His works consist of hybrid and mixed art forms from several genres and include installations, performances, projections and sound art. : )

Trepkodoune is a piece, which is based on Bulgarian and Japanese poetry. These poetries have a particular rhythm that is related to their own bodies memory, and we will transpose these unforgettable rhythms into concrete material shapes by using movement, voice, space, etc. Working with rhythm, which is related to their own bodies memory and sensitivity, means working with the invisible, the elusive, so the space in which we will move will transpose these characteristics as well. We will create layers in the space to show or hide parts of their bodies, to zoom in on a part of the body thats exposed and their movement for a moment. Yumi Osanai is Japanese dancer and choreographer, Boryana Todorova is Bulgarian actress and performer. They are concerned by thin traces which are the base of their identities and which continue to exist in their imaginations. We construct, layer by layer, and their aim is to create a piece where their particular body memories interlace.

In this collaboration, a series of boxes are made. In this video installation, the observer gets into an intimate world. The small hole in each box gives only a micro view on the video.

Production: CC Strombeek and Workspacebrussels Concept and performer: Yumi Osanai and Boryana Todorova Sound: Johann Loiseau Light: Emilie Shoumaker, Pictures: Brian Den Hartog Installation: Minh Duc Nguyen Support: VGC Thanks for: fieldworks, Ciril Clement, Emi Kodama, Satu Peltoniemi, Titanne Bregentzer, Drita Kotaji, Elisabeth Bard, Raymond Delepierre

Trepkodoune is a piece, which is based on Bulgarian and Japanese poetry. These poetries have particular rhythm that is related to their own bodys memory, and we will transpose these unforgettable rhythm into concrete material shapes by using movement, voice, space, etc.

trepkodoune

e close our eyes. What do we see? We look in the mirror. What do we see? We turn on the internet. What do we see? The means to reach out and communicate with everyone around the world are much greater than they ever used to be.

Archiving-gaps is an online platform that discusses, displays and publishes about artistic research on cultural heritage. Inherited objects tell stories that navigate between past and present, spaces (museums, institutions, public and private spaces) and overlapping ideologies (from imperialism to socialism). Archiving-gaps promotes the potential of multiple artistic practices to reconsider historical narratives and create new methodologies for heritage studies. In the long run, the project aims to foster dialogues on current struggles around different local and national memory policies while creating interstices for inter-disciplinary collaborations all around Europe.

Archiving-gaps has been initiated in 2019 by Patricia Couvet. It is a long-term curatorial research-based project which aims to evolve over time in various curatorial formats like exhibitions, lectures and publications. As a platform, it proposes to consider heritage study as a common and shared space of reflection for cultural workers and audiences.

The present state of research is the result of an on-going research project in Armenia (ICA Yerevan), Belgium, France, Georgia and Ukraine. Archiving-gaps proposes to deconstruct the economical and cultural dichotomy established in Europe after 1991 (USSR collapse). It encourages transnational artistic and cultural collaborations to foster a post-centralised process.

Archiving-gaps is an online platform that discusses, displays and publishes about artistic research on cultural heritage. 

archiving-gaps

BIOMETRIC EXIT is a solo exhibition by Montréal and New York based artist duo Jake Laffoley and Lionell Guzman. Their installation at MIDPUNKT, Iceland explores the normalisation of monitoring and surveillance in all domains of public and private life. Since the 90s CCTV cameras have been added in urban areas for the state purposes of “security”, but in fact are often used to create networks of hyper-surveillance and consumer formation. In a moment when the total number of people on earth is increasing at an unprecedented rate, surveillance is one of the few phenomena which is growing faster: in China there are currently 170 million cameras and it is projected by 2021 there will be 570 million.

BIOMETRIC EXIT explores the phenomenon of Autonomous Facial Recognition (AFR) which is controversially used as an algorithmic weapon. It has been well acknowledged that AFR technology’s current limitations have shown that the systems are inaccurate in identifying racial minorities, women, and transgender people. AFR is deployed on subjects who do not have the choice to opt out, while their biometrics are stored in private databases without consent. The American scholar Shoshana Zuboff has stated that surveillance capitalists simply declared our private experience to be theirs, and translated it into data for their private ownership and their proprietary knowledge. Often used in policing, the technology disproportionately harms people already subject to profiling.

The installation BIOMETRIC EXIT is comprised of an unreliable Computer Vision (CV) algorithm that creates real-time facial recognition, reading expressions and falsely noting predictive behaviours. A live database stores all attendees of the exhibition while a POS printer churns out all of the data in a physical format as part of a surveillance ecosystem. As a form of learning, how to disrupt, reject, and confuse the algorithm BIOMETRIC EXIT functions as a mitigated version of the CV apparatus. DIY dust masks are available as a facial camouflage for those attempting to view the exhibition incognito.

For the opening there was a satirical performance live streamed whereby we get the inverse experience of surveying into the bureau of a surveillance moderator played by Lionell Guzman. Curated: by Snæbjörn Brynjarsson and Ragnheiður Sigurðardóttir Bjarnarson Code: Manjit Bedi, Minh Duc Nguyen Assistance: Rachel Dare and Minh Duc Nguyen Supported by: the City of Kópavogur

BIOMETRIC EXIT is a solo exhibition by Montréal and New York based artist duo Jake Laffoley and Lionell Guzman.

Collection: nmd:collaborations

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