PQ 2019, PRAGUE
ENTER
AS SEEN BY
PLATFORM-SCENOGRAPHY
FROM JUNE 9 TO 19, THE 2019 EDITION OF PRAGUE QUADRIENNAL OF PERFORMANCE, DESIGN AND SPACE TOOK PLACE IN PRAGUE. PLATFORM-SCENOGRAPHY WAS THERE. WE INVITE YOU TO EXPERIENCE PQ 2019 THROUGH OUR EYES AND EARS.
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EXPLORE OUR PHOTOS [
], VIDEOS [
], SOUND CLIPS [
] AND TEXTS [
]. WANDER AROUND IN OUR ONLINE ARCHIVE AND CREATE YOUR OWN TRAJECTORY. OR CHOOSE THE SHUFFLE OPTION AND FIND OUT WHERE YOU WILL END UP[
].
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AND SOMETIMES WE JUST WANT YOU TO
JUST SLOW DOWN, PAY ATTENTION
AND KEEP YOUR HEADPHONES READY
GOT IT
SERIES: AUGMENTED REALITY
The task we gave ourselves: to document everything we see / encounter / experience at the PQ three times or more. Do these series tell us something about what is ‘in the air’? Do they say something about current developments in scenography? Did we spot new trends? Or is it just coincidence?
SERIES:
AUGMENTED
REALITY
SERIES: AUGMENTED REALITY
SERIES: AUGMENTED REALITY
SERIES: AUGMENTED REALITY
SERIES: AUGMENTED REALITY
SERIES: AUGMENTED REALITY
SERIES: AUGMENTED REALITY
SERIES: AUGMENTED REALITY
SERIES: AUGMENTED REALITY
SERIES: AUGMENTED REALITY
SELF
SELF, an interactive performative installation by Julian Hetzel represented the Netherlands at the Countries and Regions Exhibition at the PQ. SELF was selected by a jury after an Open Call by P-S. SELF was staged as an exclusive concept store in the local neighbourhood Praha 7. In a contemporary pop-up shop Julian Hetzel presented and sold SELF – Human Soap. With the motto ‘from people for people’ human adipose tissue was collected from cosmetic surgery and processed into soap – then transformed into art.
SELF aimed towards finding new ways for how performance can directly influence and interact with economy, charity, and politics at large.
SELF
SELF
SELF
PERSBERICHT - ‘SELF’ VAN JULIAN HETZEL DE NEDERLANDSE INZENDING VOOR DE PRAAGSE QUADRIENNALE 2019
De performatieve installatie ‘SELF’ van kunstenaar Julian Hetzel is gekozen als de Nederlandse inzending voor de Praagse Quadriennale 2019 (PQ), het grootste internationale evenement op het gebied van scenografie en theaterarchitectuur dat van 6-16 juni plaatsvindt.
Een vakjury koos ‘SELF’ uit 17 inzendingen die waren ingediend naar aanleiding van de open oproep Escaping the Bubble. De oproep was een initiatief van Platform-Scenography (P-S), een platform dat als doel heeft om de scenografie als zelfstandige ontwerpdiscipline beter zichtbaar te maken. In de oproep werden scenografen, vormgevers, dramaturgen en kunstenaars uitgenodigd om het (on)vermogen om uit de eigen ‘bubbel’ te breken aan de orde te stellen. Er werd een ontwerp gezocht dat de interesse in ‘de ander’ of ‘het andere’ initieert, stimuleert, blokkeert of juist forceert.
