Economic Express or Mobility Express Project Form: Cross-discipline Mediums: Sculpture, Performance, Installations, Film Artist-Author: reaction-lalou Exhibited: Technopolis-Industrial Museum of Athens-Greece-6th Video Art Festival 2010 Maktab Anbar Museum- Damscus Syria-Living Spaces-2nd AllArtNOW Festival 2010 Abstract Economic Express or Mobility Express is a frorzen project, a mirroring of a liminal zone identifying a form of embodiment and a metaphysical relation of the human within space-time; the journey of an avatar in physical space, as a metaphor of hybrid social environment; while liminal zones are virtual environments or spaces. A cross disciplinary project formed in layers of action. Questioning conceptions of time and space and the identity within time-space; the virtual and physical, natural and artificial, fiction and reality Economic Express or Mobility Express is questioning the virtual and real departing from Marx’s Alchemy of Capital. Economic Express or Mobility Express is formed in the layers of a hand crafted series of glass piggy bank containers, site specific performance installations as extensions of architecture, a voyage of the avatar on hold of a container filled with glass transparent piggy banks and the finish result of a mocumentary film. The choice of the countries and cities evolved where Greece, Syria, Turkey, Iceland and the Netherlands. All five countries where chosen for their political and economic virtues. Space and time becomes a theatrical stage using my body self as an ‘avatar’ basing my performance on a calculative improvisation composing action. In my research I point the roots of the Situationists and Asger Jorns approach of connecting object, space and performance practice. In each location there is a ‘ritual’ in monumental building sites or in public space, while each location has a fictional and real engagement. An avatar as a theatrical character directed from the real persona in real time and space based on improvisation composing action through the embodied sense; the object of the transparent glass containers in the shape of piggy banks as in the form of virtual thoughts. Virtual thoughts are traveling through physical space, landscape intrigues their consistency; they transform to objects becoming visible and coherent using as substance the urban planning, the history of past and present, transmuting their mean through their physical surround. Athens; the city of wisdom and fallacy of truth. 7th of May 2010: Square of the Tomb of the Unknown Soldier-Parliament of Athens. The days of the riots. I form my ritual at 7.00 in the morning the day after. Everything was clean. Perfomance Act 1: Constitution -A female persona dressed in white and in an undefined age holds a dark suticase pacing herself in the middle of the square lining in her knees and taking out of the suitcase five glass piggy bank containers which she places in a raw. Time stops, She takes a hammer and starts of braking two. Her hammer brakes. She picks her suitcase and places the remained glass piggy containers back in the suitcase and lives the stage. Athens- 7th -9th of May : Technopolis Industrial Museum of Athens. 6th Video Art Festival. Destillations Ovens. Perfomance Act 1 : Evaporating Thoughts. A wooden container stands in the side of the destillation ovens while the series of 100 of glass piggy banks has been set on the former destillation ovens for three days as a location active installation. Their exitense was almoost invisible. The staging of the installation was a silence performance, an staginf of an architectural expantion. After the finissage of the festival a ship leads the container to Chios Island, where a next boat was departing for the port of Cezme in Izmir. Customs Offices became the first stage of the avatar's indication. Glass piggy bank containers as the extention of human body in the years of the world economic crisis. No costs nore taxation, a dialogue about a art piece with indefined price and in the looks of a money saving banks. The paradox. 'There has been no expenses and no costs' a sentence following all possible dialogues thgouth customs, train conductore within borders o. Explaing that these are tools of an avatar. This paradoxical dialogue which has been holding the narration of an object becoming the subject in all possible forms of declaration of money of mobile art. Next location should be Damascus. A travel with buses for 36 hours lead all of them to Damscus city, the city of holies and holes. Damascus; the city of holies and holes. 25 May 2010; in extension of Time, Tradition and Performance Act 2: The Ritual. I walked in the hall of Maktab Anbar, where the audience of Damascus city has been wondering around the exquisite decorated hall coming across a stage of symbols and mainly piggs, transparent glass piggs. A wooden container -'box', with a small portable screen and a broken pig deficiently placed on it is revealing the root of the 'box' from the day of its departure from the North of Europe until the moment it arrived in the hall(the past). Next to the box, a line of transparent piggy banks. Their shine it was the only detail that made them visible within the outstanding islamic decoration of the space. In the middle of the hall stands an eight point star fountain, the form of nature in different religions, the core of the