NIDA ART COLONY 5th INTERFORMAT SYMPOSIUM EXPERIENCES 2015

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NIDA ART COLONY 5th INTERFORMAT SYMPOSIUM EXPERIENCES 2015

Jodi Rose & Participants

5th Interformat Symposium on time (and inter-formativity)  Nida Art Colony , Lithuania 22–25 August 2015 This year marks the fifth iteration for the international symposium and aims to reflect its own course, with the focus on artistic and academic notions of time and inter-formativity itself. The participatory nature of the symposium - between a conference and an art festival - brings together 40 professionals (artists, curators, scientists, researchers, time-managers) for three days and nights to an intensive sharing and working environment. After being tired of too short coffee breaks and too long presentations, we will attempt to re-order extended and condensed time slots, and experiment with formats of presenting and sharing art and knowledge. The 5th edition of the Inter-format symposium has two goals: To reflect upon and rethink the symposium as an experiential and discursive space where knowledge sharing happens in very different formats, beyond our usual understanding what is a lecture (seminar, presentation, discussion, etc.) and performance (stand-up, participatory event, jam session, etc.); To consider the role of time as a medium for sharing experiences and knowledge, including it’s out/on-goingness and limitations. We have a programme of extended and condensed time slots, with one day of structured events and another of undefined schedule for the limited time we have together. We include reflections, interventions and alternative time-conscious tools or activities, which may be time-keeping or time-wasting, chrono-hopes and fears. More than half of the participants return from previous inter-format symposiums (which already hosted around 200 participants) in order to stretch back and include reflections and experience from the last four years. However, we also invited new-comers and contributions which consider the context afresh. Documentation, and its other forms like procumentation (proactive documentation), documentary compiling, archiving and processing, etc. are an important part of the symposium because it helps to share ideas and experiences to the wider audiences, and also a partial record of time together. These may make a manual or collection of proposals (instructions) for other symposia. Co-curated by Dr. Vytautas Michelkevičius (LT) and Andrew Gryf Paterson (SCO/FI/FR) Fiona Reilly (IE): "My Time Your Time Our Time No Time" (First performative action: 6am-7am, at Sundial) Performative action throughout the days: A futile act of spending, wasting, collecting, using, quantifying, measuring, capturing, embodying one hour of time. There will be a daily iteration of the action, at different times each day, at different locations. An immersive embodied experience that disrupts our experience of time symposium attendants are invited to observe or participate in the act. Fiona Reilly is an artist based in Dublin, Ireland. She holds a B.A in Fine Art from The National College of Art and Design, Dublin and an M.A in Social Practice and the Creative Environment from Limerick School of Art and Design. Fiona has exhibited widely throughout Ireland and internationally and is the recipient of numerous awards. Fiona works with drawing and sculpture, occasionally with video and sound, and most recently with public actions and interventions. Fundamental to her work is an interest in the relationship between art and everyday life. She is currently wondering how art can be used to counteract dominant social attitudes and narratives. Jol Thomson (CA/DE) & AEAEAEAE (NO/DE) "Technosentient Revolutions" (a/v performance/lecture 15min) Demand More Directions and Dimensions of Time! Abiogenesis; proto/post-cinematic machine-poetry: digital performance filter extending through Jurassic flora of experiential time-space manifolds. Jol Thomson is an expat Canadian artist and educator, researcher and musician living in Berlin. His interests lie in anarcho-cosmic research: the history, physics & philosophy of time-space, the anthropocene and what is being articulated as the 'technosphere'. Jol is NAC resident in August, working on new projects. Maria Kotlyachkova (RU/SE) & Jodi Rose (AU/DE) in a remote collaboration with artists Ilya Grishaev (RU), DJ123 (RU): "Residencies as Perfect Sites for Post-Fordist Production" (performative lecture as karaoke) A karaoke session presenting the research on the topic of residencies as perfect sites for Post-Fordist production with nomadic cultural actors as its basis, with the case study of Nida Art Colony. Key words: rizhomatic, global drift, dislocated, unbelonging, networks, deterritorialization, exodus, cosmopolitanism, nomadism, unheimlich, green cube, remote, collaboration . For music and visuals I remotely collaborate with musician DJ123 (RU), artist Ilya Grishaev (RU) and artist / composer Jodi Rose (AU/DE). The karaoke session is produced solely for the Symposium. Maria Kotlyachkova is an independent curator. Soon-to-be-alumni from Stockholm University, Curating Art MA program with the thesis “CURATING RESIDENCIES IN THE CONTEXT OF REMOTENESS. Nida Art Colony: the Green Cube in the Flat Wet World”. Her current