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INVITATION to a digital LARP to take place online on December 19, 2020

By Ingeborg Wie Hendriksen/ Supported by Creator Doctus & asfaBBQ

For more info and in order to participate click:

https://www.facebook.com/events/843955746377289/

Live Action Role Playing (LARP) is a form of role playing where you as a player act out your character. Night Visions is an invitation to explore post-digital memes - lol cats. Night Visions is an invitation to become these memes, mutate them and colonize social media platforms, like when the mammals went back to the sea and became wales.” IWH

Night visions is a series of performances that employ the form of a Live Action Role-play (LARP) exploring the realm between imaginary, the real and the digital. The performance has been part of the Winter Solstice festival in Oslo (2019) and at Gallery Dada Post in Berlin (2019). The new iteration of the project is scheduled for December 19, 2020 online. The first digital iteration took place last April, mainly in instagram, as part of art will save us all program https://artwillsaveus.club/                    

Moving performance art in the digital space seems to be an obvious and necessary step in the context of the current crisis - as social interaction becomes increasingly mediated, experiments in digital embodiment and networked participation become increasingly relevant. The work of Digital-Live Action Role-play (LARP) is following this direction trying to rethink how performance art could be further developed, not just to survive the current health and financial crisis, but also to reflect on the integration between digital and analog, virtual and real, offline and online.  The piece is using strategies from LARP (Live Action Role-play), where participants develop a specific character and through their interplay with the others create the actual game. Bleed is a key term that describes the fluid transition between participant and character and how these two identities blend into each other constituting an intermediate space between life and performance. This form of social art resonates with the concept of relational aesthetics.Night Visions is built around cats, probably the most popular and prolific cultural memes online. The invitation for the participants to embody one of the lol-cat-characters opens fruitful epistemological possibilities both for social investigation and for self-reflection.   The result is a holistic work where the participation is an intense, time based unique experience for the participants.

The piece is using strategies from LARP (Live Action Role-play), where participants develop a specific character and through their interplay with the others create the actual game. Bleed is a key term that describes the fluid transition between participant and character and how these two identities blend into each other constituting an intermediate space between life and performance. This performance medium resonates with the concept of relational aesthetics. The result is a holistic work where the participation is an intense, time based unique experience for the participants. The outcome of the game is to allow participants to develop agency and critically engage with the social norms that define their identities. Night Visions consists of a script for a total of 87 (influencers, witches, a hipster magazine (Katt & Dag), psychics, tricksters for hoaxes, economy, illusions); each of the character is a unique work of art defined by its own special skills, goals and with surprise elements that allow them to develop, transform and re-invent their relation to digital culture.

 The outcome of the game is to allow participants to develop agency and critically engage with the social norms that define their identities. The theme of Night Visions deals with cats in their historical and cultural context, while addressing the issue of non-human others through a methodology of transposition and embodiment. Cats function here as a metaphor for human traits maybe first and foremost, while their spiritual role in mythology, religion, science, literature and their recent instantiations in internet memes creates the cultural background against which Night Visions could be developed.

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"Supranormal, Queer, Unorthodox: Political Aesthetics in Hesiod’s Theogony" Lecture & seminar at the 8th Workshop of Painting, Athens School of Fine Arts, Peireos Building – Monday the 16th of March 11:30 am

Hesiod’s Theogony is a work of political theologist, as one of the prominent commentator noted - “an intensely political poem” (Scully, 2015). Despite the appearance of somewhat boring recounting of the divine genealogies if looked at literally, following the critical reading the text transfigures into a wonder box of archetypes, “ideographs” and normative concepts, which are causally arranged in the architecture supporting the sovereignty of Zeus. From the origins of the world to the installation of his everlasting domination, Theogony is a utopian vision of cosmic and human order. 

However apart of the installation of the patriarchy and justification of the tyranny of arch-father, the text offers a rich platform for speculation and the alternative politics. Zeus’ position of the Olympus leader is inherently unstable and depends of the contractual relations with the multiplicity of deities and forces. The text offers interesting cues towards alternative narration, something I call “ruptures”: the figures of women - Athena, Styx, and Hecate - being especially interesting.  In my research I’m mapping the instabilities and dependencies within heteronormative, patriarchal, imperialistic, colonial Zeusian sovereignty in the Olympus and identify the potentialities of disrupting it by supranormal, queer and unorthodox agents in the narrative. I call the methodology of critical co-writing and co-creation of the alternative futures of the theogonic narrative anticipatory mythography. The agency of anticipation of possible futures, or Derrida’s avenirs, is crucial for world-making within the established boundaries of aesthetico-political regime of ethical and political “normality”.  In the seminar, I will outline the methodologies of invocation of the critical (political, anticipatory) reading of Theogony and present the rhizomatic platform for creative collaboration (or rather a wide alliance) unlocking the potentiality of alternative (to the continuous process of everlasting present reproduction) futures. 

bio: 