space and of my architectural dance; a geometrical narration (the future) in the right side of the space there was a set of high bronze pedestals where their top surfaces where dressed in white in order to hand a ground for an exhibit - my action was of an open laboratory (presence) Could they actually see me? I calculate the weight of each one of the piggs and percisely ingrave on the glass their weight and price. I transport each single glass pigg from the right part of the triptich to the left. from one section to the next and back, walking around calculating my steps following the geometrical line of the fountain, creating a pattern; an extension of an architectural form. Maktab Anbar was an old house. Build in 1887, from a hat full of diamonds. The travel continue. Next location shall be Istanbul. A 36 hours travel with trains and buses leads all of them to Istanbul. Istanbul; The bridge. I wanted to perform my ritual on the Bridge of Bosphorus. My first attempt in Istanbul, Perfomance Act 3: to gift or to sacrifice, my scripsy was to gift five glass piggy banks in the sea of Bosphorus. I have been stopped by the Bridge Police explaining the paradox of an embodied avatar in the year of Economic Crisis in the Ministry of Culture and Tourism and the from of ritual on the Bosphorus bridge. The Bridge was unreachable. Last day in Istanbul. Sultan Ahmet Parki. Between Ayasofya and Sultan Ahmet. The container, the avatar and the piggy banks ready to be sold. Islamic world and piggs are two none matching symbols . What is the role of identity in the forms of intercultural dialogue? A few hours later the train had to move the fragility of thoughts back to the Northern Europe in order to find a container ship that would sail through the northern industrial sea from Rotterdam to Reykjavik-Iceland. The project froze. Reykjavik :? Performance Act 4: The myth and the action ( to come). Last event in front of the parliament of den Haag. The day of the government announced the financial cuts for Culture in the Netherlands. Amsterdam: ? Performance Act 5: The epilogue - The brain and the Nuance of Identity within Space-Time. (to come) Economic Express or Mobility Express is the 'expedition' of the art project 'Piggtherapy', a location active project which is dated in 2005, as an in-situ installation action of a collection of transparent handcrafted piggy bank containers, with a long time exposure in de 'Oude Kerk' Museum of Amsterdam, as a sculpture in an found scaled wooden model, a replica of Basilica Church. The expedition plan took shape almoost within 20 days. Through the participation and support of two contemporary art festivals, the 6th Athens Video/* Art Festival in Technopolis- Industrial Museum of Athens and the 2nd contemporary Art Festival in Damascus Syria-Living Spaces, organized by AllArtNOW. the National Museum of Glass of Netherlands in Leerdam and the glass department of the Gerrit Rietveld Academie in Amsterdam, NIASD-the Netherlands Institute for Academic Studies in Damascus, the Ministry of Culture and Tourism in Istanbul, and the artists initiatives RoomService Amsterdam, SIM-the Association of Icelandic Artists, Crymo Gallery in Reykjavik, and with the support and participation of independent artists and real time audience becoming a stage for an accumulated performance. The project itself has been an experimental research of intercultural dialogue within the use of semantics, basing its means on the cognitive exploration of identity through performance actions. Therefore object becomes subject and subject becomes object. As human species we relate through history of facts and the crafts of objects. What is the role of an object and how an object becomes a narrator? The narrative and non-narrative material unfolds in real time through physical activity and in a context which is theatrical though not necessarily pre-composed, based on interaction and improvisation. How can a product become a stage within itself for the articulation of research on how do we perceive space and identity within space. How does time-space become a stage. Artist-Author For the last three years I have been working in cross discipline form with designed objects , spatial installations, performances and film. My interest lays in cognitive science immersed by laws of natural sciences, ontology and linguistics. I am looking for the relation of space – time and identity within space time. My research drives through material study. In 2008 I have reformed my working environment as reaction-lalou. Using the term reaction as a response to space, mean and form. Transparency, mirroring and lenses are becoming the sense. With the fluidity of melting point and sound as well the texture of breaking point I am living the ‘en soir en pour soi’; researching the duality of the intermediary space of conscious and subconscious, using glass as a ‘brain lens’. I re-act so I can re-form creating architectural expansions, responsive environments, sculptural objects and instruments within the theme of trans-vers, trans-natural as in the sense of deconstruction of space and reconstruction of the mind. Objects are a form of space; I glass blow my containers so to carry an inner space confronting an insight. In terms of relative space and list of objects in the universal space the human body accounts as well as a container.
