Flyer for the project. Image credit: Ursula Biemann, Acoustic Ocean, 2018. Video still

Digital Dramatizations: Ecologies from the Future

Fold II of Digital Ecologies: an international exhibition project in two folds

across two exhibition venues, the Center for Contemporary Art ‘Ancient Bath’ (6th September Str. 179) and the former tobacco warehouse SKLAD (Ekzarh Yosif Str. 16) in Plovdiv, Bulgaria.

With works on display and interventions by Donatella Bernardi, Ursula Biemann, Luchezar Boyadjiev, Johanna Bruckner, Sarah Burger, Delphine Chapuis Schmitz, Valko Chobanov, Voin de Voin & Marie Civikov, Jonas Etter, Anne-Laure Franchette, Monica Ursina Jäger, Stefanie Knobel, Marlene Maier, Boyan Manchev with Ani Vaseva and Leonid Yovchev (Metheor), Emil Mirazchiev, Uriel Orlow, Ursula Palla, Lourenço Penaguião Soares, Elodie Pong, Oliver Ressler, Tabita Rezaire, Dorothea Rust, Elza Sile, Kerstin Schroedinger, Pascal Schwaighofer, Venelin Shurelov, Sandro Steudler, Kamen Stoyanov, Milva Stutz, Katharina Swoboda, Una Szeemann / Bohdan Stehlik, Riikka Tauriainen, Lena Maria Thüring, Alexander Tuchaček, Borjana Ventzislavova, and Martina-Sofie Wildberger

with interventions and talks by the philosophers Boyan Manchev, Stanimir Panayotov, and Gerald Raunig

Curated by Dimitrina Sevova

Austrian participation co-curated by Katharina Swoboda

with organizational support from Emil Mirazchiev

04 May to 30 June 2019

Opening of the project Digital Ecologies:
Saturday 04 May 2019
(Ancient Bath, then SKLAD)

16:00h Doors open at the two venues

Ancient Bath

16:00h Dorothea Rust, performative intervention L’animoteur 9 — selfie or I am donkey and cacti

17:00h Welcome and introduction by Dimitrina Sevova, curator of the project, and Emil Mirazchiev, director of Art Today, organizer of the project, at Center for Contemporary Art ‘Ancient Bath’

SKLAD: the evening program continues

19:00h Boyan Manchev, public lecture The New Athanor, or Philosophy for the Future Nature, accompanied by a performance by Metheor (Ani Vaseva, Boyan Manchev and Leonid Yovchev), Theater of the Elements. A Diptych by Metheor
20:00 Short break
20:15 Gerald Raunig, talk One More Ecology, Futureless, but a Present Out of Joint
21:15 Discussion between Boyan Manchev, Gerald Raunig and the audience
21:45 Short break
22:00h Voin de Voin & Marie Civikov, performance Extinction Rebellion, 20′

The symposium, curated by Dimitrina Sevova, takes place in conjunction with the exhibition project Digital Ecologies and gives further insight and context on the works on display. It is a non-academical collection of events, performances, interventions, talks and discussions aimed at sharing knowledge and non-knowledge of eco-logic and aesthetic experience in togetherness with the audience.

Public Symposium in conjunction with the project Digital Ecologies:
Sunday 05 May 2019
at the former tobacco warehouse SKLAD (evening program at Ancient Bath)

SKLAD: Morning Session
10:30 Doors open, coffee
11:00 Introduction by Dimitrina Sevova, curator of the project
11:15 Artistic interventions by Milva Stutz, My Dear Lover, Elodie Pong, Paradise Paradox, and Borjana Ventzislavova, Magic Resistance
12:45 Short break
13:00 Discussion between the artists and the audience
13:30 Lunch break

