Digital Performance Weekender

About this event

Digital Performance Weekender – Networked Bodies
Download full programme here
Installations and live events
7-9 November 2014
Main Gallery – FREE
Keeping in touch (with an unknown other) – Annie Abrahams

Saturday 8 & Sunday 9 Nov

Streaming: Ivan Chabannaud

For two hours, using webcams, two people will create together an image of touch. Under physical constraints of the used technology, which recalls those suffered by our body during our daily computer use, they will touch each other in a vacuum.

We will not touch – we will create an image of a touch – yet I am sure the other will touch me, I am sure my flesh will be bruised by this touch – my body will not sustain the awkward fixed pose very long – someone will have to replace me, will have to replace the other too.

The public can see both, the created image in a video projection of two webcams and the two bodies positioned in space resembling living sculptures and minimal dance.

Stitch, Bitch and Make/Perform – Camille Baker


Sunday 9 Nov

Join this gathering of a new group of artists, designers, makers, engineers, artists & performers within the field of wearable technologies, design, performance, e-textiles and fashion.

This group brings different disciplines investigating the same domain together: to share, present, debate, make, teach & learn about new artistic visions & directions in design, performativity, materiality, and making practices for wearables.

The Distinction Between Here and There, Now and Then –Garrett Lynch
The Distinction Between Here and There, Now and Then is a work about performance that occurred through the internet in two stages and is presented/documented as a diptych with framed artefacts.

The work involved the commissioning, production and framing of two paintings to be exhibited as a diptych. The first painting, The ‘Real’, is a reproduction of a performance photograph of the artist Garrett Lynch standing on the Great Wall of China wearing the Sandwich Board; a constructed replica of a 3D object from Second Life that has been employed in numerous ‘virtual’ performances. The second painting, The ‘Virtual’, is a reproduction of a performance screenshot of the artist’s Second Life representation wearing the original sandwich board standing on a 3D reproduction of the Great Wall of China in Second Life.

Each stage of production was negotiated separately through websites and emails. Participants working on the paintings and the media artefacts produced as part of their creation were unaware of the nature of the work as performance based. The negotiation of the paintings creation, developing a relationship with those working on them and the media generated became a performance of collaboration through a network.

Sandwich Board – Garrett Lynch
Since 2008 the artist Garrett Lynch has created a number of ‘virtual’ performances in Second Life (SL). In each, his representation or avatar, wears a sandwich board; a 3D object designed by the artist which statesI’m Garrett Lynch (IRL). The board makes reference to the performance work Trouser – Word Piece (1972-1989) by Keith Arnatt while its statement is an abbreviation of both the artist’s national identity (Ireland) and an acronym for ‘real’ location (In Real Life); that which is outside of the ‘virtual’.

The Sandwich Board presented here is a constructed scaled replica of the Second Life 3D object. Designed to be worn by the artist it allows the continuation of performances to be extended to ‘real’ spaces and/or combined with ‘virtual’ spaces for mixed reality performances.

A Network of People Who Attended an Exhibition and Contributed to the Creation of this Work – Garrett Lynch
A Network of People Who Attended an Exhibition and Contributed to the Creation of this Work is a durational event in making connections between people based on their visit to an exhibition ‘site’ (physical or online), their participation in and assumed interest in art. The event is performed through email and documented online.

me and my shadow – body>data>space
A film from me and my shadow, a deeply immersive experience consisting of separate connected portals, presented in 2012 between London, Paris, Istanbul and Brussels, an international telepresence experience that connects participants through a shared online environment. Equipped with 3D motion capture devices, each portal features interactive life-size projections and immersive soundscapes. Participants are represented as live digital shadows and can communicate with each other in the real-time digital environment.

The Anatomy of Human Breath – Kasia Molga & Adrian Godwin
The Anatomy of Human Breath looks at the chemical composition of exhaled breath as a response to the air quality in the immediate surroundings. Breathing is something which we all have to do automatically and it is crucial for our well being. The ephemeral quality of that action however goes very much unnoticed, unless we fall ill.  The Anatomy of Human Breath is thus looking at the breath as the very intimate way of interacting with our environment – and the fact about how little we know about what we take in, which then is distributed around our organs, and in return what we exhaled from inside of our bodies. The installation invites viewers to examine their own breath by blowing into a tube. The data is then analysed by eNO (exhaled Nitric Oxide) and H20 sensors and outputted into a bespoke application displaying visuals formed according to that data.