Denis Maksimov is an interdisciplinary scholar, political advisor, and artist-curator. He is a co-founder of the artistic collective and think tank Avenir Institute. He researches the conceptualisations of sovereignty, queer(ing) agents, and political aesthetics in Ancient Greek mythography, world history, literature, arts, and audiovisual cultures. He is a co-convenor of “Power Vertical: Politics and Aesthetics in the Global East”, a transdisciplinary research seminar at the University College London (UCL). He was a “Future(s) of Democracy?” visiting lecturer at The University of Applied Arts Vienna (Angewandte) in 2019 and lectured at the Universities of Cologne and Namur; KU Leuven, The New School (New York), The University College London, Jan van Eyck Academie (Maastricht), among others. He holds BA in Political Science and MA in International Relations & European Studies from The National Research University Higher School of Economics (Moscow, RU), MRes of Art & Design from Karel de Grote University College (Antwerp, BE), and is PhDc in Classics at The University of Edinburgh (Edinburgh, UK). His artistic projects primarily address the ideography and aesthetics of power. He was a curator in residence at U-jazdowski Castle Centre for Contemporary Art in Warsaw, Projeto Fidalga in Sao Paulo, Critical Mass in St Petersburg, Fire Station in Dublin. He has developed and curated projects upon invitation of Victoria & Albert Museum in London, at the Venice Biennales, Ny Carlsberg Glyptotek Museum in Copenhagen, as well as art galleries in Brussels, where he was also a curator of Penthouse Art Residency, and London. His critical writing has appeared in book chapters and magazines including Doppiozero International, Ocula, Moscow Art Magazine, Arts of the Working Class, and others, in print and online; he has been writing a regular column “Poliaesthetica” for The Brussels Times since 2014. 

Image: Andrea Brocca. Nike emerges from the clash of thunderbolts (from illustration for Avenir Institute Mythology for Queer Futures), London, 2017

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AMBIENT AS A METHOD: A LISTENING SESSION Kalas Liebfried In his lecture and listening session, Kalas Liebfried will give insights into his methodology and artistic research for recent works like „Ambient for a Silent Forest“ (Pinakothek der Moderne Munich, 2019), „Corps-à-Corps feat. MC Nancy“ (Kunstverein Munich, 2018) and his sound work „Ports in Transition“ for the festival „Movement (1920-2020)“ (commissioned by the Onassis Foundation and the Goethe-Institute Athens, in cooperation with the Lenbachhaus Munich). Kalas Liebfried’s interdisciplinary works focus on the installative connection of sculptures, objects, composed sound and its performative staging. They emerge from the appropriation, decoding and montage of found footage as a conceptual foundation. His examination of minimal and ambient music opens a path towards an artistic production, which considers environmental and background aesthetics as a dialectic method: the surroundings, the atmosphere – all that, what is considered as obvious and given – assumes a mediating role. Works which arise within this context own a dynamic relation to space: they refer to a specific site and to a poetic thinking space at the same time. In comparison, the time structure of ‘ambient’ is static and enables a de-temporalization. Translating and decoding these spatiotemporal structures into the interplay of diverse media enables the evolution of an ambient methodology. Its intention is to create a singular system, which generates new works, links and intensities through itself involving the recipients as an active and dynamic part. Kalas Liebfried (born 1989 in Svishtov, Bulgaria) works and lives in Munich, Germany. He holds a degree in Philosophy from the LMU Munich, and studied Sculpture and Time-Based Media with Stephan Huber, Julian Rosefeldt and Alexandra Bircken at the Academy of Fine Arts Munich. Liebfried’s works have recently been exhibited at Pinakothek der Moderne, Nir Altman Gallery (solo), Haus der Kunst and Kunstverein Munich. In 2019 he received the Erwin und Gisela von Steiner-Foundation award and the Bavarian Culture Prize (Kulturpreis Bayern). Image: Kalas Liebfried  Selected Ambient Works 85-92 Installation View © Niraltman 2019. Organized By Ύλη[matter]HYLE in collaboration with the Athens School of Fine Arts Erasmus+ Project, Creator Doctus, on Artistic Research. www.hyle.gr   Address: Pireos 1, Omonia square, 2nd floor #7, 105 52, Athens GR. The building is located inside the archway and the space is accessible with the elevator on the ground floor. For any additional information please contact Georgios Papadopoulos from Creator Doctus - languagegames@gmail.com

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Bryony Dunne will present a selection of her work, discussing the impact of occidental expansionism on ecology and human, animal and plant migration. The presentation will built upon her new film Above the Law; a project that speculates on the possibility of a hybrid knowledge that combines human and non-human perspectives in an effort of forging bonds of inter-species solidarity. More info on Bryony's work can be found on her website http://bryonydunne.com Τhis seminar is part of the Erasmus+ research project Creator Doctus on new models of PhD research in the Arts.

Bryony Dunne (1984) is an Irish visual artist based between Athens and Wicklow. Building on her background in documentary photography and visual anthropology, she explores the relations between humanity and nature, the arbitrariness of cultural representation, the legacies of colonialism, and the fantasies of human control. Her work has received several awards and last year she was a nominee for the FOAM Paul Huf Award. She has exhibited internationally in venues such as BAHAR – Istanbul’s offsite project of Sharjah Biennial 13, The Mosaic Rooms (London), Gypsum Gallery (Cairo), Centre Pompidou (Paris), the Irish Film Institute (Dublin), DEPO (Istanbul) and HKW (Berlin). She is currently a recipient of an Irish Arts Council – Visual Artists Bursary Award 2019.

