andrea's blog

Looking-Glass House is a new work by Andrea Božić and Julia Willms in collaboration with the moon: an audio-visual installation for the Arne Jacobsen Foyer at the Herrenhausen Gardens taking place every evening of the festival after the sunset. It takes the visitors on a parcour of spaces from outside the building to an immersive environment inside it and back outside to the night sky.

Especially for the occasion of the KunstFestSpiele Herrenhausen, Božić and Willms have prepared the exact same night sky above Hanover as it was in 1965, the year the construction of the Arne Jacobsen Foyer began. Throughout the festival, the moon passes through the exact same phases, against the same backdrop of the star constellations, making a replica of the night sky in 1965: growing towards a full moon to then disappear from the skies on the closing night of the festival. With a special event: a lunar eclipse above Hanover on the 16th of May.

The new light installation inside the AJ Foyer brings the palette of the night sky colours into the modernist glass-house building, expanding its architectural inversion of the inside outside spaces and the play of mirroring and reflections.

Inside the building, the visitors can enter the audio-visual installation Through the Looking Glasses,  sensory immersion within the space of colour and sound, a no- space experience based on the Ganzfeld effect.

More information HERE

Artist Talk: Sunday, 29. May 2022, 14:00 hrs
Anne Prenzler and Rainer Hofmann concerse with Andrea Božić and Julia Willms at KUBUS (Free admission, in English)

Credits:

Concept and audio-visual installation: Andrea Božić and Julia Willms
Animation and editing: Julia Willms
Sound: Robert Pravda
Technical development: Paul Beumer and Erik Denneborg
Software development: Nikzad Arabshahi

Through the Looking Glasses installation, which is part of the Looking-Glass House, is made by Julia Willms, Andrea Božić and Robert Pravda | TILT

Produced by TILT, realised with the financial contribution of KunstTestSpiele Herrenhausen and Prins Bernhard Cultuurfonds / Tijlfonds
The orginal version of Through the Looking Glasses was produced as part of Mars Landing - a Frascati Production in co-production with the Rathenau Institute and ICKamsterdam, and was realised with the financial contribution of the VSBfonds, the Dutch Performing Arts Fund and Fonds 1818.

The Cube is an audio-visual installation, an immersive environment for a white cube space where the entire room is part of the work. The installation re-organizes the apparatus of the white cube by overlapping the architectural space with images of the forces of nature at work.

For the KunstFestSpiele Herrenhausen, The Cube has found a perfect host at the municipal gallery Kubus, seamlessly fusing with it.

The Cube fills a wall with a video projection of the gallery space itself, extending and doubling the white cube space through central-perspective projection. A series of very slow cross-fades overlaps spectacular weather conditions, dramatic natural landscapes and animals into this extended space. The relative scales of a mountain landscape or a snail are modified to fit into the same white cube, making everything either too big or too small relative to the eponymous cube or the viewers: The mountain appears in miniature but the snail is a giant both in relation to the room and the spectator. The extended white cube does not remain unchanged by the forces and animals it contains, but the walls also break open so the visitor finds themselves at the top of a mountain or in an aquarium. The installation brings images into this white cube that problematize human relationship with and interventions into nonhuman systems. Alpine pastures and rocky mountain ranges which look like ‘wild’ nature but are in fact landscapes co-created artificially through cultivation’ and heavily exploited for skiing and other nature sports and tourism.

The installation overlaps a cinematic procedure with the architecture, intensifying the presence of the resulting imaginal space. The very slow cross-fades invite the viewer into deeply immersive states while underlining the actual room. One’s gaze shifts between these two poles, internalizing the environment: One is both here and elsewhere. The Cube is a moving sculpture, a choreography of gaze, a performance of space.

The Cube is based on analogic dream logic: By weaving the organic, architectural and digital spaces, both the continuity of materialities as well as the logic of space constantly shift, placing the viewer into a perspective which is always multiple, allowing for the experience of multiplicity, and to occupy several spacetimes at the same time.

