REPLICA

Concert Description
In REPLICA the master students of the multimedia composition program show their current works centered around body and identity images in a technically captured and replicated world. The pieces use technologies like motion capturing, game engines, artificial intelligence and video recording to create duplicates of humans and the performers specifically. In a staged concert setting the actors and musician face alter egos of themselves and through that address questions of authenticity, uniqueness, constructiveness - and emotional personhood. In an increasingly mediated world these works can display a changing reality of what it means to have a body and an identity in a digital environment. But the main focus lies on the research of the explorative qualities of these technical setup as means of introspection, empathy and self analysis. In five personal pieces the composers offer unique and emotional artistic approaches into their own world.

Progam Notes

Giovanni Dinello: ORACLE #1 - The Tree
for performer, video and live electronics
“Presence” is a quality defined by identification as a being, self-location in a temporal frame of reference, and self-location in space. These reference points are but variables in the narration of ORACLE, where the text and sound material originates from a decade-long digital communication shifting between the prophetic and the absurd.
A story of digital intimacy, of a place in between public and private where time and space lose any meaning.
Giovanni Dinello - 3D modeling and animation, sound
Andrea D’Arsié - performance

Carmen Kleykens Vidal: The 1 that got away
performer, Mocap, live 3D environment

Notes
I just found a life!!!!!!!!!!
I think 1 that got away... between people and cables.
Because [in] another life I would be “your girl” (?)
or not.
Probably not. Notttttatall. F***, I just can’t any more with this.
Probably I will be just one girl more. Just 1 more.
Just [x] more that got away.
Just [x] that got really far [more]
away.
Just [x] that was really far more
extremely more away.
Just [x] that was really far more extremely more away and then,
realized that [ X ] don’t want to… don’t need to… don’t ask for…
in another life or in all our possible bodies.

Team
Composition & performance: Carmen Kleykens Vidal
Assistance & Cinematics: Jan Wegman
Light Design : VictorPiano
Text translation: Raquel Subero
Documentation : Bayaru Takshina & Robin Plenio
Unreal supervisor: Konstantina Orlandatou
Technical team Forum
Innovation Labor

Gabriel Abi Saber dos Santos: GALATEA
for performer, face capturing, sculpture and 3D video

Gabriel Saber (Composition, Animation, 3D Modeling)
Carmen Kleykens Vidal (3D Modeling)
Catarina Saber and Galatea (Performance)

Pygmalion (Catarina Saber) was the most talented sculpturist in ancient Greece, once he made a marbled woman and fell in love with it. Aphrodite, the goddess of love and bad ideas, took pity on the poor man and gave life to his creation. Granting life to his doll, an inanimate object recipient of someone else’s passions, cursing this object with sentience, and robbing her of choice. In terms of the romantic, love is but a projection of the self, and, in this sense, every attempt of Galatea is an exercise in Narcissus.

What if the goddess wasn't so bored? What if the sculpturist was not so short-sighted?
What if Venus learned to love herself? And what if she couldn't…

Could the sculpturist instead build a body that they could love?
Could they leave their own body behind?
And if so, would this new one accept them?

"(...) When born, I was Galatea
In your arms, I was a woman made
You gave me life when we touched lips
-I won't name which-
We were equals underneath your sheets
But now all has changed
You are gone
And I'm once again stone (...)"
(Ode à Afrodite, 2021)

Lucas Xerxes: Surrogate
For performer, video and flexible ensemble.
Surrogate is a way of life, it feels like a video game where you can be and do whoever you want.
As long as you have the gear and the money.

Denis Połeć: Void Coalescence
for multimedia

Eintritt frei

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