to realize our private and social missions.
The materials she uses, reflects a planned, yet intuitive approach to the subject matter. The simplicity of them, combined with the references to everyday life, underlines the seriousness of ritual actions and play.
Recent projects have focused on system and structure, and the foundations of man-made order.

#order, 2017, performance
60-90 min.

A hundred repetitions of the same exercise. A hundred ticks, flows, movements, until you change the form and do another hundreds of another note or exercise.
#order is a series of performances that explores the very meaning of simple, everyday rituals. Actions are deconstructed, the power of definition challenged, and the roles of both performer and spectator collide. The individual exercises explores relatable patterns and systems, but when the role of the spectator dissolve, the exercises themselves; forced to develop new identities. #Order brings forth discussions about identity, senses of belonging and adaptations.
#Order works with simple materials, with relevance to our daily life’s and nature. The performances are often durational and repetitive in form, where presence and purity is sought after.

Ursula Scherrer
The poetic quality of Ursula Scherrer’s work reminds one of moving paintings, drawing the viewer into the images, leaving them with their own stories. She transforms spaces and landscapes into serene, abstract portraits of rhythm, color and light – inner landscapes in the outside world where the images and actions have less to do with what we see then with the feeling they leave behind.
Scherrer is a Swiss artist living in New York. Her work has been shown in festivals, galleries and museums internationally.
Her aesthetic training began with dance, transitioned to choreography and expanded to photography,
video, text, mixed media and performance art.
Her work has been shown at REDCAT, Los Angeles, Ideas City Festival of the New Museum, New York, the Clocktower, New York, Chelsea Art Museum, New York, Brooklyn Museum, Roulette, Brooklyn, Salisbury University, SHARED.museum, Bremen, Seoul Square/Gana Art Gallery, Korea, Organhaus, Chongqing, China, LACE, Los Angeles, artMuse, Gdansk and Bocholt, ZKM, Karlsruhe, LAB, San Francisco, Würtemburgischer Kunstverein, Stuttgart, Kunstraum Walcheturm, Zürich, Raum in Bologna, Kunstraum Krems, O’artoteca, Milan, Gasometer, Liechtenstein, Espai Ubu, Barcelona, Centre d’Art La Panera, Lleida, among others.

Standstill, 2017, performance
about 2 hours

Standstill is a living sculpture in public space.
There is nothing happening and yet so much.
Once standing completely still even the smallest movement will be visible.
If there is no movement, is there time? Does time stand still?
The performance has no time and is full of time. It is all about time and it is not. It only exists as time, as duration, at the same time time disappears. It is about the now, each moment as a separate moment in time.
The audience is encouraged to join Scherrer for as long as they wish.

Inês Miguel was born in Lisbon in 1985.
In 2003 she moved to Oporto to study Fine Arts and remained there for 8 years. It was during the final year of her degree that her interest in performance art began to develop.
In 2012 a workshop with Jean Daniel Fricker had a profound effect on her understanding of her own body and her consciousness of time and space. After one year teaching visual arts in Portugal, Inês moved to Berlin, which is where she currently lives and works
Images, sounds, movement… those are the things that truly fascinate Inês and make her live filled with passion by the world. As it often occurs with her dadaist friends, she finds herself upset with having to identify and label her work within one specific field. However, nowadays, she express herself through the means of performance art. For now she hopes she continues living.

Trajectory #, 2017, durational performance

Having the use of public transports in our urban daily life routines as a starting point, Trajectory consists of a series of long durational performances in different cities.
Each city has its own pace variations. Its sound and rhythm particularities embody different perceptions of time in each individual nonetheless we are regulated by a primary time standard.
Trajectory experiences the modus vivendi in the spaces and places where a certain path was defined by a public transport. This journey observes and absorbs the surroundings during a certain time along a chosen route of the city’s transport map.