The Anatomy of Human Breath has been produced as a result of an ICT & ART Connect award in 2014. It was first exhibited at FoAM in Brussels (Belgium) and it has been presented to EU Parliament.

Prospectus For a Future Body – Ka Fai Choy
Can we design future memories for the body?

Is the body itself the apparatus for remembering cultural processes?

Prospectus For a Future Body proposes new perspectives on how the body remembers and invents technological narratives. Central to the project is the study of body movement in dance: How it can evolve, adapt or re-condition to possible futures?

Syncronicity – Stanza
What happens in world of merging data streams?

How will big data empower the system and does this added value allow more freedom or does it seek a more subversive form of control? “Synchronicity” manipulates real time transport data to re-interpret the city fabric as an organic pattern based system. Synchronicity becomes a hybridized maze, a cellular and organic system which is presented to the screen. The artwork uses real time bus and tube data from London.

Box Office Foyer – Fri 7-Sun 9 Nov, FREE
Dancing with Drones – Nina Kov in collaboration with COLLMOT Robotic Research Group directed by Pr Tamas Vicsek, Dept of Biological Physics of the Eotvos University of Budapest
The goal of this project is to show the peaceful, civil and creative applications for drones, and the possibilities opened up by collaboration between scientists and artists.Dancing with Drones aims to create a common ground for the study and understanding of movement and the organised succession of movement (choreography) for both humans and UAVs (Unmanned aerial vehicles). In this context, drones are considered and presented as choreographical agents. The importance of developing peaceful applications for drones by creating a connection with the public is more crucial then ever.
Riverside Gallery – Fri 7-Sun 9 Nov, FREE
Guerilla Toy Hacking – Exploring Senses CIC
The debate over ownership is becoming obsolete in a world where it’s possible to 3D scan, download and 3D print, traversing the data network, flip flopping between analog and digital, creating new manifestations of identity. Toy Hacking is a playful vessel for communicating such ideas, and provoking thoughts of a Surrealist gender blending nature, where everyone is replaceable.

Exploring Senses artists collaborate with citizens, stimulating creativity and independence within young people and communities. We enjoy sharing skills and knowledge, and provide educational experiences that combine arts, crafts, design, technology, sustainability, science, and engineering.

Hannah and David’s ongoing ‘CommuniToy’ Toy Hacking newpop Surrealist art project involves the reuse of toys destined for landfill to make new hybrid creations. The makers identity is often transferred into the made artefact.

The digital revolution is helping provide new opportunities for people to communicate andtransfer personal data through existing networks. Digital technologies such as 3D scanning and 3D printing are often used to replicate and transfer a persons identity. These process raise question about ownership and identity, and authenticity. Are people still unique, or are we now all replaceable?
Studio 1 – Fri 7 – Sun 9 Nov, FREE
Room 40 – Alex May
During the WW1 the code breaking section of the Admiralty was known as Room 40. GCHQ was originally established after the First World War as the “Government Code and Cypher School” and was known under that name until 1946. During the Second World War it was located at Bletchley Park, where it was famed for its role in the breaking of the German Enigma codes. In 2013, GCHQ received considerable media attention when NSA whistleblower Edward Snowden revealed that the agency was attempting to collect all online and telephone data in the UK via the Tempora programme. From its humble beginnings GCHQ now covers a site of 176 acres in Cheltenham, UK.

Room 40 is a video sculpture by Alex May that uses found media and real-time information to construct a profile of GCHQ from collected data alone, simultaneously sending out messages to the Internet that mention the facility, which may draw attention from the security services in a performative manner.

Studio 2 – Fri 7 – Sun 9 Nov, FREE
Jennifer Lyn Morone™ Inc

Personal data is a new resource exploited by industry for capital gain and by governments for control. Jennifer Lyn Morone™ Inc is an investigation aimed to determine the value of an individual in a data-driven world, where ownership of personal data can only be gained by incorporating one’s identity and re-appropriating capitalist mentality to seek financial gain.

The room is a reconstruction of the artist’s environment, which highlights the methods of self-tracking, data-mining and sousveillance. The compilation of her data, captured and displayed in real-time as the artist lives remotely, is projected in the space.

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