In the session Andrea Božić and Julia Willms | TILT will share some of the principles from their long term research under the umbrella name Spectra - Space Is an Organism, where they explore the relationship between attention and an embodied experience of space: how the (re)organisation of attention and space affects one’s sense of ‘reality’ and the modes of spectatorship emerging from it. How – when the logics of attention and space are altered – might a new ‘imaginal’ space appear in their overlap?

The session will focus on the overlaps of dream logic, escape room (gameplay) logic and deep-time cosmological logic behind their recent performance How To Exit a Reality (Attempt 1 of 19) and site-responsive audio-visual installation Looking-Glass House, both in collaboration with the moon.
The session will include practical exercises where the participants are invited to work with dream mapping and escape room principles to develop playful performative in-disciplinary or transdisiplinary setups.

Andrea will give an introduction into her artistic practice led research that investigates the co-constitutive relationship between attention and space: how – through altering their logic - a new ‘imaginal’ space might appear in their overlap. It works towards developing a cosmology of attention and modes of spectatorship – an experience of an expanded range and quality of perception and attention - practiced through artistic work as an interface with the world.

Working through ‘differentiated attention’, ‘weaving spaces’ and ‘mapping dreams’, the research explores the overlaps of spatiotemporal logic in dreams, gameplay and cosmology in site-responsive collaborations with architectural structures and their given systems and their spectatorship apparatus. It seeks to blur the edges between the stage and the world to consider the co-constructedness of the theatre and the world as imaginal spaces.

The performative show-and-tell research presentation will include excerpts from the performance How To Exit a Reality (Attempt 1 of 19) and from the colour and light installations The Light Archive and the Looking-Glass House in collaboration with Julia Willms and Billy Mullaney and a response to the research by Konstantina Georgelou, Joe Kelleher and Billy Mullaney.

Programme

Wednesday 26th October
9.30 Doors open
10.00-13.30 Áron Birtalan - morning session The Unquiet Veil
17.00-20.30 Áron Birtalan - afternoon session The Unquiet Veil

Thursday 27th October
10.00 Doors open
10.30-13.00 Áron Birtalan - landing and study session for The Unquiet Veil
13.00-14.30 Lunch break
16.00-21.00 THIRDtalks launch with Amanda Piña, Cecilia Vallejos and Catalina Insignares (incl light diner)

Friday 28th October
10.30 Doors open
11.00-12.30 Cecilia Vallejos - Practical Knowledge
12.30-14.00 Lunch break
14.00-14.30 Cecilia Vallejos intro ongoing video installation Amsterdam, april 2020 video work
16.00-17.45 Igor Koruga - Closeness of touch
18.00-20.30 Andrea Bozic - How To Exit a Reality: Cosmologies of Space, Attention and Spectatorship
20.30-21.30 Light diner

Saturday 29th October
10.30 Doors open
11.00-12.30 Nikita Maheshwary - session 1 Me&You: In a Dialogue
12.30-14.00 Lunch break
14.00-15.30 Nikita Maheshwary - session 2 Me&You: In a Dialogue
16.00-17.00 Áron Birtalan - A Tear for the Devout to Fondle and Kiss - Strange Attractions at the Edge of the World
18.00-20.30 Catalina Insignares - Roaming around the vultures, listening to the dead
20.30-21.30 Light diner

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 Glory Machine is a theatre performance consisting of filming and editing a promotional trailer for the performance itself. The audience observes the rapid-fire setup and recording of eighty microscenes, which are simultaneously edited and arranged live by an editor into a short trailer video. The piece was inspired by the ways in which we curate and perform idealized versions of ourselves online through social media platforms and beyond. By privileging the development of web presence over the performance itself, The Glory Machine archly proposes an all-in investment into "cultural capital, responding to (by playing along with) the labor obligatorily required to generate online presence and social media outreach. Conceived as a virus, The Glory Machine follows social media logic, producing its own promotional material to reproduce itself indefinitely.

"It is a laborious madness and an impoverishing one, the madness of composing vast books, setting out in five hundred pages an idea that can be perfectly related orally in five minutes. The better way to go about it is to pretend that those books already exist, and offer a summary, a commentary on them."

- Jorge Luis Borges, introduction to The Garden of Forking Paths

In the press:

"The attention economy is eroding and taking over politics, the media and other departments of the public domain from within. The Glory Machine offers no real resistance or a solution. It very lovingly puts its finger on the sore spot. Well worth it." Theaterkrant Critic's Pick, read the review HERE

Best new text/choreography/libretto of 2022 - Fransien van der Putt - Theaterkrant

Since 2021, Billy Mullaney is an associated artist at TILT. He performs in How to Exit a Reality (Attempt 1 of 19) and TILT produces his new work The Glory Machine, in co-production with the Veem House for Performance and Productiehuis Theater Rotterdam.