Mischa Daams is an interdisciplinary artist who lives and works in The Hague, the Netherlands. After a BA in Multimedia Design, he finished his MA in ArtScience at the Royal Academy of Arts and the Royal Conservatory of the Hague. His work has been shown internationally in exhibitions and events such as: Ars Electronica [AU], Berlin Atonal [ DE], Art Center Nabi Seoul [KR], Lab30 [DE], Athens Video Art Festival [GR], FIBER Festival [NL] and TodaysArt [NL].

Daams’ artistic practice consists of experiential environments, performances and films in which simple choreographies unfold complex & chaotic behavioral patterns in diverse media such as kinetic motion, moving images, light and sound. Daams is interested in exploring, revealing, creating and controlling patterns in many forms, including patterns involved in human and machine perception and those arising in altered states of consciousness or the ones that influence our social behavior.

He approaches his various works as ‘open systems’: tightly controlled setups with just enough room for the unpredictable to happen and for patterns to emerge that take a life of their own, as they occupy and intermingle somewhere in between the physical and virtual. The resulting works often resonate with and question those entangled patterns of control and co-dependence between the technological, biological and physical and social systems that surround us everyday.

Mischa will be presenting new work at No Patent Pending #38 at the iii workspace on October 12.

Miri Lee is a dancer and choreographer from Korea. She studied traditional Korean dance in Seoul and moved to Amsterdam in 2008. ‘Imprography’ is the title she uses to represent her research in choreographic methodology combining improvisation and instant composition.

Miri Lee will work with Wen Chin Fu on a new coreography for Spine Spinning.

The outcome of the residency will be presented within the No Patent Pending series at Baruch Pavilion on October 15th 2016.

 

Bosch & Simons is a duo consisting of artists Peter Bosch and Simone Simons.

From 1985, the beginning of their collaboration in Amsterdam, Bosch & Simons have been involved in performances, concerts and theatre productions. Since 1990, however, they have focused in particular on the development of autonomous “music machines”. They have created installations in museums, at international symposiums and concert halls around the world.

The Krachtgever is their best-known piece for its Golden Nica, received in 1998 at the Prix Ars Electronica, Linz. Other projects are Cantan un Huevo, awarded at the 29th Concours International de Bourges, 2002, or Aguas Vivas, which obtained a mention at VIDA 6.0, Madrid, 2003. In their latest two projects Último Esfuerzo Industrial (2012-2016) and Último Esfuerzo Rural III-V (2017) forgotten industrial and rural objects from a recent past are brought back to life. Peter Bosch (1958) studied psychology at the Universities of Leiden and Amsterdam (1976-‘83) and thereafter studied sonology at the Royal Conservatory in The Hague (1986-‘87). Simone Simons (1961) studied at the audiovisual department of the Gerrit Rietveld Art Academy in Amsterdam (1980-‘85).  Since 1997 they work and live in Valencia, Spain.

Peter Bosch will be performing at No Patent Pending #29 and participating in the sound art exhibition at November Music. He will also be giving a lecture at the Royal Conservatory of the Hague.

You can read an interview with Peter Bosch on Jegens & Tevens here.

October 24, 2020
iii workspace, Willem Dreespark 312, The Hague
Doors open 20:00
Event starts 20:30
Tickets: €5-€10, by reservation here

Performances by Inga Huld Hàkonardòttir, Yann Leguay, Perspectives, Andio Lai, Mihalis Shammas.

UPDATE:
Due to COVID-19 travel restrictions, the performance Again The Sunset, by Inga Huld Hàkonardòttir and Yann Leguay unfortunately has been cancelled. The rest of the program will continue as planned.

Presented in collaboration with STUK, Leuven and CMHK.

The 40th edition of No Patent Pending returns at iii workspace, for the first time for a distantly seated audience of no more than 20 visitors. This edition of the series will present a collaboration between Inga Huld Hàkonardòttir and Yann Leguay, new work by iii artists in residence Perspectives and Andio Lai as well as a performance by our new iii workspace member Mihalis Shammas.

Work descriptions:

Again The Sunset, by Inga Huld Hàkonardòttir and Yann Leguay, takes the concept of a love song and stretches its form to a physical and visual unfolding of events. Two performers on stage work together to present rational and abstract contemplations on intimacy through song, movement and musical encounters with materiality.

Perspectives is an ongoing research evolving around performance, perception and machines. It is a collaboration between sound artist and instrument developer Sól Ey, audio-visual artist Soyun Park, percussionists Antoine Josselin and Ricardo J. Oliveira and guitarist Marco Torres Lunshof. 

Kyklophonon is an upright stringed instrument developed by Mihalis Shammas since 2015. It was initially conceived as the physical equivalent to a digital sequencer: an artifact that can produce numberless musical sequences through the manipulation of its physical parts. With a main body cut out of wood, standing on four iron columns, meshing together saz strings, ball bearings, fishing weights and piezoelectric transducers, the Kyklophonon incorporates a number of peculiar mechanisms that can be either manually handled or mechanically automated to produce a unique, ethereal sound.

Artist bios:

Inga Huld Hákonardóttir (1990, Iceland) is currently based in Brussels where she works as choreographer, performer and dancer. She graduated from P.A.R.T.S in 2014 and has created several performance works in various collaborative constellations.

Yann Leguay focuses on the notions of dematerialization thru sounds and objects,  the use of interfaces and everything about the materiality of memory. In his sound practice he was defined as a “media saboteur” by the Consumer Waste label, seeking to fold this materiality in on itself using basic means in the form of objects, music and performances.

Antoine Josselin is a French percussionist and music teacher. He has collaborated with instrumental groups such as Slagwerk Den Haag and The New European Ensemble, as well as being a member of performance- and percussion duo Bimetric together with José Silva. Their past projects include collaborations with composer Karmit Fadael on her piece ‘Paringdance’ for which they received first prize at the TROMP International Percussion Competition. In 2018, Antoine obtained his master’s degree in percussion from the Royal Conservatoire of the Hague. He is currently working as a freelance musician and teacher, as well as playing with trio Amici3 and Bimetric.

Marco Torres Lunshof is a Colombian electrical guitarist graduated from the Pontificia Universidad Javeriana in Bogotá, Colombia. In the past, he has worked both as a session-musician, music teacher, musical event manager, and composer. Moreover, he has participated in JAZZ contests and festivals both in Colombia and internationally. Marco is currently enrolled in the program ‘Art of Sound’ at the Royal Conservatory of The Hague.

Ricardo J. Oliveira (Portugal, 1995) obtained his master’s degree in percussion and orchestra specialization in 2020 from the Royal Conservatory of The Hague, being student of Hans Zonderop, Niels Meliefste, Pepe Garcia, Theun van Nieuwburg and Rob Verhagen. As a soloist, Ricardo has participated in masterclasses, e.g. with Alexandre Experet, SO Percussion, Aly D’Nyane Rose, Marinus Kmost. Moreover, he has worked with several orchestras and ensembles, including Noord Nederlands Orkest, Radio Phillarmonish Orkest and Slagwerk Den Haag.

Soyun Park is an interdisciplinary artist, designer and founder of an audio-visual community studio RGBdog. She’s from South Korea, based in The Hague, The Netherlands. Often in collaboration with sound artists, her work takes forms of videos, installations, audio-visual performances experimenting variety of new media and technology, investigating connection and the gap between the RGB world and reality which are getting thinner every day.

Sól Ey is an Icelandic sound artist, instrument developer and performer based in The Hague. In her work, sound is often explored as a tangible or architectonic phenomenon. Its relation with space is in focus, resulting in installations and performances that are often site-specific or actively involve the audience. She is founder of the Reykjavik-based media art collective RASK.

Andio Lai is interested in making sound objects and machine art, some are built to be used in his sonic performances. Through the practice of media archeology, studying tools development and the relative history of interfaces, his works focus on the subject matter of experimental instrument, playing and human-machine relation. 

Mihalis Shammas is a Cypriot (b.1988) musician and kinetic artist. His work is driven by an urge to create meaningful objects and tools for expression, exploring the space between machine and narrative. Amidst mechanical precision and poetic error, his artifacts carry about the imaginary dimension of the “useless machine”, their technological nature muddled by their narrative capacities.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

No Patent Pending #40 is presented by iii in collaboration with WD4X and with the support of the Municipality of The Hague, the Performing Arts Fund NL and Creative Europe. Again the Sunset is presented in collaboration with STUK, Leuven. The performance of Andio Lai is presented in partnership with CMHK.

Saturday, October 15th 2016
Baruch Pavilion (formerly Gemak)
Paviljoensgracht 20, Den Haag
doors open 19:30, program start 20:00
entrance €5

With: Marco Donnarumma, Maciej Ożóg and Mariusz Knysak, Miri Lee and Wen Chin Fu, Jenny Pickett and Julien Ottavi (APO33), Asami Kiuchi, So Oishi and Thomas Körtvélyessy

We are proud to announce the 25th edition of the No Patent Pending series, which will present a program of 5 individual performances extending the human body. Concealing and revealing both the exterior form and inner workings of the body through wearable technologies,  the performing artists create custom designed costumes and their own systems for sensing and perceptualizing data. The human body is transformed into a nexus of processes both intangible and very present and intimate, unfolding in space through auditory and visual manifestations.

Artist bios:

Marco Donnarumma (b. 1984) is a performance artist and scholar. A unique presence in contemporary performance, he distinguishes himself by his use of emerging technology to deliver body performances that are at once intimate and powerful, oneiric and uncompromising, sensual and confrontational. Working with biotechnology, biophysical sensing, and more recently artificial intelligence and neurorobotics, Donnarumma expresses the chimerical nature of the body with a new and unsettling intensity. He is renown for his skill in using sound, whose physicality and depth he exploits to create experiences of instability, awe, shock and entrainment.

Maciej Ożóg is a sound artist, culture and media theorist based in Lodz, Poland. Since the early nineties he’s been involved in experimental music scene of Poland. In his solo performances he critically explores the liminal territory between body physical activity and invisible electric infrastructure of hybrid space. He uses custom designed instruments and devices as well as digital and analogue electronics.