Trajectory #3 will be the third long durational performance in the city of Sofia. The piece was shown in public before:
Trajectory #1: Berlin, 2015
Trajectory #2: Porto, 2016

Simon Pfeffel, *1985 in Nuremberg (Germany)

Handeln ist sterben lernen # VII, 2017, durational performance

Daina Pupkevičiūtė is sound and performance artist (dainadieva.wordpress.com), organizer and curator (International Performance Art Festival CREATurE Live Art, www.creatureliveart.lt), as well as educator (lecturer, performance art workshop facilitator). My inquiries are those on the body, it’s presence and absence, relationship between the body and the other; womanhood and shame; illness and health in public discourse and social stigma associated with having a certain condition; power and resistance in both physics and politics; (hi)stories and the role of an individual story in the Big narrative, thus they are always revolving about the human condition: how I am and what we are, and what is happening to us in a particular moment in time and in a particular place.

tÃ®mÃª: memory and decorum, 2017, performance
undefined lenght

The fabric of the memory is inconsistent, fractured, in a state of constant disintegration and reiteration. What do we remember? What do we think we remember? Our memory pays the honors to a greedy god of time, changing and allowing to be changed.

Body Interfaces: 10.1.1 100 Continue, performance

The {body} may continue with its request. This interim response is used to inform the {body} that the initial part of the request has been received and has not yet been rejected by the {mind}. The {body} SHOULD continue by sending the remainder of the request or, if the request has already been completed, ignore this response. The {mind} MUST send a final response after the request has been completed.
Body Interfaces is an artistic performance research by Tina Mariane Krogh Madsen that combines working with the body and (as) materiality in the tradition of site-specific performance art with an understanding of the body derived through a methodology coming from technology. The interface in Body Interfaces is inscribed in the body’s relation to the environment and the actions that it partakes in, with the body as an embodied technology in
itself. It is a proposition to go beyond the mere body/machine dichotomy, the traditionally known Human Computer Interface and the contemporary more ubiquitous interface approach still depending on computer hardware and software. Instead the research aims at a representation and understanding of the interface as a crucial part of experiencing and sensing in everyday life, through and with the body. We now engage with the world, with our
body as also technology that interfaces and activates relations through everyday practices.

Body Interfaces thus researches in the physical sensations and meeting points that the body has with the surroundings, inspired by tools and methods coming from studying the body in technology with the concept of the interface as its main focus point. For the Sofia Underground Performance Art Festival the HTML command ‘100 Continue’ is rewritten into a performance score to be performed with the body. The structure and the duration of the piece is nailed down to be a total of 10 acts of each 10 minutes duration, a divided sum that in total
also equals 100 minutes. The performance thus deals with how time is structured by a principle (here both through the command line as well as the given parameter of the instruction chosen by the performer). Here time will be a central element in the structure of the piece, as well as it is an important part of the protocol controlling the performance.

Site-specificity is another essential part of the Body Interfaces research, where the site is the departure point and data-feeder for the performances and interventions. In the site-specific interactions of Body Interfaces, it is not the visual qualities of the actions, which are the main focus points, but the engagement with a chosen environment, where the senses become important catalysts for the interaction and meeting points with the site as a vital part of the interfacing process and the data exchange between site and body. The performances thus deal with the various stages of the threshold condition of the interface experience and creates a deeper critical reflection on the interface in a cultural perspective as well as to the site, where it is performed. The senses are here functioning as a mediator for experience and giving information based on the structures, which are being interacted with, here being interfaced. The departure point will be a site-specific intervention on a selected site in Sofia that will be chosen due to its special characteristics and history. This will be chosen in close collaboration between the organizers who knows the city and the performer.

Body Interfaces wish to challenge and incorporate formats and terminologies inherent from technology and scientific practices; creating a DIY, open and analogue approach to these. The data collected through the actions will be notated on site as a part of the performance as a live scripting act.

Park & Gale started working in 2016 in South Korea. Previous collaborations include “Axis Mundi” – 2016, and “Whitening” 2017.

Matt Gale’s performance work weaves intensity with humor, often includes sound, movements that read like language, and minimal striking visuals to build symbolic abstract narratives with psychological and mythological motifs. Matt Gale holds a BFA in Intermedia Art with focus in time-based media.

https://vimeo.com/mttgle
http://mttgle.com/

Ji Hyoung Park’s performance work draws from materials and imagery from her background in fabric arts. Her hypnotic sensual movements are highly interactive with the audience which draws them into her semiconscious world of emotion, connection and shared experience. Ji Hyoung Park holds a BFA in Sculpture.

