2

NEU NOW 2017 could not have taken placewithout the generous support of:

NEU NOW is an initiative of ELIA – The European League of Institutes of the Arts

A very special thanks to Ton and Maya Meijer-Bergmans

for their contribution and support.

Media partners

Partners & Sponsors

Association Européenne desConservatoires, Académies deMusique et Musikhochschulen

Europe’sEmergingArtists

2017

AmsterdamImage:

© Agnieszka Waszczeniuk,

Ślady ulotne (Traces of ephemeral),

2016.

WelcomeWe are excited to welcome you to the ninth annual edition of the NEU NOW Live Festival. NEU NOW is an interdisciplinary event that interweaves and showcases the full spectrum of arts disciplines, promoting the work of the next generation of artists emerging from arts institutions across Europe and beyond.

The pilot edition of the Festival was developed as part

of the Vilnius European Capital of Culture 2009 celebrations.

In our introduction to that first catalogue we set out our intentions

for the Festival as being:

… to support and encourage a vibrant festival atmosphere

where differences of artistic approach can be discussed,

where individual and collective arts practices can be both

presented and strengthened in a creative and cultural

meeting place, where difference and diversity can

be celebrated and where the creation of new international

partnerships may be realised.

As the curators and co-artistic directors of the Festival since

its inception, we have sought to further refine these intentions

by continually encouraging a dynamic dialogue between the art

forms (design/architecture, film/animation, music/sound, theatre/

dance and visual arts) and presenting as diverse a range of works

as possible – work that is well crafted, intellectually rigorous,

artistically astute and critically reflective of societal concerns.

The NEU NOW Festival would never have come into existence

without the vision and tenacity of Carla Delfos, the inspira-

tional founding CEO of ELIA – The European League of Institutes

of the Arts, and her long-held ambition to establish such a festival

as an ELIA project from the very beginning of the organisation

in 1990. If luck can be defined as the point at which preparation

meets opportunity then the Vilnius European Capital of Culture 2009

and the involvement of ELIA represents that point.

For the ensuing five years after Lithuania, the festival was

itinerant, moving from one European city to another each year

– visiting Nantes (France), Tallinn (Estonia), Porto (Portugal),

Amsterdam (The Netherlands), and Glasgow (The United

Kingdom) – until the Festival commenced a three-year residency

in 2015 here, housed in the wonderful film, theatre, exhibition

and outdoor spaces of the Westergasfabriek.

The 2017 edition of the NEU NOW Festival will be our last

as co-artistic directors, as we have both decided to step

away from the project after ten years in the role. Having been

intimately involved with the development of the Festival over

this period has given us a unique perspective on the way

that NEU NOW has developed over a time of significant

political and social change across Europe – from the fallout

of the world financial crisis of 2008, the ongoing refugee crisis

and the current turbulence caused by the Brexit process.

Through each succeeding year’s selection process, for both

the Live and Online versions of the Festival, we have consist-

ently been inspired by the work submitted by this emergent

generation of artists – by its enterprise, imagination, intellectual

integrity, humanity and generosity of spirit – and the ways

in which it bravely confronts and engages with the many existen-

tial challenges we all face.

Looking back over the last nine editions of the Festival,

we are struck by the impact that it has had on those artists

who have participated. Many of which have gone on to develop

significant international careers in the arts, in several cases

through the forming of new artistic partnerships with other NEU

NOW alumni. In total, around 550 individual artists have been

represented across all the NEU NOW Live Festivals to date,

and approximately a further 675 artists have shown their work

through the Online Festival. Over 1,000 artists in all have been

involved, representing some 50 different countries across Europe

and beyond.

We are very happy to welcome you to the 2017 edition

of the Festival, where you will be joining the approximate

15,000 visitors who have attended the previous editions.

Enjoy.

An international jury of leading arts professionals makes

the initial selection. The two artistic directors further

refine this selection and curate the works showcasing

at the Westergasfabriek.

Additionally, there is a two-day conference organised

in the frame of NEU NOW 2017. ‘Making a Living from

the Arts’ brings together academics, cultural professionals,

entrepreneurs and artists from all over Europe and stimulates

critical debate on cultural entrepreneurship in and outside

academia. We are grateful to the Creative Europe Programme

of the European Union, to the partner institutions, funders

and sponsors who supported NEU NOW 2017.

I would like to thank the dynamic team of Jessica Maxwell,

charming and determined, for producing this ninth edition

of NEU NOW.

I especially would like to thank the outgoing artistic directors

Paula Crabtree and Anthony Dean for ten years of inspirational

and constructive work!

I trust that you will be challenged, energised and exhilarated

by NEU NOW 2017.

Carla DelfosCo-founder NEU NOW Executive DirectorELIA – The European League of Institutes of the Arts

Paula CrabtreeCo-artistic director & Co-founder NEU NOW Vice ChancellorStockholm University of the Arts

Anthony DeanCo-artistic director & Co-founder NEU NOW Professor of Performing Arts & Dean of Cultural Engagement University of Winchester

NEU NOW 2017 will shine a spotlight on 46 talented artists emerging from arts institu-tions in 16 countries. The artists went through a rigorous selection process, commencing at the level of the arts institutions nominating outstanding work from artists that are in their final year of study or recently graduated.

Roma Auškalnytė

Otto Banovits

Yoanna Blikman

張志威 Cheong Chi Wai

Franco Cortez

Aski Dahl

Laurent Delom

Sophie Erlandsson

Lea-Nina Fischer

Emilie Gregersen, Naya Moll,

Ieva Grigelionyte

Victoria Grin

Astrit Ismaili and Blerta Ismaili

Stefanie Koemeda

Dávid Lados

Didi Lehnhausen

Sebastian Mulder

Park Hyo Jae

Zehra Proch, Bianca Zueneli,

Julie & Andreas –

Emma Van Roey

Araks Sahakyan

Johanna Samuelsson

Sára Erzsébet Timár

Enis Turan

Noemi Valentíny

Agnieszka Waszczeniuk

Rudolf Weiss

Works Artists28

68

44

54

66

20

22

40

12

46

70

16

50

36

24

34

60

30

48

72

14

56

32

26

42

58

62

18

Stage

1147m3 Westergasfabriek

1859 kilo, 15 h 15’

Christal paper

Design, under (other) circumstances

Drawing VI

IF ANY QUESTION (please do not interfere)

Insomnia no. 04

Kultúrház (Culture House)

Punishment

Sisyphean

Surface Synergy – Woven 3D texture

Ten meters of evidence

Windkanter (Eoliths)

登入晚餐 (Log in Dinner)

ingenocide

Krkavčí matka (Raven Mother)

Nature: All Rights Reserved

Ślady ulotne (Traces of ephemeral)

54

56

58

60

62

40

42

44

46

48

50

Above the silent

Beauty & the Beast

Kung Fu

LET’S NOT PRETEND TO BE ALONE HERE

Puzzling Beautiful Heavens

Unikat

Screen

Gallery

12

14

16

18

20

22

24

26

28

30

32

34

36

Outdoors

66

68

70

72

Art Club Ultra (vol. 2) - works in progress,

Dark Chamber/Camera Obscura

Melting the Horizon

Nærvær (Presence)

hosted by Franky D`miedo

Pieter Desmet and Hernán Mancebo

and 謝宏立 Hsieh Hung-Li

merged with pattern

Rebecka Berchtold

and Riikka Laurilehto

and Dan Robert Lahiani

Julie Rokseth and Andreas Rokseth

1147m3 Westergasfabriek

1859 kilo, 15 h 15’

Christal paper

Design, under (other) circumstances

Drawing VI

IF ANY QUESTION (please do not interfere)

Insomnia no. 04

Kultúrház (Culture House)

Punishment

Sisyphean

Surface Synergy – Woven 3D texture merged with pattern

Ten meters of evidence

Windkanter (Eoliths)

GalleryWorks

1312

Hochschule der Künste Bern HKB

Bern University of the Arts HKB

Switzerland

1147m3 Westergasfabriek Lea-Nina Fischer

What is the scent of the Westergasfabriek? 1147m3

Westergasfabriek by Lea-Nina Fischer is an installation work

that questions the perceptions of space and time through

presenting an olfactory spatial experience. In cooperation

with the perfumer Andreas Wilhelm, Fischer creates an abstract

scent that brings forward different facets of the space

of the Westergasfabriek. After exploring the site with specific

methods, the scent is created in the laboratory of the perfumer.