Mariusz Knysak was involved with various media (radio, press and online) for many years, mainly as entrepreneur and manager. He has been also active in organising numerous artistic and social oriented projects. Today, he initiates and develops projects operating at the interface of science, technology and business. Simultaneously he is an active visual artist. Both in his performances and studio works he connects simple, analog tools and methods of image creation with digital technology.

Ozog-Knysak- performance documentation-1

Miri Lee is a dancer and choreographer from Korea. She studied traditional Korean dance in Seoul and moved to Amsterdam in 2008. ‘Imprography’ is the title she uses to represent her research in choreographic methodology combining improvisation and instant composition.

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Wen Chin Fu graduated in 2006 from the Classical Music Department of Shih Chien University, Taipei, and continued her studies at the ArtScience interfaculty of The Hague, where she graduated in 2010. Her performances explore the relationship between physical movement, sound and the environment. A key element of her practice is concentration, which opens the senses for perceiving things through new perspectives.

spine_spinning 02

Jenny Pickett‘s practice crosses: sculpture, sound, drawing, video, interactivity and performance. This plurality of mediums garner layers of meaning, she often explores her subject through the influences of sound upon the gaze and visa versa, altering both sonic and visual counterparts, asking the viewer rethink their encounter with the oeuvre. Pickett’s preoccupation lies at the point at which technology (new or ancient) becomes the landscape or the body by accumulating their prior states, our prior norms. She hold as MA in interactive media from Goldsmiths University and is a member of the artist-initiative APO33 in Nantes.

Julien Ottavi is a mediactivist, artist-researcher, composer / musician, poet and tongues destroyer, experimental film maker and anarchitect. He is founder and member of Apo33 and is involved in research and creative work combining sound art, real-time video, new technologies and body performances. Since 1997, he develops a composition work using voice and its transformation through computer. Active developer of audio/visual programs with Puredata, he has also developed since many years DIY electronics in the perspective of knowledge sharing on technological development. Since many years he reflects on the relations between experimental practices and collective practices within the creation of autonomous collective groups, putting in question the authorship strategy of the “art ideology”.

Asami Kiuchi is a Japanese artist currently working in the Netherlands. She currently studies at Interactive/Media/Design at the KABK in The Hague. She has developed a line of interactive garments, which playfully explore interpersonal communication through the behavior of human sense and technological system. Her interest is to experiment new dimension of sense with technology as a medium of expression, and to translate between cultural abrasion and philosophical association.

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So Oishi is a Dutch-based electronic music composer, DJ, and software developer from Tokyo, Japan. In 2012, he moved to the Netherlands to study electroacoustic music at the Institute of Sonology. He currently works on minimal, electronica, ambient, and experimental music as a composer and a performer. At the same time, he is developing composition and sound synthesis programs for MAX and SuperCollider environment.

Thomas Körtvélyessy (NL-D-HU) is a choreographer, dancer and artistic director of Reàl Dance Company. He was a close associate of intermedia-pioneer Elaine Summers and is an active member of CLOUD at Danslab in Den Haag, as well as external advisor to ArtEZ Dansacademie Arnhem. 

This edition of No Patent Pending is organised in combination with iii’s artist residency program, organised in partnership with DCR guest studios with the support of Stroom Den Haag, the Municipality of The Hague and the Creative Industries Fund NL.

Special thanks to LUSTlab for making the space of Baruch Pavilion available for presenting this program.

 

 

Cathy van Eck (1979 Belgium/Netherlands) is a composer, sound artist, and researcher in the arts. She focuses on composing relationships between everyday objects, human performers, and sound. Her artistic work includes performances with live-electronics and installations with sound objects which she often designs herself. She is interested in setting her gestures into unusual and surprising relationships with sounds, mainly by electronic means. The result could be called “performative sound art”, since it combines elements from performance art, electronic music, and visual arts. Her work transcends genres and is presented at occasions as diverse as experimental or electronic music concerts, open air rock festivals, sound art gallery venues, digital art events, or performance art festivals.

Cathy van Eck will be performing at No Patent Pending #29.
You can read an interview with Cathy on Jegens & Tevens here.

Till Bovermann studied and worked at Bielefeld University where he received a PhD for his work on Tangible Auditory Interfaces. Later, he worked as a post-doctoral researcher on tangible and auditory interaction at the Media Lab of Aalto University, Finland.

Since 2014, Till is the principal investigator/UdK Berlin of the 3DMIN project on “Design, Development and Dissemination of New Musical Instruments”, a collaboration between UdK Berlin and TU Berlin.

Among others, Till has been teaching instrument design and sound technology at various international institutions, among others the IMM in Düsseldorf, at Aalto Universiy and at the institute for time-based media of UdK Berlin.

In his artistic works, he addresses the relationship between seemingly contradictory elements, e.g. the digital and physical realm. Till also develops software in and for SuperCollider and runs TAI-studio.org.

Till performed on No Patent Pending #28 and will be offering a workshop on October 21st 2017.

Read Till’s interview with Jegens & Tevens here.

June 11, 2017
iii workspace, Willem Dreespark 312, The Hague
Doors open at 19:30, program starts at 20:00 sharp
Entrance €5.-
Free for We Are Public members

The 28th edition of No Patent Pending will present an eclectic program of ritual, sensory and musical experiences connecting with space, the natural elements and the body. Natali Blugerman will conduct experiments in sculpting rays of sunlight. Davide Tidoni will lead a site-specific intervention in the surroundings of Willem Dreespark. Yuri Landman and Till Bovermann will each perform with their own string instruments, working respectively with alternate musical scales and digitally processed electroacoustic feedback. Ibelisse Guardia Ferragutti’s new pop-electronic performance group OBOL LE will present an audiovisual performance inspired by traditional tapestries and ceremonies from Bolivia.

Davide Tidoni is a researcher in the field of sound and listening. He is interested in the relational dimension of listening and the uses of sound in everyday life. With a particular emphasis on observation, action and participation, he realizes a variety of works that include live performances,
workshops and audio projects.

Yuri Landman is a musician and an inventor of musical instruments. Based on prepared guitar techniques, he built his first instrument in 2001 to solve the inaccuracy of instant preparations. He has build experimental for acts such as Sonic Youth, dEUS, Melt-Banana, Rhys Chatham, Ex-Easter Island Head, Half Japanese, Kaki King. In the past seven years he has given over 100 DIY-instrument building workshops in Europe and the US at music festivals, music academies, art academies, concert venues and art spaces. 


Till Bovermann studied and worked at Bielefeld University where he received a PhD for his work on Tangible Auditory Interfaces. Later, he worked as a post-doctoral researcher on tangible and auditory interaction at the Media Lab of Aalto University, Finland. Since 2014, Till is the principal investigator/UdK Berlin of the 3DMIN project on “Design, Development and Dissemination of New Musical Instruments”, a collaboration between UdK Berlin and TU Berlin. Among others, Till has been teaching instrument design and sound technology at various international institutions, among others the IMM in Düsseldorf, at Aalto Universiy and at the institute for time-based media of UdK Berlin. In his artistic works, he addresses the relationship between seemingly contradictory elements, e.g. the digital and physical realm. Till also develops software in and for SuperCollider and runs TAI-stuido.org.

Through her installations and performances, Natali Blugerman creates spaces where the audience can have strong experiences of aspects of the universe we are all part of. Awareness, consciousness, and rawness are some of the keywords in her work. For the last two years she has been working with natural and artificial light, creating observatories with the aim to unlearn the boundaries of vision, to see more than what we are used to seeing, and expanding awareness of the connection between outer and inner worlds.

OBOL LE is the pop-electronic performance group of Ibelisse Guardia Ferragutti with artists from Amsterdam and Chicago. They explore the musical meanings of old carpets from Bolivia, which are woven as graphic scores. This happens during the ceremony Phujllay from Los Andes; in this ceremony seasons are considered as sound periods, and drones are learned from the Sirenes (mythical creatures that live between the upper world and the under world). Carpets are woven with the graphic translation of the drones and songs that are being played throughout four months continuously. Inspired by the cosmological vision of these rugs, the group is working on sound material presented in a visual concert setting. Working from a cross-cultural and interdisciplinary point of view we weave life’s fragile relationships, evoking mystical realms yet daring to bridge it with pop culture and electronic storytelling.

OBOL LE is:
Ibelisse Guardia Ferragutti (BO/BRA): Performance, vocals, electronics
Frank Rosaly (US): drums, electronics
Jochem van Tol (NL): modular synthesizer
Harpo ’t Hart (NL): keys, algorithm/projection, synthesizer

No Patent Pending #28 is presented with the support of Stroom Den Haag, Gemeente Den Haag and the Creative Industries Fund NL in collaboration with DCR guest studios and Stichting WD4X.

Images (top to bottom): OBOL LE; Davide Tidoni – Catch Me If You Can; Yuri Landman; Till Bovermann/Katarina Hauke – Anemos Sonore Maaum Siilium; OBOL LE

 

Daan Johan is an artist who explores the technology from the past to create new instruments, often with a form of sculptural value and craftsmanship. His main focus is on creating instruments and installations with the interface as a starting point and making unique instruments for other performing artists.

‘LineAV’ is a reinterpretation by Daan Johan and Joris Strijbos of the audio installation ‘Line’ from 2010 by Daan Johan. It is a work which deals with the question; how many of the same units can become more than the simple sum of its parts? ‘Line’ does this by fooling the brain into thinking it is hearing multiple sound sources, while in reality you’re listening to one speaker at a time. 

During his residency at iii, Daan Johan will work together with Joris Strijbos, Ji Youn Kang, Mint Park and others to create new compositions for a spatial array of lights and loudspeakers.

 

“Concerning the compositions, I am planning a system where the installation plays itself.”

 

The outcome of Daan Johan’s residency will be presented at the iii workspace on November 28th.

iii’s residency program is made possible with support from Creative Europe. The development of LineAV was commissioned by Klankvorm

 

Andio Lai is interested in making sound objects and machine art, some are built to be used in his sonic performances. Through the practice of media archeology, studying tools development and the relative history of interfaces, his works focus on the subject matter of experimental instrument, playing and human-machine relation. 

