REACCLIMATING THE STAGE (SKENOMORPHOSES)

vincent roumagnac

REACCLIMATING THE STAGE (SKENOMORPHOSES) An Ecotonal Doctoral Piece in 40 Scènes, 15 Parergonal Writings and 5 Double-Postcards. From the perspective of mise-en-scène (staging), and correlatively that of the place and the practice of the metteur-en-scène (theatre director), this artistic research project addresses, examines and experiments on the question of the scenic/scenographic representation of a postnatural world, in climate transition, affected by global warming and moved by abstract data-flows, in a tangled web of storms, information, and algorithms. While lived and conceptual "time", no longer telically given as linear and chronological, is being anthropodecentered and, therefore, diffracted into an open plurality, the Reacclimating the Stage (Skenomorphoses) artistic research project takes the earlier notion of time as a raw material to reexamine, from an eco-scenic and research perspective, in order to transform the theatrical practice of its author and to trigger the latter’s specific contribution to artistic research milieu. By obliquely playing on one hand with memories of theatrical history of scenic internal modi operandi, architecture, and literature, and on the other hand with institutional requirements for doctoral research appearance, the project aims at repositioning the director's practice in a movement of transition of scenic thinking and imaginary through a series of artistic and research experiments, whose enactments and resonant redistribution are poetically at interpretative play in this exposition.

trans ^{-lation/-duction/-scription}

Seminar Performed Presentations

Performing Arts Research Centre, Helsinki

trans ^{-lation/-duction/-scription} is a triptych of contributive performative/performed/staged/exhibited/exposed interventions-experiments on technologies of (re)writing in artistic research in the frame of the three-year series of seminars Architechtonics of Sense/Aesthetic Thinking/Medium of Research convened by Mika Elo and Miika Luoto on the doctoral platform of the University of the Arts of Helsinki during the three first years of the doctoral project.

trans–lation (or The curator’s voice) consisted of the infra-reenactment of the exhibition The Translator’s Voice curated by Martin Waldmeier in 2015 (Frac Lorraine, France). The experiment was based on the reenactment of the frame(s) of the original exhibition: the technological frames used for the display of the works and the exegetic frames used to introduce the works (texts found in the press-release of the original exhibition). Visitors were invited to enter the situation of an exhibition “in the building”, before the artworks would arrive. A guided tour was then put on, simultaneously in English and in French, to introduce all missing works through the texts written by the curator of the original exhibition for the mediation of the show.

trans-duction is an experiment carried out with sound artist and researcher Jari Kauppinen. It consisted of a live translation of the documented lecture Vers un art de l’hypercontrôle by Bernard Stiegler (played on youtube) – on general organology, societies of hypercontrol and neganthropocene – from French to English, the translation being simultaneously transposed into a sonic distorded landscape. The video of the experiment was streamed with a soundscape composed by the three audio-flows together: Stiegler’s original voice on Youtube, the translator’s voice, and the sonic transduction.

trans-scription is an experiment realised in collaboration with colleague actor researcher Outi Condit. It consisted of a live operatic post-kittlerian multi-faceted technocorporeal immersive cloud-like pluri(re)writing sculpture, enmeshing, within a non-hierarchical structure, online ads on AI, notes on Kittler’s conferences from the ’90s, avatared voices of Hamlet and Hélène Cixous among other specters, glitching seminar exchanges on a collective pirate pad, Pink Floyd’s stereo tunes and epic theatre smoke.

Tip

Tip