The scent interacts with the physical space, evoking asso-

ciations and memories within the individual that influence

the sensory perception of the space as a whole. The scent

is diffused in a very subtle, non-visual way in the exhibition

space. This challenges the audience to ponder how scent

influences perception, both consciously and unconsciously.

While non-visual, the ephemeral, evocative and transformative

characteristics of scent allows for exploration. Can scent create

a particular (sensory and experiential) approach to space?

How does scent influence space?

Through multi-sensory installations I ask my audience to become participants reflecting upon their interpretation of the subject of space. Working with scent in my recent work, I am interested in the often-overlooked impact that odours have on perception, specifically through the memory and associations they trigger within the individual. My work is site-specific, interacting with the place, the subjects and time itself. After doing research on-site, I enter the laboratory to refine the piece through precise processes. In cooperation with a professional perfumer I create a scent especially made for the explored site. It is a crucial part of my work to both please and disrupt habituated perceptions. The diffused scent on-site invites the percipient audience to get a new perspective of the space and time in which they exist.

Scent Nr. 64029.09

Maceal

Geosmine

Cis-3 hexenyl Salicylate

dpg; Dipropylenglycole

Aldehyd C-10

Dihydro Myrcenol

3-Methylnonane-2,4-dione

LUCA School of Arts

Belgium

1859 kilo, 15 h 51’ is a site-specific installation by Emma

Van Roey made of sand, wire and wooden boards.

Van Roey creates visual imagery that provokes the viewers

into a confrontation with their own human condition.

Wooden boards affixed together with thin wire precariously

contain a pile of sand. With this simple construction, Van Roey

conceptually focuses on the moment of multitudes coming

together, which at any time can fall apart. The imagery

and practice of attempting to hold or capture what cannot

be held indefinitely invokes the elusory nature of time. Van Roey

represents vulnerability by applying tactile acts, placing themes

of mortality at the centre of her work. The piece is left to decay

and as the sand slips through its makeshift barriers the installa-

tion evokes a reflection on our own time in this life. 15

The fascination with time and my own attempts to get a grip on it comes from an incapability to adapt to the contemporary Western conception of time. The present is a phase in the evolu-tion from the past to the future - an interval in which everything is questioned. By re-questioning, re-thinking and re-formulating our plans, we feel the ‘here and now’ as an uncertain and unde-termined time. The secure past becomes doubtful, the future unsure. The present, that period of uncertainty, is something I try to lay my hands on in an obsessive, tactile way through exploring ‘unproductive’, ‘wasted’ or ‘excessive’ time: activities that do not lead to the creation of any durable project. I consider the time I spend with my materials as a material itself. I play with time. My work reflects how I handle it. With this instal-lation I ask myself if it is possible to step out of this process of creation without imposing changes to the world (‘my’ world in relation to ‘the’ world). I have a fascination with the tactile aspect of textile. For me, textile is like a second skin that enables me to feel situations in a sensitive way. It is a manner of perceiving the world. It is my manner of perceiving the world.

Emma Van Roey

1859 kilo, 15 h 51’

1716

École cantonale d’art du Valais

Switzerland

Christal paperVictoria Grin

Victoria Grin collects, recycles, files, composes and decomposes

images. In her work Christal paper, Grin associates the mediums

of photography, sculpture and painting by placing together

a series of old pictures found in a flea market alongside personal

family pictures. Printed on a selection of large formats of tracing

paper, the bottom parts of the images are then drenched

in paint. Once dry, the paper stands alone like a sculpture,

whilst the rest of the paper plays with light and transparency.

The aim of applying this technique is to combine transdisci-

plinary approaches in questioning the limits of photography.

By covering the image in paint, the piece speaks about our

conceptions of time and memory and the visible and invisible

lingering fragments of our experiences.

In 2014 I attended the Centre d’Enseignement Professionnel de Vevey in the photography department. There I explored the photo-graphic technique in depth, yet soon enough I had the desire to experiment with other artistic mediums. I consequently began my training at the École cantonale d’art du Valais. Photography has always been a part of my life, where I have been consumed with looking, collecting, taking, asking, undoing and remaking imagery. My work is centred on the discussion of places, collecting traces of things that have been and can be, attempting to materi-alise them and to capture their identity. My work also addresses the passing of time. Since the beginning of my photographic journey, I have been exploring alternative techniques, testing their limits and the possibilities of transdisciplinary connection.

1918

Design, under (other) circumstances

My grandfather told me about his method of handling a lack of materials, resources and spare parts in the former Soviet Union. He understood the necessity of invention, creativity and knowing where to find useful materials. A lack of resources requires a specific manner of approaching creation, particularly for a designer. My piece Design, under (other) circumstances provides a framework for the investigation of potential ways of working under difficult circumstances. I wanted to show that we often use our resources for needs that are not important. The chosen products show (from my perspective) these kind of ‘non-essential’ products. The created artefacts should be seen as an ironic contribution to a certain lifestyle and as a vehicle to discuss important issues like sustainability and creativity under (other) circumstances.

Design, under (other) circumstances by Rudolf Weiss is inspired

by a scenario wherein discarded goods have become humanity’s

only available resource. This fictitious scenario and its associated

circumstances provide the setting for an investigation of alternative

approaches to the work of a product designer.

Weiss’ practice centres on the research of consumer habits

and our (wasteful) usage of resources. By posing the question

of how one might work with limited resources, Weiss opens up

the world of product design and how its practices might be put

to use differently in order to overcome obstacles. Weiss’ objects

pose critical questions regarding consumerist lifestyles, often

resulting in humorous yet clever products.

Burg Giebichenstein Kunsthochschule Halle

Burg Giebichenstein University of Art and Design Halle

Germany

Rudolf Weiss

2120

Universitetet i Bergen - Fakultet for kunst, musikk og design

University of Bergen - Faculty of Fine Art, Music and Design

Norway

Aski Dahl’s work engages in reflective investigations

of the medium of drawing. Drawing VI extends from the surface

of the paper to fill the space around it. The work is composed

of black shapes and lines of drawing, veiled behind a large

semi-transparent sheet. Unique in composition, the work

combines the spatial qualities of depth and sculpture that appear

as the monochromatic hues of ink and pencil on paper.

This visual double-exposure elicits a tension between two-

and three-dimensionality. The nature of the sheet affects the visi-

bility of the objects placed behind it – revealing or obscuring

details, evoking the imagery of a large classical drawing.

The experience of the metaphorical nature of the work relies

on the movement and gaze of the viewer. Drawing VI stimulates

new propositions of what the medium is or can be.

Drawing VI Aski Dahl

Combining theoretical research with an exploratory approach to my studio practice, I seek to understand the nature and poten-tials of drawing. Questioning its conventional definitions allows me to expand its territories. Working across boundaries in varied materials and methods, I exert drawing through different elements, connected by conceptual key signifiers such as ‘intention’, ‘composition’ and ‘making a mark’. By drawing in the extended field – off the surface of the paper – I emphasise aspects of drawing that deal with spatial presence, the phys-ical gesture of ‘making a mark’ and the function of the line and the field. Of central interest is the consideration of drawing as a form of language and a way of conveying and receiving information. By tracing the operations of drawing, I work atten-tively with scale, materiality and visual ambiguity to challenge the viewer’s perception.