SKLAD: Afternoon Session
15:30 Pascal Schwaighofer, performance-lecture &Absence&Abstinence
16:00 Venelin Shurelov, Presentation on Body Hacking
17:00 Luchezar Boyadjiev, talk The Anthropocene as a Prolonged-Release Anthropogenesis
17:45 Discussion between the artists and the audience
18:15 Short break
18:30 Kerstin Schroedinger, performance Matters of Practices/Actions/Doings, 25′, followed by screening of 16mm film by the artist, Fugue, 2015, 8′
19:15 Short Break
19:30 Uriel Orlow, lecture-performance Grey, Green, Gold, 25′, followed by discussion with the artist
20:15 Dinner break

Ancient Bath: Evening Program
21:30 Stefanie Knobel, performance A manifestation for the quasi-public

Public Symposium in conjunction with the project Digital Ecologies:
Monday 06 May 2019
at the former tobacco warehouse SKLAD

10:30 Doors open, coffee
11:00 Artistic interventions by Lourenço Soares, Jonas Etter, Elza Sile
12:30 Discussion between the artists and the audience
13:00 Donatella Bernardi, performance A suit made out of galactic towel followed by discussion with the audience
14:00 Lunch break
15:30 Oliver Ressler, talk Gathering around the Wreckage
16:30 Short break
16:45 Stanimir Panayotov, talk Disembodiment: The Future of Nature
17:30 Discussion with Oliver Ressler, Stanimir Panayotov and the audience
18:00 Short break
18:15 Alexander Tuchaček, performance-lecture paradise now – Echos from the Future
19:00 Dorothea Rust, performative urban intervention L’animoteur 8 — selfie or I am donkey, continued, starting at SKLAD, and the artist will lose herself in the public space of Plovdiv

Uriel Orlow, Imbizo Ka Mafavuke (Mafavuke’s Tribunal), 2017. Video still

Overview over the two folds

Digital Ecologies 2018-2019, Plovdiv, Bulgaria: an international exhibition project in two folds

Digital Ecologies is composed of two folds of an international group exhibition project and takes place across two venues, the Center for Contemporary Art ‘Ancient Bath’ and the former tobacco warehouse SKLAD in Plovdiv, Bulgaria. The first fold, an exhibition project under the title, Operaismo Naturale: Ecology of the Event, takes place from 27 July to 5 September 2018, with talks, interventions and performances on 28 and 29 July and on 5 September; and the second, Digital Dramatizations: Ecologies from the Future, an expanded exhibition project building on the first exhibition and its context, from 4 May to 30 June 2019, with an accompanying symposium on 5/6 May 2019.

The exhibition project spans two folds, one critical, the other speculative, back and forth, leaving a continuity of time between them to become a discontinuity of our collective living multiplicities in-between the two, to cast a bridge, an elastic spinal column between them with its own sensible temporality. The time between the two folds of Digital Ecologies matters. It is the time to negotiate between the two and consider the work that has to be done in everyday life. As the title of the first fold, Operaismo Naturale, suggests, it is time for urgent actions, i.e., the work and no work of inventions that are independent from productivity. Operaismo Naturale forges a body of collective and personal artistic research to activate compositional changes between human labor and natural habitats and their biodiversity.

[excerpt from the curatorial input; read the complete text here]

Text: Dimitrina Sevova

Johanna Bruckner, Holofuel / Terra X, 2018. Video still

Curatorial Input

Fold II; Digital Ecologies. Digital Dramatizations: Ecologies from the Future

Hamm: Nature has forgotten us.
Clov: There’s no more nature.
Hamm: No more nature! You exaggerate.
Clov: In the vicinity.

Samuel Beckett, Endgame (1955) [1]

In Beckett’s play Endgame, Clov periodically announces the extinction of various things listed by Hamm: there are no more bicycle wheels, pap, nature, sugarplums, tide, navigators, rugs, painkillers, coffins… At least, none remain in the vicinity. It is a haunted play and endgame, haunted by shades and echoes from the future and from the past, by the objects of which he wishes to create hallucination. Digital Dramatizations – Ecologies from the Future revolves around a mystery of objects to withdraw and the distinct obscurity of Beckett’s ecological thought. We wait for something that never arrives. It may have arrived in the no-where, but not in the now-here. And yet as we are waiting, there is an openness to the wonder in our wait that may lead to another encounter – an encounter with the Other, with something strange. We wait for things to become magically different without actually trusting the use of magic, and without realizing that we are ourselves responsible for any change we desire to happen. It is a strange stranger [2] yet to come, an aesthetic (dis)orientation of perceptions towards the future that Digital Dramatizations pursues. It awaits and speculates about the unknowable, a yearning for change and yet in our despair, the obscure object of anxiety and depression. The future is the time of the fall, when the dark becomes deeper and deeper and “the sorrow of the stranger might give us a different angle on happiness not because it teaches us what it is like or must be like to be a stranger, but because it might estrange us from the very happiness of the familiar.” [3]

