Benutzer:Valerie Fuchs/konditionpluriel

Vorlage:Infobox artist

kondition pluriel is a transdisciplinary performance company that combines digital art and body-based performance. Operating between Canada and Austria, it was founded in 2000 by artistic co-directors Marie-Claude Poulin and Martin Kusch. In evolving productions presented internationally, the latest digital media devices and processes are integrated into live interactive, immersive performance/installations in which spectators collaborate, often with each other and with performers, shaping the work through their aesthetic choices. Themes range from mediated forms of presence and technology as a body extension to human rights, migration, and ubiquitous surveillance.^[1]

The company’s works question the relationship between human beings and technology, exploring the tensions and hybridizations that emerge when the natural merges with the artificial and when reality becomes mixed, augmented by virtual elements. The bodies of performers and spectators play a central role in kondition pluriel’s productions, which range from spectator interaction with/through electronic devices to immersive VR and AR experiences. Spectators participate by collaborating in a back-and-forth feed that influences the configuration of the work, and at the same time, gives rise to communication among participants in a socializing perspective. kondition pluriel’s performative works intricately integrate complex tech devices and processes, several of which the company has designed, in a playful but trenchant criticism of the omnipresence and invasiveness of technology in society.

Throughout the past two decades, kondition pluriel has sought to articulate a new artistic grammar in interactive, immersive installations/performances where human bodies fuse with machines/technology. Sensor-based works of the 2000s (schème, scheme II, and recombinant) are autopoiëtic allegories of the invasion and transformations of bodies by technology. Movement data of performers and spectators are translated into sound, images, and light; mobile screens cause spectators to move, thereby co-creating the choreography.

The body is an interface in entre-deux^[2], Myriorama^[3], the puppet(s)^[4], and passage^[5], hybrid performance-installations that integrate remote communication tools, underlining their voyeuristic potential. Tele-presence and geo-location allow spectators to interact with performers or with each other and become co-authors of the narrative.

Auto-reflexive works exploring the relationship between the animate and the inanimate, the living and the artificial, led off the 2010s. The passage from analog to digital and the value given to art objects is questioned in the exhibition of 3D print-outs, Digital Accidents^[6] and in the installation Abandoned^[7], in which a supposed digital work station reveals itself as an orchestrated room. In [In code]^[8], a mix of generative visualization and the hybridization of somatic practices and choreography, spectators observe the slow agony of organic and artificial beings (the pixels).

From 2015, the company introduced architectural mapping into the choreographic installations Enjeux^[9] and At Play^[10], where video projections follow the contours of dancers’ bodies and scenographic elements manipulated by spectators. The questioning of the relationship between technology and the body takes on a human rights perspective.

Custom-made digital visual composition systems and apps are used in recent VR and AR installations. The installation-performance Swarming Lounge^[11] reflects on our addiction to screens as visitors interact with virtual characters via their own smartphones. In Diver^[12], spectators using headsets rearrange video captures from the body of an Olympic diver, making a generic, athletic body accessible to their “normal bodies” and experiencing a kinesthetic thrill. The tension between high performance and its representation, and the centralization of control and its apportionment underlie the concept.

kondition pluriel has been a leader in the development of the potential of the fulldome as an immersive medium for digital/performance installations where spectators interact with the performers, with each other, and with the work. Intérieur^[13], the world’s first choreographic work for a fulldome VR environment, inaugurated the Satosphere dome theatre of the SAT, with the participation of 14 performers and offerings of culinary creations inspired by the theme of the multi-sensory event; a version adapted for headsets, Inner Voices^[14], followed. Liminal Spaces^[15] was created during the company’s coordination of the European Mobile Dome Lab. In the dome-space, spectators move in fluid interactive landscapes, massive facades, and virtual labyrinths, climaxing in an enveloping audiovisual shower of words, critical reflections on surveillance and the N.S.A. And in the Future Room^[16], a metaphorical prediction machine, inside the dome, twelve information clouds on the future of our digital society are activated by spectators through voice recognition interaction. All of kondition pluriel’s fulldome works are presented in Europe, Canada, and around the world.

kondition pluriel’s continual development of custom-made digital tools and processes for its interactive performative works as soon as new media phenomena emerge has expanded from using a wireless sensor system, GPS communication, telematics, webcam, and live video stream to experimenting with mobile phones and text messaging, camera tracking by shape recognition, cloud point imaging, a 3D-video mapping system, a voice recognition system, and mobile and 360° projection. The company has adapted and refined digital visualization technologies (VR, AR, digital visual dome technology, sensory optical face- and emotion-recognition/regulation, and architectural projection mapping).