‘SELF’, het vervolg op Hetzel’s eerdere werk ‘Schuldfabrik’, is een ogenschijnlijk onschuldige zeepwinkel. De scenografie is die van een conceptstore, een lichte en gelikt vormgegeven winkel die het midden houdt tussen realiteit en fictie. In deze winkel wordt SELF verkocht: een exclusief stuk zeep, gemaakt van menselijk vet. Alvorens de zeep te kopen wordt de koper in de winkel uitgenodigd zijn ‘schuld af te laten wassen’. De opbrengst van elk verkocht stuk zeep draagt bij aan de financiering van een waterpomp in Congo. Vet als metafoor voor schuld: ge-upcycelt in een commercieel product dat ‘SELF’ heet. Met deze ‘winkel’ doet Hetzel het schokkende statement dat ethische kwesties over ongelijkheid en wereldproblematiek blijkbaar alleen nog via de transactie – via het kapitalistische systeem - besproken kunnen worden.
Volgens de commissie werpt ‘SELF’ licht op een vorm van scenografie die zich de uiterlijke vorm en conventies van bestaande instituties buiten het theater (in dit geval ‘de winkel’ en daarmee ‘het kapitalisme’) toe-eigent, om haar vervolgens kritisch te bevragen. SELF laat zien hoe een performatieve omgeving een oproep kan doen om verder te kijken dan onze gebruikelijke denkkaders. De luxe concept-store functioneert als ‘bubbel’ van ongebreidelde welvaart, consumentisme en life style. En juist daar wordt de bezoeker geconfronteerd met complexe vragen over welvaart en individuele en collectieve schuld.
Uit het Juryrapport: “Julian Hetzel gebruikt scenografie als vraagstelling. Het ruimtelijk ontwerp is niet dienend aan een theater realiteit, De scenografie van de winkel zelf dwingt de kijker tot stellingname ten opzichte van de vraag die deze ruimte lijkt te stellen. Deze vraag, of schuld kan worden omgezet in kapitaal, is er één die ontregelt en bedreigt. De confrontatie ontstaat in het hoofd van de klant in de winkel. ‘SELF’ is een emotioneel geladen en inhoudelijk rijk werk dat niet tot eenduidige conclusies leidt.”
PERSBERICHT - ‘SELF’ VAN JULIAN HETZEL DE NEDERLANDSE INZENDING VOOR DE PRAAGSE QUADRIENNALE 2019
De performatieve installatie ‘SELF’ van kunstenaar Julian Hetzel is gekozen als de Nederlandse inzending voor de Praagse Quadriennale 2019 (PQ), het grootste internationale evenement op het gebied van scenografie en theaterarchitectuur dat van 6-16 juni plaatsvindt.
Een vakjury koos ‘SELF’ uit 17 inzendingen die waren ingediend naar aanleiding van de open oproep Escaping the Bubble. De oproep was een initiatief van Platform-Scenography (P-S), een platform dat als doel heeft om de scenografie als zelfstandige ontwerpdiscipline beter zichtbaar te maken. In de oproep werden scenografen, vormgevers, dramaturgen en kunstenaars uitgenodigd om het (on)vermogen om uit de eigen ‘bubbel’ te breken aan de orde te stellen. Er werd een ontwerp gezocht dat de interesse in ‘de ander’ of ‘het andere’ initieert, stimuleert, blokkeert of juist forceert.
‘SELF’, het vervolg op Hetzel’s eerdere werk ‘Schuldfabrik’, is een ogenschijnlijk onschuldige zeepwinkel. De scenografie is die van een conceptstore, een lichte en gelikt vormgegeven winkel die het midden houdt tussen realiteit en fictie. In deze winkel wordt SELF verkocht: een exclusief stuk zeep, gemaakt van menselijk vet. Alvorens de zeep te kopen wordt de koper in de winkel uitgenodigd zijn ‘schuld af te laten wassen’. De opbrengst van elk verkocht stuk zeep draagt bij aan de financiering van een waterpomp in Congo. Vet als metafoor voor schuld: ge-upcycelt in een commercieel product dat ‘SELF’ heet. Met deze ‘winkel’ doet Hetzel het schokkende statement dat ethische kwesties over ongelijkheid en wereldproblematiek blijkbaar alleen nog via de transactie – via het kapitalistische systeem - besproken kunnen worden.