http://www.imgrum.org/user/park_ji_hyoung/4024737964

Wave 9, 2017, performance
20 minutes

Humans, nations, cultures and entire species grow and evolve in waves, in pulses rather than straight lines. Starting from a “birth” event, and ending in a “death” event. Great music introduces a motif, builds upon it, then brings it to climax. Some cultures refer to the orgasm as “the little death.” The ninth wave is not saved up and released all at once. Waves build up gradually over time until they culminate into the strongest wave. The galaxy expands and contracts. Space-time starts with a big bang, and crashes back in on itself in an apocalypse of matter, time and light collapsing back in on itself. But between these major events, there are smaller ripples of experience. Seasons happen in cycles, the human or the culture gets older each cycle as it approaches the major event of death.
The world culture is speeding towards a climax now. Global society is more polarized than ever. Also more complex than ever. Park & Gale’s collaborative project “Wave 9” is a consciousness raising event in the format of performance art using elements of sound, movement, light and visual props to connect the phenomena described above in the previous paragraph with the viewer’s visceral immediate experience.

2/5BZ , aka Serhat Köksal, has worked as a multimedia artist with various releases in video, music, and literary formats since 1991. The work often balances on the verge of trash, and continuously engages with remakes and collages of music, cinema, speech, and field recordings. 2/5BZ has performed live audiovisual performances under motto ”NO Touristik NO Exotik” in 91 cities in clubs, festivals, squats, and exhibitions.

http://2-5bz.tumblr.com

http://68.media.tumblr.com/379546db6b1e8f357d309ff5b1bdac48/tumblr_ne7mx3ZPT61qg200jo1_1280.jpg

http://68.media.tumblr.com/0c404240cf7577ee1c1057d0f8b5b6a7/tumblr_ne7mx3ZPT61qg200jo2_1280.jpg

https://transmediale.de/content/25bz

NO Exotic ISISTANBUL POSTCARDS, audio-visual performance

https://transmediale.de/content/25bz

https://youtu.be/dYFPIdqMXSc ( live @ transmediale festival 6.2.2016 hkw berlin )

https://www.hkw.de/en/programm/projekte/veranstaltung/p_123978.php

29.04.2017

Sevda Güler was born in 1984 in Berlin, Germany. Currently lives and works in Kassel.

To fold in (original: Unterheben), performance

The act of eating is a very essential part of life. It´s something that we have in common. That we must do to survive. It´s something that brings us together, connects us or even breaks us apart. Within this act emotions can easily be stirred up.

You can go so far and easily say, that our Heritages are written in the way we prepare a dish.

In the collage-esque play „To fold in“ the attitude of the individual as well as the role of the society in relationship to eating are constituted. Which experiences are accompanied by the act of eating, which traditions, hopes, dreams, whishes are united in a bowl of soup? Is there a general sauce thickener which makes us all the same as soon as we eat? On the basis of two approaches the play „To fold in“ is attempting to get closer to these questions. On the one hand a dish is prepared together, on the other hand generic stories about food are being served. That´s the reason why on every occasion there should be a special dish from someone that means something to them. Nevertheless there is also a setting for the process. The performer should be able to interact with the audience, if the audience wants or demands them to.

Thalia Zachariadou was born in Veria, Greece, in 1980. She studied acting in the High Acting Theater School “Andreas Voutsinas” and in Department of Animal Production in ATEI Thessaloniki. She participated in performance art and live art workshops by Ulay, Manuel Vason, NON GRATA, La Pocha Nostra, and others.
Her work has been shown in Greece and abroad, exhibited solo and in group.. Thalia works in the fields of performance and installations.
She is a founding member of the newcomer Performance Group: The Girls. They usually work on site specific projects, everyday stories and guerrilla public interventions.
She likes unicorns, books, balloons, cinnamon, rainbows, fairy tales and the little things.
Thalia lives and works in Thessaloniki, Greece.

Eternal Return, installation + 8h. durational performance

My installation and durational performance “Eternal Return” inspired of “Eternal Recurrence” that was addressed by Friedrich Nietzsche. The project is created purposely for Sofia Underground Performance Art Festival 2017.
A huge site-specific chessboard will be installed in which the pawn is the performer (human being). The body is figured out in a cyclical and repeating movement for eight hours (just like the working shift). The human being is trapped at an eternal cycle of routine and is unable to give meaning to existence. It seems that the body repeating this action for eternity. It is a common and mechanical behavior. Always, the person wants to leave but never seems to be able. The body – person is imprisoned in time.
Every hour a big installed clock bells – rings and reminds the punishment. The body stops and punishes itself. Additionally, each hour an accessory weight added and the body continues the cyclical movement.
Where is the identity in a world in which everything is uncertain?
The mechanical movement creates remission and a vicious circle in which the consciousness remains trapped. The only solution in order to escape from the mechanical movement, the remission and the vicious circle is the disenchantment, because otherwise the situation will be repeated in vain, vapidly and perpetually.
Time is presented as an entirely existential force that characterizes my performance outlook on the nature of life and the meaning of existence. The above chess game raises different questions about being and suffering. The audience become aware of the absurdity of life and has to face the hopelessness to give meaning to existence.
It is a dilemma that raises different questions about being.

