Artist George Eksts’ exhibition titled Serious String at Mansions of the Future has been re-curated by visitors at Frequency Festival over the past four days. The works exhibited in a special framework, and on wheels, allowed visitors, gallery staff and the artist to put the works together and to re-curate the show.October 27, 2019 on Blog, Online Zone
Calling all future artists and inventors! We want you to show us what you think art and inventions for Lincoln could look like 100 years from now. And be in with a chance of winning a £25 Smiggle voucher!October 27, 2019 on Blog, News, News updates, Online Zone, Uncategorized
‘A show of boundless imagination’ The Times
WHO ARE EARFILMS?
Founded in 2010, EarFilms create immersive live events from audio, blindfolding their audiences to focus the sense, becoming a unique storytelling experience. EarFilms core team are founding member Daniel Marcus Clark, a writer storyteller, musician and composer. Chris Timpson the sound director, and Dannii Evans the producer. Together they have created storytelling for the imagination.
WHAT ARE THEY BRINGING TO FREQUENCY 15?
To Sleep, To Dream is a feature length piece allowing your imagination to create the storytelling world as the audience are blindfolded, allowing them to be fully immersed in the 3D audio, positioned from 23 speakers around them. To Sleep To Dream explores a story where dreaming is outlawed, following a central character as he begins to rediscover the act of dreaming.
In a society full of screens, this experience gives your brain the opportunity to create a world from the audio alone, letting your creativity run free.
To Sleep To Dream was successfully shown and sold-out in NYC, Melbourne, California, Brighton, and recently the Edinburgh Festival 2015.
“Stunning…Surreal and magical. Your imagination is left to run riot… A sensory experience like no other” The Argus
Listen to the trailer at: http://www.earfilms.com/to-sleep-to-dream/
Get your tickets here.
WHO ARE COMPAGNIA T.P.O?
Compagnia TPO is based in Prato, Italy, with a variety of talents within their team they utilise theatre, dance and visual arts to interact with the audience. They mix art and play as interactive technologies allow the audience to immerse themselves in the show and use their bodies and movement to explore the space around them. This audience involvement creates unique interactive shows for children as well as installations for galleries and museums to introduce a younger audience to a world of contemporary arts.
WHAT ARE THEY BRINGING TO FREQUENCY 15?
Travelling over from Italy, TPO the interactive theatre group are bringing you and your children a fantastic multimedia show, immersive and interactive, mixing dance, music, projections and sculpture let your imagination run wild with this show. BLEU! dives into the world of sea creatures and ancient ruins, take a journey of discovery, explore the place and interact with the show through movement of the body.
“Visual, emotional and immersive theatre. Space is the protagonist in TPO’s shows with its images, colours and sounds. Thanks to the use of interactive technologies every show is transformed into a ‘sensitive’ environment where the thin border between art and play can be experienced.” – Insite Arts
Some of their past shows include Saltbush and Babayaga.
Catch the performances on Saturday 24th October and dive into a world of fish and sea creatures during Frequency 2015.
Book your tickets now at: https://www.lincolndrillhall.com/events/compagnia-tpo-bleu
40 Artists, 17 venues, 9 days
This news post marks the end of Frequency 2013. We have welcomed thousands of people through our doors, immersing them in digital culture to inspire, challenge and encourage creative debate.
2013 saw the UK/European premiere of LA group WIFE, and 11 other World Premiere events, brought into the heart of Lincoln. With work from Lincolnshire-based, national and overseas artists alike, Frequency 2013 has brought innovative, diverse work to Lincoln. From screenless animation, to video goggles, to projection mapping, we’ve explored the possibilities and the changing relationships between digital and art.
Our Storify articles have captured comments, photos and videos to see the Festival through your eyes. Take a look to see the journey of the Festival and for a breakdown of the highlights. We also received some fantastic write ups from New Scientist, Design Week, Run Riot and Wild Culture.