During his residency at iii Andio Lai will be investigating what members of the sound-art community in The Hague believe is an ‘ideal’ instrument. Based on that he will develop an electronic instrument using physical computing that will be shared in the form of a workshop on December 5th 2020. He will also be performing at No Patent Pending #40 on October 24th

The residency of Andio Lai is organised in partnership with Contemporary Music Hong Kong. iii’s residency program is made possible with support from Creative Europe

 

 

Focusing on the potential of listening to establish new connections between people, places and objects, Matteo Marangoni’s performances and installations employ field recordings, sound archives, computer programming and DIY electronics. Finding unconventional uses for audio technologies and other media, his work probes the relationship between sound, space and the body, approaching the body of the listener through physical experiences that collapse and reshape the space between subject and object.

His work has been presented amongst others at Stroom Den Haag, TodayArt festival, Volkspaleis, Dag in de Branding (The Hague), STEIM, Muziekgebouw aan ‘t IJ, W139 (Amsterdam), Ethonologisches Museum (Berlin), November Music (Den Bosch), STUK (Leuven), NAISA (Toronto), CentroCentro (Madrid), European Media Art Festival (Osnabruck), Centrale Fies (Dro), Triennale di Milano (Milan), Fabbrica Europa (Florence), Q-02 (Brussels) and Goldsmith’s University (London). His installation “Quiet Before the Storm” received an honorary mention at the Sonic Arts Award 2014. He curates the nomadic performance program “No Patent Pending” and co-curated the Wonderwerp series at Studio Loos in the 2014/2015 season. He has curated the exhibitions “Taming Technology” (Le Murate, Florence, 2011) and “Eavesdropping” (VillaK, The Hague, 2011). He is a regular contributor to Neural magazine.

Press:
Matteo Marangoni interviewed on Digicult

April 4, 2020  – POSTPONED DUE TO COVID-19
Theatre aan het Spui, Spui 187, The Hague
Program starts at 19:00 (sharp).
Tickets: see Rewire festival

Performances by Edwin van der Heide, Gabriela Prochazka, Mariska de Groot, Ji Youn Kang, Pelle Schilling, Jesus Iglesias.

The 39th edition of iii’s No Patent Pending series will take place as part of the program of Rewire Festival 2020. Dystopian, cyberpunk and machine aesthetics underscore an immersive theatrical experience where the virtual, the mechanical and the flesh collide, flowing between moments of contemplation and physically intimidating bursts of activity generating sensory overload.

The program will present within a continuous dramaturgy a series of individual performances by iii members and guests. Jesus Canuto Iglesias will present his new work “The Last Song of a Two Stroke Engine” for brass instruments powered by fossil fuel combustion; Gabriela Prochazka will conjure an avatar giving advice over “How to be a Good Citizen of the 21st Century”; Mariska de Groot with Ludmila Rodrigues and Mei-Yi Lee will perform an optical sound choreography extracted from iii’s 2017 silent film production of “Häxan, Witchcraft Through the Ages”; Ji Youn Kang will manipulate audio feedback with computer code and hand gestures in “Space speaks, Are you listening?”; Pelle Schilling will invite the audience to a trial by fire under a rain of sparks in “Incandescence Rain”. A special guest on this occasion will be Edwin van der Heide, who’s personal work and teachings have had a seminal influence on the activities of iii. Edwin van der Heide will perform “LSP” (laser sound performance), a composed spatial experience in which the architectural quality of light builds upon, and simultaneously intersects with, the spatial perception of sound.

Edwin van der Heide is an artist, composer and researcher in the field of sound, space and interaction. He extends musical composition and musical language into spatial, interactive and interdisciplinary directions. The audience is placed in the middle of the work and challenged to actively explore it.

Gabriela Prochazka is a multimedia artist with a focus in light art. She often collaborates with musicians and sound designers to create a complex immersion in her artwork. She’s interested in the intersection of light design, audiovisual performances, club culture, and fine arts.

Mariska de Groot makes, performs and composes for analog light-to-sound instruments. Her work often has a reference to media inventions from the past, with which she aims to excite a multi-sensorial and phenomenological experience in light, sound, movement and space.

Ji Youn Kang composes for both traditional and non-traditional instruments, exploring the relationship between musical and physical spaces and taking inspiration from the rhythmical elements and the noisy sound sources involved in Korean ritual music.

Pelle Schilling is a young artist from Amsterdam who works with natural phenomena, chaotic processes and large machines, creating experiences that are both delicate and threatening,

​Jesus Canuto Iglesias is a multidisciplinary artist and fresh graduate from the Artscience Interfaculty who creates compositions for self-made, digitally controlled mechanical apparatuses that encompass the presentation space and the observer. 

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

No Patent Pending #39 is presented by iii in collaboration with Rewire Festival with financial support from The Municipality of The Hague, Stroom Den Haag, The Creative Industries Fund NL and The Performing Arts Fund NL

November 28, 2020
iii workspace, Willem Dreespark 312, The Hague
Program starting times 17:30 [sold out], 19:30 [few left!], 21:30 [sold out]
Please arrive on time. 
Tickets: €5-€10, click the time slot you wish to reserve above
This event is part of We Are Public. Please proceed to the ticket page to book a ticket with your membership card.

Performances by Daan Johan, Joris Strijbos, Ji Youn Kang, Philip Vermeulen, Mint Park and Rotor.

The 41st edition of No Patent Pending at iii workspace will present a program of new spatial audiovisual work in which machines designed and built by artists immerse the audience in mesmerising choreographies of sound and light.

Work descriptions:

LineAV is a reinterpretation by Daan Johan and Joris Strijbos of the audio installation Line from 2010 by Daan Johan. It is a work which deals with the question: “how many of the same units can become more than the simple sum of its parts?” Line does this by fooling the brain into thinking it is hearing multiple sound sources, while in reality you’re listening to one speaker at a time. During his residency at iii, Daan Johan will work together with Joris Strijbos, Ji Youn Kang, Mint Park and others to create new compositions for a spatial array of lights and loudspeakers.

Interfan comes from the Hyper Sculptures series of Philip Vermeulen. An ongoing research into extreme fast-moving materials and their changing characteristics. In this setup Vermeulen is using three motor engines, three propellors and one prepared light source with a colour wheel. When the motors are speeding up, different resonance make the table and the screws, bolts and nuts shake, giving the pretty colours a raw industrial sound.

Artist bios:

Daan Johan is an artist who explores the technology from the past to create new instruments, often with a form of sculptural value and craftsmanship. His main focus is on creating instruments and installations with the interface as a starting point and making unique instruments for other performing artists.

Joris Strijbos is a Rotterdam-based artist whose work focuses on the synaesthetic relation and interaction between moving image and sound. His artistic research focuses on cybernetics, swarm intelligence, communication networks and emergent systems.

Ji Youn Kang composes for both traditional and non-traditional instruments, exploring the relationship between musical and physical spaces and taking inspiration from the rhythmical elements and the noisy sound sources involved in Korean ritual music.

Philip Vermeulen is a Hague-based Dutch artist who makes large-scale installations as part of ongoing research in altering psychological states through the manipulation of primary phenomena of light sound and movement. Philip’s work continues a lineage of experimental art from the Zero art movement, sound art, kinetic sculptures, and audiovisual arts.

Mint Park is an electronic musician and a new media artist who investigates space, texture, and natural phenomenon in her sound-driven practice. Through scientific experiments and hybrid process of different digital makings, it is her attempt to continuously redefine and question the fluctuating existential qualities in today’s binary space and machine-quantified time.

Rotor is an experimental sound collective which was initiated in 2017 by Eelco Ottenhof and Joris Strijbos. Within the project the duo experiments with performative installations consisting of rotating sound sources, multi speaker setups, feedback systems and modular synthesizers. Their sonic explorations are on the intersection of sound art, dark ambient and noise. Through combining abstract layers of synthetic drones, rhythmical pulsating structures and processed analogue feedback systems, Rotor creates immersive and spatial sound experiences with an emphasis on the acoustics of the space.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

No Patent Pending #41 is presented by iii in collaboration with WD4X and with the support of the Municipality of The Hague, the Performing Arts Fund NL and Creative Europe. The development of LineAV was commissioned by Klankvorm.

Montreal native Myriam Bleau is a composer, multimedia artist and performer who creates mesmerizing audiovisual systems that transcend the screen. Taking the shape of sound installations and performance specific musical interfaces, her works explore the limits between musical performance and digital arts, and are infused with a hybrid practice that integrates hip hop, techno and the more experimental fringe of electronic composition.

During her residency, Myriam Bleau will work on an audiovisual performance project using a constellation of detailed spherical luminous interfaces. Each interface will be equipped with motion sensors and wifi modules sending data to the MAX/MSP environment. Myriam will experiment with various devices on the same network, balancing latency and communication stability. Several of these spherical interfaces will be suspended at different heights, allowing various manipulations such as pendulum motions, throws, rotations, rebounds but also free manipulations. An exercise in sonifying movements and physical processes, this project is inspired by a long-lasting fascination in the music community for pendulum effects (Poème Symphonique by Ligeti or Swinging Speakers by Gordon Monahan).

Myriam will be presenting her work at No Patent Pending #32 on April 5, 2018.

September 13, 2020
iii workspace, The Hague and Livestreaming
15:00 – 18:00
Entrance: €5 – €10 (sliding scale)
Capacity: 15 (for the workspace screening)
Buy tickets HERE
Buy livestream tickets HERE

The screening will be livestreamed and simultaneously happen physically in the iii workspace. The maximum capacity for the physical screening is 15. For both online and offline participation, tickets are required. If you buy an online ticket, you will receive the link to the event half an hour before it starts.

Films and videos by: Toshie Takeuchi, Jasper Kuipers, Matteo Marangoni

Matters of Being is a screening series at iii curated by Nele Brökelmann and presenting documentary films about artists, thinkers, scientists, as well as experimental films by artists and independent filmmakers. Matters of Being wants to allow our minds to wander and stumble upon new associations in the illuminating darkness of the cinema setting.