Manuel Lopez Garcia‘s practice is time-based, mainly focused on live art and durational work, pursuing the development of new processes of significance aimed to questioning the idea of identity, grounded on the relationships between body, material, time and space. It is a reflection around language, power hierarchies, the production of subjectivity and the inscription of the bodies in different systems of truth.
The idea of interval as a space-time in permanent modulation constitutes the contextual axis that shapes actions in which he explores different modes of communication, the political construction of the body, the multiple dynamics of interaction within human relationships, and the production of fragmented identities, diluted.
The symbiosis between process and duration results in the experimentation of a space of enunciability in which the subject becomes a contingent being, dissipated; in constant transformation.
Born in Lanzarote (ES) in 1992. Graduated in Fine Arts from the Polytechnic University of Valencia and Music from the Conservatorio Profesional de Música Josep Climent. He Holds a MFA in Visual and New Media Art at the same university. Currently pursuing a Phd in Fine Arts at Polytechnic University of Valencia. He has performed in Europe and United States, highlighting Rapid Pulse International Performance Art Festival (Chicago, US), CREATurE Live Art Festival (Kaunas, LT), Between CrinKles (Turin, IT), Month of Performance Art Berlin (Berlin, DE), WIPAW (Warsaw, PL), EXPERIENCE #9 (Rotterdam, NL), Concrete Matters (London, UK), Acción!MAD (Madrid, ES) and CORPOLOGÍA (Barcelona, ES) among others. His work has been featured in Spain, Italy, France, United Kingdom, Argentina, Chile, Mexico, Colombia and Finland. He is one of the founders of DECADENCE PERFORMANCE platform, and co-director of DECADENCE PERFORMANCE Festival in Valencia (Spain).

Loss, durational performance
10 hours

According to the United Nations High Commissioner for Refugees, more than 10,000 people have died in the Mediterranean sea since 2014 trying to reach Europe.
Loss is a durational performance in which 1kg of sand from the beach of Valencia, on the Mediterranean coast of Spain, is transported from one point to another of the space. The action is carried out with a teaspoon, moving the sand in small quantities over a period of 10 hours without interruption. Each time the total amount of sand is moved to another point, the process is repeated again. During the course of the performance, a progressive loss of material occurs due to displacement, until finally the whole amount of sand is completely disseminated in the space.
Migration is a process of loss. Through the concept of duration, identity becomes, is diluted, disappears. Only a body remains, a material in constant modulation.

Clara Boj & Diego Diaz are media artists from Spain.

http://www.lalalab.org/biography/

Las Calles Habladas, performance reenactment

Las calles habladas [Spoken Streets] is an audio experiment in geolocated narrative that is constructed in real time using information found on Internet about the streets the user passes through. A smartphone application created by the artists provides users with a random route around the city starting from their present location. As they walk through the streets, users hear textual information published on the Internet related to each geographic point they visit, as well as the names of the streets they pass through. The real city and its digital experience collapse in a drift that sometimes is related with the physical context and other times is totally abstract.

Performance is conducted by artist using a loud/speaker but general public can conduct their own urban exploration by downloading the application Las calles habladas, available for Android and iOS, free of charge. To do so, just use your smartphone to scan this QR code and follow the instructions.