Opening: Friday, 13 May 2022, 19 hrs

Exhibition: 14.05.2022 – 19.06.2022 - daily from 11.00-18.00 hrs*

Artist Talk: Sunday, 29. May 2022, 14:00 hrs
Anne Prenzler and Rainer Hofmann concerse with Andrea Božić and Julia Willms at KUBUS (Free admission, in English)

More information HERE

After the end of the KunstFestSpiele 2022, The Cube will be presented at KUBUS until 19 June. The installation can also be experienced as part of the Night of the Museums on the 18 of June.

Credits:

Concept, camera, installation Andrea Božić and Julia Willms animation Julia Willms sound Andrea Božić

Produced by TILT. Made possible by the financial contribution of the Mondriaan Fund, Bundeskanzleramt Österreich and the Amsterdam Art Fund. Supported by the Vienna Art Foundation.

'How To Exit A Reality (Attempt 1 of 19) is a philosophical, poetic and comic performance about the power and limits of our imagination.' Theaterkrant, Critic's Pick

The performance is based on the Metonic cycle where the Moon returns to exactly the same place in the night sky and against the same backdrop of the stars every 19 years. Especially for the performances at Frascati, we have prepared the exact same night sky in Amsterdam as it was in 1603, the year witch-hunt ended in the Netherlands and the year 2059, the year of the fist human settlement on the moon. We will enjoy two days of darkness: the new moon will temporarily disappear from the skies, accompanied by a full solar eclipse on the 4th of December – visible in the southern hemisphere. The new moon is the best time for prophecies and new beginnings.

4 December 2021, 14.00

5 December 2021, 14.00

Tickets

For the performance, we have collected night-time dreams, memories, scientific models, moon rituals and SF fiction, all relating to the moon, spanning from the distant past to the deep-time future. The two performers take the audience on a journey through these different realities merging them with the architectural space of the theatre, so they all take place at the same time here and now.

How To Exit a Reality (Attempt 1 of 19) is a performance based on the escape room principle: we are looking for an exit but every time we find one, we end up in another reality. The two performers apply dream logic and gameplay to the world, approaching it as an existential virtual game – one that we can navigate, change, shift and play, or attempt to exit its logic. Every exit we take brings us to yet another reality – until even the space here and now becomes yet another fluid fiction.

 

Concept, script, choreography, space design, video-light installation: Andrea Božić and Julia Willms

Script collaboration: Billy Mullaney

Performers: Billy Mullaney and Julia Willms

Animation: Julia Willms

Sound: Robert Pravda

Light: Vinny Jones

Management and production TILT: Marieke van Bueren

Technique: Paul Beumer, Erik Gramberg and Pablo Fontdevila

Media and production assistant: Kay Churcher

Publicity and sales: CASC

EarthMoon image: Julia Willms

Dramaturgy intern: Tery Žeželj

Photo's: Thomas Lenden and Andrea Božić

Trailer: Julia Willms

 

Produced by TILT, residency: Veem House for Performance. Made possible by the financial contribution of the Fonds Podiumkunsten, Amsterdams Fonds voor de Kunst, Prins Bernhard Cultuurfonds, Tijl Fonds, Kickstart Cultuurfonds, Horizon and DAS Research.

 

 

Especially for the occasion of SPRING in Autumn, we have prepared the exact same night sky in Utrecht as it was in 1603, the year witch-hunt ended in the Netherlands and the year 2059, the year of the fist human settlement on the moon. The half moon phase is the best time reverse circumstances.

For the performance, we have collected night-time dreams, memories, scientific models, moon rituals and SF fiction, all relating to the moon, spanning from the distant past to the deep-time future. The two performers take the audience on a journey through these different realities merging them with the architectural space of the theatre, so they all take place at the same time here and now.

