Working in the Chapel today I have found it a struggle to get started on Word Press. I was kindly helped by a colleague although being placed in the corner, I felt a little excluded from the documentation discussions. I tried to listen although I got tied into getting this blog up and running. I was present at the start of our talks however I did struggle to keep up with the flow of conversation and when I finally had something to say, the moment had gone. Although I did not agree with all the comments I still take them on board which for a while left me with writers block. I just need to start making regular posts, let the words flow and a structure will follow. I think I was a bit optimistic trying to write before the 11 11 11 event. I have to allow for mistakes and remember that this is a learning process, which may not work all the time. After the documenters initial meeting we went for a drink and had a lovely homemade meal at Michael’s studio. I have now come home fired up for tomorrow.
PAErsche will held up a kind of meeting with different topics about the different kind of cooperations, collaborations and open source performances.
We like the idea to follow the europeanwide cooperations as a macrocosmos and same time we discuss and practice the microcosmos of our network roots.
Some comments we will post tomorrow, some encounterings will take place. For all have a good 11.11.11. day
greetings for PAErsche
About PAErsche you will find somethings: http://www.paersche.org and in facebook
We are here in Platt Chapel, Manchester discussing how to document the 11/11/11 event. How do you document an eleven-hour event? When do we start? When does it end? Where in the building to record sound? How to film? Generally it sound’s like most people want some structure. There are eleven documenters and eleven performance artists. Allot of people in a small space. Where should we all be placed during the event without interfering with the performances? Talking about tweeting, short condensed. Hai Ku is being mentioned about rhythm being scattered around the space. People’s voices are being echoed in the space and I’m finding it hard to capture what people are saying. Michael say’s ‚brilliant‘. I’ve got a question; Is it ok to say I’m going to do what the fuck I want? Will the documentation of the event just go everywhere? Not to delicate upsetting the artist. It’s our own discretion? The structure for the next three days: How to document the event. Documenting the event. Creating an art installation from the documented material.
Over the course of three days, performer Sybille Ettengruber paces off the perimeter of grid square F7 on her map of Berlin—a four-kilometer hike in the real world. In doing so, she’ll be crossing over public lands and private real estate, traipsing through apartments and gardens. To be able to overcome obstacles, her luggage will include a ladder. The stroll will be filmed and photographed.
The very first broadcast on http://11moments.org is an interview with Scott Burnham, made with Bambuser broadcaster and Bambuser chat. Burnham speaks about his long-term festival project The Urban Guide of Alternate Use. This project is still open to vote for the winner of the GO11 Award.
In the last few months EXCHANGE RADICAL MOMENTS! Live Art Festival has introduced most of all festival artists via interview on facebook. For all non facebook users, but interested parties, here are the interviews as pdf:
#01 8.6.2011 – Damaso Reyes – The Europeans | pdf
#02 8.7.2011 – Myriam Lefkowitz – The Eye Walk | pdf
#03 12.7.2011 – Sisyphos, der Flugelefant – The Absent Hero Leads the Way | pdf
#04 19.7.2011 – triage live art collective – Strange Passions | pdf
#05 15.8.2011 – Michael Kurzwelly – 2050 by Eva Hertzsch and Adam Page | pdf
#06 19.8.2011 – Stefanie Wuschitz – The De-Othering Machine | pdf
#07 30.8.2011 – Scott Burnham – The Urban Guide for alternate Use | pdf
#08 7.9.2011 – Tatiana Fiodorova – Moldavian Land | pdf
#09 9.9.2011 – Selin Kocagöncü – SK Vending Machine: Stockholm | pdf
#10 9.9.2011 – Jörn J. Burmester – Tischgesellschaften | How to co-operate? | pdf
#11 15.9.2011 – katrinamuri – Your Cousin PIA | pdf
#12 18.9.2011 – 6th Hour Productions – Offret | pdf
#13 20.9.2011 – Club Real – Tarzahn – The Noble Savage of Marzahn | pdf
#14 21.9.2011 – Biljana Isijanin – NaN | pdf
#15 22.9.2011 – Béatrice Didier – Into Your Arms | pdf
#16 23.9.2011 – Rob Andrews – Bitola Clean | pdf
#17 28.9.2011 – Sibylle Ettengruber – Walk on by | pdf
#18 29.9.2011 – theaternyx – 11 familiengeschichten | pdf
#19 30.9.2011 – Tom Pohl – Fremd Gehen | pdf
#20 5.10.2011 – Toby Huddlestone – Walk the Line | pdf
#21 17.10.2011 – Mandy Romero – Tranny Hotel | pdf
#22 20.10.2011 – Noa Nahari – Communication | pdf
UpStage Festival – Interacting with online audiences
The 12 cyberformances (live online performances) featured in the 11:11:11 UpStage Festival offer a variety of opportunities for online audience interaction. In all UpStage shows, audiences interact with the artists and other audience members through the text chat; this is often a very lively space, generating a fascinating commentary that can be at times profound
or hilarious. Cyberformance redefines the relationship between performer and spectator in a number of ways, and the shows presented at the UpStage festival explore many possibilities.
