i've now had two classes with the students at nanyang university where i'm having a virtual residency. we are collaboratively creating the cyberformance, "we r now[here]" that will be presented at the opening of the art as a networked practice symposium next week.
During March, I'm a "virtual artist in residence" at Nanyang Technical University in Singapore, at the invitation of Randall Packer. He, in association with Furtherfield, is organising an online symposium titled "Art of the Networked Practice", and in my residency I will work with his students to create a cyberformance for the symposium's opening.
my artistic practice is almost entirely live performance, and most of that takes place online; it's ephemeral, fleeting, transient and notoriously difficult to document. usually i don't even have physical publicity material such as flyers or posters - it's all done digitally, and when it's done sometimes it's hard to believe that it happened, there are so few traces.
These days, success is often measured in numbers: how much money something made, how many people were involved, how many things were produced. Funders require these figures for their reporting, and the crowdsourcing trend reinforces the idea that big numbers are better. But where does that leave small-scale and experimental work?
I really do wonder what the Tate Modern means when they say that their "live performance room" is "the only place you can see art made for you to view at home". Quite aside from the myriad artworks available online for people to experience - live or otherwise - have they forgotten about television, radio, and other media, digital and analogue, that has made the viewing of art possible not only at home but in all kinds of private and domestic spaces for - well, a very long time?
As a theatre artist whose practice has explored the use of the internet as a site for live performance for over a decade, I was naturally interested when I saw the Tate Modern announce their "Live Performance Room" series.
We are now only a few hours away from the start of the 11:11:11 UpStage Festival, the fifth annual festival of online performance in the UpStage platform, and there is a strong sense of cosmic alignment going on.
i've been meaning to blog about isea for the last month, but - well, things keep happening. shortly after isea i performed "the net and the butterfly" with vicki & francesco at PANik; then i went to berlin for a FLOSS Manuals meeting; i'd barely got back from that when i was off to novi sad to perform "make-shift" at the Umetnost Radi Akcije festival ...
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