“there’s a pretty good chance that Lincoln, the steeply cobbled East Midlands treasure that motorways forgot, might just become the destination for digital culture in the UK”
– Wild Culture
The synergy between historic sites and new technologies has been at the heart of Frequency. To all of those who saw, for example, Trope’s Conversio at Posterngate or Alexis Rago’s Impermanent and Everlasting at Chad Varah House, you could experience first hand how the city of Lincoln was integral to the work, and we look forward to exploring these interconnections further in 2015.
Although the Festival has ended, Frequency is still about… We are delighted that The Collection will be running Where are we now? until 12th January, and the National Centre for Craft and Design will be running Alexis Rago’s Chaos Contained until the 17th November and Revolution in the Bedroom, War in the Playground until the 5th January.
We would like to take this opportunity to thank our partners, supporters, artists and all of our wonderful volunteers, all of whom helped make Frequency 2013 happen.
As 2013 ends we are already looking forward to Frequency 2015, when we will join in with the celebrations of the 800th anniversary of the Magna Carta, exploring ideas around Liberation during the October Half Term.
We’ll see you then.
– Threshold Studios & the Frequency Partners
“Blast Theory seems finally to offer Britain a theatre group that delves into our popular culture to create deeply challenging work.” The Sunday Times
Blast Theory is renowned internationally as one of the most adventurous artists’ groups using interactive media, creating groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting. Led by Matt Adams, Ju Row Farr and Nick Tandavanitj, the group’s work explores interactivity and the social and political aspects of technology. It confronts a media saturated world in which popular culture rules, using performance, installation, video, mobile and online technologies to ask questions about the ideologies present in the information that envelops us.
Their list of awards is impressive, they’ve won the Golden Nica for Interactive Art at Prix Ars Electronica, the Maverick Awards at the Game Developers Choice Awards in the USE and The Hospital’s Interactive Art Award among others. The group has received four BAFTA Award nominations.
Dial Ulrike And Eamon Compliant
To start you call a phone number which is marked on the wall.
You hear a short introduction and choose whether you will be Ulrike or Eamon then hang up. You find a quiet place to begin.
Two minutes later your phone rings: now you are the person you chose. As you hear about the progression that each person makes into violence and death you stare at the everyday surroundings. You might be asked to find a vantage point, to linger near a doorway or to find a nearby bus shelter. You loiter, you gaze into the distance and you use your keypad to make your choices. You hear about TV appearances, the fire bombing of a supermarket and the night that Benno was shot by a cop on a demonstration. Or, as Eamon, you reflect on getting beaten by soldiers as a teenager, the killing of Ivan Toombs and your rise to the ‘Nutting Squad’ in charge of internal security for the IRA.
As Eamon and Ulrike reach the climax of their political actions, you too must make a choice. Hang up now and walk away. Or stay on the line and make a public statement about your political beliefs.
Recordings are uploaded to the web following the festival. Participants receive a text message telling them where to find their recording and those made by others.
A version of this work – Ulrike and Eamon Compliant – premiered at the Venice Biennale in 2009 and has since toured internationally.
Frequency 2013 will host the world premiere of Dial Ulrike and Eamon Compliant.
Tune in to Blast Theory’s news
Follow Blast Theory and check out videos of other Blast Theory projects.
Emma Dex Dexter creates new visual perspectives of consciousness within her installations and sculptures, and has exhibited her work internationally.
Emma entered the artistic world at a very young age and grew up in various artist studios in Germany where she developed her interest in art before coming back to England, where she eventually started working as a painter, and later on shifted her artistic focus to sculpting.
After spending four years studying stonemasonry and carving at York Minster, she opened her own studio and began making a living as a stone sculptor. She has been commissioned for a number of projects, including a commission from the National Portrait Gallery.
By using various materials for her sculptures and installations, Emma started to extend her skills. After a series of exhibitions, she undertook a Postgraduate Diploma in Sculpture at West Dean College in Sussex, and was later awarded an artist residency in Las Pozas, poet Edward James’ surreal jungle garden in Mexico.
