As you have likely noticed, because you’re here, we have a new website. Unless you never saw our old website, in which case, this is just our website. Welcome.
We hope you like it. We’ve added in new scheduling software, to make it easier for you to see what’s happening, plan which events you want to see, and integrate into your social networks to see who else is attending.
Juneau Projects was formed in Birmingham in 2001 by Philip Duckworth and Ben Sadler. Their work features painting, sculpture, installation, animation, sound, music and participatory elements. They are particularly interested in the rapidly increasing speed of technological development, and its associated obsolescence.
Chapel of the Infocalypse
Juneau Projects’ new installation imagines how society’s attitude towards technology might change following some form of global disaster. Once familiar objects become a focus for worship, the scientific explanations of their functions being replaced by ideas of mysticism and magic.
Juneau Projects have been fascinated for a number of years now by the phenomenon of Cargo Cults (indigenous societies forming religious beliefs, following contact with more technologically advanced colonizing societies, in the hope of gaining material wealth) and the way in which technology completely revolutionizes the societies involved.
This new work is an attempt to imagine how situations akin to Cargo Cults might arise following some form of information apocalypse.
Evolution and revolution
‘Revolution for us is about change. We are constantly considering what we do and, if it is not working (for us at least), we change it. Change maintains our interest in our work and our practice develops through a balance of evolution and revolution.’ Juneau Projects
Tune in to their news : www.juneauprojects.co.uk
As well as working at the interface between participatory and digital arts and mixing the technological with the lyrical, Impossible also produces a wide range of projects combining participatory events, new technologies and installation to involve and intrigue people from many different backgrounds.
This partnership between Chris Squire and Charlott Diefenthal is based near Huddersfield in West Yorkshire, and both of them believe that the arts can represent familiar aspects of people’s lives in new ways, and that it does not need to be just for the elite. Their projects offer fresh perspectives in events that range from large scale visual poetry to intriguing involvement through a creative conjunction of context-aware new practice and active participation.
Lightweight is a magical and mesmerizing participatory projection installation. It is highly accessible and engages the audiences in a unique and thoroughly enjoyable experience that is open to everyone.
Lightweight is an elegant 4m inflatable orb that looks dead simple. But it is also the hiding place for complex electronic, sonic and optical equipment developed to create seemingly mysterious and effortless effects.
Of all the modes it can present, the simple passing of clouds – reduced to tones of blue and white and matched with music spilling from seven hidden speakers – are some of the most entrancing and visually pleasing.
But equally the joy participants find in discovering themselves within live animations spinning around the full 360 degree screen is a wonderful moment that Lightweight can offer.
Having audiences and passers-by able to witness their own image mapped into the artwork in this way offers the chance for the public to move the border between the author and the receiver and to configure the relationship between our body and the civic space we share.
It raises issues of democracy, public space, being together and being individual. How being in a space can make a difference to it, perhaps even how we create public space.
More than this it asks how an idea be both tolerant to individuality and also to collectivity, without polarising them. This is ‘Lightweight’.
The word Revolution comes from the Latin ‘revolvere’ and was first applied to the regular and repetitive motion of the planets by astronomers like Copernicus in his seminal work ‘On the Revolutions of Celestial Bodies’. This used provable natural order to displace the earth from the centre of the universe.
However by the sixteenth-century the word had passed into the vocabulary of astrologers who claimed to predict the future from the study of the heavens. They began to use “revolution” to mean unforeseen events determined by the conjunction of planets involving forces beyond human control.
So the original scientific meaning of regularity and order came to mean the very opposite – sudden and unpredictable events in human affairs.
Impossible is therefore interested in the revolution that technology can offer to public engagement in artwork. They are also concerned with the notion of revolution where things come back around but in a new context, so that people now see things anew or in a new light and have it mean something fresh.
‘It raises issues of democracy, public space, being together and being individual. It leads us to question how being in a space can make a difference to it. How do we create public space? And what does the word “public” even mean today?’ Impossible
Tune in to Impossible’s news: www.impossible.org.uk
Follow them: @ImpossibleArts
For videos about their work: http://bit.ly/165gj54
Montreal born artist, filmmaker and essayist, Jon Rafman, has exhibited in many places such as Tokyo, Rome and London, and his work has been featured in several magazines and newspapers.
The effects of digital media on everyday experience, individual consciousness, and social and cultural memory that are inspired by the rich contradiction that technology presents are at the centre of Jon Rafman’s work.