http://www.lalalab.org/las-calles-habladas/

Without, Schloss Salem, Germany, 2016 | (c) Felicia Glidden

Laurel Jay Carpenter & Philippe Wozniak aka CarpWoz
Laurel Jay Carpenter, a US artist based in the UK, is a visual performer investigating longing, vulnerability and intimacy in her durational live works. Philippe Wozniak is a German performer and composer. His recent work in collaborative, multimedia, experimental orchestrations is supported by his dedicated practice of the upright bass. After meeting at an artist residency in 2014, they formed CarpWoz the following year. Continuing their collaboration as an investigation of a hybrid form supported by historic and cultural research surrounding specific sites, Carpenter and Wozniak bring their discrete expertise in visual and sound composition to create a fusion where installation, sound and sculptural performance share equally in the inspiration, creation and presentation of new works of art.
Carpenter has been performing for twenty years, and has presented at festivals, galleries and contemporary art centers extensively in New York City and internationally in Spain, Germany, Poland, Norway and Italy, most notably as part of the 2007 Venice Biennale and the 2013 Festspillene i Bergen. She is honored to have been an active member of the Independent Performance Group (IPG), founded and facilitated by Marina Abramovic as an early incarnation of her institute in support of the next generation of durational performers. After 11 years, Laurel recently resigned her tenure as Associate Professor of Art at Alfred University in New York to embark as a PhD candidate under the supervision of Sandra Johnston at Northumbria University. She now lives and works in Newcastle.
Wozniak’s work in conceptual art and contemporary music began through his studies at the CNSMDP in Paris with the „l’Ensemble Intercontemporain“ and the IRCAM. His work deconstructs and reorganizes space and time in sound. Wozniak investigates the perception of common realities, acoustic and visual, by indicating individual components (which mostly remain unrecognized by our consciousness) and metamorphosing them. He works across various disciplines, including video and sound installation as well as sculptural performance. As such, collaboration with other artists is a significant aspect of his larger practice. Wozniak is currently based in Berlin.
For more information please visit: www.laureljay.com and www.phwo.tk.

Objet petit a, performance & installation

The energy room of the National Palace of Culture (NDK) inspired CarpWoz’s research on the symbolic power of prominent architecture and its mysterious inner workings, including objectophilia and the Lacan concept of the objet petit a. This deep love of and intimacy with an object, as related to the unobtainable object of desire, channeled the development of a durational performance with sound installation, Objet petit a. As a further nod to Lacan, CarpWoz explore the significance of edges, the human urge for that which is out of reach, on the other side. Sites, states and situations that exist in-between, including points of entry of the body, thresholds of structures and borders of all kinds, therefore hold special significance. Objet petit a enacts an impossible quest to cross a literal threshold, seeking improbable silence, hindered by a sound installation triggered by the performers’ movement. Sounds of a Geiger counter and metal detector alarm measure an invisible danger, and peripherally relate to the current migration crisis. Layered with personal, cultural and political connotations, Objet petit a explores the complexities of identity and the subjectivity of experience, using the NDK as a relational and relatable object of desire, symbolic for the Bulgarian people, artists, and visitors alike

Ivan Ymaliev was born in 1978 in Yambol, Bulgaria. Currently lives and works in Sofia, Bulgaria. He has graduated Fine Arts at Sofia University; From 2008 – 2012 he is lecturer of performance art at the same specialty. He works in the area of performance art, installation art, multimedia technology and painting. So far he has over 30 authors art works.

<Memory=”9,8m/s2”>
Today in our efforts for realization and prosperity we continuously increase our speed. We strive to do more (more than others) for the shortest possible time if time is our enemy and we are in a constant race against it or maybe trying to be ahead of ourselves. It seems that if we do not act fast enough we will lose the whole world, our positions to others and even our own lives. Perhaps it is the constant acceleration that’s the mechanism of our lives a kind of bliss occurring both in the euphoria of speed in freefall or in the driving of a sports car. In these moments our senses are overwhelmed by adrenaline and in our mind sealed only the memory of the impact of speed as we are unable to focus on details, in the particular and to understand the integrity, uniqueness, and essence of our surroundings. For many, perhaps that’s the purpose, and it has its price.
It is quite clear that the rush causes damage to our memory, as the recording computing devices make mistakes (omissions) in high-speed archiving data onto a CD. And the more we rush, the less time we have and more urgent tasks are coming. But how can we keep this high intensity and how far will we go?
Also, saving money is the reciprocal of saving time that would be consumed in order to organize the future. This imperative becomes almost as a law of our lives (ZH.- F. Lyotard), where life seems to be postponed to last because first, you have to win enough. This means that in order to secure our future we have to be reckoned with instructions to follow procedures coming outside from ourselves. Of course, the control and monopoly over time require frequent optimization of the procedures associated mainly with saving time (eg. working hours), again requiring time and again increasing speed. This, in turn, necessitates immediate action, thus decreasing the opportunities for reflection, thus guaranteeing control on programming and memorizing. In this sense, driven by the fast momentum of the universal course it turns out that we miss ourselves. In this frantic rush in racing the competition and the world, everything seems somehow alike, equal and without shape. Indifferent to all the diversity around us we feel more light, empty and featureless, but somehow significant since we participate in the race. Moreover, we begin to not even remember ourselves sinking rapidly and neutralized in 9,8 m/s.
An alternative to this situation is thinking, the perception of the event and the event – that is the way in which we happen, attend, act, memorize i.e. being, finding ourselves in a position of opposition to the procedures for control of time. This thinking, which does not proceed to the first idea or association, but unfolds in different dimensions in order to understand the complicated reality. And as we well know, wisdom is inseparable from peace and has nothing to do with impatience and the continuous acceleration. Therefore on the path of self-realization, it is important not to lose the essence of the movement, to not destroy our soul. (Zaw Fuzan)