This second edition of Matters of Being – Concepts of Belonging is bringing together two artists‘ productions by Toshie Takeuchi and Matteo Marangoni, and an animation by freelance director Jasper Kuipers. 

 

15:00 welcome by Nele Brökelmann
15:05 A house placed inbetween – a poetry in the comfortable grey zone (2019), Toshie Takeuchi
15:40 Finity Calling (2018), Jasper Kuipers
16:00 Q&A with Toshie Takeuchi and Jasper Kuipers
16:15 break
16:25 introduction by Matteo Marangoni
16:30 Should I Stay Or Should I Go (2019), Matteo Marangoni
17:45 Q&A with Matteo Marangoni

 

Toshie Takeuchi‘s experimental and performative film A house placed inbetween – a poetry in the comfortable grey zone (2019) questions the notions of property, territory and home. It is created based on artistic research upon several narratives in and around an occupied embassy of the Democratic Republic of Congo in the Hague, where Takeuchi lived from 2011 to 2016. The building has been used as both a private home and a communal event space by a collective of different people (mainly artists) since 2010. The film derived from Takeuchi’s encounter with a group of Congolese protesters, who came to revolt against their government discovering that there were no diplomats in the embassy, but only the occupants. 

Toshie Takeuchi is a visual artist, currently living and working in Copenhagen. She often deals with peoples’ personal memories and narratives in and around specific sites/places, and particularly focuses on unregarded non-famous stories, as a starting point for local reflection on larger territorial/spatial narratives. This is because she wants to participate in the expanding potential of these specific sites/places.

 

Finity Calling (2018) is one of Jasper Kuipers‘ independent works: An empty room with five people sitting at a table that seats six. Their withered bodies adorned with lush fabrics and jewelry, they spend eternity playing with their food. A charged silence fills the air. When the fragile equilibrium in the group is broken by the boy, the results are explosive.

From his studio space in Breda Jasper Kuipers has worked on a diverse range of commissioned projects spanning from educational films and music videos to installations and video projections for theater. Besides his commissioned work he has continued to work on independent films in various traditional techniques like Claymation, drawn animation and stop-motion with puppets.

 

The last video that will be screened Should I Stay Or Should I Go (2019) by Matteo Marangoni shows members of the international artist community in The Hague. They were interviewed over questions of ethnic identity and their own direct experience of migration.

The picture that emerges is far from the common and polarizing stereotypes surrounding migration: what we find are neither representatives of a powerful global elite, nor refugees escaping the devastation of war. We find a group of people who came to The Hague as students in search for personal growth, creative and personal freedom and work opportunities.

While recounting difficulties adapting to the local culture and confronting negative stereotypes, state bureaucracy, and the longing for familiarity or family, participants also voice their gratitude for the opportunities received and their commitment to giving back to the place that welcomed them.

This video documents the research phase which lead to an exhibition by the same title, which will be presented from May 29 to June 14 at Quartair, a contemporary art initiative in the Hague.

Matteo Marangoni is an artist and community organiser interested in sonic rituals, DIY media and applied utopianism. His artistic practice focuses on creating spatial experiences probing the relationship between subject and object. As organiser he coordinates the program of iii (instrument inventors initiative) and curates the performance series No Patent Pending.

 

Matters of Being is presented by iii with financial support from The Municipality of The Hague.

April 2nd 2016, at The Gym, Oosterstraat 13a,  Groningen

In partnership with Sign

As a warming up for the exhibition In Praise of Shadows at Sign we will present a performance night at The Gym. The program will  dive into the lower senses with Transitory Presences by Yolanda Uriz, get immersed by drawn orbits of Nibiru by Mariska de Groot and infiltrate the audience with the light and sound creatures by Matteo Marangoni & Dieter Vandoren Lampyridae.

October 5, 2017
Korzo Theater, The Hague
10:00-18:00
Entrance: €35 regular  / €17,50 student – book tickets here

Speakers:  Marloeke van der Vlugt, Carina Westling, Zuraida Buter, Time’s Up (represented by Tim Boykett), Johanna Koljonen and Valentijn Byvanck. Moderated by Marinka Copier and Marije Baalman.

The interdisciplinary symposium “The Craft of Experience Design” brings together makers to share ideas and methods for engaging the audience in performance art, theatre, exhibition design, media art, game design and larp.

Connect the Dots” is a program revolving around participatory artworks, through which we invite the audience to take part in playful and open-ended experiences.

The ticket price for the symposium also includes access to the evening program No Patent Pending #29.

Schedule for the day:

10:15 – Opening, Marloeke v/d Vlugt, Carina Westling
12:00 – lunch break
13:00 – Zuraida Buter, Valentijn Byvanck
14:20 – coffee/tea break
14:45 – Johanna Koljonen, Time’s Up
16:15 – coffee/tea break
16:40 – Discussion
18:00 – dinner

Missed it? Here you can find the video documentation!

Image: Ludmila Rodrigues, Flexor 1

Speakers:

Marloeke van der Vlugt is a Dutch artist and researcher with a background in theatre, scenography and choreography. In her book “Performance as Interface, Interface as Performance” she describes her artistic process in finding new forms of the author-spectator relationship.
After graduating from Theatre Studies at the University of Amsterdam, she studied Scenography at Goldsmith’s Academy London and Choreography at the Laban Centre in London. As a scenographer and video maker she worked with a number of (inter)national directors and theatre groups. At DasArts, (Amsterdam School of the Arts), she specialised herself, assembling theoretical and hands-on knowledge on the relationship between technology and performance. Since then she works as a freelance concept developer for institutions like Waag Society and as an autonomous artist and director of interactive, audiovisual and performative installations. Marloeke is currently affiliated as a tutor with the HKU University of the Arts Utrecht (Interactive Performance Design) and as a researcher with HKU Research Centre Performative Processes.

Carina Westling has been researching the practice of the Punchdrunk Theatre Company in depth and just finished her PhD at the University of Sussex titled: “The making of postdigital experiential space: Punchdrunk Company 2011-2014”. She spent time with the company while the projects were designed, built and performed, and has conducted interviews with both the makers and audience members who participated in their shows. Based on these she has made observations on the consequences for the design of audience participation within interactive systems across physical, digital and blended media. She is also the creative director of the Nimbus Group, creating experience design across digital and physical media. Recent projects include Giddy and the Nimbus.

Zuraida Buter is a playful culture curator based in the Netherlands. She curates, initiates, consults and documents events focused on playful culture and games. Her work revolves around bringing people together for creation, inspiration and playfulness. She runs playful culture organisation zo-ii where she curated projects such as Incubate Arcade and Screenshake Game Expo, showcasing a wide range of different game projects and artists throughout the years. She is co-founder of Playful Arts Festival in the Netherlands, which explores the intersection of interactive performing arts, visual art and playful design. Zuraida has been a juror for international awards such as the Independent Games Festival (IGF), littleBit’s BitOlympics, Cinekid and Nordic Game Indie Sensation. She previously ran the Global Game Jam worldwide and initiated Dutch independent game showcase INDIGO in the Netherlands. For eight years she taught game design theory at Interactive Performance Design at the HKU University of the Arts. In 2013 she received the European Women in Games Award for Achievement and Innovation.

Valentijn Byvanck is director of Marres, House for Contemporary Culture, Maastricht, the Netherlands. In Marres, he runs a program in which he explores the senses in a wide array of artistic practices and develops exhibitions including The Winter Anti Depression Show (2013), Levi van Veluw: The Relativity of Matter (2015), Ferran Adria: Notes on Creativity (2016) and The Painted Bird: Dreams and Nightmares of Europe (2017). Byvanck worked before as head of communications and theory at Witte de With (1999-2002), and was subsequently director of the Zeeuws Museum (2002-2008) and the Museum of National History (2009-2011). He has written extensively and made television programs on a wide variety of topics in contemporary art and design. Byvanck holds a PhD in cultural history from New York University.

Johanna Koljonen (founding partner, Odyssé Participation Design Agency) is a writer, broadcaster and participation designer consulting on experience design with museums, the public sector and media companies. She is an authority on designing for safety and trust in participation, and lectures on analog experience design, Nordic Larp and changes in the media landscape. She co-founded the Alibis for Interaction Master Class and the Nordic Larp Talks, both of which she hosts, and is the editor of the Nostradamus Project, which charts and predicts the close future of the screen industries. In 2011, she received the Swedish Grand Journalism Award in the Innovator of the Year category. This year she was awarded the Golden Dragon, a lifetime achievement award of RopeCon, the largest non-commercial role-playing convention in Europe.

Time’s Up – Laboratory for the construction of experimental situations Founded in 1996, Time’s Up has its principal locus in the Linz harbour of Austria. Its mission is to investigate the ways in which people interact with and explore their physical surroundings as a complete context, discovering, learning and communicating as they do. Thus their research is based upon constructing interactive situations not unlike the normal physical world, inviting an audience into them and encouraging their playful experience-driven exploration of the space and its behaviours, alone and in groups. In this research process they use tools from the arts and design, mathematics, science and technology as well as sociology and cultural studies. Their goals are to collaboratively investigate the world and its options with a general public, communicating and discussing these discoveries through workshops, publications, teaching and symposia.

 

Marinka Copier is director of the Expertise Centre for Creative Technologies at the University of the Arts Utrecht (HKU). She holds a PhD in game studies and is co-founder of the international DiGRA (Digital Games Research Association). Her area of expertise is role-play, interactive narrative and play design. Marinka is also the co-founder Society of Play.org and designer of real life games.

October 5, 2017
Korzo theatre, The Hague
20:00-23:00
Entrance: 5 eur
Free for We Are Public members

Including performances by Cathy van Eck, Peter Bosch & Simone Simons, BMB con., OKAPI, iii and Ymke Vertelman.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

This edition of No Patent Pending concludes iii’s “Connect the Dots”, a program through which we invite the audience to take part in playful and open-ended experiences. 

Tickets for No Patent Pending #29 are included with the day program “The Craft of Experience Design”. Additional tickets will be available at the door.