Jon Rafman takes images directly from Google Street View and represents them to us in large scale photographic prints. By carefully choosing images which are captured by the automatic ‘9 eyes’ of the Google Street View car, he shows us that the automatic, robotic way of capturing the world tells us more than Google may have imagined.
Aiming to give us an impartial view of ‘how’ a place looks, the Google project to photograph the globe actually tells us far more. The camera shooting without human interference loses any moral or social interaction with the subject. At the same time providing us with images that reference every type of photography. The automatic eyes capture everything from street violence to beautiful romantic landscapes.
The styles of the photos produced range from news-like images through documentary and street photography to wildlife and landscape. By presenting these images, Rafman nudges us to question not only the role of photography in our lives today, what we choose to share and what we do not, who owns our image but also the entire history of photography itself.
The Internet allows us to view the world in new and serendipitous ways and Rafman shows us that this new media is also allowing us to view the world afresh, explore and reconnect with the sublime and romantic notions of finding yourself in a new landscape.
‘This very way of recording our world, this tension between the gaze of an automated camera and a human who seeks meaning, reflects our modern experience. As social beings we want to matter and we want to matter to someone, we want to count and we want be counted.’ Jon Rafman
His project 9 eyes: http://9-eyes.com/
Tune in to Jon’s news: http://jonrafman.com
Follow him on Twitter and Instagram: @jonrafman
WIFE can only be seen in the dark. WIFE works well with others. WIFE likes to play. Visually, WIFE is bold. Physically, WIFE is daring. Dreams are her driving force. She is metamorphosis.
WIFE are a collective of three choreographers and dancers Jasmine Albuquerque, Kristen Leahy, and Nina McNeely who also work as teachers, editors and animators. Based in LA, WIFE have been thriving in the underbelly of L.A. subculture, and we are pleased to welcome them to Frequency 13 to make their UK debut.
Describing themselves as ‘A Trinity of Illusory Performance Makers’ WIFE mix animation, projection mapping to create visceral, sensory performances, defying classification. They find their inspiration from myth, folklore, archetypes and the subtleties of everyday human behaviour.
The Grey Ones
The Grey Ones premiered in 2011 in California with a performance creating the ultimate visual experience that will leave your senses tingling, and your thoughts drifting through the myriad of images that are created on stage.
Inspired by ancient myth, organic matter, decay, and transcendence, The Grey Ones explores the use of projection mapping on moving bodies, and statuesque and saintly gestures to tell a story of the beginning of time. It explores the idea of ascension, of human beings need to rise beyond the ordinary through light, movement and animation.
‘Re-enter the trance of childhood when a moving light can be the most beautiful thing you’ve ever seen…’ Swoon Magazine
For WIFE revolution means ‘cycles, circles, celestial bodies revolving in space’. The Grey Ones brings revolutionary concepts together with revolutionary technology. Take a look at the trailer, and experience for yourself, what is in store with WIFE at Frequency 13.
If you like WIFE we reccommend seeing Jean Arbeu and Impossible.
WIFE will be making their UK premiere at Frequency 13
Grey ones trailer: http://vimeo.com/57843146
For more information: http://bit.ly/14XL8pC
Tune in at: www.wifewifewife.com
Trailers at: http://bit.ly/15CSiLD
St. Mary’s Guildhall, located on High Street, has survived eight centuries of use and disuse, with many alterations to the building taking place over this great span of time. Original features are still on display throughout, despite these alterations and the many uses the building has been put to over the years.
There are almost 1000 years of history to discover from its royal beginnings to today. The highlight being the Roman Fosse Way, a Roman road in England that linked Exeter to Lincoln, which is visible underneath the floor at the front of the building, running parallel to High Street.
The Lincoln Civic Trust now occupies the building and is adamant to continue preserving buildings and monuments of historic or artistic value and places of natural beauty. To get involved and encourage the work of the city’s artists and craftsmen, a form of application for membership of the Trust may be obtained by email at firstname.lastname@example.org and on their website.
St Mary’s Historical Facts
• Most of the essential original components of the building have survived through time, providing a unique example of secular Norman architecture.
• St Mary’s was possibly the property of Henry II who might have constructed it for the crown-wearing ceremonies of Christmas 1157.
• St Mary’s also used to be a Royal cellar in which the King’s wines were kept for use early in the thirteenth century.