Many shows are specifically devised with audience interaction in mind; for example, at past UpStage festivals audiences have been invited to follow clickable clues to solve a murder, create animated mandalas by drawing on the stage, trigger sounds, answer questions and contribute stories; this year’s
festival is no different.
It is the 5th UpStage festival and the performances are all about 20 minutes long, with a show starting every half hour; so it’s very easy for audiences to participate, and there is no log-in required for audiences, just click on the link to the stage.
> read more: upstage.org.nz
On the 11/11/11 EXCHANGE RADICAL MOMENTS! Live Art Festival will take place across the European continent, simultaneously in 11 cities: Berlin, Bitola, Chisinau, Linz, Liverpool, London, Paris, Prague, Riga, Slubfurt and Stockholm.
THE ART OF ENCOUNTER
8 performance artists from Hongkong disclosed current positions of Chinese Live Art and Performance Art in Linz from 7 – 8 October 2011 – in public space as well as indoor. Performance art reflecting society.
With Mok Chiu Yu, Yuen Kin Leung, Au Yeung Tun, Sammu, Leung Wai Man, Vinci Mok, Ger Choi Tsz Kwan, Chan Mei Tung und Idy Lam.
In cooperation with Performancelaboratorium Linz in coproduction with the Festivals ZOOM (Hildesheim/DE), Kaskadens-kondensator Kunst der Begegnung (Basel/CH) and E.P.I. Zentrum (Cologne/DE), in cooperation with Orangerie (Cologne/DE) / coop missing link (Linz/AT).
The GO11 AWARD (500,-Euro for the best Urban Alternate Use, donated by EXCHANGE RADICAL MOMENTS! Live Art Festival) goes to FIT – freie internationale tankstelle http://www.f-i-t.org/english/start.htm
Most of the voters (182) and the jury thought that FIT is the best re-use of an urban environment.
The „Urban Guide for Alternate Use“ (http://www.altuseguide.com/) is a project by Scott Burnham.
FIT – Freie Internatinale Tankstelle
By Dida Zende
Gas stations as art base Berlin (Germany), Copenhagen (Denmark), Ludwigshafen (Germany), Kaufdorf (Switzerland), Miami (USA), Lochau (Austria),… The idea of the „friendly takeover “ of abandoned gas stations worldwide and change into „FILLING STATIONS FOR THE CREATIVE SPIRIT“ together with artist/non artist/community is a societal innovation and part of the social change.
Space Appropriator #3 / Junior Pro-ball
By Veronika Tzekova
Intervention, game, performance Sofia, Bulgaria The city of Sofia has huge parking problems. On the featured sidewalk obviously the owners of this now closed enterprise made arrangements to prevent the cars from parking, which created peculiar situation. Space Appropriator #3 uses the specificity of the sidewalk and by adding a simple chalk drawing in the shape of a football field offers an alternative experience of the place and an opportunity to practice a street game.