Cathy van Eck (1979 Belgium/Netherlands) is a composer, sound artist, and researcher in the arts. She focuses on composing relationships between everyday objects, human performers, and sound. Her artistic work includes performances with live-electronics and installations with sound objects which she often designs herself. She is interested in setting her gestures into unusual and surprising relationships with sounds, mainly by electronic means. The result could be called “performative sound art”, since it combines elements from performance art, electronic music, and visual arts. Her work transcends genres and is presented at occasions as diverse as experimental or electronic music concerts, open air rock festivals, sound art gallery venues, digital art events, or performance art festivals.

Bosch & Simons is a duo consisting of artists Peter Bosch and Simone Simons. From 1985, the beginning of their collaboration in Amsterdam, they have been involved in performances, concerts and theatre productions. Since 1990, they have been focused on the development of autonomous “music machines”.

BMB con. is a performance group working with sound, image, and whatever else they can get their hands on (including you!). BMB con. was initially formed in 1989 by Justin Bennett, Wikke ‘t Hooft and Roelf Toxopeus and acted mostly as a fixed trio. Since 2006 BMB con. is a collaboration between a BMB coreduo and different individuals and groups depending on the occasion.

OKAPI is a new musical laboratory in the 21st century. The ensemble consists of old instruments obscure instruments and contemporary instruments emerged from the shared need of 11 individuals to exchange musical languages ​​and sounds. Okapi is moving in its composition; sometimes all together, sometimes four men strong. It is a fairytale orchestra, founded with childishly simple sounds, melodies and harmonies, a fairy tale, until the most violent sound sprouting from unexpected instruments.

Ymke Vertelman is a 2017 graduate from the Interior Design department of the KABK whose research focuses on interaction between bodies in space. In 2014 she represented KABK at the Salone Del Mobile in Milan. For her graduation she presented an outstanding work addressing the issue of personal space, using a series of self-made, low-tech bodily extensions to limit and modulate the physical space between a dancer and his father.

No Patent Pending #29 is produced in cooperation with Korzo with the support of Stroom Den Haag, The Municipality of The Hague, the Creative Industries Fund NL and Prins Bernhard Cultuurfonds.

Dianne Verdonk – performer, composer and instrument developer – seeks the ultimate, personal form of musical expression in the creation and performance of electroacoustic music. For years, she operated within different contexts as a double bass- and cello player, but her craving for making and performing electronic music roused her to start the creation of La Diantenne, an electronic instrument to realize her personal needs for expression.

Dianne will be writing an album based on various self-made acoustic and electronic instruments including the La Diantenne, Bellyhorn and Pulseyarn.

Dianne will be presenting her work at No Patent Pending #33 on May 4, 2018.

Date TBA
Locatie: ‘iii workspace’, Willem Dreespark 312 ,2531SX, Den Haag
Tijdstip: 11:00 en 12:00 uur
Doelgroep: kinderen van 6 tot 12 jaar en hun ouders
Taal: Nederlands en Engels
Tickets: €10 (voor een kind en een ouder)

[English Below]

Ben je benieuwd naar wat kunstenaars doen? Zou je wel eens willen weten wat er achter de schermen gebeurt om kunst te maken? Het kunstenaarscollectief ‘iii’ opent de deuren en geeft een rondleiding om het werk van verschillende kunstenaars te laten zien die werken met media, allerlei soorten geluid en nieuwe instrumenten.

Deelnemers zullen:

1. ontdekken over nieuwe instrumenten, die de dag daarvoor gepresenteerd zijn in het optreden van het programma ‘No Patent Pending’;

2. praten met de kunstenaar

Vanwege de corona-regels kan een kind slechts door één volwassene begeleid worden. Bedankt voor uw begrip!


Voor vragen of opmerkingen stuur de workshop coordinators een bericht: wenchin[at]instrumentinventors.org of yun[at]instrumentinventors.org



TBA
Location: ‘iii workspace’, Willem Dreespark 312 ,2531SX, Den Haag
Timeslots: 11:00 and 12:00
Suitable for: Children 6 – 12 years old and their parents
Language: Dutch and English
Tickets: €10 (for one parent and one child)

Are you curious about what artists do? Do you sometimes wonder what happens behind the scenes of how an artwork is made? iii opens its doors to give a tour of the works of various artists working with technology, all kinds of sounds, and new instruments.

Participants will:

1. Discover new instruments that were presented in an earlier public program “No Patent Pending

2. Get the chance to talk with the artists

Because of our corona regulations, each child can only have a maximum of one parent accompanying them. Thank you for your understanding!


For questions, email workshop coordinators yun[at]instrumentinventors.org or wenchin@instrumentinventors.org

Kijkje achter de schermen van kunstenaars is presented by iii with financial support from Creative Industries Fund NL and The Municipality of The Hague.

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No Patent Pending #26

January 29th, 15:00

Tetem, Enschede

Works by: Doron Sadja, Wen Chin Fu and David Scheidler

In occasion of the finissage for Doron’s Sadja solo exhibition “We Are Never Ever Ever Getting Back Together”, iii presents a performance program investigating our senses, movement and the human body.

Doron Sadja will perform with the instrumentation constituting his installation currently on show in Tetem’s medialab space, exploring its extended spatial and sensorial potentials. Working with the plasticity of the body, Wen Chin Fu will perform “Spine Spinning”, a piece inspired by the chronophotograhic studies of Muybridge and Maray, revealing the motion of the human spine through an especially made electronic costume. David Scheidler will perform a new work using turntables and acoustic test signals, using the most basic building blocks of sound to discover the inner intricacies of the acoustic world.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

We Are Never Ever Ever Getting Back Together is  kinetic sound and light installation investigating the deconstruction and reconstruction of white noise and white light.

White noise is what the human ear hears in the presence of all wavelengths of the audible spectrum. Within a segment of white noise you have all the materials for every song ever written, and every song that will ever be written.  Similarly, white light is what the human eye sees in the presence of all wavelengths of the visible spectrum.   Like a prism divides white light into the complete visible color spectrum,“We Are Never Ever Ever Getting Back Together” explores the idea of a sonic prism. The senses of the perceiver become the point in space in which all the different frequencies combine to create a field of infinite possibilities. 

“The material to make any song in the history of existence is all within a fraction of a second of white noise. I was thinking about a prism, which is a tool that divides white light into the full color spectrum so that it’s visible – and I was curious if you could do the same with white noise”

-Interview with Doron Sadja, Jegens & Tegens

 

“We Are Never Ever Ever Getting Back Together” has been commissioned to Doron Sadja by iii in partnership with TETEM Kunstruimte as part of iii’s guest residency program which is organised with DCR guest studios and financed by the Creative Industries Fund NL and Stroom Den Haag

hangar_01

On March 18th and 19th 2016 iii will be at Hangar in Barcelona for a two day program of workshops, talks and performances.

March 18th:

workshops with Matteo Marangoni, Jonathan Reus and Yolanda Uriz, full program here

followed by the launch of number 004 of Ursonate Fanzine magazine, run by Óscar Martín and José Luis Espejo and presentation of the artist book No Patent Pending, Self-made Performative Media by iii

March 19th performance program with new works by Jonathan Reus, Yaprak Sayar, Matteo Marangoni, Óscar Martín, Lars Kynde and Yolanda Uriz.

 

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Hague-based composer Roi Nachshon studied in Jerusalem music academy, as well as privately with Itzhak Sadai in Tel Aviv. He graduated from the Royal-Consevatiore in The Hague in 2006. His work has been commissioned and performed by musicians and ensembles including Ensemble MAE, DoelenKwartet, ensemble Klang, New European Ensemble, David Kweksilber Big Band, and ASKO|Schoenberg. Roi’s work has been featured on major stages and festivals such as the PROMS concert series in Muziekgebouw aan’t Ij, the Gaudeamus music festival, Nederlandse Muziekdagen, Doelen Rotterdam, Schouwburg rotterdam, Paradiso Amsterdam, Schouwburg utrecht, Musis Sacrum Arnhem, Korzo The Hague. Roi is also part of the music-theater creative duo SepiaZebra, which is concerned with the emergence of organic and systemic behaviours out of intuitive, arbitrary or even entirely external origins.

Ilya Ziblat (1975) is a composer and performer (bass / electronics). His music relates both to composition and improvisation, usually featuring a combination of instruments and live electronics. He has composed for various musicians and ensembles, often being involved himself as part of the performance. Ilya has participated in a wide range of projects, collaborating with with dance, visual- and video art, and film. After studying composition and contrabass in Tel Aviv University, he continued to the Netherlands to study at the Royal Conservatory, the Hague. Currently working towards a PhD in artistic research (Leiden University), his research focuses on the idea of musical freedom, exploring ways in which it can be expressed- and triggered- by composed structures.

During their residency, Roi and Ilya will collaborate on creating electro-mechanic synthesizers through which human players, instruments and other animate or inanimate objects can impact, excite and modulate each another. These devices will be used to connect musical instruments to a performer in a way that transfers sounds and idiomatic instrumental gestures into a different reality.

Roi and Ilya will present their work at No Patent Pending # 32, April 5, 2018

Lauren Jetty in conversation with Philip Vermeulen, 2020

First question; could you describe your practice in 3 words?

Interdisciplinary, performative, installations. Maybe performative installations already bounces interdisciplinary away, I’m not sure.

What are you working on at the moment?

I’m working on a show which has been delayed for a while at Greyspace, it’s going to be the first solo show which will be nice. So we’re making Fanfanfans, after Flap Flap and Boem BOem we now have Fanfanfans. They are hyperobjects; they are sculptures and they are rotating extremely fast and then there’s a DLP projector, the DLP projector has a colour wheel in it and then white is a mixture of all colours. The Fanfanfans are rotating so you get a lot of interference and it separates the white colour back into colours.

And the ‘Hyperobjectivity’ of it – do you mean this in relation to Timothy Morton’s idea of Hyperobjects?

Well, Timothy Morton completely stole my idea! Years before I came up with it! But yeah, there’s a kind of nonlocality in it because it plays with light phenomena. This is what happens a lot in my installations actually; that the material goes so extremely fast or extremely slow that it completely changes its characteristics and therefore it has this non-locality, and this is of course a lot in the perception of the viewer. So there are some weird connections into Timothy Morton’s theories so I’m trying to read his books at the moment.