Digital Dramatizations – Ecologies from the Future approaches ecology through an interspecies performance in a collaboration with non-human agents at the intersections of theater, theatricality, (un)acting and contemporary art. It concerns how ecological thought and its method of dramatization(s) can open up the potentialities of ecologies from the future, of life after life, of nature after nature, of the future after the future. It dis-plays new speculative realities caused by artistic experiment and sensibilization, which is a dramatization of data in the gap between what things are and how they are represented as data. Digital Dramatizations strives to find objects, not the raw sense of data, and dis-play them because the world of things calls for art. Ecological awareness is futurality and aesthetics from the future. And the object of art is the unknowable yet to come: “Art is (from) the future.” [4]

Ecology is neither a paradise nor an alternative to current reality. It is neither utopia nor dystopia, an anagrammatic movement like Erewhon, an anagram of utopia or inverted utopia, [5] like Sci-Fi projects are a refraction of uniform time and the present upon many futures. Ecological sensibility relates to symbioses, to things that co-exist in uneasy ways, says Morton. It calls up, in the potentialities opened up by these futures by rendering life strange, dis-embodied and incorporeal companions whose physicality takes place in humor.

[excerpt from the curatorial input; read the complete text here]

Text: Dimitrina Sevova

Notes

[1] Cf. archived page at <https://web.archive.org/web/20180224132141/http://www.samuel-beckett.net:80/endgame.html> (accessed 2019-03-10).

[2] Timothy Morton, “Thinking Ecology: The Mesh, The Strange Stranger, and the Beautiful Soul,” Collapse, Issue 6 (2010), pp. 265-293.

[3] Sara Ahmed, The Promise of Happiness, (New York: Duke University Press, 2016), p. 17.

[4] Timothy Morton, “Tim Answers an Email,” Ecology Without Nature (blog), 13 September 2017 <http://ecologywithoutnature.blogspot.com/2017/09/tim-answers-email.html> (accessed 2019-03-10).

[5] Samuel Butler, Erewhon: or, Over the Range (London: A. C. Fifield, 1910/1872) <http://www.gutenberg.org/files/1906/1906-h/1906-h.htm> (accessed 2016-02-27).

Oliver Ressler, The economy is wounded – let it die!, 2016. One of a series of photographs

A project of Art Тoday Аssociation, Plovdiv in collaboration with Corner College, Zurich.

Art Today Association    

The project is part of the program of Plovdiv 2019 - European Capital of Culture.

Donatella Bernardi, A suit made out of galactic towel

It is supported by the Municipal Foundation Plovdiv 2019, Pro Helvetia, National Cultural Fund Bulgaria, the Federal Chancellery of Austria (Bundeskanzleramt), and organized by the Art Today Association.

Plovdiv 2019     Pro Helvetia     National Cultural Fund Bulgaria
Bundeskanzleramt Österreich

Media partners

BNT     Katra FM
Media Cafe     Pod Tepeto

Vypreki     Kapana.bg

Kamen Stoyanov, Formation of Shadows, Part I: Tbilisi, 2018. Video still

Kamen Stoyanov, Formation of Shadows, Part I: Tbilisi, 2018. Video still

Fold II. Digital Ecologies: Digital Dramatizations – Ecologies from the Future

Donatella Bernardi

Donatella Bernardi, A suit made out of galactic towel

A suit made out of galactic towel

2019. Installation and performance at the symposium

Ursula Biemann

Ursula Biemann, Acoustic Ocean, 2018. Video still

Acoustic Ocean

2018. Video installation with audio, 18′

Ursula Biemann, Deep Weather, 2013. Video still

Deep Weather

2013. Video essay, 9′

Luchezar Boyadjiev

Luchezar Boyadjiev, Anthropocene. Cover Version, 2019. One of nine digital prints after Jan Brueghel the Younger