Other projects focus on integrating machine learning and artificial intelligence into the company’s tech systems in order to elaborate an artistic language that combines real and virtual performative bodies, interactive media, and intelligent machines.

With its international trans-disciplinary works, kondition pluriel closely collaborates with artists in other fields; this includes the essential contribution of sound artist Alexandre St-Onge. Commissions and collaborations are carried out with foremost media researchers such as Peter Weibel, Ruth Schnell, and Petra Gemeinböck, among others.

The company is involved in/leads collaborative long-term digital arts research projects and groups, most recently with the European Mobile Dome Lab for Artistic Research (2007-2013), the Digital Synesthesia Group (2014-2016), Socially Aligned Visual Art Technology and Perception (SAVATAP, 2017-2021), Machine Learning and Artificial Intelligence for Creation (2018-20), and Dancing with the Nonhuman (2019)^[17]. kondition pluriel’s participation in these projects entails the creation and public presentation of works in related exhibitions, festivals, and other arts events.

kondition pluriel’s performative installations have been presented in over a dozen countries at festivals and other digital arts, dance, and transdisciplinary arts events, as often in situ as in galleries, museums, and theatres. Venues have included Dance Umbrella London, Itau Cultural São Paulo, Festival Transmediale Berlin, ZKM Karlsruhe, ISEA, Festival Bains numériques d'Enghien, and the Cynet Art Festival Dresden.

In 2019-2020, works were presented at iX Montreal at the Society for Arts and Technology, the Havana XIII Biennale^[18], Robot Love^[19] in Eindhoven, Holland, Zagreb Animafest^[20], and the Vienna Openings Festival. The works have also been adapted for exhibition in Hong Kong and in Vienna (Kunstraum Niederoesterreich^[21] and MAK Vienna).

Creations were co-produced with partners Future Physical, London; DieTheater, Vienna; ZKM, Karlsruhe; EMPAC, Troy (NY); MuseumsQuartier, Vienna; the Banff New Media Institute; the Daniel Langlois Foundation for Art, Science and Technology, Canada, and the Society for Arts and Technology [SAT], Montreal, among others.

Swarming Lounge, Gallery, Tunnel (2018) is a site-specific mixed-reality installation-performance in which visitors are invited to interact with dancer/performers and virtual characters appearing on their smart-phones.

_{Shown among others:}

• Swarming Tunnel, Animafest, Grič Tunnel, Zagreb, HR, 2019
• Swarming Gallery, #fuckreality exhibition/ Vienna Art Week 2018, Kunstraum Niederoesterreich, Vienna, AT, 2018
• Swarming Lounge, Robot Love exhibition, Campina Milk Factory, Eindhoven, NL, 2018

Diver (2018) is an interactive installation accessed via a virtual reality headset. The work presents multiple subjective points of view captured by the body of an Olympic diver, executing different types of dives. This interactive installation is presented using a virtual reality head-mounted display apparatus that integrates the aesthetic choices of the user.

_{Shown among others:}

• Animafest, Grič Tunnel, Zagreb, HR, 2019
• XIII Havana Biennale, Ludwig Foundation, Havana, CU, 2019
• #fuckreality exhibition/ Vienna Art Week 2018, Kunstraum Niederoesterreich, Vienna, AT, 2018

^{(participative fulldome installation, 2017)}

The work is an interactive installation in a fulldome. Thirteen information clouds are projected here, from which visitors are asked to select individual terms and choose them using a voice recognition system. By speaking into a microphone, they trigger a corresponding presentation. The terms include words such as artificial intelligence, genomes, education, energy, migration and many more.