2322

As a starting point, I set myself a personal creative challenge: to make an impactful piece as short as the time it takes to toast bread. The concept of profoundly transformative events occur-ring in a short space of time inspired the aspects of this piece. The notion allowed me to explore personal stories through the various components of the piece: the three chairs, the book and the burning. IF ANY QUESTION (please do not interfere) is composed of personal stories, involving romantic failure, the bittersweet nature of motherly love and my experiences of going to therapy.

IF ANY QUESTION (please do not interfere) trades in the concept

of motherly love. In this four-minute intimate performance,

audience members are invited to join artist Laurent Delom three

at a time to recreate aspects of Delom’s personal and emotional

journey into empathy, surprise and bitter deceit. The perfor-

mance was created to fit within the space of time it would

take to toast bread. Within this short time frame, the host

reads the first page of Nigel Slater’s autobiographical book

Toast. The passages describe Slater’s mother’s systematic

failure at toasting bread. In relation to Delom’s piece, the three

participants, the toaster and the reading converge in the telling

and experience of a personal story.

Koninklijk Conservatorium Antwerpen

– Artesis Plantijn Hogeschool Antwerpen

Royal Conservatoire Antwerp

– Artesis Plantijn University College Antwerp

Belgium

Laurent Delom

IF ANY QUESTION (please do not interfere)

2524

I have always been interested in making the near invisible, visible. Based on personal observation I aim to mesmerise the viewer with the silence of being.

Insomnia no. 04 by Dávid Lados is a video work that explores

the fine borders between still photography and moving

images. It is part of his series on the debilitating state

of insomnia. A certain mystical atmosphere dominates

the work in which a moving environment is contrasted

with a motionless main character. In exploring this wakefulness,

Lados’ video work entrenches the viewer in a state of still-

ness and awareness. Jarring at times, with the protagonist

frozen in a perpetually unchanging stance, the piece evokes

a real sense of the thin line between the frustration of time

going by and an appreciation of the surroundings and beauty

that can be found in the early hours.

Moholy-Nagy Művészeti Egyetem

Moholy-Nagy University of Art and Design Budapest MOME

Hungary

Dávid Lados

Insomnia no. 04

2726

The analysis of social issues, the relationship between past and present and the omnipresent impact of history on our lives are the focus of my interests. As a photographer, I am intrigued by the visual formulation and interpretation of these topics.

I spent a lot of time in the cultural houses when I was a child and took part in the programmes held there. Of course, as a child, I had no idea what the regime change was. I did not even understand socialism or what a social-realist building should look like. As the years went by, I increasingly understood the unique quality of the houses. Understandably, Hungarians dislike a lot of things from the legacy of the previous regime, particularly the architecture it produced. When the past, in a certain way, lives on in our present, physical remnants can act as catalysts for the raising of particular questions. I posit that in the case of culture houses this is still accurate today. With the mapping of these buildings in this work,I aim to capture the physical impact of socio-cultural change.

Moholy-Nagy Művészeti Egyetem

Moholy-Nagy University of Art and Design Budapest MOME

Hungary

Kultúrház (Culture House) Sára Erzsébet Timár

Sára Erzsébet Timár’s work Kultúrház (Culture House) undertakes

the task of mapping Hungarian cultural sites and buildings

through photography. During the socialist era an institutional

system of ‘cultural houses’ was implemented: already existing

buildings were renovated and several new houses were erected

between 1950 and 1989 according to the style and ideology

of the era. After the 1989 regime change and the disso-

lution of socialism, many saw these places as the vestiges

of socialism; outdated institutions that had no role in modern

society. Nonetheless, the institutions remained due to their function

as a public community space for locals; the existing emphasis

on political ideological education in the cultural programmes

of the houses shifted towards a larger emphasis on entertain-

ment, cultural mediation and the preservation of local traditions.

Despite the fact that many buildings have been closed, almost

every town and village operates a culture house today.

Kultúrház (Culture House) presents a series of photographs taken

in many different Hungarian cultural houses and aims to depict

the time gap between the political and economical changes

as well as the mentality of the Hungarian people.

2928

I worked for several years in a direction that may be referred to as ‘autobiography’. My works were usually derived from memory as well as from some mementos that I had in my posses-sion since childhood. From 2012 onwards, I started concen-trating more on text-based art in combination with printmaking or video, as well as the incorporation of various performance experiments. Printmaking processes influence my work: I am intrigued by how they may lead to new and ambiguous transformations of old ideas. I explore the body as material, and the importance of gesture and repetition - processes that are always hidden behind the final print. My artwork’s means of delivery (be it a specific technique or media) varies depending on the idea or the concept. Today I use printmaking combined with installation, performance and occasionally photo films or book art.

Taideyliopisto

University of the Arts Helsinki

Finland

Punishment Roma Auškalnytė

Roma Auškalnytė uses her own body as plate, press machine

and colour. She explores the concepts of truth and text, bodily

responses and the understanding of printmaking. Punishment

is a work that experiments with a combination of what at first

glance might appear to be distinctly different mediums:

printmaking, video and performance art. The work is a perfor-

mance documentation of the act of physically imprinting a text

by kneeling onto printing blocks, which leave an imperma-

nent trace on the body. In doing so, the work questions both

the history of printmaking and the belief that the printed word

is emancipatory. By remaining suspicious of texts and the truthful-

ness of the written knowledge that dictates our lives, Auškalnytė

explores both the metaphysical and the physical aspects

of being human. Punishment draws directly from the memory

of a punishment that was once given in schools: if a pupil

misbehaved, the pupil would be sent into a corner to kneel

on dry peas. Auškalnytė combines this notion of impermanent

physical imprints with the notion of the permanent consequences

that lingers in the mind and in history.

31

As Billy Klüver said, art is absurd by nature and I continue this absurdity even though it sometimes brings me sheer emptiness. Why? At this point, I think of Sisyphus. I feel empathy with him, particularly whenever my work is accompanied by physical effort. Of course a distinction must be drawn between choosing to create art and being punished by gods. However I believe that it is surely worth referring to the tale of Sisyphus with a philosophical point of view. Paradoxically, creative strug-gles, blocks, agony and uncertainty can turn into motivation. A certain dualism of words can be found in Albert Camus’ text ‘La Création Absurde’, examples being ‘top of the hill – bottom of the hill’ and ‘block – motivation’. The terms are not neces-sarily antonyms, but rather concepts that co-exist in different processes. In this sense, I found an important dualism in a word of particular importance to me: ’travail’ (defined as engaging in painful or laborious effort). If I invert the word as it is reflected in the mirror, I see reflected back in the final three letters the word ‘art’. To me, ’travail’ symbolises the starting point of the bottom of the hill, whilst ’art’ symbolises the unreachable state of the hilltop. Between these two words, I am Sisyphean.

The mythology of Sisyphus is well known: gods imposed a

punishment on Sisyphus that consigned him to an eternity of

perpetual effort and unending frustration. He was to roll a stone

to the top of a hill, from which it would always roll back down.

The severity of the punishment resided in the interminable point-

lessness of attempting to get the stone to the top despite knowing

it would always come back down. While his story is generally

understood as a symbol of tragic continuity, Albert Camus once

postulated that ‘one must imagine Sisyphus happy’. His book Le

Mythe de Sisyphe was published in 1942. It consists of four chap-

ters of essays. The third chapter ‘La Création Absurde: La Création

Sans Lendemain’ is of particular interest to the artist:

… Art can never be so well served as by a negative

thought. Its dark and humiliated proceedings are as neces-

sary to the understanding of a great work as black

is to white. To work and create “for nothing,” to sculp-

ture in clay, to know that one’s creation has no future,

to see one’s work destroyed in a day while being

aware that fundamentally this has no more importance

than building for centuries—this is the difficult wisdom

that absurd thought sanctions.