Anthropocene. Cover Version

2019. A set of 9 digital prints; digitally and hand-manipulated photographs after Jan Brueghel the Younger

Luchezar Boyadjiev, The Anthropocene as a Prolonged-Release Anthropogenesis, 2019. Image from the working process

The Anthropocene as a Prolonged-Release Anthropogenesis

2019. Talk at the symposium

Johanna Bruckner

Johanna Bruckner, Molecular Ghosts of Love, 2019. Video still

Molecular Ghosts of Love

2019. Film production for vertical cinema, 9:16


Johanna Bruckner, Holofuel / Terra X, 2018. Video still

Holofuel / Terra X

2019. Single-channel video installation

Sarah Burger

Sarah Burger, Landscapes, 2019. Digital print

Landscapes

2019. Six digital prints on fabric, each 145 × 97 cm, installed with aluminum bars and steel wire

Sarah Burger, Touches, 2018. Digital collage

Touches

2018. Seven digital collages printed on photo paper, each 21.9 × 30 cm, framed

Sarah Burger, Wasser, Blätter, Fels, 2018. Scanned composition printed on silk

Wasser, Blätter, Fels and Füsse, Ranken

2018. Two scanned compositions printed on silk, 178.75 × 130 cm each

Delphine Chapuis Schmitz

Delphine Chapuis Schmitz, WAITING2BGHOSTS-AGAIN, 2017. View of the installation at Swiss Art Awards, Basel. Photo: Office fédéral de la culture, Guadalupe Ruiz, 2017

WAITING2BGHOSTS-AGAIN

2017. HD video with sound, four screens, room, carpet

Valko Chobanov

Valko Chobanov, Wingspan of a heart, 2019

Wingspan of a heart

2017. Installation

Voin de Voin & Marie Civikov

Voin de Voin and Marie Civikov, Portal 2: Physical Property, 2019

Portal 2: Physical Property

2019. Installation

Extinction Rebellion

2019. Performance by Voin de Voin and Marie Civikov

Jonas Etter

Jonas Etter, Sepia (II.2, III, IV, V, IX), 2015. Inkjet prints

Sepia (II.2, III, IV, V, IX)

2015. Inkjet prints

Monica Ursina Jäger

Monica Ursina Jäger, Shifting Topographies: Forest Tales and Emerald Fictions, 2019

Shifting Topographies: Forest Tales and Emerald Fictions

2019. 3 channel HD, colour, sound, 16:9, 20′

Monica Ursina Jäger, Topographies, 2014

Topographies

2014. Installation

Stefanie Knobel

Stefanie Knobel, Interfacing the non-, 2019. Installation view at OnCurating Project Space, Zurich, September-October 2018. Photo: Miwa Negoro

Interfacing the non-

2018. Installation, laser on cotton, silicone, hand movements on flatscreen monitors

Stefanie Knobel, A manifestation for the quasi-public, 2018-. Solo performance at Aargauer Kunsthaus, 2019. Photo courtesy of the artist

A manifestation for the quasi-public

2018. Solo performance in the program of the symposium

Marlene Maier

Marlene Maier, Unreal Engines, 2019. Video still

Unreal Engines

2019. Single-channel video installation, 20′

Boyan Manchev with Ani Vaseva and Leonid Yovchev (Metheor)

Cover of Thomas Norton's Tractatus Chymicus

The New Athanor, or Philosophy for the Future Nature

2019. Lecture at the symposium by Boyan Manchev

accompanied by

Metheor, Roadtrip to Hell, 2017. Photo: Svoboda Tzekova

Theater of the Elements. A Diptych by Metheor
1. Hades: Mineralogy
2. Eros: Demonology