How To Exit a Reality (Attempt 1 of 19) is a performance based on the escape room principle: we are looking for an exit but every time we find one, we end up in another reality. The two performers apply dream logic and gameplay to the world, approaching it as an existential virtual game – one that we can navigate, change, shift and play, or attempt to exit its logic. Every exit we take brings us to yet another reality – until even the space here and now becomes yet another fluid fiction.

Credits:
Concept, script, choreography, space design, video installation: Andrea Božić and Julia Willms
Script collaboration: Billy Mullaney
Performers: Billy Mullaney and Julia Willms
Animation: Julia Willms
Sound: Robert Pravda
Light: Vinny Jones
Management and production TILT: Marieke van Bueren
Technique: Erik Gramberg and Paul Beumer
Media and production assistant: Kay Churcher
Publicity and sales: CASC
EarthMoon image: Julia Willms
Dramaturgy intern: Tery Žeželj

Produced by TILT, residency: Veem House for Performance. Made possible by the financial contribution of the Fonds Podiumkunsten, Amsterdams Fonds voor de Kunst, Prins Bernhard Cultuurfonds, Tijl Fonds, Kickstart Cultuurfonds, Horizon and DAS Research.

28-29 October 2021, SPRING in Autumn, Theater Kikker, Utrecht  Tickets

3-5 December 2021, Frascati, Amsterdam Tickets

 

 

9-10 July, the work of artists Tchelet Pearl Weisstub, Tom K. Kemp and Clara García Fraile will be spread throughout Veem House, inviting into an encounter with, and a journey through the performances and the building, presenting a film documenting a search for unseen animals, a performative installation featuring a silent galop of a fragmented horse, and a role play game unpacking the images of the inner human body as a vast industrialised city.

8 July, Open Studio with Billy Mullaney. Currently in residency in Veem House to continue his research for Never Never Never Ever Never Never Ever Never Ever Ever EVER Ever EVER Give Up Unless It Gets Too Hard 2. This upcoming performance consists of filming and editing a promotional trailer for the performance itself. A crew painstakingly sets up a pre-scripted series of shots onstage, records them, and delivers the footage to an editor who assembles the trailer live.

6-7 July, Open Studio: During a residency at Veem House, Andrea Božić and Julia Willms | TILT continue the research for their new performance How To Exit a Reality (Attempt 1 of 19).  A performance in collaboration with the Moon based on the Metonic cycle, where the Moon returns to exactly the same place in the sky and against the same backdrop of the night sky star constellations every 19 years. The performance is based on the escape room principle: we are looking for an exit but every time we find one, we end up in yet another reality.

All the works in the programme propose a different mode of encounter or alternative engagements with the reality we might take as fixed.

https://veem.house/program/unverifiable-realities

 

 

https://www.galerie-obrist.de/en/naehe-3-verfuehren/

Book NÄHE (German/ English), release: 18 June 2021

More info about the exhibition here

FB event

It’s a special version of the Day for Night series, the fourth performance in the series of my collaborations with the night sky titled: Night Sky: Further Investigations Into Choreography, part of the larger cycle of collaborations with the weather titled Telling Future.

Performance time:

21 June 2020

Beginning: 3:45
Peak:06.40
End: 09:34
UTC Time

Latecomers admitted.

For the seats distribution overview, click here

Cloudy where you are?
Watch the live broadcast here

! Warning:
Looking at the Sun is harmful to your eyes at any time. Do not look at the Sun directly without protection! Doing so may result in immediate and permanent blindness.

Viewing instructions:
For instructions on how to build your own pinhole camera for safe viewing, click here
If you are not the D.I.Y. type, check in with your local natural history or space museum or your local astronomy club for where to rent or buy eclipse glasses.
In Benelux, order your glasses here

Day for Night is an immersive dramatic spectacle for three celestial bodies and an observer.