Economic Express or Mobility Express Project Form: Cross-discipline Mediums: Sculpture, Performance, Installations, Film Artist-Author: reaction-lalou Exhibited: Technopolis-Industrial Museum of Athens-Greece-6th Video Art Festival 2010 Maktab Anbar Museum- Damscus Syria-Living Spaces-2nd AllArtNOW Festival 2010 Abstract Economic Express or Mobility Express is a frorzen project, a mirroring of a liminal zone identifying a form of embodiment and a metaphysical relation of the human within space-time; the journey of an avatar in physical space, as a metaphor of hybrid social environment; while liminal zones are virtual environments or spaces. A cross disciplinary project formed in layers of action. Questioning conceptions of time and space and the identity within time-space; the virtual and physical, natural and artificial, fiction and reality Economic Express or Mobility Express is questioning the virtual and real departing from Marx’s Alchemy of Capital. Economic Express or Mobility Express is formed in the layers of a hand crafted series of glass piggy bank containers, site specific performance installations as extensions of architecture, a voyage of the avatar on hold of a container filled with glass transparent piggy banks and the finish result of a mocumentary film. The choice of the countries and cities evolved where Greece, Syria, Turkey, Iceland and the Netherlands. All five countries where chosen for their political and economic virtues. Space and time becomes a theatrical stage using my body self as an ‘avatar’ basing my performance on a calculative improvisation composing action. In my research I point the roots of the Situationists and Asger Jorns approach of connecting object, space and performance practice. In each location there is a ‘ritual’ in monumental building sites or in public space, while each location has a fictional and real engagement. An avatar as a theatrical character directed from the real persona in real time and space based on improvisation composing action through the embodied sense; the object of the transparent glass containers in the shape of piggy banks as in the form of virtual thoughts. Virtual thoughts are traveling through physical space, landscape intrigues their consistency; they transform to objects becoming visible and coherent using as substance the urban planning, the history of past and present, transmuting their mean through their physical surround. Athens; the city of wisdom and fallacy of truth. 7th of May 2010: Square of the Tomb of the Unknown Soldier-Parliament of Athens. The days of the riots. I form my ritual at 7.00 in the morning the day after. Everything was clean. Perfomance Act 1: Constitution -A female persona dressed in white and in an undefined age holds a dark suticase pacing herself in the middle of the square lining in her knees and taking out of the suitcase five glass piggy bank containers which she places in a raw. Time stops, She takes a hammer and starts of braking two. Her hammer brakes. She picks her suitcase and places the remained glass piggy containers back in the suitcase and lives the stage. Athens- 7th -9th of May : Technopolis Industrial Museum of Athens. 6th Video Art Festival. Destillations Ovens. Perfomance Act 1 : Evaporating Thoughts. A wooden container stands in the side of the destillation ovens while the series of 100 of glass piggy banks has been set on the former destillation ovens for three days as a location active installation. Their exitense was almoost invisible. The staging of the installation was a silence performance, an staginf of an architectural expantion. After the finissage of the festival a ship leads the container to Chios Island, where a next boat was departing for the port of Cezme in Izmir. Customs Offices became the first stage of the avatar's indication. Glass piggy bank containers as the extention of human body in the years of the world economic crisis. No costs nore taxation, a dialogue about a art piece with indefined price and in the looks of a money saving banks. The paradox. 'There has been no expenses and no costs' a sentence following all possible dialogues thgouth customs, train conductore within borders o. Explaing that these are tools of an avatar. This paradoxical dialogue which has been holding the narration of an object becoming the subject in all possible forms of declaration of money of mobile art. Next location should be Damascus. A travel with buses for 36 hours lead all of them to Damscus city, the city of holies and holes. Damascus; the city of holies and holes. 25 May 2010; in extension of Time, Tradition and Performance Act 2: The Ritual. I walked in the hall of Maktab Anbar, where the audience of Damascus city has been wondering around the exquisite decorated hall coming across a stage of symbols and mainly piggs, transparent glass piggs. A wooden container -'box', with a small portable screen and a broken pig deficiently placed on it is revealing the root of the 'box' from the day of its departure from the North of Europe until the moment it arrived in the hall(the past). Next to the box, a line of transparent piggy banks. Their shine it was the only detail that made them visible within the outstanding islamic decoration of the space. In the middle of the hall stands an eight point star fountain, the form of nature in different religions, the core of the