2019. Performance by Metheor (Ani Vaseva, Boyan Manchev and Leonid Yovchev)

Uriel Orlow

Uriel Orlow, Imbizo Ka Mafavuke (Mafavuke’s Tribunal), 2017. Video still

Imbizo Ka Mafavuke (Mafavuke’s Tribunal)

2017. HD video, black and white / colour, stereo, 16:9, 28′

Uriel Orlow, Grey, Green, Gold, 2015-2017

Grey, Green, Gold

2015-2019. Lecture-performance at the symposium, 25′

Ursula Palla

Ursula Palla, talking to the moon, 2018. Installation view

talking to the moon

2018. Video installation, sound, 9′, looped

Stanimir Panayotov

Mamoru Oshii, Ghost in the Shell, 1995. Film still

Disembodiment: The Future of Nature

2019. Talk at the symposium

Elodie Pong

Elodie Pong, Something in the Air (Just do it?) , 2019. One of a series of kinetic objects

Something in the Air (Just do it?)

Something in the Air (Just did it)

Something in the Air (Just doing it)

2019. Series of kinetic objects

Paradise Paradox

2019. Presentation at the symposium

Gerald Raunig

One More Ecology, Futureless, but a Present Out of Joint

2019. Talk at the symposium

Oliver Ressler

Oliver Ressler, The economy is wounded – let it die!, 2016. One of a series of photographs

The economy is wounded – let it die!

2016. Print on PVC, hung on the façade of the Ancient Bath

Oliver Ressler, Stranded, 2018. Digital print

Stranded

2015. Two digital prints on self-adhesive folio, from the series of photographs Stranded

Oliver Ressler in collaboration with Zanny Begg, Anubumin, 2017. Video still

Anubumin

2017. A film by Zanny Begg & Oliver Ressler, 18′

Oliver Ressler, The Visible and the Invisible, 2014. Video still

The Visible and the Invisible

2014. A film by Oliver Ressler, 20′

Oliver Ressler, Failed Investments, 2015. Digital print, 60 × 120 cm

Gathering around the Wreckage

2019. Artist talk, contribution to the symposium (05/06 May 2019)

Tabita Rezaire

Tabita Rezaire, Deep Down Tidal, 2017. Installation view, shown on a curved wall of LED panels, Goodman Gallery, Johannesburg, South Africa. Photo courtesy of the artist

Deep Down Tidal

2017. HD video, aspect ratio 16:4.5, 18′44″, edition of 3

Dorothea Rust

Dorothea Rust, L’animoteur 5 + 6 — selfie or I am donkey, 2018. Performance / Intervention at the Center for Contemporary Art Ancient Bath, in the public-space in Plovdiv, Bulgaria and at SKLAD, in the context of Digital Ecologies 2018-2019: an international exhibition project in two foldsFold I, 2018. Operaismo Naturale: Ecology of the Event. Selfie: Dorothea Rust

L’animoteur 8 — selfie or I am donkey, continued

2019. Performative intervention

L’animoteur 9 — selfie or I am donkey and cacti

2019. Performative intervention

Dorothea Rust, eyjafjallajökull, exercise no. 9, 2018/2019. Photo: Dorothea Rust & Arnold Häni

eyjafjallajökull

2018/2019. Video performance work

Elza Sile

Elza Sile, Domestic Sets, 2019. Photo: Elza Sile

Domestic Sets

2019. Installation, 1.8 m × 2.5 m × 5 m, tape, plaster, cardboard, metal, paint, transparent film

Kerstin Schroedinger

Kerstin Schroedinger, Matters of Practices/Actions/Doings, 2016. Performance

Matters of Practices/Actions/Doings

2016. Performance, 25′. Performative installation

Kerstin Schroedinger, Fugue, 2015. Film still

Fugue

2015. Film, 16mm, sound, b/w, 8′

Pascal Schwaighofer

Pascal Schwaighofer, &Abstinence&Absence, 2019. Lecture-performance on Viber in the symposium