(Camus, Le Mythe de Sisyphe, 1955 [1942]: 84).

The machine Sisyphean was created in reference to one

of Da Vinci’s mechanical inventions. The work is simple enough

in its construction that its mechanical operation can be understood

at first glance. The machine is meant to demonstrate endless labour.

It shows neither a beginning nor an end but only the process

with a constant input of ‘travail’ and disappearing ‘art’.

Académie royale des beaux-arts de Bruxelles

- Ecole supérieure des Arts

Belgium

Park Hyo Jae

Sisyphean

3332

As a textile designer I like to challenge our perceptions and play with the viewers eye. In my work Surface Synergy - Woven 3D texture merged with pattern I have used traditional woven patterns but twisted them in the process of merging them with texture. One of the strengths of this mixing of pattern and texture is the concept of sensory manipulation. I think that if a design somehow breaks with assumed notions of aesthetic and tradition (by distorting and disturbing such expectations), we might start to look upon the object in a different way. I aim to create expressions that have the ambition to evoke surprise in the viewer. The starting point of my work always emerges from the technique itself and the rela-tion between tradition and contemporary innovation. In my work I like to think about my design heroes; what would they have created with these digital tools? What would master weaver Anni Albers create with a computer connected to the loom?

Johanna Samuelsson’s Surface Synergy – Woven 3D texture

merged with pattern explores digital jacquard weaving.

Samuelsson presents a new take on traditional weaving pat-

terns, such as the plaid and houndstooth, in the presentation

of a three-dimensional texture made by multi-layered bindings

and shrinking yarn. Weaving, as a technique in the creation

of textiles, has remained relatively similar since its concep-

tion— as a merging of different threads through interlacing.

With the development of the jacquard loom in 1804, such interlace-

ments of threads have exemplified the potential for the manipulation

of individual threads in producing intricate patterns. Today, textile

designers have gained the ability to look anew upon the technique

of weaving through the use of digital tools, thus challenging what

a textile can be. The work Surface Synergy... is a fascinating study

of weaving technique, yarn, structure and fabric behaviour resulting

in the creation of interesting woven textiles. A digital visualising

tool is used to create complex multi-layered bindings. The textiles

consist of up to 16 different bindings. In combination with carefully

chosen materials, the bindings transform the flat textile surface into

a patterned 3D-texture. This work proposes on-loom effects requiring

minimal finishing processes. Shrinking is used to transform the flat

surface into a texturised one. In the time the pattern is created

in the loom, the texture forms simultaneously. The result is a col-

lection of textiles that can be transformed by shrinking — twisting

with traditional patterns and weaving.

Textilhögskolan – Högskolan i Borås

The Swedish School of Textiles – University of Borås

Sweden

Johanna Samuelsson

Surface Synergy – Woven 3D texture merged with pattern

3534

Ten meters of evidence is a visual artwork realised through

a performative act that results in the production of a ten-meter

long photographic print. Ten meters of light-sensitive paper

are displayed through a composite of images that reflect contem-

porary ‘reality’. The process of exposure is executed through

techniques using film projections, blown-up negatives, objects

and the movement of five performers. The game of exposing

and blocking light is a scripted sequence of actions that produce

the registration of the image. The final work is a study

in capturing the present day through photographic registra-

tion as a form of evidence. Every move within the darkroom

by the five bodies reveals images and creates traces. The body

moves around the space of the darkroom, guided by the wall.

By stepping into the dark, every obstacle invokes the surround-

ings of a cave. Didi Lehnhausen’s resulting prints are raw, coarse

and full of expression; formed through a multitude of processes

exposed on top of the other.

I research how people, places and events exist within photography through the exploration of different recording devices and techniques. I am interested in how photography records and therefore functions as a form of evidence. What is it that you see and how does what you perceive relate to reality? I explore this through the conventions of photography and the limits of the camera, the size of the frame and the flat-ness of a print. By dissecting and reforming the methods of recording I am questioning the ‘evidence’ that forms our idea of reality. The transition between the action that is captured and the moment of capture is an obsession – the gap between the live moment and the finality of the photograph. Photographic records that appear in newspapers and books that model the history of registration are direct starting points for my work. By focusing on the moment of creation, I approach the image coming into being in a performative way. In a darkroom I project and play with the blocking and letting through of light.

Didi Lehnhausen

Gerrit Rietveld Academie

The Netherlands

Ten meters of evidence

3736

Universität für angewandte Kunst Wien

University of Applied Arts Vienna

Austria

Windkanter (Eoliths) Stefanie Koemeda

The earth’s crust will be displaced, the surface submerged,

eroded, hardened or dissolved. Windkanter (Eoliths) is a piece

about the planet’s geological future. Stones in different sizes

lay spread out across the ground and their forms remind

us of the force of the weather, which – over sufficient periods

of time – is capable of shaping rocks. In imagining a visit

to earth in the far future, the ground beneath one’s feet would

be novel. Yet, one would come to encounter familiar matter:

the result of manufactured constructions and artefacts – cities,

monuments, airports, undersea cables and millions of computers.

Weathering and the erosion of these objects will create

a sedimentary layer consisting of materials created or enriched

by humans. These materials consist mostly of metals such as iron

and aluminium, but also bricks, ceramics, glass and plastics.

In a future geological epoch, rocks derived from constructed

material nature will be found across the entire planet. These rocky

‘Plateaus’ – as geologists refer to them – will integrate into the stone

image of earth’s timeline.

Stefanie Koemeda uses these man-made materials to sculpt

outcroppings from the future city-plateau-rock. She thereby triggers

questions about the fragility of our human presence on planet earth

as well as our future materialistic legacy. Windkanter (Eoliths) deals

with the differentiation between artificial and natural materials

and what this could mean for the sedimental remnants of our culture

in the far future. The work poses challenging questions regarding

nature and technology in a moment of time when powerful parts

of the world’s politics have turned against nature.

I travel in time in order to examine the condition and potential legacy of our species on planet earth. I wander into the past looking for fragile and uncertain signs of humanity. Observing the early stages of an object of investigation is always insightful to me and I desire to capture and materialise the findings. In preparation for Windkanter (Eoliths) I traced our steps back into the past, reaching times in which the surface of our Earth had not yet been touched by human feet. While examining this past and placing myself within it, I attentively viewed my surroundings, always conscious of the curiosity of a human observing an untouched world. In excavating the distant future, on the other hand, I imagine a world long after the last humans have vanished. Here I investigate our traces and ask myself whether it is noticeable at all. I am not fully entrenched in the present nor am I in a professional discipline. I am a biol-ogist and an artist, yet I am also neither. With these conditions as a framework for my method, I run the risk of losing my artistic confidence and identity. In light of this, I create heavy and molec-ular objects made of long lasting materials as something around which I can anchor my work.

Above the silent

Beauty & the Beast

Kung Fu

LET’S NOT PRETEND TO BE ALONE HERE

Puzzling Beautiful Heavens

Unikat

StageWorks

4140

Text and poetry are the foundations of my body of work, which later materialised into a mix of live performance, video and remnants on a page. In my practice, I tend to fluc-tuate between the strong and the fragile as well as between what is normally perceived as the humorous and the deeply painful. I work with how I perceive spoken language; trans-forming everyday speech into everyday poetry, constructing it in the interplay between the self and social structures. The politics of emotion is universal; we all feel. These feel-ings are often relegated to obscurity in the face of perfection, the pursuit of happiness and the pressure to be successful. I create a metaphorical archaeological site with my work: I dig up what is buried; I attempt to reveal and share the poignant feelings that we often leave behind. I choreograph the absurdity and humour of life through words and through my body. By emphasising the ‘here and now’ in my live performances, I attempt to highlight the transient nature of the present – of moments that disappear leaving only a memory.