space and of my architectural dance; a geometrical narration (the future) in the right side of the space there was a set of high bronze pedestals where their top surfaces where dressed in white in order to hand a ground for an exhibit - my action was of an open laboratory (presence) Could they actually see me? I calculate the weight of each one of the piggs and percisely ingrave on the glass their weight and price. I transport each single glass pigg from the right part of the triptich to the left. from one section to the next and back, walking around calculating my steps following the geometrical line of the fountain, creating a pattern; an extension of an architectural form. Maktab Anbar was an old house. Build in 1887, from a hat full of diamonds. The travel continue. Next location shall be Istanbul. A 36 hours travel with trains and buses leads all of them to Istanbul. Istanbul; The bridge. I wanted to perform my ritual on the Bridge of Bosphorus. My first attempt in Istanbul, Perfomance Act 3: to gift or to sacrifice, my scripsy was to gift five glass piggy banks in the sea of Bosphorus. I have been stopped by the Bridge Police explaining the paradox of an embodied avatar in the year of Economic Crisis in the Ministry of Culture and Tourism and the from of ritual on the Bosphorus bridge. The Bridge was unreachable. Last day in Istanbul. Sultan Ahmet Parki. Between Ayasofya and Sultan Ahmet. The container, the avatar and the piggy banks ready to be sold. Islamic world and piggs are two none matching symbols . What is the role of identity in the forms of intercultural dialogue? A few hours later the train had to move the fragility of thoughts back to the Northern Europe in order to find a container ship that would sail through the northern industrial sea from Rotterdam to Reykjavik-Iceland. The project froze. Reykjavik :? Performance Act 4: The myth and the action ( to come). Last event in front of the parliament of den Haag. The day of the government announced the financial cuts for Culture in the Netherlands. Amsterdam: ? Performance Act 5: The epilogue - The brain and the Nuance of Identity within Space-Time. (to come) Economic Express or Mobility Express is the 'expedition' of the art project 'Piggtherapy', a location active project which is dated in 2005, as an in-situ installation action of a collection of transparent handcrafted piggy bank containers, with a long time exposure in de 'Oude Kerk' Museum of Amsterdam, as a sculpture in an found scaled wooden model, a replica of Basilica Church. The expedition plan took shape almoost within 20 days. Through the participation and support of two contemporary art festivals, the 6th Athens Video/* Art Festival in Technopolis- Industrial Museum of Athens and the 2nd contemporary Art Festival in Damascus Syria-Living Spaces, organized by AllArtNOW. the National Museum of Glass of Netherlands in Leerdam and the glass department of the Gerrit Rietveld Academie in Amsterdam, NIASD-the Netherlands Institute for Academic Studies in Damascus, the Ministry of Culture and Tourism in Istanbul, and the artists initiatives RoomService Amsterdam, SIM-the Association of Icelandic Artists, Crymo Gallery in Reykjavik, and with the support and participation of independent artists and real time audience becoming a stage for an accumulated performance. The project itself has been an experimental research of intercultural dialogue within the use of semantics, basing its means on the cognitive exploration of identity through performance actions. Therefore object becomes subject and subject becomes object. As human species we relate through history of facts and the crafts of objects. What is the role of an object and how an object becomes a narrator? The narrative and non-narrative material unfolds in real time through physical activity and in a context which is theatrical though not necessarily pre-composed, based on interaction and improvisation. How can a product become a stage within itself for the articulation of research on how do we perceive space and identity within space. How does time-space become a stage. Artist-Author For the last three years I have been working in cross discipline form with designed objects , spatial installations, performances and film. My interest lays in cognitive science immersed by laws of natural sciences, ontology and linguistics. I am looking for the relation of space – time and identity within space time. My research drives through material study. In 2008 I have reformed my working environment as reaction-lalou. Using the term reaction as a response to space, mean and form. Transparency, mirroring and lenses are becoming the sense. With the fluidity of melting point and sound as well the texture of breaking point I am living the ‘en soir en pour soi’; researching the duality of the intermediary space of conscious and subconscious, using glass as a ‘brain lens’. I re-act so I can re-form creating architectural expansions, responsive environments, sculptural objects and instruments within the theme of trans-vers, trans-natural as in the sense of deconstruction of space and reconstruction of the mind. Objects are a form of space; I glass blow my containers so to carry an inner space confronting an insight. In terms of relative space and list of objects in the universal space the human body accounts as well as a container.