Volgens de commissie werpt ‘SELF’ licht op een vorm van scenografie die zich de uiterlijke vorm en conventies van bestaande instituties buiten het theater (in dit geval ‘de winkel’ en daarmee ‘het kapitalisme’) toe-eigent, om haar vervolgens kritisch te bevragen. SELF laat zien hoe een performatieve omgeving een oproep kan doen om verder te kijken dan onze gebruikelijke denkkaders. De luxe concept-store functioneert als ‘bubbel’ van ongebreidelde welvaart, consumentisme en life style. En juist daar wordt de bezoeker geconfronteerd met complexe vragen over welvaart en individuele en collectieve schuld.
Uit het Juryrapport: “Julian Hetzel gebruikt scenografie als vraagstelling. Het ruimtelijk ontwerp is niet dienend aan een theater realiteit, De scenografie van de winkel zelf dwingt de kijker tot stellingname ten opzichte van de vraag die deze ruimte lijkt te stellen. Deze vraag, of schuld kan worden omgezet in kapitaal, is er één die ontregelt en bedreigt. De confrontatie ontstaat in het hoofd van de klant in de winkel. ‘SELF’ is een emotioneel geladen en inhoudelijk rijk werk dat niet tot eenduidige conclusies leidt.”
SELF
SELF
SELF
SELF
SELF
SELF
SELF
SELF
SELF
SELF
SELF
SELF
SELF
SELF
SELF
BINAURAL SLOW DOWN #1
Searching For The Site Specific
Binaural Series 4 of 4
PUT ON YOUR HEADPHONES!
What role does sound play in our experience of space and reality? Hearing is, besides vision, a sense that constantly gets augmented. We are capable to record, alternate, manipulate and easily broadcast sounds, and we developed technology that is (seemingly) capable of recording images as our eyes see them and sounds as our ears hear them. But, what role does sound play, or possibly could play, in contemporary scenography and in our experience of space and reality? What is special in experiencing a space through sound and can the time asking presentation of an audio recording, compete with the instantaneousness of an image?
These are binaural (spatial) recordings, to be able to explore them you need headphones! Please be sure to plug them in!
Soundcloud or Apple Podcasts.
BINAURAL SLOW DOWN #1
SERIES: BLINDS
The task we gave ourselves: to document everything we see / encounter / experience at the PQ three times or more. Do these series tell us something about what is ‘in the air’? Do they say something about current developments in scenography? Did we spot new trends? Or is it just coincidence?
SERIES: BLINDS
SERIES: BLINDS
SERIES: BLINDS
SERIES: BLINDS
SERIES: BLINDS
The Travel of a Scale Model
Paul Gallis represented the Netherlands in the Fragments exhibition at the PQ. The exhibition invited participating countries to celebrate ‘living legends’ of scenography. P-S and guest curator Joke van Pelt decided to present the scale model of the stage design Paul Gallis created for the iconic performance Count Your Blessings by Gerard-Jan Rijnders in 1992. On stage a house with multiple rooms and stories was shown. In each room different scenes were performed simultaneously. This design is the symbol of what became a specific staging trend, and what in. Dutch is called montage theater.
Preparing and transporting the scale model safely to Prague and to exhibit it in the Lapidarium, the exhibition ground, proved quite a challenge.
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
The Travel of a Scale Model
SERIES: WAITING
The task we gave ourselves: to document everything we see / encounter / experience at the PQ three times or more. Do these series tell us something about what is ‘in the air’? Do they say something about current developments in scenography? Did we spot new trends? Or is it just coincidence?
SERIES: WAITING
SERIES: WAITING
SERIES: WAITING
SERIES: WAITING
SERIES: WAITING
SERIES: WAITING
SERIES: WAITING
SERIES: WAITING
BINAURAL SLOW DOWN #2
Searching For The Site Specific
Binaural Series 4 of 4
PUT ON YOUR HEADPHONES!