_{Shown among others:}

• Ars Electronica Festival 2020, in Kepler's Gardens, JKU Campus, Linz, AT, 2020
• Aesthetics of Change Exhibition, Museum for Applied Arts MAK, Vienna, AT, 2018
• Understanding Art & Research, ADM Gallery, NTU, Singapore, SG, 2018

^{(interactive audiovisual installation, 2016)}

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_{Shown among others:}

• ISEA2016, Hong Kong, CN, 2016
• Digital Synesthesia, AIL, Vienna, AT, 2016

• Swarming Lounge, Gallery, Tunnel (site-specific mixed-reality installation-performance, 2018)
  • among others exhibited at Animafest, Grič Tunnel, Zagreb, HR (2019), XIII Havana Biennale, Ludwig Foundation, Havana, CU (2019) or #fuckreality exhibition/ Vienna Art Week 2018, Kunstraum Niederoesterreich, Vienna, AT (2018)
• Diver (interactive installation accessed via a virtual reality headset, 2018)
  • among others exhibited at iX Symposium, SAT, Montreal, CA (2019), Animafest, Grič Tunnel, Zagreb, HR (2018) or #fuckreality exhibition/ Vienna Art Week 2018, Kunstraum Niederoesterreich, Vienna, AT (2018)
• Future Room (participative fulldome installation, 2017)
  • among others exhibited at Understanding Art & Research, UCLA, Los Angeles, USA (2019), iX Symposium, SAT, Montreal, CA (2018) or Museum for Applied Arts MAK, Vienna, AT (2017)

• Swarming Lounge, Gallery, Tunnel (site-specific mixed-reality installation-performance, 2018)
• Diver (interactive installation accessed via a virtual reality headset, 2018)
• Future Room (participative fulldome installation, 2017)
• At Play (interactive audiovisual installation, 2016)
• Liminal Spaces (performance-installation for a fulldome space, 2014)
• Enjeux (choreographic performance and projection mapping, 2014)

• 2022/23: Flood (projection mapping)
• 2018: Swarming Lounge, Gallery, Tunnel (site-specific mixed-reality installation-performance)
• 2018: Diver (interactive installation accessed via a virtual reality headset)
• 2017: Future Room (participative fulldome installation)
• 2016: At Play (interactive audiovisual installation)
• 2014: Liminal Spaces (performance-installation for a fulldome space)

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• 2022:
• 2020: Liminal Spaces re-edited, immersive installation for fulldome, Ars Electronica Festival 2020, in Kepler's Gardens, JKU Campus, Linz, AT
• 2019: Understanding Art & Research, Museum for Applied Arts MAK, Vienna, AT
• 2019: Future Room, participative fulldome installation, Understanding Art & Research, UCLA, Los Angeles, USA
• 2019: Diver, interactive installation accessed via a virtual reality headset, Animafest, Grič Tunnel, Zagreb, HR
• 2018:Swarming Lounge, site-specific mixed-reality installation-performance, Robot Love exhibition, Campina Milk Factory, Eindhoven, NL

Liminal Spaces re-edited, immersive installation for fulldome, Ars Electronica Festival 2020, in Kepler's Gardens, JKU Campus, Linz, AT

Understanding Art & Research, Museum for Applied Arts MAK, Vienna, AT

Inner Voices, immersive 360° film for fulldome, Glowing Globe festival, Rijeka, HR

Future Room, participative fulldome installation, Openings festival, Vienna, AT

Swarming Lounge, site-specific mixed-reality installation-performance, iX Symposium, SAT, Montreal, CA

Swarming Lounge, site-specific mixed-reality installation-performance, Robot Love exhibition, Campina Milk Factory, Eindhoven, NL

Future Room, participative fulldome installation, Aesthetics of Change Exhibition, Museum for Applied Arts MAK, Vienna, AT