The series of urban interventions Space Appropriators (Urban Olympics 2011) comment on modes of use and behavior in common spaces in the city of Sofia, Bulgaria. Each Space Appropriator employs different situation in the urban fabric in order to question the Status Quo of variety of urban spaces and elements. Most of the Space Appropriators are developed in the shape of outdoors games, realized with simple media such as chalk drawing, elastic rope, stencils, stickers and etc. http://www.urbanolympics2011.hit.bg
Holiday in a park
By David Brazier and Kelda Free
Mail Art: Postcards from a nearby place London, England
We are a married couple who use an island in a nearby busy London park for our holidays. In the middle of the night we inflate our small plastic boat and row the short distance to set up camp on our island getaway. Although very small the island is covered in dense foliage so we can remain undetected for the duration of our stay, usually two or three nights. We made a series of holiday postcards which we send to friends detailing our island adventures.
uFOOGO By Hans Lerperger
Game: Urban Footballgolf Linz, Austria
When you marry football with golf, you get a nice new game for the city! You can play foogo anytime anyplace without using anything. Just take a lighter and a key lanyard to lift one or two manhole covers in a nice place. Make a ball of whatever you can find and have fun. Foogo is fun to play and tricky too, since the manhole is vertical unlike the usual goal! Don´t forget to close the manhole later on…
By Wouter Sibum
Intervention at a viaduct near Kluut, Hoorn (NH Hoorn, The Netherlands
Custom made bench for turning a unused staircase into a place to sit. Approx. 8 x 6 x 50m. (Intervention without permissions)
By s( )nia
Intervention, Urban Object Berlin, Germany
Reusing found bicycle inner tube in order to create a place to stay in a bicycle parking.
By Louisa Dawson
Sculpture Ney York City, USA
‚Temporary Displacement‘ is a sculpture that is a disused rubbish skip which has been turned it into a small, but functional, swimming pool. All my sculptures juxtapose everyday industrial or domestic objects to make functional absurdities to communicate between structures, objects and environments.
PAINTING REALITY – A Brushstroke by Society
By IEPE & the anonymous crew, directed by AKIZ
Intervention, Painting Berlin, Germany
500 litres of of waterbased environmentally-friendly paint were dumped on Rosenthaler Platz in Berlin – a new colour in front of every traffic light: lemon yellow, chimney red, cyan blue, and purple violet. The cars drove over the paint and became ‘paint brushes’.
The action was executed anonymously. For months people were guessing whether this was a ‘Guerrilla Advertising Campaign’ or an art-work.
It is in fact a work of art by Berlin-based Dutch artist IEPE (Iepe Rubingh, born 1974) together with an anonymous crew. IEPE is known for his ‘traffic congestive actions’ in Berlin and Tokyo, as well as the raining ‘Miracle Trees’ in Singapore, Berlin and Arnsberg. Additionally, he is the inventor of the hybrid sport ‘Chess Boxing’ and is the director of the World Chess Boxing Organisation, with clubs in Siberia, London, Los Angeles and Berlin.
IEPE works “within society” or “with society”. For him, Chess Boxing is as much Social Sculpture as an independent sport. The work ‘Painting Reality’ is connected to the idea of Social Sculpture and is a picturesque implementation of it. Video: http://painting.iepe.net
Construction Abusive By Géraldine Py & Roberto Verde
The title of this picture is „Construction abusive“, translated „Improper building“. There was a crane really close to the front building. We took the opportunity to do the project: We set a clothesline from the last floor of the building to the hook of the crane, with the cranedriver assistance. http://22-plaisir.com/pyverde/galerie-292.html#t292
By John H Locke
Intervention/Installation:Book shelf in phone booth
New York City, USA
Even as they are rendered obsolete by the ubiquity of smartphones, I’m interested in pay phones because they are both anachronistic and quotidian. Relics, they’re dead technology perched on the edge of obsolescence, a skeuomorph hearkening back to a lost shared public space we might no longer have any use for. Something to be nostalgic for, in the way I can’t think about a phone booth without conjuring up images of an old, impatient woman banging on the door to one while I was inside using a calling card to ask for money. And of course they are nuisance, basically pedestrian level billboards that only blight certain neighborhoods (good luck finding a payphone in Tribeca, while there are eight separate phone kiosks on one block between 108th and 109th streets and Columbus Ave). But they can also be a place of opportunity, something to reprogram and somewhere to come together and find a good book with your neighbors. http://gracefulspoon.com/blog/2011/07/06/dub-002/