What role does sound play in our experience of space and reality? Hearing is, besides vision, a sense that constantly gets augmented. We are capable to record, alternate, manipulate and easily broadcast sounds, and we developed technology that is (seemingly) capable of recording images as our eyes see them and sounds as our ears hear them. But, what role does sound play, or possibly could play, in contemporary scenography and in our experience of space and reality? What is special in experiencing a space through sound and can the time asking presentation of an audio recording, compete with the instantaneousness of an image?
These are binaural (spatial) recordings, to be able to explore them you need headphones! Please be sure to plug them in!
Soundcloud or Apple Podcasts.
BINAURAL SLOW DOWN #2
POLITICS
POLITICS
PQ Talks: Scenography & Politics
It is almost impossible to talk about art without considering the political ideas that move or even interrupt designers’ creations around the world, mainly in countries going through a political crisis of democracy. This PQ Talk presents designers and projects from Brazil and Catalonia, asking how scenography provokes and inspires social change.
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
Collaborative Scenographic Practices for Restorative Justice in Virtual Reality Presentation of a VR project on restorative justice, part of the Digital Oral Histories for Reconciliation initiative (www.dohr.ca). The project builds on “relational scenography”, a new approach to performance design that has emerged in the making of this project. Examples from the demo show how collaboration with the research team, including first-voice storytellers, historians, educators, and technicians, have influenced design choices and aesthetic and ethical visions for the piece.
Collaborative Scenographic Practices for Restorative Justice in Virtual Reality Presentation of a VR project on restorative justice, part of the Digital Oral Histories for Reconciliation initiative (www.dohr.ca). The project builds on “relational scenography”, a new approach to performance design that has emerged in the making of this project. Examples from the demo show how collaboration with the research team, including first-voice storytellers, historians, educators, and technicians, have influenced design choices and aesthetic and ethical visions for the piece.
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
POLITICS
Panel Discussion on ‘Justice Scenographics: Preparing for Civilization Change’
Drawing upon the established work by the Design Studio for Social Intervention (Boston, USA) on spatial justice, this panel outlines the role scenography can play in the enactment & communication of climate justice. Justice scenographics are proposed as a means of imagining renewed human-world binaries that go beyond ‘world as resource’ and towards ‘world as connectivity’.
Panel Discussion on ‘Justice Scenographics: Preparing for Civilization Change’
Drawing upon the established work by the Design Studio for Social Intervention (Boston, USA) on spatial justice, this panel outlines the role scenography can play in the enactment & communication of climate justice. Justice scenographics are proposed as a means of imagining renewed human-world binaries that go beyond ‘world as resource’ and towards ‘world as connectivity’.
POLITICS
SERIES: TEXTILE
The task we gave ourselves: to document everything we see / encounter / experience at the PQ three times or more. Do these series tell us something about what is ‘in the air’? Do they say something about current developments in scenography? Did we spot new trends? Or is it just coincidence?
SERIES: TEXTILE
SERIES: TEXTILE
SERIES: TEXTILE
SERIES: TEXTILE
SERIES: TEXTILE
SERIES: TEXTILE
SERIES: TEXTILE
SERIES: TEXTILE
SERIES: TEXTILE
ENCOUNTERS
PQ was a time-space to meet others
Other scenographers
Other countries
Other cultures
Other urgencies
Accidental encounters
Missed rendez-vous
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
Engaging with the project NIAGA DNA from Netherlands-based choreographers Karla Isidorou and Alexandra Bellon via a specially designed app.
NIAGA DNA was part of the Formations program, aimed at exploring the relation between architecture and performance through interventions in public space. In NIAGA DNA the jumps become the hits.
The feet become the drumsticks.
The plaza becomes the drum skin.
http://www.k-and-a.co/niagadna
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
When trying to grasp the meaning of the multiple encounters during the PQ is reduced to numbers.