‘She thought I was a Valentino runway model, but there I was…

at home in my sweatpants.’

Sophie Erlandsson was suffering from depression – reduced

to a relentless rationing of energy in order to get by in her

daily life. At a time when mundane tasks seemed impossible,

Erlandsson stumbled upon the beauty of Valentino haute couture

gowns. In her isolation and in search for respite, she began

to Photoshop her own face onto the images of the beautiful

editorials. One day she posted it online, and an acquaintance

thought she had become a model. During this time, Erlandsson

documented her interactions, creating an archive of play-pretend

alongside the reality of a dark existence.

Above the silent blends together video projections, spoken word

and choreographic performances that capture Erlandsson’s

tumultuous experiences, examining the thin line between life

and death, and the incidental beauties that keep you going.

Konstfack University College of Arts, Crafts and Design

Sweden

Sophie Erlandsson

Above the silent

43

I like questioning conventions and researching trans boundaries. I like deconstructing structures, shifting disciplines and the perspective of dance art in exploring socially relevant themes. In my opinion, art, and especially performative arts that make use of the human body as a representative tool, has the potential to reflect and critique social norms. I am a huge fan of the subversive power of art. In Beauty & the Beast I am interested in the human body and its relations in space, time and the audience. For this work, I have chosen to explore the definitions and understandings of 19th century ’freak phenomena’. I found that these understandings have not fully eroded over time, rather, they have been reformulated and some aspects have slowly entered the sphere of normality. During my research, I was confronted with the pop-icon Lady Gaga’s labelling as ’freak’, despite her prominent status in the mainstream. Using quotes from a variety of her speeches, I deconstruct the gender-binary and push the edges of fiction and authenticity.

Let’s talk about gender baby.

A staging. A deconstruction. A reflection. A freak show: a queer

anthem for freedom and individuality.

Inspired by the freak shows of the 19th century, Beauty

& the Beast is a piece that twists and dissolves existing concepts

of 21st century normality. In the delusion of influence by social

media, politics, the gender-binary and the consequent exces-

sive load of labels we ascribe to, how free might we really

be? Enis Turan’s performance lies between the subtle edges

of parody, irony, sincerity and honesty. Turan creates a queer-

topia in Beauty & the Beast that unveils the subversive potential

of freak-nature, which further reveals the hollow and senseless

construct of norms and normality.

Hochschule für Musik und Tanz Köln

Germany

Enis Turan

Beauty & the Beast

45

As a photographer and a performer, I attempt to establish a junc-tion between moving image and real time movement. In order to do so, I use my rehearsal studio as a starting point by trans-forming it into a lab. I let my body interact with personal images or videos, which are either archives from my family or intimate photographs I have made in the past. The dialogue between the movements I create and images of the past appear to connect the present with the past through a performative mechanism. Movement is a key element of my work, which emerged from a strong interest in photography. I address the idea of creating a sequence of still images with a living body. I explore the pres-ence of my own body as a possible component in the chemical process of photo development.

Kung Fu is a present-day realisation of artist Yoanna Blikman’s

Parisian childhood. Initiated by Dan Robert Lahiani, the piece

is based on amateur footage of Blikman’s Kung Fu competitions

at the age of eleven. The footage was taken in a Parisian gymna-

sium where competitions were staged in the presence of prestig-

ious Chinese and French Kung Fu masters.

Shot on a 8mm camera by Blikman’s father, the performance

piece is a communicative interaction between the artist

as portrayed in the footage and the artist in the present day.

In the piece, she recollects bodily memories from athleticism

and a pattern of movements that have now taken the form

of dance, highlighting her journey from child to woman.

האקדמיה למוסיקה ולמחול בירושליםThe Jerusalem Academy of Music and Dance

Israel

Yoanna Blikman

and Dan Robert Lahiani

Kung Fu

4746

As women, we want to be representative. We want to emphasise the subversive qualities of art. We want to re-think the precon-ception of intuition as something untrustworthy, and empower that which is seen as weak – these powerful emotive aspects of humanity and the female body. We are interested in creating multiple ways of debating, facilitating and experiencing togetherness. We work through, from and within a collage of dances that derive from numerous sources. The dances exist simultaneously, side-by-side in our choreographic mind and in our working space. Our work is not about fusing various dances into a whole, but rather to provide a space where we, as well as the spectator, can experience the resulting dances as both different and related – as autonomous and interrelated at the same time. We claim intuition, desire and fantasy as valu-able working methods in opposition to the growing tendency in art of aligning with a scientific approach; where method and process can be explained step-by-step in order to create meaning and coherence.

A round sculpture of intertwined bodies is resting in one corner

of the stage, calmly breathing, surrounded by a deep repetitive

booming bass melody. The sculpture morphs into two creatures:

a three-headed animal and its one-headed sibling. The creatures

glare about the room whilst moving slowly along the floor.

LET’S NOT PRETEND TO BE ALONE HERE is a physical perfor-

mance that navigates imagery of communality and individuality.

The performance consists of six parts: each part is an inde-

pendent universe of specific bodily states and patterns of move-

ments. Bodies are morphed from sculptures into machinery,

human subjects, landscapes and soundscapes. The multitude

of bodies comes together in a creation of the commons,

as various iterations of community and togetherness.

Den Danske Scenekunstskole

The Danish National School of Performing Arts

Denmark

Emilie Gregersen, Naya Moll,

Rebecka Berchtold and Riikka Laurilehto

LET’S NOT PRETEND TO BE ALONE HERE

4948

As a choreographer, I see it as my aim to trigger people through executing and performing material of strong char-acter. It is very important for me to make work that displays a sense of humanity, in efforts to make it approachable. I consider it an artistic challenge to make contemporary dance work that is accessible to a broader public, unrestrained from the art field. My piece Puzzling Beautiful Heavens was inspired by the Bolero from Maurice Béjart, which led me to research traits of traditional dances. Rather than recreating an older form of dance, I put to use my knowledge of these traits as tools in devising a dance that embodies contemporary culture.

Choreographed by Zehra Proch, the performance piece Puzzling

Beautiful Heavens makes use of dancers Bianca Zueneli, Pieter

Desmet and Hernàn Mancebo’s ingrained and natural move-

ments. Through dance, gesture and attitude, the three dancers

employ interpretations of the concepts of compilation, assem-

blage and patchwork in addressing the nature of contemporary

youth. In light of the processes of globalisation, the dancers have

picked up various forms of ‘outside’ stimulus – values and behav-

iours from close and afar. Puzzling Beautiful Heavens is a perfor-

mance that presents what some of those influences might look

like, both in literal and abstract ways. It deals with influential

definitions of home, family, popular culture, body, gender

roles and more. By drawing inspiration from the inevitably

pervasive presence of globalisation, the piece aims to extract

the beauty and grace that comes from the rich cultural tapestry

of the contemporary world. In her choreography, Proch cherishes

what is, without reducing the complexity of ‘being’ through

narrow definitions. Proch embraces the multifaceted soul

and invites you to witness an eclectic assortment of ‘flowers’

– blooming and decaying as we live and die.