Emma’s travels and personal experiences have inspired her to create new and different types of work. Her installations and sculptures aim to bring the thought processes of social order to light, as well as to question the bigger issues surrounding the current social, economic and environmental climate.
Alongside fellow Frequency 13 artists Hawre Pshko and Jasim Ghafur, Emma recently became a member of the International BlankAtlas Visual Artists Collective.
Artists have the tools of Revolution
I believe that artists have the tools of Revolution – to subtly or directly expose propaganda and exploitation. Through visual interpretation we can bring to light, question and transcend the bigger issues surrounding the current social/economic and environmental climate, as well as the complex yet senseless global injustices.
In my opinion, our awareness of the world, through the use of daily social media and education, has brought about a virtual mapping of our planet – perceived now as one. The global change of consciousness brings a sense of immanency. This creates a responsibility that concerns each of us individually where we can all explore new and mindful concepts in our approach to valuing humanity alongside nature. – Emma Dex Dexter
Concerned with the nature of capitalism and the belief that a society governed by excessive greed and consumerism has forfeited freedom and trust, UNIVERSAL CABARET is an optical illusion showing scissors dancing a cabaret. Their movements around the currency-covered globe create a tension between the two elements, or images of the piece. The scissors keep on dancing around the suspended globe, establishing its own dimension and time in the context of the piece.
Tune in to Emma’s news!
Find out more about Emma at Frequency 13
Find out more about BlankAtlas Collective
Touch presents a world premiere for Frequency 13. Performing in Lincoln Cathedral, sound recordist Christ Watson and cellist Hildur Guðnadóttir will collaborate for the first time on Sönghellir (The Cave of Song), a new, multi-channel sound work. Swedish singer, pianist and songwriter Anna von Hausswolff will also perform a new score for the organ, and together the artists present will close the event with The Eternal Chord, an improvisational work.
Since its first release in 1982, Touch has created sonic and visual productions that combine innovation with a level of care and attention that has made it the most enduring of any independent company of its time.
Chris Watson is one of the world’s leading recorders of wildlife and natural phenomena, and for Touch he edits his field recordings into a filmic narrative. He has developed a particular and passionate interest in recording the wildlife sounds of animal, habitats and atmospheres from around the world. As a freelance recordist for film, TV & radio, Chris Watson specialises in natural history and documentary location sound together with track assembly and sound design in postproduction.
Hildur Guðnadóttir is an Icelandic cello player and singer who has been manifesting herself at the forefront of experimental pop and contemporary music. In her solo work she draws out a broad spectrum of sounds from her instrument, ranging from intimate simplicity to huge soundscapes. Guðnadóttir likes to explore the nature and movement of sound, and often turns her experiments into sound and visual installations. She recently co-composed a live soundtrack to Derek Jarman’s 1980 film In The Shadow of The Sun with legends Throbbing Gristle.
Anna von Hausswolff
Anna von Hausswolff is a Swedish singer, pianist and songwriter. Her debut single, “Track of Time”, was released in 2010 and was quickly followed by her debut album Singing from the Grace. She is noted for her expressive voice and her live performances. She played in several festivals such as the Way Out West Festival, Peace and Love, Storsjöyran, Arvika, and Made Festival. She has also opened for artist such as Tindersticks, Lykke Li and M. Ward.
Sönghellir (The Cave of Song)
The Cave of Song is a sound journey beginning under the water off the coast of Faxafloi, Iceland moving up onto the lava beach where it continues up into the snow mountain Snaefellsnes and ends inside Sönghellir, the song cave. The groaning of ice in an Icelandic glacier is what Chris Watson describes as “putting a microphone where you can’t put your ears” and is a perfect description of his work.
60 miles from Reykjavik, the Snaefellsjokul glacier is one of the most popular and mysterious in Iceland. French author Jules Verne even chose this glacier as his doorway into space in his book Journey to the Centre of Earth. Its beauty embodies the entire Snaefellsnes Peninsula and some of the best and most important sagas took place there.