ENCOUNTERS
DEFORM by Dutch designer Iris Woutera was part of the Formations program, aimed at exploring the relation between architecture and performance through interventions in public space.
The cocoon is made of left-over materials of a factory producing lamella.
ENCOUNTERS
ENCOUNTERS
COUNTRY/REGION | SECTION | COUNTRY'S CURATOR | |
Countries and Regions | Student Exhibition | ||
Number of countries/regions | 64 | 52 | |
African Designers | yes | Hazem Shebl | |
Arab Designers | yes | Hazem Shebl | |
Armenia | yes | Lia Mkhitaryan | |
Australia | yes | yes | Anna Tregloan |
Austria | yes | yes | Vero Schürr |
Belarus | yes | Lidziya Malashenka | |
Belgium | yes | Christian Halkin | |
Brazil | yes | yes | Aby Cohen |
Bulgaria | yes | OGNYANA SERAFIMOVA | |
yes | Mira Kalanova | ||
Canada | yes | Snezana Pesic | |
yes | Karyn McCallum | ||
Catalonia | yes | yes | Bibiana Puigdefàbregas, Marta Rafa Serra (member of the team) |
Chile | yes | Rocío Hernández | |
yes | Valentina San Juan Standen | ||
China | yes | yes | Tan Zeen |
Costa Rica | yes | yes | Felipe Da Silva |
Croatia | yes | Marko Golub, Maša Milovac | |
yes | Ivana Bakal, M. Petranović & P. Hraščanec | ||
Cyprus | yes | Marina Maleni | |
Czech Republic | yes | Ivo Kristián Kubák | |
yes | Anna Chrtková, Jan Matýsek, Andrea Dudková | ||
Denmark | yes | Sara Vilslev, possibly Rebekka Bentzen | |
Egypt | yes | Hazem Shebl | |
Estonia | yes | yes | Inga Vares |
Finland | yes | KOKIMO Art Collective | |
yes | KOKIMO, Kimmo Karjunen | ||
France | yes | yes | Philippe Quesne |
Georgia | yes | Nino Gunia-Kuznetsova | |
yes | Ketevan Shavgulidze | ||
Germany | yes | Kattrin Michel | |
yes | Thomas Engel | ||
Greece | yes | Anna Machairianaki | |
Hong Kong | yes | Bacchus Lee | |
yes | Allan Tsui , Shybil Yuen | ||
Hungary | yes | yes | Gergely Prőhle |
Iceland | yes | Rebekka A. Ingimundardóttir | |
India | yes | Dinesh Yadav | |
Iran | yes | Elahe Marjovi | |
Ireland | yes | Jo Mangan | |
yes | Moggie Douglas | ||
Israel | yes | Anat Mesner | |
yes | Lily Ben Nachshon, Alexander Lisiansky | ||
Italy | yes | Franco Ripa di Meana , Federico Tesio , Angelo Lodi | |
Japan | yes | Itaru Sugiyama, Masako Sazanami (sub curator) | |
yes | Shusaku Futamura, Rei Koike (sub curator) | ||
Kazakhstan | yes | Kabyl Khalykov | |
South Korea | yes | TBA | |
Kuwait | yes | WALEED AMEER | |
Latvia | yes | yes | Gundega Laiviņa, Monika Pormale |
Lebanon | yes | yes | Hadi Damien |
Macau | yes | Mirabella Lao | |
Macedonia | yes | Filip Jovanovski | |
Mexico | yes | Auda Caraza | |
yes | Atenea Chávez | ||
Monaco | yes | Dominique Drillot | |
Mongolia | yes | yes | |
Morocco | yes | yes | Mohammed Amin boudrika |
The Netherlands | yes | Julian Hetzel | |
yes | Platform-Scenography | ||
New Zealand | yes | Stuart Foster | |
yes | Meg Rollandi | ||
Norway | yes | Sunniva Bodvin | |
yes | Karen Kipphoff | ||
Pakistan | yes | Quddus Mirza | |
yes | Sidra Akram | ||
Peru | yes | Laurin Leon | |
Philippines | yes | ARMANDO RUTAQUIO JR. and GABRIEL FERNANDEZ | |
Poland | yes | yes | TBA |
Portugal | yes | José Capela | |
Quebec | yes | Jasmine Catudal | |
yes | Marie-Claude Pion | ||
Romania | yes | yes | Georges Banu |
Russia | yes | INNA MIRZOYAN | |
yes | Nika Dundua | ||