Timo Viialainen

Timo Viialainen (1981 Helsinki Finland) is a performance artist experimental musician and a sculptor. His performances manifest power in the form of strong sensual stimulus and ritualised personal experience playing with the expectations of one self and the audience. Location space and sound play an important part as the material for the performance and the aim is to find trigger points that penetrate the rational view of the events and give rise to intuitive experience. He started performing with sound projects in 2001 and in performance art in 2011 and has performed in different events and festivals in Europe North America and Asia .

In & Out, performance

This performance will deal with the sign of infinity. The infinite is the ultimate. It exists in mathematics but our life is fast and flickering. For some time I can really feel something and If I lose it I have the knowledge to reach that state again.

In the program it says sound performance. But this is a Performance. Sound is time related matter and it will give me power over things. This is the power I need. The expectation of a performance makes me fragile. This is also material. So are all the things we carry inside and project to the world. I’ll go upstream and let my body float down when it is finished.

RARA AVIS. INTERPRETATION, performance, 2017
(~ 25 minutes, in English and Russian)
The performance was once presented before – at Queens Museum of Art, New York City, NY, USA.

In Rara Avis I explore the diversity of identities I developed through the last ten years of my experience of immigration. This performance is an attempt to bridge the gap between cultural binaries of normality and abnormality; national identity and hybrid identity caused by globalization; inclusion and exclusion; superiority and inferiority; North America and Eastern Europe. Who do we become in this simultaneous and self-contradictory process towards globalisation and nationalism that takes place all over the planet. Where do we belong to in the continuously changing world? Who we are stretched between the multitudes of cultures and traditions lacking stable belief system and fixed points of departure?

In Rara Avis I enact the struggle between these multiple and often contradictory identities and concepts. I speak, sing and manipulate my body and my face to reflect on complex psychology of immigration. Creating identity rituals each reflecting specific aspect of immigrants’ life-style, I question the very possibility of stable subjectivity promoted in dominant politics of identification. In the performance, Slavic pagan rituals, stream of consciousness, and spontaneous play co-exist with late-capitalist standard of “proper” self and attempts towards its deconstruction. This performance is a manifesto for all people stuck in-between identities – racial, national, gender, sexual and political. It is a search for acceptance and reconciliation, and a proclamation of existence beyond binary thinking.

Ursula Scherrer

The poetic quality of Ursula Scherrer‘s work reminds one of moving paintings, drawing the viewer into the images, leaving them with their own stories. She transforms spaces and landscapes into serene, abstract portraits of rhythm, color and light – inner landscapes in the outside world where the images and actions have less to do with what we see then with the feeling they leave behind.

Scherrer is a Swiss artist living in New York. Her work has been shown in festivals, galleries and museums internationally.

Her aesthetic training began with dance, transitioned to choreography and expanded to photography, video, text, mixed media and performance art.

Her work has been shown at REDCAT, Los Angeles, Ideas City Festival of the New Museum, New York, the Clocktower, New York, Chelsea Art Museum, New York, Brooklyn Museum, Roulette, Brooklyn, Salisbury University, SHARED.museum, Bremen, Seoul Square/Gana Art Gallery, Korea, Organhaus, Chongqing, China, LACE, Los Angeles, artMuse, Gdansk and Bocholt, ZKM, Karlsruhe, LAB, San Francisco, Würtemburgischer Kunstverein, Stuttgart, Kunstraum Walcheturm, Zürich, Raum in Bologna, Kunstraum Krems, O’artoteca, Milan, Gasometer, Liechtenstein, Espai Ubu, Barcelona, Centre d’Art La Panera, Lleida, among others.

