In 2019, Kunsthal Gent will become the new home for OFFoff. During the big reopening of Kunsthal, OFFoff will present a broadcast around Radio Triton, a collective research project initiated by Pierre Rubio and produced by a.pass.
Radio Triton is an intentionally hybrid dispositive, operating in the grey zones between archiving, documenting, publishing, performing and broadcasting. Invited by OFFoff, there will be a broadcast of a selection of pieces from the Radio Triton project. The edited audio pieces present different relations to sciencefiction cinema, storytelling, speculation, and politics of imagination, fictional or otherwise.
Radio Triton has been initiated by Pierre Rubio, artist, researcher and curator at a.pass. The project has been produced by a.pass and is technically, artistically en dramaturgically supported by Christian Hansen and Sina Seifee. Nourished by its participants, Radio Triton is an after effect of the artistic research seminar named Trouble on Radio Triton ((((((( changing (the) world (s) )))))) that was held in Brussels between January and April 2017 curated and organised by Pierre Rubio within the institution a.pass. The seminar gathered artists-researchers, lecturers, cultural workers and curators around the thorny problem of the relations between imagination and political agency and was concerned with issues addressing the potential (in)capacity of art in general to produce actual social changes and the (im)possible contribution of art to collective empowerment by means of artistic imagination and fictional speculation. At large, the main transversal questions that were raised with the seminar participants were: Do you -as artists- through your research contribute to changes in contemporary culture? And if so, what are the cultures generated by your research? Which alternative worlds does your artistic research/practice contain? What is the operative link between your artistic research and the future?
The radio will be hosted by Domes FM, an online radio station set up in the basements of the Bidston Observatoy Artistic Research Centre (BOARC). Located in the outskirts of Liverpool, BOARC is a not-for-profit study centre, focused on providing artists, writers, academics, performers etc with a cheap, temporary place to dictate their own methods of work, allowing them to come together and stay, to develop projects that require time and space, in a non-pressured environment.
On Friday the 25th of January, between 20h and 22h, there will be a broadcast from the basements of the Bidston Observatory by Edward Clive, one of the hosts of the space. In reaction to Radio Triton, he will bring a mix of soundtracks and queer experimental foley from the depths of sciencefiction cinema.
On Saturday the 26th of January, between 12h and 18h, one can follow and attend the live broadcast from Kunsthal Gent. There will be space for participation in diverse conversation formats held between the recorded audio pieces.
One can follow the broadcast online during the announced hours on http://bidstonobservatory.org/radio
Program: Sven Dehens
In his lecture An Animal Escape Case, Sina Seifee unpacks the destiny of a social media video file which created a social buzz in Teheran. He performs as the narrator of a kind of film in which he is both the witness and the main actor. The edited audio piece tries to bring back his (intense) presence and incarnated storytelling, as well as the many references and borrowings to popular culture both from Iran and the West. The piece puts the video back in motion critically, rebroadcasting it in a way.
The essay/performance investigates the fragile intersections of friendship between digital avatars and trans-animals in the social media in Tehran’s landscape. Through personal animal-findings and fairy-tale associations the An Animal Escape Case interprets the epistemological openings and closings in cross-species sociality, exemplified by the everyday use of mobile phones where images of pets circulate and different species meet in mediated formats. By analyzing everything that anthropomorphism can perform and contain, and seen through the animality in the situated conditions of contemporary domestic life, the essay/performance addresses the relationships between people, animals and their surroundings in a socio-technological milieu as complex as Tehran’s urban environment. (Sina Seifee)
Sina Seifee is an artist-researcher-storyteller working on poetics of animal description (ecological cosmologies of nonhumans-with-history). Born in Tehran (1982), he studied Applied Mathematics in Beheshti University and Visual Arts in Charsoo Institute of Art in Tehran. After moving to Germany in 2011, he graduated in Cologne with master diploma in Media Arts from Kunsthochschule für Medien Köln (2014) and received his postmaster in Advanced Performance and Scenography Studies from a.pass in Brussels (2017).
His work, realized in different forms of lecture-performances, reading group, workshops, image making, video and writing- is centered around the questions of technology, storytelling, globalism and intercultural mythologies in the heterogeneous knowledge-worlds of art and sciences, with attention to the premodern era.
Dr. Edward George, a founding member of Black Audio Film Collective, writer, researcher, and narrator of the seminal fiction-documentary film The Last Angel of History. In a rare live communication he shares the research processes and thinking that supported the creation of the film. The audio piece revisits George revisiting his work of revisiting the lineage of Afrofuturism.
The Last Angel of History is one of the most influential video-essays of the 1990s influencing filmmakers and inspiring conferences, novels and exhibitions. Black Audio Film Collective’s exploration of the chromatic possibilities of digital video is embedded within a mythology of the future that creates connections between black (un)popular culture, outer space and the limits of the human condition. The influential Black Audio Film Collective crafted this experimental blend of sci-fi parable and essay film, which also serves as an essential primer on the aesthetics and dynamics of contemporary Afrofuturism. Interviews with esteemed musicians, writers, and cultural critics are interwoven with the fictional story of the “data thief,” who must travel through time and space in search of the code that holds the key to his future.
Dr. Edward George is a founding member of Black Audio Film Collective (1982-1998), the multimedia duo Flow Motion (1996-present), and the electronic music group Hallucinator (1998-present). He lives in London.
Deborah Birch is a writer, poet and researcher. She is currently a participant to the a.pass program. She has been invited by OFFoff to take part in the broadcast with her sound piece Teresa in the Cave. The piece works through different fictions and imaginaries surrounding the figure of the cave, language and certain collectivity.
CAVES 1. ESCAPE. CAVES 2. RE-ENTRY. CAVES 3. TRANSPORT.
Caves 1 explores the metaphors for these escapes from the thermodynamics of everyday life. Before Caves 2 and Caves 3, where going in and out of the world becomes a specific practice that must decide how to perform the hermetic action of shuttling objects between one world and the other – intellectual objects, physical objects, energetic objects, political objects – Caves 1 experiments with escapes and their translations.
Caves 1 wants to find caves everywhere, up and down to infinity. To perceive teenagers making out and getting high under all car covers. To find the unhinged spark, the fire, the energy under every covered surface, in the mineral and the biological, in the microcosm and the macrocosm.
Caves 1 ascends by descending, and by sidewinding. It is transcendence into the mineral (the taste of salt on the skin, the ecstasy and horror of tears, the slick of sweat on the dancing body), into eros, into communion. It is the triangulation of language and desire that ’embodies a reach for the unknown’, towards ‘something not yet grasped’. It makes us realise our edges. It is thus a series of insides and a series of outsides. Not just the gesture of escaping into and escaping from, but also the chthonic daylight we seek in there – a ‘revelation of the unexpected, the unhoped-for’ – and what remains of that interior light when we reemerge into the bright day. What we do with it. (Deborah Birch)