Koninklijk Conservatorium Antwerpen

– Artesis Plantijn Hogeschool Antwerpen

Royal Conservatoire Antwerp

– Artesis Plantijn University College Antwerp

Belgium

Zehra Proch, Bianca Zueneli,

Pieter Desmet and Hernán Mancebo

Puzzling Beautiful Heavens

5150

I am a performance maker operating between theatre and visual arts. My working practice involves writing, composing music, performing, drawing and directing. Identity and body politics are subjects that I am naturally confronted with in my everyday reality. I grew up in Kosovo, an isolated country with a past ridden with conflict. My national identity is not recognised by half of the world and my gender identity is not accepted by most of my country. This confrontation strongly affected my work. I use art as a medium to express my viewpoints and create platforms that bring people together, communicating by working together. The compulsion to comment and propose new options of human existence that fall outside of conventional roles and norms has followed me until now.

Whilst studying in The Netherlands I became more distanced from the political situation in Kosovo. This helped me to develop a signature that resonates with more poetic work. I became increasingly interested in personal development from something unknown and unforeseen to the process of ‘becoming’. Being able to create fictional spaces, parallel realities and fantas-tical figures freed me from the representation and the heavy weight of gender identity ideology, especially within the arts. Introducing new futuristic qualities into the human body and searching for authenticity became my current occupation. I play with hope and melancholy, oscillating between knowledge and naivety. Using sound and poetic language, I aim to take the public onto a journey, a contemplative state – existing some-where between dream and reality.

Unikat is the result of two years of investigation on the relations

between image and sound. During the process Astrit Ismaili

was interested in extracting the vulnerability and the emotion-

ality that comes from the human voice, produced by singing,

breathing and whistling. Ismaili was also engaged

with the construction of images that exudes bold presence

and with the intention to challenge current expectations

of gender roles by creating bubbles of imagination that can

be transformative. The collision of images and sounds

in Unikat proposes a universal language that emanates from

feelings and emotions, which opens channels of perception

fading in and out of the concepts of time and space.

The starting point of Ismaili’s research was a revisiting

of the times before and after the 1999 war in Kosovo.

From the ages of five to twelve, Ismaili and Blerta had profes-

sional singing careers in their native Pristina, where they had been

performing as a duo. The siblings were part of a generation

of ‘child stars’ that were active with tours and concerts across

Kosovo. By exploring various facets of identity, Ismaili produces

a provocative piece that puts to question aspects of humanity.

Amsterdamse Hogeschool voor de Kunsten

- Academie voor Theater en Dans - DAS Theatre

Amsterdam University of the Arts

- Academy of Theatre and Dance - DAS Theatre

The NetherlandsAstrit Ismaili and Blerta Ismaili

Unikat

Costumes: Ting Gong

登入晚餐 (Log in Dinner)ingenocideKrkavčí matka (Raven Mother) Nature: All Rights ReservedŚlady ulotne (Traces of ephemeral)

ScreenWorks

登入晚餐(Log in Dinner)

Words we want to speak. Words we need to hear. Words we should utter yet do not. 登入晚餐 (Log in Dinner) invites you to find, feel and imagine the desires of human connection.

Wei is an older man. His restaurant is out of business

and his son has moved away. Each day Wei rides the same

bus. He talks to the bus driver and watches the scenery pass

by through the bus window. He lives a solitary life. Loneliness

and desperation eventually drives him to visit a computer

warehouse. Wei acquires a computer, which looks peculiarly

abnormal in his outdated surroundings. Searching for some

semblance of connection, he logs in to the strange new world

of the Internet. Wei stumbles across the peculiar videos of teen-

ager Angel sharing her mealtime. In that moment, Wei discovers

something he could hold on to.

登入晚餐 (Log in Dinner) invites you to ponder the effects

of increasing loneliness among the older demographics

of society. The film provokes reflection upon the opportunities

and peculiar spaces in which we find solace. Using the perhaps

curious cultural phenomenon of ‘mukbang’ – an audio-visual

broadcast of a host eating and sharing their meal whilst

interacting with an online audience – the film explores a rising

trend in sharing intimate experiences with strangers across

the intangible space of the net. A thought-provoking look into

the consequences of an increasingly individualistic and technol-

ogised modernity, director Cheong Chi Wai poignantly explores

the fissures and conjunctions of contemporary social life.

國立臺北藝術大學

Taipei National University of the Arts

Taiwan

張志威 Cheong Chi Wai

and 謝宏立 Hsieh Hung-Li

55

5756

My work ingenocide features images recorded during my trip to historical places such as Ani, Van and Akhtamar Island in Western Armenia. Because of the impossibility to narrate this experience in any existing language, I have invented a new one by recounting the feelings evoked by looking at the images taken. My artwork explores the possibilites of emptiness as an instrument of communication. As an artist and trans-lator, I am often confronted by the impossibility of narrating an experience fully in a real language, so I feel obligated to (re-)create a new one, using a diverse range of media. I address several questions in my artwork, including reflections upon childhood and the transition into adulthood, the relationship between parents and children, family and collective memory as well as the search for identity resulting in a contemplation on nostalgia and artistic creation in a non-native, non-maternal and non-ancestral space.

Araks Sahakyan’s ingenocide is an audio-visual project

composed of images taken at the frontier between Armenia

and Turkey. The images represent a journey that many Armenians

embark upon by taking the bus or car to visit ancient Armenian

cities, now situated within Turkish territory.

The voice of the artist tells a story in an invented language

accompanied by an original contemporary composition.

Sahakyan introduces strange elements to her creation composed

of images, which reflect geographical signs of a fragmented

history. In reflecting upon Armenian history, Sahakyan uses

the media of video and spoken language to evoke experiences

of both personal and collective memory. In this artwork, the artist

probes the potential of language under unresolved circumstances

such as political conflict.

École Nationale Supérieure d’Arts de Paris-Cergy

Paris-Cergy National Graduate School of Art

France

Araks Sahakyan

ingenocide

5958

Krkavčí matka (Raven Mother) is set in a time when there existed a profound reverence for evil, for it was believed that the good did not need appeasement through worship. It was believed that the world around them was composed of dark elements, reflective of the soul of man.

Krkavčí matka (Raven Mother) is an animated ballad, inspired by stories

told during times when the fates of men were bound to the fates

of other beings. A man and a woman carry a burden in the form

of their ‘marked’ son – a baby with a raven’s beak and claws.

Fighting with forces stronger than them, they struggle with accepting

their fate with the baleful omen of death hanging in the air. Set within an

unreal atmosphere, using ground coffee on a backlit glass background

as a fresh take on traditional powder animation techniques, we observe

the film’s hero explore moments of both potential awakening and poten-

tial collapse into a deep slumber of no return.

Univerzita Tomáše Bati ve Zlíně

- Fakulta multimediálních komunikací

Tomas Bata University in Zlín

- Faculty of Multimedia Communications

Czech RepublicNoemi Valentíny

Krkavčí matka (Raven Mother)

6160

HKU Hogeschool voor de Kunsten Utrecht

HKU University of the Arts Utrecht

The Netherlands

Nature: All Rights Reserved Sebastian Mulder

Could artificial nature replace real nature?

Nature: All Rights Reserved investigates the role of the simula-

tion of nature in modern society. The film shows how artifi-

cial nature meets the needs of today’s city dwellers and how

simulated nature still falls short compared to the irreplaceability

of the genuine article. Various forms, such as romantic forest wall-

paper, an indoor tropical island and phenomena such as artificial

grass and stuffed animals take the viewer into the world of this

new, constructed nature. The film looks towards an uncertain future,

in which the arrival of new technologies such as Virtual Reality (VR)

might come to blur the lines between reality and illusion.