Would you say you were an expert or a specialist in anything?

No, I like experimenting across mediums. I would say I’m kind of a globalist. So I know a lot about everything but when it comes really really into it I have to resource my information from somewhere or somebody.

A “Jack of all trades master of none” – so you know a little about lots but not loads about one specific specialist field etc

Exactly! I think it’s because when I finish something I do something completely different so then I need different information.

With this in mind, is a lot of your practice collaborative?

It comes a lot from conversations. Talking and trying and things explode and in the moment. Normally I make everything myself but because I have a big show coming up I have some really skilled guys; one is an engineer and one is from the Design Academy so they know their stuff; more than I do which is great. There are also a lot of productions going on at the same time which I have to be a little bit in control of; More Moire is going to The Netherlands Film Festival which is a shit load of work. So I’m trying to balance everything and it’s pretty hard.

So has this been your first experience ‘employing’ people to help with production?

The first time was with More Moire, that was really professional. Because it’s such a gigantic installation it has to be done well and I kind of enjoyed that. Felt very, very professional! It’s also good to focus.

When did you realise you wanted to develop a professional career in the arts? Or how did this come about?

I really didn’t think about it, I rolled into it. First of all I wanted to be a filmmaker so I went to the Film Academy and did a course on Production, I got into Production but they said that I should maybe go to an Art Academy, you are ‘too creative’. So I went to do that and I decided I wanted to do a documentary about an Art Academy but then in the first year they suggested I move to Fine Arts so I stuck around in Fine Arts for some time and then I quit and just stopped. After 2 years I found ArtScience and was like ‘aah’.

Did you study fine art at KABK as well?

No, at St Joost in the South of The Netherlands.

Is that where you’re from?

No, I’m from the East but I kind of hide it, it’s a secret.

Do you have any memories of first experiencing ‘art’?

My parents took me to museums which really, really annoyed me. I wasn’t a fan of paintings. But I was a fan of dancing and I was in ballet class when I was very young and I really liked to perform and to act, and I was in acting classes. Then somewhere in high school one of the teachers there, Kees de Groot, the guy behind Gogbot, put a lot of media art into the curriculum and I was like “oo this can be art as well, this is fun!”. So from then on I slowly started to experiment, first with experimental cinema and then VJ-ing and slowly I just got into it.

It was good you had a teacher who was willing to show more than just Picasso!

Yeah, the good stuff. I think there should be a revolution in schools to have better art, more diverse art, away from just Western painting.

When did you join iii?

In 2017, just before graduation. It was really, really nice because I could test Boem BOem in their space. I started in the shared production space and had a studio with Mariska but then I had to take Boem BOem into our shared workspace and it came to mind that I probably needed something bigger!

A space of your own also?

Yeah, everything is very well prepared and thought of, most of the time in a good way but it’s not good for my practice, I need a bit more freedom.

Do you think The Hague’s artistic climate has changed at all? Or do you see it moving in a particular direction?

I think the climate here is very good compared to other cities in The Netherlands. Stroom is doing an amazing job, because of the Conservatory and ArtScience there is an incredible breed of young talent here, which is very much about experimenting. Combined with TodaysArt, iii and ReWire Festival. It’s on the edge of a very boring city and a very adventurous one and it’s just bending between the two; which is amazing actually. It’s kind of like the outskirts of Amsterdam but much more liveable and affordable.

What are the benefits of being in an organisation like iii?

It’s good to have like-minded people around you and to have a specialised knowledge around you. It’s extremely valuable. Plus iii is organised in such a professional way that they really can do things; setting up shows, having a gigantic network. It’s a very good structure to conquer the rest of the world! I think as well there are so many specialists on board so if you have any questions about certain topics there’s always someone who knows or who can point you in the right direction.

Have you organised anything yourself at iii or been in any events there?

I’ve been in No Patent Pending a couple of times and the residencies but since I graduated I have been extremely busy so I haven’t organised anything for them. So now what I try to do, because I have built up some valuable contacts, is to share them with iii and to make new partners. So I worked a lot with Sonic Acts as well as iii so I’m getting the 2 to mingle, which is something I’m good at. Some of the time you have to get out of the studio and start mingling again with the outside world.

Did you want to describe the show you’re working towards at Greyspace a little more?

Yeah, so Greyspace will have 8 new works; the TLLLLLLLT series which is like a goodbye concert to the old fashioned TL lights and especially their sounds and the flickering; because they are going to be removed and replaced with LEDs. It’s really a research into John Cage and how to make compositions; because TL lights do whatever they want and they’re not really listening to me so I can only make a semi-set of rules and try to follow them and the network is doing whatever it wants with it. The fun thing is that there has been so much experimenting with TL lights; Dan Flavin and here in The Hague Mike Rijnierse. As well of course in nightlife there have been these sculptures which are always very minimalistic. But it’s actually fun to keep them in their armature and find all of the dirtiest ones because they make such a great sound; the armature really becomes a soundbox which amplifies all of the sounds, which is fun. I’ve collected around 500 now! Which I’m never going to do again! It took around half a year so now I’m really fed up with them. So the TLLLLLLLT is going to Greyspace and Fanfanfans.

 

Photo by Pieter Kers | beeld.nu

April 30, 2019
iii workspace, Willem Dreespark 312, The Hague
Doors open 20:00, starts 20:30
Ticket €5-€10 sliding scale, free for We Are Public members
Presented in collaboration with Q-O2 and STUK

Performances by: Akio Suzuki & Aki Onda, Kunrad & Paper Ensemble

Though they differ in generation and performance practice, the NYC-based Onda (b.1967) and the Kyotango-based Suzuki (b. 1941) share an astonishingly inventive, open- ended, and spontaneous approach to the infinite and variegated possibilities of sound. Since initiating a collaborative relationship in 2005, the duo have embarked on a number of tours in Europe and Asia, exploring site-specific locations ranging from an abandoned factory on the outskirts of Brussels to an underground parking lot in Glasgow.

Onda and Suzuki perform by utilizing unconventional and self-made instruments including analog cassette Walkmans and radios, found pieces of wood, nails, hammers, buckets, marbles, and glass jars, allowing the individual architecture and acoustics of the various sites to guide the flow and development of the performances. The performance begins with the artists in the middle of the space, surrounded by the audience, before gradually moving throughout the environment as the performance unfolds.

Kunrad makes sound art, compositions and performances. Sound is always at the centre. He completed his Bachelor in Composition Electronic Music at the University of the Arts Utrecht and his Master in ArtScience at the Interfaculty ArtScience in The Hague. Kunrad currently focuses on paper as a material. For future works he has ideas involving cranes, waves, churches, factory halls, stones, sterling, writing, shortwave radio, sliding, pebbles, ceramics, bunkers, stripes, leaves, dropping, dripping…

Paper Ensemble was founded by Jochem van Tol in 2007 and developed with Ibelisse Guardia Ferragutti. Jochem invented a series of sculptural paper instruments which emerged from a research about sound, listening and composition. The Paper Ensemble gives the visitor the opportunity to have an aesthetic experience that would remain hidden if not presented through the work of art. They challenge the borders of what we would define as an object, an image or a (musical) sound. They could be heard as regular sounds, or (when blowing against a sheet of the thinnest paper) not been heard at all, but by putting these sounds in a specific composition, well timed and precisely played, the sounds attain a musical and performative quality that challenges the visitor’s awareness of sound and music in general. The Paper Ensemble catches the magic of a silent material and enlarges it in a poetic and moving way.
On the occasion of No Patent Pending #35,  Paper Ensemble will consist of Ibelisse Guardia Ferragutti, Klara Alexova, Marielle Groven, and Jochem van Tol.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

No Patent Pending #35 is presented by iii in collaboration with WD4X and with the support of Stroom Den Haag and Gemeente Den Haag. The participation of Akio Suzuki and Aki Onda is made possible in collaboration with Q-O2 and STUK.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

image-1

previous editions:

No Patent Pending  #1, Q02, Brussels (BE), 2012
Wen Chin Fu, Matteo Marangoni, Jeroen Uyttendaele, Dewi de Vree

No Patent Pending  #2, STEIM, Amsterdam (NL), 2013
Lars Kynde, Joris Strijbos, Nicky Assmann, Wen Chin Fu, Dieter Vandoren, Jeroen Uyttendaele, Dewi de Vree, Erfan Abdi, Matteo Marangoni, Ben Terwel, Mariska de Groot, Yolanda Uriz, Angela Faraldo, Jonathan Reus

No Patent Pending  #3, Het Nutshuis, Den Haag (NL), 2013
Yolanda Uriz, Wen Chin Fu, Jeroen Uyttendaele, Dewi de Vree, Erfan Abdi, Matteo Marangoni, Ben Terwel, Jonathan Reus, Joris Strijbos, Nicky Assmann, Daan Johan, Mariska de Groot, Dieter Vandoren, Angela Faraldo

No Patent Pending  #4, Loophole, Berlin (DE), 2013
Mariska de Groot, Mat­teo Marangoni, Wen Chin Fu

No Patent Pending  #5, Signal Raum, Munich DE), 2014
Wen Chin Fu, Dieter Vandoren, Yolanda Uriz, Mariska de Groot

No Patent Pending  #6, bb15, Linz (AT), 2014
Wen Chin Fu, Dieter Vandoren, Mariska de Groot, Yolanda Uriz, Matteo Marangoni

No Patent Pending  #7, MOTA, Lijubliana (SI), 2014
Wen Chin Fu, Yolanda Uriz, Mariska de Groot, Matteo Marangoni

No Patent Pending  #8, Macao, Milan (IT), 2014
Wen Chin Fu, Yolanda Uriz, Mariska de Groot, Matteo Marangoni

No Patent Pending  #9, NUB, Prato (IT), 2014
Wen Chin Fu, Yolanda Uriz, Mariska de Groot, Dieter Vandoren, Matteo Marangoni

No Patent Pending  #10, Villa No, Brescia (IT), 2014
Dieter Vandoren, Mariska de Groot, Matteo Marangoni, Davide Tidoni

No Patent Pending #11, STEIM, Amsterdam (NL), 2014
Erfan Abdi, Wen Chin Fu, Lars & Nikolaj Kynde, Jonathan Reus, Matteo Marangoni, Dieter Vandoren.