interests lie in the creation of residency-like situations, be it a residency on a trans-siberian train or the Moon. Ilya Grishaev is a visual artist. He is interested in the development of the visual language, communication, graphics. Main tension in his work is connected to the abstract, the research of language / sign systems between semiotics and random formations / automatic writing (nonsense, glossolalia). Rethinking, reworking and analysing the traditional approach to image-making. DJ123 / Ante is a multivocal anonym living in Saint Petersburg. Electronic mockingbird of image and sound. He believes that his work depicts music without being it. Hearing the call of a mysterious language vibrating in bridge cables, Jodi Rose followed their strange music around the world, landing in the creative maelstrom of Berlin. Her memoir Singing Bridges is a kaleidoscopic trip through the cultural underground as she travels from Helsinki to Glasgow via Ljubljana, Barcelona, Vilnius and beyond. Head of editorial, r0g_agency for open culture and critical transformation; editor and founder of +ART Culture Transmit; co-initiator and editor of T.R.A.C.E.S, Transcultural Research Exchange Series and co-curator of Inter-format Symposium 2011, Reinventing Interdisciplinarity, Rose is currently exploring the possibilities of creating a temporal vortex. Ciara Scanlan & Terence Erraught (IE): “Tell the story of 'Twenty1five' an unfinished Time based painting” (open studio visit) As a couple, we share time together. Engaging with the notion of time, and the often intangible aspects of this, we are working on an ongoing project that will only end if we are no longer partners. Having created a painting that has been given a life, “it” will never be finished until it dies (co-insiding with the life of it’s creator’s relationship). Attitudes, opinions and possessions will evolve, come and go. These factors will influence how the creators are painted / illustrated. Once a year, we have vowed to continue work on the painting and exhibit it as a new work. The painting has been given a life, and will always change, just as we do ourselves. Representations of our physical and mental states will be evident in how we paint each other and how we visually appear (through application and representation). As resident artists at NIDA, we propose to create a short, informal session that is based on this project." Ciara Scanlan born 1982 in Limerick (IE) lives and works in Dublin. Ciara works primarily in video, performance and web-based media. She is interested in the ever-present force of the mass media and its ability to both unify and segregate society. As an artist and protagonist, she sees her role in upsetting the status quo. Ciara is Director and Curator of MART, an artist-led organisation co-founded with Matthew Nevin, supported by core members through an ethos of cooperation since 2007. In 2013 MART began to renovate an old Fire-station in Dublin, now including a gallery, international residency and supporting over 90 studio members - artists from all stages of their careers. www.ciarascanlan.com | www.mart.ie Terence Erraught, Visual artist: My work often incorporates the absurd and humour as a tool that feeds off social "norms" and innate human conditions. Digital video, installations, live events and painting are methods used to engage with and comment on these topics. The human body is an essential element, and can be perceived as the vital cog which is required to "power" the works. This can shift between the viewer, the subject and the artist. Artist Website: www.terenceerraught.com | Art Criticism Website: www.squareinthecircle.com Marianna Maruyama (US/NL) in remote collaboration with Saulius Leonavicius (LT): "Any Chance You Are Dreaming?" (performance while sleeping) Why are waking hours and light prioritized above sleep and darkness? As theorist Andre Lepecki proposed, considering conditions of light leads one to question what kind of political project photophilia (loving light) might produce, and why it is that “dark rooms make zones of freedom or escape from the society of control.” We’ll explore these possible ‘projects’ though oneironautics (Greek oneira/dream, and nautis/sailor). We firmly agree that sleeping is not just a time to mentally shut-off but also a time to engage in another kind of mental practice. Just by making that simple distinction, we can better see the interconnectedness of the dream state and waking life. Most presentations are intended for an audience that is awake (though there’s no guarantee they’ll stay awake), but we think this limits access to “zones of freedom”. Knowing what we do about sleep, we find it strange that serious attempts at lucid dreaming, or even just attaining quality sleep are considered frivolous or futile pursuits. We’ll do most of our work during the dark hours between other activities, but a portion of what we do will take place in the daytime, when we offer some vocal messages, images and words to prepare our fellow oneironauts. Marianna Maruyama is an artist, writer and editor based in Amsterdam. Orientation and voice, specifically loss of position as it relates to loss of voice are dominant themes in her practice. Maruyama holds an MFA from the Dutch Art Institute (DAI), and moved to the Netherlands after an extensive