• D. Charitos, M. Kusch, M. Phillips, M.-C. Poulin, R. Schnell (2015) EMDL European Mobile Dome Lab for Artistic Research, conference proceedings, ISEA2015 – Disruption, Vancouver, Canada. ISSN: 2451-8611. ISBN: 978-1-910172-00-1.
• Kusch, M., (2018) Virtual Reality – a medium needs art, dans #fuckreality, M. Kusch, A. Schantl, R. Schnell (eds) Verlag Moderne Kunst, Vienna.
• Kusch, M., 2009, “Body, Space, Movement and Interactive Technologies in the Performance-Installation Passage” in New Realities: Being Syncretic, Ascott, Bast, Jahrmann, Schnell, eds., Vienna, Austria, Springer WienNewYork, pp. 174-178
• Kusch, M., 2008. “Body, Space, Movement and Interactive Technologies in the Performace-Installation Passage” in C. Sommerer, ed., Interface Cultures, Bielefeld: transcript Verlag, 2008, pp. 237-244
• M.-C. Poulin and M. Kusch, (2016) “Diver: a cyber-kinesthetic installation” in Digital Synesthesia: A Model for the Aesthetics of Digital Art, R. Schnell, K. Gsöllpointner, R. Schuler (eds), Edition Angewandte, Vienna.
• M.-C. Poulin and M. Kusch, (2016) “At Play: a moment in the life of objects” in Digital Synesthesia: A Model for the Aesthetics of Digital Art, R. Schnell, K. Gsöllpointner, R. Schuler (eds), Edition Angewandte, Vienna.
• M.-C. Poulin and M. Kusch, 2010, "Passage: a hybrid of interactive installation and performance," ISEA 2010 RUHR, Conference Proceedings of the 16th International Symposium on Electronic Art, Revolver Publishing, Berlin, Germany, pp. 51-52
• M.-C. Poulin and M. Kusch, 2008, "Passage", Cynetart_08, Internationales Festival für Computer Kunst, Dresden, Germany, TMA Publikationen, pp. 74-7
• M.-C. Poulin and M. Kusch, 2008, kondition pluriel "Towards a Fusion of Performance and Installation", Cynetart_08, Internationales Festival für computer kunst, Dresden, Germany, TMA Publikationen, pp. 76-83
• M.-C. Poulin, 2009, Program to Perform: Exploring Dance and New Media, Kedja Oslo Dance and New Media, eds. Ine Therese Berg and Lyse Amy Hansen, Oslo, Norway, pp. 86-91

1. ↑ k-pluriel - about. Abgerufen am 26. Januar 2021. 
2. ↑ k-pluriel - entre-deux. Abgerufen am 26. Januar 2021. 
3. ↑ k-pluriel - myriorama. Abgerufen am 26. Januar 2021. 
4. ↑ k-pluriel - the puppet. Abgerufen am 26. Januar 2021. 
5. ↑ k-pluriel - passage. Abgerufen am 26. Januar 2021. 
6. ↑ k-pluriel - Digital Accidents. Abgerufen am 26. Januar 2021. 
7. ↑ k-pluriel - abandoned. Abgerufen am 26. Januar 2021. 
8. ↑ k-pluriel - [In code]. Abgerufen am 26. Januar 2021. 
9. ↑ k-pluriel - Enjeux. Abgerufen am 26. Januar 2021. 
10. ↑ k-pluriel - at-play. Abgerufen am 26. Januar 2021. 
11. ↑ k-pluriel - Swarming Lounge, Gallery, Tunnel... Abgerufen am 26. Januar 2021. 
12. ↑ k-pluriel - Diver. Abgerufen am 26. Januar 2021. 
13. ↑ k-pluriel - Intérieur. Abgerufen am 26. Januar 2021. 
14. ↑ k-pluriel - Inner Voices. Abgerufen am 26. Januar 2021. 
15. ↑ k-pluriel - E/M/D/L. Abgerufen am 26. Januar 2021. 
16. ↑ k-pluriel - Future Room. Abgerufen am 26. Januar 2021. 
17. ↑ Presse Detail. Abgerufen am 26. Januar 2021. 
18. ↑ #fuckreality. Abgerufen am 26. Januar 2021. 
19. ↑ kondition pluriel • Robot Love. In: Robot Love. Abgerufen am 26. Januar 2021 (amerikanisches Englisch). 
20. ↑ animafest.hr. Abgerufen am 26. Januar 2021. 
21. ↑ VIENNA ART WEEK. Abgerufen am 26. Januar 2021.