&Abstinence&Absence

2019. Lecture-performance on Viber at the symposium

Venelin Shurelov

Venelin Shurelov (SubHuman Theatre), Up and Down (Горе-долу), 2018. Installation view

Up and Down (Горе-долу)

2018. Kinetic installations

Venelin Shurelov, Man Ex Machina, 2011. Cyber-lecture. Photo: Andreas .muk. Haider

Presentation on Body Hacking

2019. Presentation at the symposium, 60′

Sandro Steudler


Sandro Steudler, K20-B (Animation), 2007. Video still

K20-B (Animation)

2007. Video, looped, 3′06″

Lourenço Penaguião Soares

Lourenço Soares, Landscape Paradise: A Dialogue, 2018. Installation view

Landscape Paradise: A Dialogue

2018. Video, no sound, 7′ 34″

Lourenço Soares, IMAGES (Love Story Or Weather Forecast), 2019. One of a series of slides

IMAGES (Love Story Or Weather Forecast)

2019. Slideshow, sound

Lourenço Soares, Natural Death, 2018. Video still

Natural Death

2018. Video, no sound, 8′ 40″

Lourenço Soares, Of Gardens, 2019. Detail

Of Gardens

2019. Text on paper, wallpaper

Kamen Stoyanov

Kamen Stoyanov, Formation of Shadows, Part I: Tbilisi, 2018. Video still

Kamen Stoyanov, Formation of Shadows, Part II Gori, 2019. Video still

Kamen Stoyanov, Formation of Shadows, Part III Zemo Nikozi, 2019. Video still

Formation of Shadows, Part I: Tbilisi

2018. Short film, 18′

Formation of Shadows, Part II Gori

2018. Short film, 15′ 30″

Formation of Shadows, Part III Zemo Nikozi

2018. Short film, 25′

Milva Stutz

Milva Stutz, My Dear Lover, 2019

My Dear Lover

2018. Wall installation

Katharina Swoboda

Encyclopedia Britannica, Ant

The Ants (after Caryl Churchill)

2019. Audio work

Una Szeemann / Bohdan Stehlik

Una Szeemann, One silent drape, 2019. Detail

Una Szeemann, One silent drape

2019. Molleton fabric, stage props, size variable

Bohdan Stehlik, Some Stains Decay, Others Do Not, 2019

Bohdan Stehlik, Some Stains Decay, Others Do Not

2019. Installation, print on tarpaulin

Riikka Tauriainen

Riikka Tauriainen, Hydrocommons: Watery Bodies and Fluid Exchange, 2019. Installation view

Hydrocommons: Watery Bodies and Fluid Exchange

2019. Installation

Lena Maria Thüring

Lena Maria Thüring, Future Me, 2016. Video still

Future Me

2016. HD Video, single channel, 16:9, color, sound, German, Spanish, Portuguese, Turkish, Albanian, Macedonian, English titles, 11′ 49″

Alexander Tuchaček

Alexander Tuchaček, paradise now 2.0, 2015. Video installation with footage from paradise now - The Living Theatre, DVD by Marty Topp, 1968 - 2007

paradise now – Echos from the Future

2019. Site specific installation and live performance at the Symposium

Borjana Ventzislavova

Borjana Ventzislavova, And the sky clears up (specter-whisk), 2019. Inkjet on cotton paper, mounted on MDF, framed, 40 × 60 cm

And the sky clears up (specter-whisk)

2019. One of a series of inkjet prints on cotton paper, mounted on MDF, framed, 40 × 60 cm

Borjana Ventzislavova, And the sky clears up (MAGIC RESISTANCE), 2018. Video still

And the sky clears up (MAGIC RESISTANCE)

2018. 4K or HD, color, stereo, 23′

Martina-Sofie Wildberger

Martina-Sofie Wildberger, CONVERSATION PIECE: BOB AND ALICE, 2017/2018. Performance, 15′, with Martin Chramosta, view of the audience with T-shirts, Fondazione Giuliani, Rome, Italy

Conversation Piece: Bob and Alice

2017-2019. Installation, wallpaper, stack of T-shirts

Website: code flow / Alan Roth