From the press:
‘When the lights, the Sun and the Moon are ‘eclipsed’, we are in the dark and events are hidden and shadowy. Secrets emerge and what’s unknown comes to light.’

‘Stunning and awe-inspiring.‘

‘Many cultures have perceived eclipses as change-inducing events. The eclipse of the sun is always a disruption of the normal order and a possibility of a new beginning.’

 

 

Note (!): Billy’s Tarot readings start already the night before and take place for 28 continuous hours, every half hour from Friday 6 December at 20.00 to Saturday 7 December at midnight. Please check availability via this link and reserve your preferred time slot by sending an email to billymullaney@gmail.com

Entrance free. Donations welcome.

Updates via this link
***
Programme

Beginning: 19.00 hrs

Future Present by Tchelet Pearl Weisstub with Haian Arshied
Performance at around 20.15

Welcome, I Have Been Expecting You – the hermit crossed with the three of cups by Billy Mullaney
Tarot readings, one-to-one durational performance – ongoing from 6 December at 20.00 to 7 December at midnight (every half hour for 28 hours)

Zandloper (Hourglass) by Andrea Božić and Julia Willms
Audio-visual installation – ongoing

A response and a conversation with Konstantina Georgelou and the artists
Around 21.00
***

Welcome, I Have Been Expecting You - the hermit crossed with the three of cups by Billy Mullaney

I have read tarot cards for over twelve years, but only recently initiated a dramaturgical analysis of tarot readings as a performance practice, and even more recently was convinced to situate this practice in aesthetic spaces such as visual art galleries or theatres.

Of course all reality is unverifiable--however, tarot cards are perfectly suited (no pun intended) to take advantage of this condition. They encourage syllogistic thought by presenting a recombinant set of images, idioms, and statements that we commit to reading as self-representational.

Like any projective test, the mode of spectatorship promotes a gaze that unfolds and immediately prunes a web of connotations from its dense, arbitrary (but not random) symbology.

Unlike a projective test, it is spooky.

"Unverifiable Reality" points to a crucial mechanism of tarot readings as a site of performance. Because it's unverifiable, we are able to individually commit to reading each spread--after all, the unverifiable is also un-disprovable.

***

Future Present by Tchelet Pearl Weisstub with Haian Arshied

These days, together with Haian Arshied (a musician I have been working with for the past few years), I am developing an immersive sculpture and performance called: Future Present.  In the coming Salon we will share the first baby steps of this new work.
Haian will be playing a theremin on low frequencies from The Schumann resonances  spectrum (7.38 HZ- 30 HZ) that are a set of peaks in the Earth's electromagnetic field. At the same time I will be amplifying the sound of my now pregnant body.

In our research, we summon ancient female deities in order to help us evoke a cyclical and maternal experience of time. We do this in order to counter an accelerating experience of time in which the landscape is increasingly occupied with Earthing Technologies. (Innovations that attempt to regulate environmental changes).

***

Zandloper (Hourglass) by Andrea Božić and Julia Willms

Glass is made of sand. Windows are made of sand. Bulbs are made of sand. Wineglasses are made of sand. Concrete is made of sand. Asphalt is made of sand. Roads are made of sand. Parking lots are made of sand. Runways are made of sand. Swimming pools are made of sand. Railroads are made of sand. Walls are made of sand. Houses are made of sand. Buildings are made of sand. Electronics are made of sand. Cellphone screens are made of sand. Monitors are made of sand. Beaches are made of sand. Coasts are made of sand. Sea bottom is made of sand. River bottom is made of sand. Sand castles are made of sand.  Sand play is made of sand. Filtration in water-treatment facilities is made of sand. Septic systems are made of sand. Paint is made of sand. Nail polish is made of sand. Solar panels are made of sand. Wind turbines are made of sand. Billion dollar business is made of sand.

Produced by TILT. Spectra | Salons are made possible by the financial contribution of the Gemeente Amsterdam / Stadsdeel Oost. Supported by Marci Panis.