No Patent Pending #12, Quartair, Den Haag (NL), 2015
Adam Donovan, Young Eun Kim, Amir Bolzman, Yaprak Sayar, Yael Levy & Karlijn Hamer

No Patent Pending #13, Aparaaditehas, Tartu (EE)
Mischa Daams, Wen Chin Fu, Lars Kynde, Matteo Marangoni, Patrizia Ruthensteiner, Yolanda Uriz, Dewi de Vree

No Patent Pending #14, Kanepes Kulturas Centrs, Riga (LV), 2015
Matteo Marangoni, Wen Chin Fu, Yolanda Uriz, Mariska de Groot

No Patent Pending #15, MoKS, Mooste (EE), 2015
Wen Chin Fu, Lars Kynde, Matteo Marangoni, Patrizia Ruthensteiner, Yolanda Uriz, Dewi de Vree, Aurelie Lierman

No Patent Pending #16, Third Space, Helsinki (FI), 2015
Aurelie Lierman, Wen Chin Fu, Mariska de Groot, Matteo Marangoni

No Patent Pending #17, Quartair, The Hague (NL), 2015
Echo Ho, Wen Chin Fu, Mei-yi Lee, Mariska De Groot, Ludmila Rodrigues, SonoLab, Ana Smaragda Lemnaru, Leo Svirsky, Jeromos Kamphuis, Ivan Babinchak- Revquist

No Patent Pending #18, Quartair, The Hague (NL), 2016
Jamie Allen, Will Schrimshaw, Toktek, Ingrid Lee

No Patent Pending #19, Spektrum, Berlin (DE), 2016
Dewi de Vree & Jeroen Uyttendaele, Dieter Vandoren & Matteo Marangoni, Yolanda Uriz

No Patent Pending #20, Hangar, Barcelona (ES), 2016
Matteo Marangoni, Jonathan Reus, Yolanda Uriz, Yaprak Sayar, Óscar Martín, Lars Kynde

No Patent Pending #21, The Gym, Groningen (NL), 2016
Yolanda Uriz, Mariska de Groot, Matteo Marangoni & Dieter Vandoren

No Patent Pending #22, Quartair, The Hague (NL), 2016
BMB con., Patrizia Ruthensteiner, Dewi de Vree, Aurélie Lierman, Marianna Soroka, Jo Caimo

No Patent Pending #23, Tetterode, Amsterdam (NL), 2016
Dewi De Vree, Patrizia Ruthensteiner, Jeroen Uyttendaele, Jo Caimo, Erfan Abdi, Matteo Marangoni, Dieter Vandoren

No Patent Pending #24, Quartair, The Hague (NL), 2016
Doron Sadja, Yoneda Lemma, Yolanda Uriz, Jeroen Uyttendaele

No Patent Pending #25, Baruch Pavilion, The Hague (NL), 2016
Marco Donnarumma, Maciej Ożóg & Mariusz Knysak, Miri Lee & Wen Chin Fu, Jenny Pickett & Julien Ottavi (APO33), Asami Kiuchi, So Oishi & Thomas Körtvélyessy

No Patent Pending #26, Tetem, Enschede (NL), 2017
Doron Sadja, Wen Chin Fu, David Scheidler

No Patent Pending #27, iii workspace, The Hague (NL), 2017
Performances by Dmitry Morozov (::vtol::), Julien Ottavi, Jenny Pickett (APO33), Philip Vermeulen, RecPlay, Fauna

No Patent Pending #28, iii workspace, The Hague (NL), 2017
Performances by Natali Blugerman, Davide Tidoni, Till Bovermann, Yuri Landman, OBOL LE

No Patent Pending #29, Korzo, The Hague (NL), 2017
Performances by Cathy van Eck, Peter Bosch & Simone Simons, BMB con., OKAPI, iii and Ymke Vertelman

No Patent Pending #30, STUK, Leuven (BE), 2017
Performances by Wen Chin Fu, Yuri Landman, Mariska de Groot and Jo Caimo

No Patent Pending #31, STUK, Leuven (BE), 2018
Performances by Myriam Bleau, Doron Sadja, Erfan Abdi, Dieter Vandoren and Matteo Marangoni

No Patent Pending #32, iii workspace, The Hague (NL), 2018
Performances by Myriam Bleau, Mariska de Groot (with Optical Sound Orchestra), Yann Leguay, Ilya Ziblat Shay and Roi Nachshon

No Patent Pending #33, iii workspace, The Hague (NL), 2018
Dianne Verdonk, Nina Essendrop, Fiona Lee, Natalie Fyfe, Matthias König, Jeroen Uyttendaele and Erfan Abdi

No Patent Pending #34, iii workspace, The Hague (NL), 2018
Geert-Jan Hobijn, Jaime del Val, Andreas Trobollowitsch, Nina Runa Essendrop, Erfan Abdi, Marije Baalman, Wen Chin Fu and Matteo Marangoni

No Patent Pending #35, iii workspace, The Hague (NL), 2019
Akio Suzuki & Aki Onda, Kunrad, and Paper Ensemble

No Patent Pending #36, iii workspace, The Hague (NL), 2019
Rie Nakajima & Pierre Berthet, and Leslie Nagel

No Patent Pending #37, Gaudeamus Muziekweek, Utrecht (NL), 2019
Mariska de Groot, Matteo Marangoni, Dieter Vandoren, Jo Caimo

No Patent Pending #38, iii workspace, The Hague (NL), 2019
Mario de Vega, Marianthi Papalexandri-Alexandri, Budhaditya Chattopadhyay, Mischa Daams

Minolta DSC

Photo by Pieter Kers | beeld.nu

May 15, 2019
iii workspace, Willem Dreespark 312, The Hague
Doors open 20:00
Event starts 20:30
Tickets: €5-€10 sliding scale

Performances by Pierre Berthet & Rie Nakajima and Leslie Nagel

Pierre Berthet & Rie Nakajima will present their collaborative project Dead Plants & Living objects.

Rie Nakajima and Pierre Berthet have been creating various ways to vibrate things so that their acoustic shadows dance around: invisible air volumes that reshape constantly, move in the space, enter in the most secret places and inside ourselves. A way to get closer to things inherent spirits is to listen to them. Eventually encouraging them to produce sounds and resonate by various means: to hit, caress, shake, beat, scrape, scratch, claw, boil, clap, rattle, rock, throw, move, magnetize, clamp, cook, pinch, galvanize, motorize, bow, blow, pluck, heath up, let flow, freeze, drop, drip, connect, roll, mix, extend, sing…

Rie Nakajima is a Japanese artist working with installations and performances that produce sound. Her works are most often composed in direct response to unique architectural spaces using a combination of kinetic devices and found objects. She has exhibited and performed widely both in the UK and overseas and has produced ‘Sculpture’ with David Toop since 2013. She has recently had her first major solo exhibition at IKON Gallery in Birmingham.

Pierre Berthet lives and works in Liège, Belgium. Musician, composer, inventor, craftsman. He studied percussion with André Van Belle and Georges-Elie Octors. Improvisation with Garrett List. Composition with Frederic Rzewski. Music theory with Henri Pousseur. He designs and builds sound objects and installations (steel, plastic, water, magnetic fields, …). He presents them in exhibitions and solo or duo performances.

Leslie Nagel‘s sculptures squeak, grind, tap, shock and crack. The squeak of styrofoam can give anyone goosebumps. Foil can pleasantly crackle. It releases energy able to affect inner movements and impulses. Such energy drives Leslie to make things. She gathers materials around her like; plastic, fabric, rope, polystyrene because she is interested in how they react to her manipulation of them. She keeps the material in motion and often use motors that let it swing, sway end tremble. With this collection she makes her sculptures.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

No Patent Pending #36 is presented by iii in collaboration with WD4X and with the support of Stroom Den Haag and Gemeente Den Haag.

Photo by Pieter Kers | beeld.nu

Matthias Konig is an artist and a musician/producer, based in The Hague (NL). His work is defined in sculptures, installations, drawings and music, but most of the time it‘s a symbiosis of these elements. His artistic practice is based on the creation of compositions with a specific acoustic and physical interaction, where form and sound coexist. The playful, unpredictable aspects of this interaction has his main interest. The specific qualities of music like tone, dynamics, rhythm, timbre and its swiftly immateriality create the poetic counterpart of the physical and visual. With a visual and more or less static space for the quick and fleeting properties of time — as such almost stretched towards infinity — he creates an oscillating experience of constant change. The ambiguity in the sensory perception is an open invitation to explore an audible and visual space, where time seems to evaporate.

Matthias König is developing a new body of work, freewheeling around the celebration of the funky life. He uses sculpture, drawing, video and sound as instruments to magnify the mad, the fool, the bullhead, the unheard, the self-entitled, the antihero, the leader to the unknown, the king and queen of kinky kingdom,… who reside in all of us.

During No Patent Pending #33 on May 4, 2018, König will present a distilled sneak preview of his forthcoming solo exhibition g’woon z’n gangetj’ at Kunstenlab, Deventer.

Natalie Fyfe is an artist and performer who positions herself at the border of art and music. With an interest in psychopathology Natalie composes with mundane sounds and isolated body parts to create intersections of control between delusion and reality. Natalie’s works are derived from her own personal experiences with mental health but navigate towards her audience to play with expectations and perceptions. Natalie Fyfe is a graduate from MA ArtScience at The Royal Conservatoire, The Hague. Natalie was awarded both the Masters ArtScience department Award and the Royal Academy of Art Masters Award for her graduation work Choreography of the Mouth (2017). Natalie is currently based in the Hague, NL.

Yun Ingrid Lee (fka Ingrid Eel) is an artist, composer, and performer interested in failure, hybridity, and collective sensing. Yun’s work investigates histories and power relations in acoustic phenomena and different media technologies. Yun has been 1/2 of COME ON YOU FUCKERS in Los Angeles, curator of the Paarden Eiland Concert series in Cape Town, and curator of the BARTALK lecture/performance series in The Hague. Yun’s sounds have been released through Another Timbre, Innova Recordings, and The Lab. Yun’s digital publication “Poetics and Politics of Erasure” was recently launched on oneacre.online.