50-year-old Woman, durational performance

~ 2 hours

A living sculpture of a 50-year-old woman.

The woman as an object. Or is there more behind it? Can she tell a story with just her being here?

Society has its own associations with a 50-year-old woman. The time in which one seems young one day and old the next. The time in which one is many.

Or.

With 50 one has nothing to hide anymore. One is who one is. No reason to have to defend oneself to others. Not everything has to be spoken out. Being speaks for itself. Speaks for itself for the richness of that which has been lived so far.

(c) Ineta Ivoskaite

Kristina Marija Kulinic

“I was born in Vilnius, Lithuania (1992) and grew up attending various clubs of performing arts such as ensemble singing, contemporary dance and theatre acting. All this led to the pursuit of becoming a professional actress. After graduating from school, I studied ‘Art history and critique’ for one year and then enrolled to the ‘Theatre and Cinema Acting’ program, which I’ve finished in 2016. Since the beginning of my studies till now I’ve been working in various classical, experimental and site-specific theatre productions in Kaunas, Vilnius, Dortmund, Cologne, Florence and Warsaw. In addition, during the third year of studies I was introduced to performance art and then started experimenting in this field together with some of my colleagues as well as individually. Since that time, I’ve been a part of various performance art events such as ‘CREATurE’ (Kaunas), and ‘Warsaw International Performance Art Weekend’.”
This is how she would present herself in a professional manner (and this is actually not the first time she uses this text to present herself). Some other facts: she’s now based in Vilnius. She is 24. She lives with her parents. She has no actual job except for some random unpaid or poorly paid projects that she believes in as ‘an individual’ and that might eventually develop into something ‘serious’. Well, for better or for worse there’s still a tiny bit of naiveté left inside her that keeps pushing her to discipline herself into something ‘more’ than she is right now, that is – … This is not only a struggle to figure out whether there are any possible ways to gain economic independence while doing something that at the very least wouldn’t contradict her personal ethics (the content of which is still rather vague) and wouldn’t kill her with its monotonous absurdity (the almost religious claim that she grew up with, the so called ‘do-what-you-have-always-dreamed-of’ thing, appeared to be as false as Santa Claus because it seems that she doesn’t dream of or isn’t capable of doing anything that today’s market is willing to pay for). Not to mention that she’s acutely aware that all in all the concerns mentioned above are actually somewhat as existentially ‘important’ as the question ‘What’s the right way to peel banana?’ Since presented with the frightening realities from all around the world… ok, let’s not dig in to this too deep. Anyway, while enjoying the luxury of choosing the ‘right’ life path she writes something like an ‘artist statement’.
“I find it interesting to alienate from the social reality in which my body exists and to play with it while creating provoking circumstances. In that way, by letting the unknown to reveal itself, I try to define what it means to be honest. I find it impossible to be honest without the trust in the unknown. Yet this is the scariest part of the game – facing the unexpected. Facing the traits that may be so carefully and beautifully hidden from this socially engaged self. My self. Your self. Our self. Us.”
Ha ha. Right. As if she wants to get beyond the ‘self-consciuosness’. A profesional artist. See… Everything she has learnt in theatre school is self-consciuosness. And everytime she has to write something about herself she actually feels like she is hacking. Hacking someone elses view of her. Look, the most true thing here is only the fact that you are reading this text. Here and now. Yeeees, feel it… The ‘here and now’. Do it! I’ve put quite a lot of time into rewriting this text. Oh, miserable me! I am constantly watching a movie in my head. It makes me happy. I am talking to myself all the time. Constantly imagining someone more ‘true’ than I am in the ‘here and now’. The performance that will happen during the festival was not performed before and won’t be afterwards. It will last for four hours. And you can see this text as the description of it, but you don’t have to, as Kristina would say: “actually, I would be happier if you wouldn’t.”

Faceless, performance

Art in Action Association is a nongovernmental organization for a private benefi t, established and registered in 1990. The main purpose stated in its statute is “to act towards the creation of Bulgarian Center for Modern Art”. Through its cultural activities the association aims to support the preparation and realization of young talents interested in modern art forms – art performances, art installations, video art, experimental music, etc. Art in Action’s members amount to 17 authors from different art fi elds, who take part in the activities along with many volunteers.

The association’s activities include individual authors and groups with various stylistic and thematic preferences who fi nd expression in different artistic spheres. This multiformity is achieved through the principle of free interrelation between the members, non-commitment to particular realization arenas and continuous strive towards working with international teams.