Serbia | yes | yes | Ljiljana Miletić Abramović (MAA) ; Tatjana Dadić Dinulović (SCEN); COMMISSIONERS / Darko Nedeljković |
Slovakia | yes | Rastislav Ballek | |
yes | Milan Rašla | ||
Slovenia | yes | Barbara Novakovič Kolenc | |
South Africa | yes | Jenni-lee Crewe & Gavin Krastin | |
Spain | yes | ÁNGEL MARTÍNEZ ROGER | |
yes | |||
Sweden | yes | yes | Johan Mansfeldt and Anders Larsson |
Switzerland | yes | - | |
yes | - | ||
Taiwan | yes | yes | TBA |
Thailand | yes | NATTAPORN THAPPARAT | |
Trinidad and Tobago | yes | Edwin Erminy, Richard Bryant | |
Turkey | yes | yes | Hakan Dündar |
Ukraine | yes | no | Pavlo Bosyy |
United Kingdom | yes | yes | Fiona Watt |
Uruguay | yes | GERARDO BUGARIN | |
USA | yes | Kevin Rigdon | |
yes | Tom Burch | ||
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
ENCOUNTERS
For their project PQ Waltz 2019 students from the HKU and Zuyd Hogeschool made camp in Nádraží Bubny, an old trainstation in Prague, from where Jews had been transported during WWII. Here, they practiced the action of ‘welcoming’, taking care of travellers and visitors arriving from far away and nearby.
ENCOUNTERS
SERIES: PUPPETS
The task we gave ourselves: to document everything we see / encounter / experience at the PQ three times or more. Do these series tell us something about what is ‘in the air’? Do they say something about current developments in scenography? Did we spot new trends? Or is it just coincidence?
SERIES: PUPPETS
SERIES: PUPPETS
SERIES: PUPPETS
SERIES: PUPPETS
SERIES: PUPPETS
SERIES: PUPPETS
SERIES: PUPPETS
SERIES: PUPPETS
SERIES: PUPPETS
SERIES: PUPPETS
PRAHA 7
The PQ takes place in Prague every four years. The 2019 edition was held on Výstaviště Praha an exhibition ground founded in 1891 which is used for exhibitions, concerts and other cultural events. The premise is located in Praha 7, the neighbourhood near the metro station on Metro line C Nádraží Holešovice. While the PQ formed a 10 day scenography bubble on the exhibition grounds, life in Praha 7 of course continued as usual.
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
PRAHA 7
BINAURAL SLOW DOWN #3
Searching For The Site Specific
Binaural Series 4 of 4
PUT ON YOUR HEADPHONES!
What role does sound play in our experience of space and reality? Hearing is, besides vision, a sense that constantly gets augmented. We are capable to record, alternate, manipulate and easily broadcast sounds, and we developed technology that is (seemingly) capable of recording images as our eyes see them and sounds as our ears hear them. But, what role does sound play, or possibly could play, in contemporary scenography and in our experience of space and reality? What is special in experiencing a space through sound and can the time asking presentation of an audio recording, compete with the instantaneousness of an image?
These are binaural (spatial) recordings, to be able to explore them you need headphones! Please be sure to plug them in!
Soundcloud or Apple Podcasts.
BINAURAL SLOW DOWN #3
SERIES: POLES
The task we gave ourselves: to document everything we see / encounter / experience at the PQ three times or more. Do these series tell us something about what is ‘in the air’? Do they say something about current developments in scenography? Did we spot new trends? Or is it just coincidence?