• It then became a Guildhall until 1547 where several important meetings such as the Court of the Kings Bench took place.
• Bluecoat School took over the lease in 1614 until 1623 during when major alterations took place, the main one being the reduction of the upper storey walls’ height by 3 metres and the creation of a new roof.
• The building was purchased by City of Lincoln Council in 1938, but continued in commercial use as Lucas’s builders’ depot until 1981, when it was leased by the Lincoln Civic Trust.
It is possible to arrange tours at request with the Lincoln Civic Trust. They can be contacted directly by phoning them at this number: (01522) 546422 or by email at: email@example.com.
Working around the idea of manipulation of information’s power, Paolo Cirio is a media artist known for his controversial and innovative artworks.
The Turin born artist defines his works as sculptural performances of the power of information. He is particularly interested in how specific arrangements of information influence the creation and perception of political, cultural and economic reality, as well as personal emotional states, interpersonal relationships and instinctive human behaviour.
Paolo Cirio focused on a lot different projects, and here are some interesting key facts about a few of them:
He issued and spread thousands of illicit VISA credit cards, counterfeiting virtual money in order to introduce wealth redistribution through a new monetary policy.
He stole one million profiles from Facebook and republished them on a mock dating website. Several mainstream media covered related legal threats.
He stole data from Twitter and rated the political affiliation of one million Americans to raise awareness about citizen profiling.
Life-sized pictures of people found on Google’s Street View are printed and posted at the same spot where they were taken by the Google’s camera. The posters are printed in colour on thin paper, cut along the outline, and then affixed on the walls of public buildings at the precise spot on the wall where they appear in Google’s Street View.
Street Ghosts reveals the aesthetic, biopolitical, tactical and legal issues. The artwork becomes a performance, re-contextualizing not only ready-made informational material, but also a conflict. Ghostly human bodies appear as casualties of the info-war in the city, a transitory record of collateral damage from the battle between corporations, governments, civilians and algorithms.
‘I [create works of art] by seeing art as a means to grab attention and to inform critically, invent utopias and provoke subversive acts through visual and emotional sensational impact.’ Paolo Cirio
‘Street Ghosts’ is part of the Where are we now? exhibition opening 14th September at The Collection.
For more information: http://streetghosts.net
Tune in to Paolo’s news: www.paolocirio.net
Follow him: @paolocirio
For more videos about his work: http://bit.ly/17FuRSE
Proto-type Theater are a company of multi-disciplinary artists, based in Manchester, who make intricate multi-media performances. Their work has been performed all over the world from Korea to Armenia to Mongolia.
Previous work includes an installation work in a Roman garden in Chester, multi-media theatre that unravels the stereotype of American suburbia, a two-week long performance experience for pervasive technologies, a delicate two-hander that looks at the mythology surrounding two of history’s most notorious criminals and a unique sight-read performance for a revolving cast of 3 performers that has been performed hundreds of times in locations across the globe. All of their work has a focus on precise execution and in making complicated material accessible.
The Good, the God and the Guillotine
A long walk, the beach. A fight, a murder. The heat, and the barking of dogs. We’re travelling out of the sun and towards darkness.
A show that steals its style from the gig, the opera and the recital, The Good, the God and the Guillotine is a music driven cross-genre journey through a tangle of relationships, inspired by Albert Camus’ 1942 novel The Stranger. Three performers, and three laptop musicians from The Manchester Metropolitan University Laptop Ensemble, present a performance sung and spoken across thirteen distinct chapters, against a backdrop of animation and reactive lights.
‘This is beautifully crafted stuff that has a broader relevance and audience than a traditional theatre company based in one city could manage.’ The Metro, Manchester
‘For us, a sense of technological revolution has been at the heart of much of our recent work. We look to re-think and sometimes un-do the purposes of pervasive technologies as a means of creating theatrical experiences that linger beyond the duration of the work.’ Proto-type Theater
If you like Proto-type Theater, we recommend also seeing Revolution in the Bedroom/War in the Playground and WIFE.
The Good, the God and the Guillotine will be premiering at Frequency 2013, before touring in Spring 2014.
Tune in to Proto-types news: http://proto-type.org/
Chris Riley is a British writer, broadcaster and film maker, specialised in science and history of science. He is also a pioneer of web journalism, as he reported for BBC’s first online news service in 1996.