Touch presents… Chris Watson & Hildur Guðnadóttir, Anna von Hausswolff will be premiering at Lincoln Cathedral on 19th October.
Tickets available here.
Tune in to Touch’s news.
Follow Chris Watson and Hildur Guðnadóttir.
Barret Hodgson is a video artist and digital projection specialist based in Nottingham. His company Vent Media creates and stages of visual media for live performance including theatre, dance and music, art installations, interactive media projects, film production and high end projection. Using a wide range and combination of digital software and hardware, Barret’s bespoke films and graphic animations and live video mapped installations have been toured widely across the world.
Previous productions and clients include: Empty Bed Blues, Smile & Flat Stanley at the Lakeside Theatre; The Ashes, Glamour & Garage band at Nottingham Playhouse; Arthur and George & First Person Shooter, Birmingham Repertory Theatre; The Lion, The Witch and the Wardrobe, Royal & Derngate Theatre and Warp Films.
Recent collaborations include Choreographer Tom Dale (I Infinite and Refugees of the Septic Heart), Performance Artist Hetain Patel (To Dance like my Dad & Be like Water), and Writer Michael Eaton (The Masks of Mer).
The Eternal Return
‘Not only are our physical self’s locked into this perpetual wheel of evolution but also our inspirations, and concepts themselves.’
A university is an institution of revolution, a place where new ideas are continually conceived, nurtured, and given life. The Eternal Return celebrates these themes as an audio video installation projected onto the three monoliths on the facade of the University of Lincoln’s new Library.
Tune in to Barrett’s news: ventmedia.co.uk
Justin Blinder is a Brooklyn-based media artist, programmer, and designer. His work examines how our claims of ownership, criteria for an object’s value, and ways of interacting with others have changed in the digital landscape. Justin’s projects aim to simultaneously provide usable tools and a critical analytical lens, sparking dialogues on how technology and digitization shape our social behaviors. His project Dumpster Drive, a file-sharing application that recycles digital files, helped to build a networked community of users around the ubiquitous, but understudied, digital process of deleting.
Justin’s projects have received attention from media outlets such as the New York Times, the Washington Post, the Atlantic, the BBC, the Guardian, and Gizmodo. Justin holds a BFA in Design and Technology from Parsons the New School for Design. In the past, Justin has worked as a team developer on the open source project ShiftSpace, served as a Research Resident at Uncommon Projects, and was recently a Resident Technologist at EDesign Labs. Justin is currently the Creative Technologist at Sub Rosa, and an Honorary Fellow at Eyebeam Art and Technology Center.
Using NYC.gov wireless hotspot data, Wi-Fi Spotting topographically visualizes Wi-Fi saturation in the metropolis.
Taking inspiration from Italo Calvino’s Invisible Cities, the piece questions what is imagined, and what is real, when exploring the physical formation of digital networks. The meta-data of our wireless signals float off of us along specific routes like those on a map, but the structures and architecture of our communications and technologies—our virtual skyline—are not usually seen. By highlighting how our immediate environments are saturated by other’s signals, as part of an on-going revolution of white noise, Wi-Fi Spotting aims to prompt viewers to think about the underlying social contracts hidden in geographic datasets.
At first glance, there is nothing inherently revolutionary about digital files, but once we examine the history of media digitization, the liberatory potential of data to defy their original forms becomes apparent. Casting a critical lens on our digital files raises our awareness of how states govern and surveil data, and what the power dynamics between everyday citizens, corporations, and states should look like. His projects aim to ferment such potential revolutions by harnessing digital excess— the white noise that surrounds us. The binary code of our deleted files, the components rusting in discarded printers that litter the streets, and our ignored search histories contain the seeds of future, heretofore unrecognized changes.
Wi-Fi Spotting is part of the Where are we now? exhibition opening 14th September 2013 and running until 12th January 2014 at The Collection.
Tune in to Justin’s news: www.justinblinder.com
Follow him: @justinblinder
More videos: vimeo.com/justinblinder