working period in Japan. Sofia Varino (PT/US/DE): "Chronocorpus: Performing Temporality with Harmattan Theater" (screening https :// vimeo . com /119727670 & remote skype call) In this performative lecture, I put the concept of stratified time to work in order to analyze how live sound and movement function in the spatial and temporal dynamics of Harmattan Theater's environmental performances. Harmattan Theater, where I am associate director, is a New York based environmental theater collective developing site specific performances and public installations concerned with global water politics and climate change. Using a critical framework drawn from performance theory and mobility studies, I look into how choreography in conjunction with live sound comes to form a multi-layered environment where the historical and the geographical are enacted in real time. I discuss three performance pieces presented between 2011 and 2012 in Lisbon, in Cochin, and at the Cape of Good Hope in South Africa: Mar Português (2012); Cabo de Tormentoso (2011); and When the Sea Rises (2011). Each of the works was performed live at a water bound site in collaboration with local performers, with the scenic elements of music and choreography conceived to generate a temporary flow between the past and present time. For example, in Mar Português an improvised didgeridoo made of plastic tubes, and played by a street performer, came to function as an excavation of Lisbon's maritime histories by embodying the sound of the fog horn at the iconic port Cais das Colunas. In Cabo de Tormentoso, the group choreography publicly reclaimed the South African shoreline that the local Muslim community was prohibited from accessing under Apartheid. By positioning the specificity of the performances in relation to historical and temporal processes of stratification, I aim to contrast the concrete materiality of sound and movement with the archives these three performances simultaneously interrupt and re-enact. Sofia Varino is an independent curator, artist and researcher working at the intersection of feminist studies of science and the history of science and medicine. Currently a guest doctoral candidate at the John F. Kennedy Institute at the Freie Universität in Berlin, she is completing her Ph.D. at Stony Brook University's department of Cultural Analysis & Theory in New York. She is associate director at Harmattan Theater, an NYC environmental performance collective developing public art projects on global water politics and climate change. Varino holds Master's degrees in Theater and in Cultural Studies, and a postgraduate certificate in Art & Philosophy. www.sofiavarino.com | www.harmattantheater.com LiNas (NeringaFM, LT) real time streaming concert with former residents John Grzinich (US/EE) & Taavi Suisalu (EE), at the moment in Druskininkai DAR residency (LT), Gilles Furtwängler (CH) and others (~20 min) During the symposium former residents will connect to Nida and broadcast live their acoustic experiences perform with a spoken word program, and keeps them in the soundtrack of Curonian spit. Live radio show understood as a one source performance broadcast will become a channel to share artistic work of residents from different space and time zones. On top of it where is always this buffering gap what blows them few seconds away from each other to unknown cables and machines time holes.. LiNas: The first human who moved to NAC and still lives here all year round. To most of the artists and other visitors known as host or ghost of this house officially works as a producer in NAC. During last 5 years has already hosted more 200 artists in residency and collaborated with many of them. Without having an art education succeeds in life learning program but never considers himself as an artist. Runs an independent radio station Neringa FM what became much more than a FM frequency on the Curonian peninsula. Claudia Larcher (AT) (open studio visit) A cinema space in the sauna where my films can be watched. Claudia Larcher studied „Media Art“ at the University of Applied Arts in Vienna.  In her artistic work Larcher creates videos and objects, which deal with architecture and the issues of identity and tradition. Most of her video animations are surreal documentations about places of people and their environment, focusing on architecture and traces of history. www.claudialarcher.com Participants AEAEAEAE (NO/DE), Clotilde Amprimoz (FR), Jogintė Bučinskaitė (LT), Jurij Dobriakov (LT), Terence Erraught (IE), Error (US/EE/FI), Aldis Gedutis (LT), Maris Grosbahs (LV), Tomas Grunskis (LT), Gabriel Hensche (DE), Hannah Harkes (UK/EE), Theun Karelse (NL), Laurynas Katkus (LT), Maria Kotlyachkova (RU/SE) with remote contributions by Ilya Grishaev (RU) & DJ123 (RU), Björn Kühn (DE), Claudia Larcher (AT), LiNas (NeringaFM, LT) with remote contributions by John Grzinich (US/EE), Taavi Suisalu (EE) and Gilles Furtwängler (CH), Marianna Maruyama (US/NL) with remote contribution by Saulius Leonavicius (LT), Romi Mikulinsky (IL), Marina Noronha (BR/FI), Ieva Rekštytė (LT), Fiona Reilly (IE), Anna Romanenko (DE), Jodi Rose (AU/DE), Nastja Säde Rönkkö (FI/UK), Kristupas Sabolius (LT), Ciara Scanlan (IE), Karolis Tamosiunas (LT), Jol Thomson (CA/DE), Julijonas Urbonas (LT), Sofia Varino (PT/US/DE), Julia Wirsching (DE).