Apollo raw and uncut
Apollo raw and uncut was Riley’s first video installation which was shown at the London Science Festival throughout the summer of 2009 to mark the 40th anniversary of the Apollo missions. Before the installation moved to the Canadian centre for Architecture in Montreal, an estimated 3000 visitors passed through the event in London during its 40 day run.
Christopher Riley’s installation will be a unique experience for Frequency 13’s visitors, as it will be the first time it will be shown as a single screening event!
If you are curious about the content of the 13 hour film, here are some highlights:
• The nine Earthrises shot on Apollo missions 10, 11 and 12
• The full 9.5 minute slow motion lunar rover ‘Grand Prix’
• Neil Armstrong’s first steps on the lunar surface seen from the window of the Lunar Module and filmed by Buzz Aldrin.
• Breathtaking close up slow motion views of the Saturn V lifting off as seen from multiple cameras positioned around the launch pad.
We welcome Frequency 13 visitors to dip in an out of this installation, to catch a glimpse of this extraordinary footage.
For Riley’s work, the term ‘revolution’ has a double meaning. The video depicts both the Earth and the Moon’s own natural changes, which are scientifically called ‘revolutions’. But even more so, the whole piece represents a clear revolution in the way that human beings saw for the first time their home planet from so far away. This important change of perspective is a fundamental revolution that can be now available to everyone.
‘This unique moment in human history revolutionised our perception of the Earth – as a fragile oasis set against the blackness of space, and kickstarted an ecological awareness which we are still living through today.’ Chris Riley
Apollo raw and uncut will be premiered at Frequency 13
For more information: http://bit.ly/18CuucD
Tune in to Christopher’s news: www.chris-riley.net
Follow him: @alifeofriley
For more videos: http://bit.ly/17zI5SR
The Collection and Usher Gallery is Lincolnshire’s premier historic and contemporary art gallery as well as an archaeology museum set in the heart of historic Lincoln.
Before 2005, The Collection was known as ‘The City and County Museum’ before it merged with the Usher Gallery and became The Collection.
A new purpose built museum was opened in 2005 to house collections of archaeology, and in the adjoining Usher Gallery, a variety of art collections are presented. Both The Collection and Usher Gallery has a dynamic programme of temporary exhibitions which combined with the permanent exhibitions bring around 120,000 visitors a year to its galleries, most of which are completely free.
Facts about the galleries
Evidence of Roman occupation was found in the form of a mosaic pavement that can now be seen displayed underneath the floor of The Collection’s archaeology gallery
Flaxengate is known to have been in existence since c.AD900 and was previously called ‘Haraldestigh’ and ‘Flaxgate’
Danesgate lost its original name ‘Danissegate’ during the 19th century when it then was called Bull Ring Lane before coming back to its main name in 1830
Where the Stokes café stands nowadays, there used to be a Victorian building named Manvers Arms Public House
James Ward Usher, the collector and businessman that was honoured by the city, had the sole right of the Lincoln Imp and became famous thanks to it
A letter sent to James Usher actually managed to reach him just with a drawing of the imp on the envelope
The Usher Gallery was officially opened on 25th May 1927 by the Prince of Wales
The Collection used to be located in a 13th Franciscan church that remained the museum’s home for almost 100 years
When the Collection moved to a new location, its inventory recorded 2 million objects
Lincoln’s archaeology museum and the Usher Gallery are operated by Lincolnshire County Council in partnership with the City of Lincoln Council, the Arts Council England. Supported by the Friends of Lincoln Museums and Art Gallery, the Usher Trust and the Heslam Trust.
‘Where are we now?’ by Justin Blinder, Paolo Cirio, Brian House and Jon Rafman, an exhibition part of Frequency 13, will be opening on Friday 13th at The Collection and will be on display until 12th January 2014.
For more information: http://bit.ly/181z2Kk
Follow The Collection: @collectionlinc
Follow Frequency 13: @frequency_fest
Find The Collection on Facebook: http://on.fb.me/18MrWd3
Tune in for more Frequency 13 news: http://on.fb.me/17O0ei0
Do you remember how the trees would burn with a fire that reached so high, that the birds fell from the sky like a rain of flaming miniature suns? 10,000 years ago that fire was your home, and now the Faruk have come to return you to that place…
Theatre and cinema combine in il pixel rosso’s immersive video goggle experience to create a multi-sensory journey, which places the audience at the heart of the narrative. and the Birds Fell from the Sky hijacks your eyes and ears to remove you from reality, and places you in the land of the Faruk, an anarchic, dreamy, dangerous world at the edge of civilisation.