The ambiguity of artificial nature is to me the core of this film. On the one hand, I am amazed by the inventiveness of humans that simulations of nature exemplify. I am moved by the ways in which we are able to bring an experience of nature to people whom might not be able to physically experience it. On the other hand, I am also worried. Worried by the rapidly increasing disappearance of real nature, and the diverse iterations of ’fake’ nature that seems to be taking its place. I worry about the image of nature that is portrayed through varia-tions of artificial nature: we want the exoticism of a tropical island but with the comforts of the modern world; we want an island without storms, insects and dangerous beasts; it has to be safe and easy, we want the pleasures of nature without any of the perils. I think we are losing part of the natural world with what I believe to be downgraded experiences of nature. To me, the process of copying the natural world is becoming an increasingly critical problem faced by humanity.

62 63

Uniwersytet Artystyczny w Poznaniu

University of the Arts Poznan

Poland

Ślady ulotne(Traces of ephemeral)Agnieszka Waszczeniuk

Agnieszka Waszczeniuk’s Ślady ulotne (Traces of ephemeral)

is the story of a man and his relationship with nature. The film

revolves around a constantly blowing wind; It can destroy,

yet it may also provide hope for the birth of something new.

Set within an unreal atmosphere, using ground coffee

on a backlit glass background as a fresh take on traditional

powder animation techniques, we observe the film’s hero explore

moments of potential awakening – as well as potential collapse

into a deep slumber of no return.

My idea was to evoke in the audience a lasting impression of empathy by using the subtlety of poetry and a lack of fast paced action. I hope that through these devices, I am able to awaken in my audience a sense of realisation and tranquillity through stimulating a reflection on the meaning of this work in relation to personal beliefs and experiences. My intention was to make a movie which not only acts as ‘pure entertain-ment’, but that provokes a viewer’s own reflections. An important aspect for me in realising this film was the creation of movement. All shots were realised on one background, without using any graphics software to overlap additional layers.

Art Club Ultra (vol. 2) - works in progress,

Dark Chamber/Camera Obscura

Melting the Horizon

Nærvær (Presence)

Outdoors

Works

hosted by Franky D`miedo

6766

How can I use social media to expand my practice? How do I merge the physical and the digital world into one arena? My artistic investigation focuses on fluid social events, where I appropriate ideograms and memes from social media as theatrical props. I conduct it by hosting and interviewing audiences, musicians and artists to participate in an already curated performance setting. What motivates me is how we manifest our social development online and offline. I reference online experiences and apply them to the format of a talk show and game show while posing the question; why do we want to make art more accessible today? How do these tools give us new insight into contemporary art?

Art Club Ultra (vol. 2) - works in progress, hosted by Franky

D’miedo is an investigation of the accessibility of art both online

and offline. Through the orchestration of a social event, Cortez

arranges a scenography that includes live music, art practices

and engagement. The performance incorporates the format

of the contemporary talk show and game show with our

experiences of social media. Franco Cortez – performing

as the persona of host Franky D’miedo – invites, introduces

and interviews self-taught or formally trained artists. The artists

become participants. Through these interviews, a demystifica-

tion of various artistic practices and a critique of contemporary

social relations occur in real-time, in front of the audience. Social

media adds a sense of depth to this performance, where

the audience acts both as camera and broadcaster.

Franco Cortez

Kunsthøgskolen i Oslo

Oslo National Academy of the Arts

Norway

Art Club Ultra (vol. 2) - works in progress, hosted by Franky D`miedo

6968

Stockholms konstnärliga högskola

Stockholm University of the Arts

Sweden

Dark Chamber/Camera Obscura Otto Banovits

Otto Banovits’ short film Dark Chamber/Camera Obscura is based

on the true event of 71 refugees who tragically died trapped

in the back of a truck by a border crossing in Sweden.

Banovits’ work pushes the borders between traditional film and

installation. Using the concept of ‘camera obscura’ in order

to create indirect representations of the event, the piece

is emotionally jarring. The film builds on the contrast between

the busy and lively ‘outside’ of beautiful Swedish nature,

which surrounds the dark and still ‘inside’ of the truck. Both

inside and outside are connected by a singular hole in the truck’s

wall through which the camera obscura is situated. We witness

the image of the outside reflected upside down in the dark interior

of the truck. The piece is a stark commentary on contemporary

society and the dissonant elements of tragedy and normality.

My initial idea was to use an indirect cinematic representa-tion in order to communicate the otherwise incommunicable. As a filmmaker, I tried to apply the visual language that cinema possesses by not showing anything explicitly but rather by offering suggestions. My motivation was to talk about the global issue of immigration that is collectively being faced. However, as the topic remains fresh and sensitive, I had to figure out how to communicate the truth.

I question the statement that: ‘Art can do anything as long as art does not do anything.’ In my opinion, it is our duty to address these questions and to utilise art to offer the spectator an inti-mate and deeper insight of particular situations. The film, through its simplicity and length, offers a space for perspective and reflection. Playing with the angles from which/how we see this contentious issue, I suggest that it is all a matter of subjective perspective. Most importantly, I investigate how we as Europeans react to this very real and current issue.

71

Ieva Grigelionyte

Melting the Horizon

Listaháskóli Íslands

Iceland Academy of the Arts

Iceland

As an artist I call myself an ’Object Choreographer’. My work has been greatly influenced by the things I have collected person-ally over the years as a result of my klepto-creative, semi-patho-logical process. Composing and arranging these objects is just as important as collection. Once I have accrued a large store of ideas and objects, I look for connections between them – what is it that draws me to this particular group of things? Eventually these thoughts and patterns solidified into what I call ‘Object Choreography’. This method enables me to enter any space and map novel relationships between the objects therein.

I am both attempting to choreograph objects in a space as if they could respond to me while also moving around them myself as if we were partners in dance. I care greatly about what goes where but have no end-state in mind. The deliberately drawn implication of ‘dancing’ is something that delineates these actions from mechanically performed routine, hopefully giving the impression instead that this is a process requiring the mind’s full attention and a passionate sense of companion-ship with the objects themselves. There is no final composition – in its place, a shady method. This is best described as listening to the objects, patiently absorbing their silent desires and arranging them thus. It is as if I place items according to some hidden grammar, in a language of space.

Melting the Horizon constructs a situation in which a viewer

is invited to reflect upon the experience of time passing,

and the slowly unfolding alteration of one’s surroundings.

Ieva Grigelionyte’s installation places the welcoming atmosphere

of a living room within the public space. Composed of a frozen

television and a sofa, the piece allows for multifarious interpre-

tations. One may perhaps contemplate the changes taking place

around the piece (public space, the melting ice), or consider

how various perceptions structure the reality that surrounds us.

Melting the Horizon was originally installed in Grandi, an indus-

trial area in Reykjavik, which is currently undergoing rapid

gentrification. Through the experience of watching small changes

occur, the viewer is invited to reflect upon the larger though

equally incremental changes that unfold around them. Ultimately,

Grigelionyte works on the poetics of noticing.

70

7372

Nærvær(Presence)

We combine an unexpected pairing of instruments in an eclectic mix of musical traditions. Descendant from Norway, we merge numerous musical techniques in order to fill our songs with the melancholy joy that is the passing of seasons, the passing of time and the remembrance of moments well spent.

As classically trained virtuosos, the brother and sister duo

Julie & Andreas has always wanted to play music together.

Julie plays the harp and Andreas plays the bandoneon. This

uncommon mix of instruments – combining the gritty sounds

of the bandoneon with the elegance of the harp – creates

a captivating musical tension. Nærvær (Presence) is infused

with evocations of nature and sound as the artists drift between

folk, tango and classical musical styles, drawn in part from

their Norwegian background and the country’s stunning nature.

The resulting piece is an enchanting musical experience.

Codarts Rotterdam Hogeschool voor de Kunsten

Codarts Rotterdam University of the Arts

The Netherlands

Julie & Andreas –

Julie Rokseth

and Andreas Rokseth

ART.CULTURE.AESTHETICA.