Count to 10, group action

Participants: Maya Antova – Mayoto, Orlin Dvoryanov, Desislava Tsoneva – Chumna, Ventsislava Stoyanova

An invitation is sent to ten artists to participate in the action.Each of them gives own artistic interpretation of the basic concept. Common to all is the time, the space and the objects with which they could interact.

Mischa Badasyan & Abdulsalam was born on February 25th 1988 in Rostov on Don, Russia. His father and mother are both Armenian. He studied Political Science at Rostov´s South University and have been working in social, human rights, LGBT and environmental protecting organizations since an early age. It has made a huge impact on him and his artwork.
In 2008, he moved to Germany and eventually began studying social work in Dresden while staying active in social/AIDS/LGBT organizations.
In October 2011 he started just coincidentally his career as a performance artist after working as a nude model at the art academy in Dresden where he discovered the pain and how to deal with it which made him feel like being an art piece himself.He considers his work as live art because he strongly believes that the art exists only throughour life experiences. There is no need to use physical objects to create; you become the artwork yourself. The art should be immaterial like you; feelings of deep love of the World, the Earth and of Humanity.
In September 2013 he moved to Berlin which was the next stop in his artistic career where he started doing long duration performance lasted days, months and years. While performing live, he is able to feel the energy from his audience. Through interacting with it they not only become part of his performance piece, but also, their energy impacts his performance. This creates spontaneous works of art that is constantly changing and moving.

Sharmuta, lecture performance

STOP THINKING ABOUT JUST START DOING SOMETHING I consider my work as live art because I strongly believe that the art exists only through our life experiences. There is no need to use physical objects to create; you become the artwork yourself. The art should be immaterial like you; feelings of deep love of the World, the Earth and of Humanity. While performing live, I am able to feel the energy from the audience. Through interacting they not only become part of my performance piece, but also, their energy impacts my performance. This creates spontaneous works of art that is constantly changing and moving. My projects and performances should just inspire people, give them new feelings and energy, push them to the new level and get a new stand of mind. Activism, political and social issues are part of my artistic practice. Every artist is channel who is sending a message and who is trying to change himself and so the people around him.

Stefan Christov (b.1982) is Bulgarian music composer, performer and producer. His music experience starts when studying trumpet at the age of eighteen. Stefan is best known for his individual project Mr.Smiff and also for participating in different music bands, film and theatre projects. www.mrsmiff.com

Anna Bacheva (b.1983) is Bulgarian visual artist working in the field of digital scenography, generative art and animation and exploring practices that articulate visual and sound dimensions in the creative process.

” We are shaping the World of Ideas and help things to come in place.”

DIGILOGUE

A/V performance production 2016-2017

music by Stefan Christov visual environment Anna Bacheva

first shown at Cité Internationale des arts as a part of the program “Présent et Projet”. Supported by Maire de Paris and the French Institut. Paris 22th July 2016

Digilogue is an audiovisual piece for two artists who integrate their bodies in an immersive virtual abyss while recounting a story of how to transform duality and how harmony is born from dissonance. All sounds and animations are created from the inside out based on the interrelations between music and visual art and their sensory conjunction.

Heidi Hörsturz

Sex Trashart Attacks! Cybercat Maturbation! Unicorn deconstruction!

The mediaartist “Heidi Hörsturz” is working in the fields of audiovisual performance, video and soundart. Her work have been presented at international exhibitions, gallerys and art festivals. Her animations, live shows and installations combining contemporary art and modern trash aesthetics. She published a series of limited soundart vinyls and audiotapes which researches the connection of noise, artificial overstimulation and constructed visual associations.

One of the thematic emphasis of her work is the desire of the contemporary society to get more overstimulation in rapidly shrinking attention spans. The search for shocking informations and sexual content and the yearning for a colourful world tries to replace the current depression. The repression of self-reflection with audiovisual brain attacks represents a striving for an artificially constructed world. A digital orgasm that overlays the emotional relations to the natural enviroment. www.heidihoersturz.blogspot.nl

Audiovisual Trash Art Attack!, AV Performance, 2016 (15 min.)

Was shown at different events and festivals including “Interference Festival” Gdansk, “ICA” London, “MEM Festival” Bilbao, “Sound Acts” Athen, “European Media Art Festival” Osnabrueck etc.