SERIES: POLES
SERIES: POLES
SERIES: POLES
SERIES: POLES
SERIES: POLES
SERIES: POLES
SERIES: POLES
SERIES: POLES
VOIDS
In spite of the 69,015 unique visitors of PQ 2019 at the Prague Exhibition Grounds (information from the official PQ website), we often wondered: where is it happening? We kept encountering all kinds of voids.
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
VOIDS
SERIES: MOVING OBJECTS
The task we gave ourselves: to document everything we see / encounter / experience at the PQ three times or more. Do these series tell us something about what is ‘in the air’? Do they say something about current developments in scenography? Did we spot new trends? Or is it just coincidence?
SERIES: MOVING OBJECTS
SERIES: MOVING OBJECTS
SERIES: MOVING OBJECTS
SERIES: MOVING OBJECTS
SERIES: MOVING OBJECTS
ATMOSPHERES
ATMOSPHERES
"Atmosphere is the feeling we have when we enter a space and it is also the way in which both we and the space are altered by this experience. It can also be a public feeling that we share with others or even a material force that emerges to alter our mood."
Peter Eckersall, 'The Theatre of Atmospheres', New Media Dramaturgy (2017: 81)
ATMOSPHERES
ATMOSPHERES
ATMOSPHERES
Atmospheres: The envelope of air (gases) that surrounds Earth
Examples of atmospheric phenomena: Clouds, Storms, Fronts, Fogs, Aurora
ATMOSPHERES
ATMOSPHERES
ATMOSPHERES
ATMOSPHERES
“Scenography does not want to shape objects, but rather to create phenomena. The manipulation of objects serves only to establish conditions in which these phenomena can emerge.”
Gernot Böhme, “The art of the stage set as a paradigm for an aesthetics of atmospheres”, Ambiance (2013).
ATMOSPHERES
ATMOSPHERES
ATMOSPHERES
“But atmosphere itself is not a thing: it is rather a floating in-between, something between things and the perceiving subjects. The making of atmospheres is therefore confined to setting the conditions in which the atmosphere appears. We refer to these conditions as generators.”
Gernot Böhme, 'The art of the stage set as a paradigm for an aesthetics of atmospheres', Ambiance (2013).
ATMOSPHERES
ATMOSPHERES
ATMOSPHERES
“An atmosphere is not an inert context but a force field in which people find themselves. It is not an effect of other forces, but a lived affect. A capacity to affect and be affected that pushes a present into composition, an expressivity, the sense of potentiality and event. It is an attunement of the senses.”
Kathleen Stewart, 'Atmospheric Attunement’, (2013).
ATMOSPHERES
ATMOSPHERES
ATMOSPHERES
ATMOSPHERES
ATMOSPHERES
BINAURAL SLOW DOWN #4
Searching For The Site Specific
Binaural Series 4 of 4
PUT ON YOUR HEADPHONES!
What role does sound play in our experience of space and reality? Hearing is, besides vision, a sense that constantly gets augmented. We are capable to record, alternate, manipulate and easily broadcast sounds, and we developed technology that is (seemingly) capable of recording images as our eyes see them and sounds as our ears hear them. But, what role does sound play, or possibly could play, in contemporary scenography and in our experience of space and reality? What is special in experiencing a space through sound and can the time asking presentation of an audio recording, compete with the instantaneousness of an image?
These are binaural (spatial) recordings, to be able to explore them you need headphones! Please be sure to plug them in!
Soundcloud or Apple Podcasts.
BINAURAL SLOW DOWN #4
SERIES: CURATORS
The task we gave ourselves: to document everything we see / encounter / experience at the PQ three times or more. Do these series tell us something about what is ‘in the air’? Do they say something about current developments in scenography? Did we spot new trends? Or is it just coincidence?