‘Totally immersive and genuinely powerful, this video-goggle piece is as original as they come‘ Fringe Biscuit ****
Two audience members at a time are guided through the performance through simple audio instructions, and are moved through the space by ushers, to lose sense of their real physical location and to transfer fully into the fictional environment of the world of the Faruk.
Artist and deviser Silvia Mercuriali and multi-award winning film maker and artist Simon Wilkinson combine creative forces to form il pixel rosso, with the aim to create innovative and challenging ‘autoteatro’ work that reflects our condition as individuals and our relationship with the society that surrounds us. They have toured and the Birds Fell from the Sky to Edinburgh, Brighton, Australia and London and now they are coming to Lincoln for Frequency 2013.
‘Revolution to us means constant evolution of form and technique, pushing the work into new territories and avoiding easy classification.’ il pixel rosso
Autoteatro is a term coined by Silvia Mercuriali’s partner company Rotozaza, and is described by the company as a performance where there is no other audience than those participating in the performance. Rotozaza say that ‘Autoteatro does not ask audience members to be clever or inventive’ they are performing the piece for themselves, guided through the show with simple visual or auditory ques. For more information about Autoteatro and Rotozaza, you can visit their website here.
‘My response to the autoteatro style instructions was as immediate and unquestioning as that of a sleep walker’ The Guardian
Immersive theatre and audiovisual experiences are seeing a new wave of interest, with many companies focusing on the boundaries of audience reaction, reality and theatre, through the use and development of technological equipment. If you are interested in il pixel rosso, keep an eye out for Zest Theatre and Proto-type Theater during Frequency 13.
il pixel rosso will be performing ‘and the Birds Fell from the Sky’ at Lincoln Drill Hall
For more information: http://bit.ly/17wrVeU
Tune in to il pixel rosso’s news: http://ilpixelrosso.org.uk
Follow them: @ilpixelrosso
Over two decades, Alexis Rago has been exhibiting work in private and public galleries and is renowned nationally and internationally. As well as being a graduate in Biology from the University of Manchester, he subsequently studied Fine Art at the Institute for Art and Restoration in Florence, Italy and is also a Fellow of the Linnean Society of London.
His use of video, sound and light is utilised to extend the scope of engagement, as well as to encourage debate on the relationship between the sacred and secular. In a context of evolution and sacred art, he negotiates the relationship between science and spirituality through the use of ceramic material to embody biological notions in a sculptural form.
Chaos Contained & Impermanent and Everlasting
Rago’s solo show ‘Chaos Contained’ is an intriguing multi-sensory experience, showing at the National Centre for Craft & Design . Brand new large scale ceramic works were created, integrating other media such as digital sound and projection imagery, which are new elements to his practice. Ideas from life science, evolution, anthropology and sacred art are linked together, and leave the spectators open to decide what the work might be. His work reaches the edge of what is technically possible in ceramics, and it is often breathtakingly delicate.
The Impermanent and Everlasting installation from Chaos Contained specifically focuses on the fragmentation of knowledge, since the philosophical revolution of the Enlightenment, by bringing together evolutionary theory and sacred art in a deliberate strategy to encourage debate on notions of the sacred and secular, and the human need to mythologize.
Constant state of flux
After the exploration of Enlightenment and Darwin ideas as well as quantum theory, society has been undergoing an existential revolution. The relationship with the world is changing faster than ever before and at a universal level.
However, there is always renewal and new energy throughout such processes. For Alexis Rago, to embrace such a renewal is to form a personal revolution as one way of coming closer to a world from which one all too often feels separated.
‘Revolution, rotation, cycles, change, renewal, disruption, symmetry, chaos, order, establishment, stability, balance, equilibrium, precariousness, evolution. These ideas are in a constant state of flux as they feed into my work in material and conceptual ways.’ Alexis Rago
A twin piece to the one installed at Frequency Festival will be on view amongst other works at Alexis Rago’s solo show ‘Chaos Contained’ at the National Centre for Craft and Design, 8 September – 17 November.
Other activities related to the show will also include interactive activities, workshops and objects to allow visitors to engage with the conceptual and practical skills that are employed by the artist.
For more information about the artist: http://bit.ly/15y1dom
More information about the exhibition: http://bit.ly/1agCA16
Tune in to Alexis news: alexisrago.com
Follow him: @alexisrago