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On Friday the 18th of October at 6pm, Ingeborg Paulsrud will discuss her artistic and research practice at ΎΛΗ[matter]HYLE. Ingeborg combines painting with performance in an attempt to interrogate the process of subjectivation in a society where affectivity is regulating by proliferating layers of mediation. Ingeborg is going to present her long-term research project Stay Safe, Avoid Human Contact and its most recent realization Lets Melt that is exhibited in ΎΛΗ[matter]HYLE.

“When a material melts it leaves its original form and starts existing with a new set of prerequisites. We use this method frequently in order to re-shape materials and to change their purposes. This is not just a change, but also a transformation into something different than it was. In some cases the change is reversible. If you melt ice, you get water. Water can turn back into ice if given the right possibilities.

Common to all transformations is that they require time and some sort of change of surroundings. Even if melting is scientifically categorized as a reversible change we use the term meltdown for malfunctions, system collapses and mental breakdowns. Maybe this is because in all of those cases there exists an inbuilt desire to repair the damage. The important question is; do we restore or do we improve?

In the show Let’s Melt the artist explores the balance between re-shaping personalities and having a breakdown. When a material is melted it becomes more moldable. It also loses its original form. Is it damaging or evolutionary? Can this be applied to human personalities?

These questions are adressed within the frames of femininity as a social context. If living outside of the desired norm causes trouble, why not try to live within it? If the gain is as big as the loss, is it really that big of a deal?

This exhibition explores the relationship and struggle between the artist and the persona she created to be a positive extension of herself in order to handle conflicts and patriarchal structures with the main goal to solve all conflicts, no matter how. The persona, Pam, is in one way a patriarchal pleaser but also the more socially constructive one of them. If you ask Pam what she associates with melting, she will answer the sugar you use to make lemonade when life hands you lemons for free.The exhibition will show works related to loneliness and  - personal confessions as a juxtaposition to how well we fit into the social framework given to us. What do we measure ourselves against? When a cultural phenomenon like reality-TV is commonly consumed, do we apply its social contests to our own lives and the way we encounter each other? Without realizing it, we might have gone from co-existing to fusing with this alternative reality.” Ingeborg Paulsrud, Athens 2019. 

The event will take place on Friday, the 18th of October at ΎΛΗ[matter]HYLE at 18:00. Address Pireos Street 1, 2nd Floor #7. 

http://www.ingeborgpaulsrud.com/ http://hyle.gr/ 

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Research Seminar Macklin Kowal Circuits and Currents // Notara 13 & Tositsa // Wednesday 12th of June 1700

For the second research seminar of its PhD Program that is taking place as part of the Creator Doctus Project the Athens School of Fine Arts is inviting Macklin Kowal. Macklin is a curator and academic based in Athens. A PhD candidate in Political Theory at Aristotle University of Thessaloniki, his thesis analyzes contemporary far-right nationalisms of the Euro-Atlantic through the frame of discourse theory and through theories of performativity. He is additionally Founding Director of Sub Rosa Space, an independent platform for performance art located in central Athens. His academic and curatorial work convene around the politics of testimony and cultures of public opinion, with particular focus on queer perspectives. Kowal has presented his research throughout Europe and North America, in both conventional and performative lecture form. Previously a dance artist, he held the danceWEB scholarship at ImPulsTanz International Dance Festival (Vienna) and was choreographer-in-residence at the Meridian Gallery (San Francisco). Image credit: Alexandra Masmanidi

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Creator Doctus Project participated in the 10th Society of Artistic Research in the Annual Conference in Zurich. The photo is from the Keynote Letcure, I see less, I hear less, I  feel more

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Berlin is not the New Athens : the first event of the research project Creator Doctus project in Athens. Carsten Lisecki is going to present its research about Artists in Berlin at the Athens School of Fine Arts on Wednesday the 27th of February.  /////// 

Η παρουσίαση του Carsten Lisecki, Berlin is not the new Athens αναφέρεται στις προσπάθειες εξευγενισμού στις Ευρωπαϊκές πρωτεύουσες, δίνοντας ιδιαίτερη έμφαση στο ιδεολόγημα ότι οι καλλιτέχνες αποτελούν την πρωτοπορία στην ανάπλαση των πόλεων. Ο Carsten, ΜΑ Art in Context UdK Berlin, έχει αποτυπώσει την καλλιτεχνική ζωή του Βερολίνου από τις αρχές του 1990 καταγράφοντας τις αλλαγές τόσο στην πόλη όσο και στην καθημερινή ζωή των καλλιτεχνών.  Στα πλαίσιο της παρουσίασης του ο Carsten θα δείξει δύο Video, το Art Account Deutsche Bank (2013) και Kurpark Bőrek (2017) και θα μιλήσει για την καλλιτεχνική και την ερευνητική πρακτική του. H εκδήλωση γίνεται στα πλαίσια του προγράμματος Creator Doctus.