9:45 AMiPad

Intelligent, beautiful and informative, Aesthetica is one of the leading publications for art, design and photography, perfect for keeping you up-to-date with contemporary art and visual culture.

Aesthetica is available internationally from galleries and newsagents.

One year subscriptions from £16.99. www.aestheticamagazine.com/subscribe

Try art for 3 months before you buy.

Amsterdam Art

23 – 26 23 – 26 Nov. 2017Nov. 2017Nov. 2017Nov. 2017

Weekend

Save

the date

AMSTER DAMART.COM

Thank You

Lars Ebert

for his contribution

to the first edition

of NEU NOW in Vilnius

The NEU NOW 2017Technical Crew

Ernst van den Bosch

Willem Helversteijn

Kiki Heslenfeld

Vincent Romijn

Merlijn Toussaint

The NEU NOW 2017 Volunteers Team

Steering group

Paula Crabtree

Co-artistic Director

& Co-founder NEU NOW

Vice Chancellor

Stockholm University

of the Arts

Anthony Dean

Co-artistic Director

& Co-founder NEU NOW

Professor of Performing Arts &

Dean of Cultural Engagement

University of Winchester

Carla Delfos

Co-founder NEU NOW

Executive Director

ELIA – The European League

of Institutes of the Arts

Organisation

Jessica Maxwell

Project Manager & Producer

Hansjan Fokkens

HAJA produkties

Technical Manager

Maxi Meissner

PR & Communications

Manager

Anne van Waveren

Project Assistant

Sarah Benedicte Florander

Communications

& Production Assistant

Anne Balsma

Production Assistant

Bas Merkies

Box Office Manager

Catalogue

Paula Crabtree

Anthony Dean

Jessica Maxwell

Editorial Board

Sarah Benedicte Florander

Editor

Designed by Multiversal

Printed by Enaf

Warsaw, 2017

NEU NOW is an initiative of ELIA – The European League of Institutes of the Arts.

NEU NOW is supported within the context of the NE©XT Accelerator grant provided by the European Commission. Partners in this grant are:

ELIA – The European League

of Institutes of the Arts

Association Européenne

des Conservatoires,

Académies de Musique

et Musikhochschulen (AEC)

Centre International de Liaison

des Ecoles de Cinéma

et de Télévision – CILECT

Cumulus International

Association of Universities

and Colleges of Art, Design

and Media

Westergasfabriek

Foam Fotografiemuseum

Amsterdam

Hochschule für Gestaltung

und Kunst FHNW (HGK)

Prix Europa – Rundfunk Berlin-

Brandenburg

Stockholm University

of the Arts

University of Winchester

Royal College of Art (RCA),

London

InWest eG-Kreativwirtshaft,

Dortmund

University of the Arts Helsinki

Design Creative Living Lab

(DCC-L), Cité du Design Saint-

Etienne

Royal Conservatoire

of Scotland

Ecole Européenne Supérieure

d’Arts de Bretagne

Palazzo Spinelli Istituto per

l’Arte e il Restauro

University of Arts Poznań

Art Academy of Latvia

University of Arts in Belgrade

University of Arts in Tirana

Support

ELIA – The European League of Institutes of the Arts, Amsterdam Communications

and NXT Conference

Organisational Support

(elia-artschools.org)

Petra Albu

Communications Officer

Janja FerencConference Manager

Barbara Revelli

Head of Communications

and Membership

Framelab, Amsterdam

Audiovisual Support

& Festival Videographer

(framelab.nl)

Jitte Hoekstra

Creative Director

Gopublic, Amsterdam

Website Design

and Development

(gopublic.nl)

Jurjen van Houwelingen

CMO & Co-owner

Michael Jansse

Backend Developer

Het Ketelhuis, Amsterdam

Cinema and Catering

Yvette Erkens

Manager

Bob de Jong

Chef

Barbara Rokven

Chief Technician

Iris Duvekot Photography,Amsterdam

Festival Photographer

(irisduvekot.com)

Iris Duvekot

Founder

Multiversal, Warsaw

Visual Identity NEU NOW

(multiversal.co)

Przemek Ostaszewski

Artistic director, Co-founder

Małgorzata Ostaszewska

Creative director, Co-founder

Stadsdeel West, GemeenteAmsterdamOutdoor Venues

(amsterdam.nl)

Paul Nieuwenhuizen

Account Manager Culture Park

Westergasfabriek

Daniel de Wit

Park Director

Westergasfabriek

Westergasfabriek, Amsterdam

Venues

(westergasfabriek.nl)

Joanna van Dorp

Account Manager Events

Loek Buter

Head of Production

WOW, Amsterdam

Artist Accommodations

(wow-amsterdam.nl)

Astrid Tak

Reservations Manager

Project partners

Gallery

© Lea-Nina Fischer, 1147m3

Westergasfabriek, 2017.

© Emma Van Roey,

1859 kilo, 15 h 51’, 2017.

© Victoria Grin,

Christal paper, 2015.

© Rudolf Weiss,

Design, under (other)

circumstances, 2016.

© Aski Dahl, Drawing VI,

2017, photographer: Jane

Sverdrupsen.

© Laurent Delom,

IF ANY QUESTION (please

do not interfere), 2015.

© Dávid Lados,

Insomnia no. 04, 2016.

© Sára Erzsébet Timár,

Kultúrház (Culture House),

2016, mome.

© Roma Auškalnytė,

Punishment, 2015.

© Park Hyo Jae,

Sisyphean, 2016.

© Johanna Samuelsson,

Surface Synergy – Woven 3D

texture merged with pattern,

2016.

© Didi Lehnhausen,

Ten meters of evidence, 2016.

© Stefanie Koemeda,

Windkanter (Eoliths), 2016.

Stage

© Sophie Erlandsson,

Above the silent, 2016.

© Enis Turan, Beauty & the

Beast, 2015, photographer:

Anke Schwarzer.

© Yoanna Blikman

and Dan Robert Lahiani,

Kung Fu, 2015.

© Emilie Gregersen, Naya

Moll, Rebecka Berchtold

and Riikka Laurilehto,

LET’S NOT PRETEND

TO BE ALONE HERE, 2015,

photographer: Palle Schultz.

© Zehra Proch, Puzzling

Beautiful Heavens, 2016,

photographer: Bart Boodts.

© Astrit Ismaili, Unikat, 2015,

photographer Ana Cigon.

Screen

© Cheong Chi Wai,

登入晚餐 (Log in Dinner),

2016, photographer:

Hui Ying Hsiao.

© Araks Sahakyan,

ingenocide, 2014.

© Noemi Valentíny, Krkavči

matka (Raven Mother), 2015.

© Sebastian Mulder, Nature:

All Rights Reserved, 2016.

© Agnieszka Waszczeniuk,

Ślady ulotne

(Traces of ephemeral), 2016.

Outdoors

© Franco Cortez,

Art Club Ultra (vol. 2) - works

in progress, hosted by Franky

D`miedo, 2015.

© Otto Banovits, Dark

Chamber/Camera Obscura,

2017.

© Ieva Grigelionyte,

Melting the Horizon, 2015.

© Julie Rokseth and Andreas

Rokseth, Nærvær (Presence),

2017, photographer:

Matthew John Suen.

Image credits

All rights reserved.

No part of this publication

may be reproduced,

stored in a retrieval system

or transmitted in any form

or by any means, electronic,

mechanical, photocopying,

recording or otherwise, without

the prior written permission

of ELIA – European League

of Institutes of the Arts.

The European Commission

support for the production

of this publication does not

constitute an endorsement

of the contents which reflects

the views only of the authors,

and the Commission cannot

be held responsible for any use

which may be made of the

information contained therein.