During their residency, Natalie and Yun will be giving a 6 day intensive score-making workshop for non-musicians titled BodyScores. Selections of work produced during this workshop will be presented at No Patent Pending #33 on May 4, 2018.

Please be aware that shipping will take place on our Monday office days. Once a week orders received before Monday 14:00 will be shipped by Tuesday.

Shipping is currently set to countries within Europe, if your country is not listed please contact us for a postage quote.

No Patent Pending #37 at Senses Working Overtime 2019
September 6, 2019, 18:45
Het Huis Utrecht, Boorstraat 107, Utrecht
Entrance: €10 – 17

Works by: Mariska de Groot, Matteo Marangoni, Dieter Vandoren, Jo Caimo

iii presents No Patent Pending #37 in the Senses Working Overtime exhibition at Gaudeamus Festival.

Radical interdisciplinary performance engaging with image, sound, space and the body is the focus of this nomadic series presented by the iii collective. Expect to be immersed in optical sound projections, a swarm of electronic creatures and an impromptu choir, crossing all disciplinary boundaries through invention and ritual.

Program
Shadow Puppet? – Mariska de Groot and Dieter Vandoren
Lampyridae – Matteo Marangoni and Dieter Vandoren
Koorvorming – Jo Caimo

Adam Donovan is a hybrid media artist working in the areas of science, art and technology. His artwork incorporates Nonlinear Acoustics, robotic sculpture, Game Engine Environments and camera tracking. His work is often inspired by his personal attachment to machines and the intangible aspects of physics we experience every day. He explores these phenomena amplifying their effects to create new mediums and experiences.

Adam Donovan will be in residence between September 12th and 26th 2015 and will present his work at No Patending #12 at Quartair on September 20th.

Echo Ho  is a interdisciplinary artist and composer born in Beijing who lives and works in Cologne. Her artistic practice often shows a complex migrational context and conceptual links of culturally diverse materials and artistic disciplines, which range from mixed media, audio video installations, art interventions to performances. As a musician she works with field recordings, experimental electroacoustic composition, she performs live and collaborates with musicians from around the globe.

Echo Ho will be in residence between November 9th and December 9th and will present her work at No Patent Pending #17 at Quartair on December 8th.

Último Esfuerzo Rural V (last rural effort) is the fifth within a series of works that uses obsolete agricultural implements. Objects that remind us of everyday aspects from our recent past that are given a new life now that they have lost the original economic functions. The objects are brought back to life by air-driven industrial vibrators. Once brought into resonance they recover their forgotten value by producing mysterious, hypnotic sounds: a process whereby the potential energy of once meaningful, but now dead objects, is being transformed into a spiritual experience, by stimulating their resonant frequencies in an unusually unpredictable and vivid manner.

Último Esfuerzo Rural V at Sound art exhibition at Kruithuis, Den Bosch

Último Esfuerzo Rural III at No Patent Pending #29, Korzo Theater, The Hague

April 5, 2018
iii workspace, Willem Dreespark 312, The Hague
Doors open at 19:30, program starts at 20:00 sharp
Entrance €5.-
Free for We Are Public members

Artists: Myriam Bleau, Mariska de Groot (with Optical Sound Orchestra), Yann Leguay, Ilya Ziblat Shay and Roi Nachshon

The 32nd edition of iii’s No Patent Pending series  presents a program of performances focusing on sound, vision, space and movement. The playful and compositional potential of both newly designed instruments and repurposed devices is explored within idiosyncratic rituals immersing the audience in transient sensory forms.
Canadian audiovisual performer and instrument inventor Myriam Bleau will present a new work based on luminescent interfaces set in pendular motion. Mariska de Groot will take part in the program together with the Optical Sound Orchestra, conducting six performers playing twelve 16mm film projectors. Ilya Ziblat Shay and Roi Nachshon will present new work for prepared double bass and electronics and Yann Leguay will perform his work Headcrash, which uses computer controlled hard drives as physical turntables to make radical minimal noise techno.

Montreal native Myriam Bleau is a composer, multimedia artist and performer who creates mesmerizing audiovisual systems that transcend the screen. Taking the shape of sound installations and performance specific musical interfaces, her works explore the limits between musical performance and digital arts, and are infused with a hybrid practice that integrates hip hop, techno and the more experimental fringe of electronic composition.

Intrigued by the phenomena and history of optical sound, Mariska de Groot (1982, NL) makes and performs comprehensive analog light-to-sound instruments and installations which explore this principle in new ways. Her work often has a reference to media inventions from the past, with which she aims to excite a multi-sensorial and phenomenological experiences in light, sound, movement and space.

Brussels based sound artist Yann Leguay, defined as a media saboteur by the Consumer Waste label, he seeks to fold the sound materiality in on itself using basic means in the form of objects and videos or during installations and performances he has presented in many places and festival in Europe and further. His flagrant disregard for the accepted norms of audio behavior appropriates unusual machinery for the playback of audio media: using an angle grinder to perform the live destruction of a microphone or using opened hard-drives as turntables. His release activity is equally deviant, releasing silkscreen records or a 7” single without a central hole and a record composed from recordings of vinyl being scratched by scalpel. His Phonotopy label proposes a conceptual approach to recording media and he also curates the DRIFT series on the Artkillart label which overlays several grooves onto a single record, causing randomised playback. He is also involved in many collective projects such as radio researches and events organisations

Ilya Ziblat Shay (1975) is a composer and performer (bass / electronics). His music relates both to composition and improvisation, usually featuring a combination of instruments and live electronics. He has composed for various musicians and ensembles, often being involved himself as part of the performance. Ilya has participated in a wide range of projects, collaborating with with dance, visual- and video art, and film. After studying composition and contrabass in Tel Aviv University, he continued to the Netherlands to study at the Royal Conservatory, the Hague. Currently working towards a PhD in artistic research (Leiden University), his research focuses on the idea of musical freedom, exploring ways in which it can be expressed- and triggered- by composed structures.

Hague-based composer Roi Nachshon studied in Jerusalem music academy, as well as privately with Itzhak Sadai in Tel Aviv. He graduated from the Royal-Consevatiore in The Hague in 2006. His work has been commissioned and performed by musicians and ensembles including Ensemble MAE, DoelenKwartet, ensemble Klang, New European Ensemble, David Kweksilber Big Band, and ASKO|Schoenberg. Roi’s work has been featured on major stages and festivals such as the PROMS concert series in Muziekgebouw aan’t Ij, the Gaudeamus music festival, Nederlandse Muziekdagen, Doelen Rotterdam, Schouwburg rotterdam, Paradiso Amsterdam. Roi is also part of the music-theater creative duo SepiaZebra, which is concerned with the emergence of organic and systemic behaviours out of intuitive, arbitrary or even entirely external origins.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

No Patent Pending #32 is presented with the support of Stroom Den Haag, Gemeente Den Haag and the Creative Industries Fund NL in collaboration with DCR guest studios and Stichting WD4X. The participation of Yann Leguay is facilitated by Overtoon.

Wednesday April 13th 2016

18:00 – 21:00, at Tetterode / Dijktheater, Da Costakade 160, Amsterdam

Entrance €5*

Presented by Kulter.Instruments_Make_Play, as part of West Wednesdays and as pre-event to the SOTU festival.

With performances by: Dewi De Vree, Patrizia Ruthensteiner, Jeroen Uyttendaele, Jo Caimo, Erfan Abdi, Matteo Marangoni and Dieter Vandoren

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

*free entrance with purchase of No Patent Pending, self-made performative media (€25) – This ticket also grants free entrance to the second part of the pre_SOTU event at Vondelbonker 22:00 – 00:00 [10 minues walk].

 

 

May 4, 2018
iii workspace, Willem Dreespark 312, The Hague
Doors open at 19:30, program starts at 20:00 sharp
Entrance €5.-
Free for We Are Public members

Artists: Dianne Verdonk, Nina Essendrop, Fiona Lee, Natalie Fyfe, Matthias König, Jeroen Uyttendaele and Erfan Abdi

The 33rd edition of iii’s nomadic series features an eclectic mix of performances which share an intuitive and primarily non-verbal approach to composing with objects, bodies and everyday materials. Searching for the uncommon in the common, physical gestures, material  assemblages and algorithmic abstractions collaborate to restructure the time and space of perception. Copenhagen based Nina Essendrop will present her participatory work Human Experience, as part of a three day focus on Larp.  Dianne Verdonk will perform with a new physical sequencer that she is developing for creating sonic textures. Jeroen Uyttendaele will present Avlas, a piece exploring colour and sound combinations through the physical manipulation of light. Natalie Fyfe will embody the discomfort of  public speaking. Hong Kong exchange artist Fiona Lee and local resident Matthias König will also both present the outcome of their residency at iii.

Dianne Verdonk – performer, composer and instrument developer – seeks the ultimate, personal form of musical expression in the creation and performance of electroacoustic music. For years, she operated within different contexts as a double bass- and cello player, but her craving for making and performing electronic music roused her to start the creation of La Diantenne, an electronic instrument to realize her personal needs for expression.

Nina Runa Essendrop is a Danish artist and larp designer with a masters degree in Theater, Dance and Performance Studies. She has a strong focus on movement, sensory experiences and the meaning of physical action. Nina is an active player in the Nordic Larp community. She has designed and produced blackbox larps, freeform games, large scale-larps, audience inclusive larps and larp festivals and she has collaborated with artists in both Europe and New York. She has designed and run workshops, larps, performances and interactive theatre pieces at among others Transmediale 2016 (Berlin, Germany), Momentum: The 8th Nordic Biennial of Contemporary Art (Moss, Norway), The Flea Theatre (New York, US), Dome of Visions (Århus, Denmark) and Ormston House (Limmerick, Ireland)

Born in Hong Kong, Fiona Lee‘s works of art are derived from the intersection between installation and performance. Listening creates an important connection between Fiona and the world; this is when she feels the movement of every single moment. She believes her art creations represent the progress she is making in exploring and accepting her own and others’ possibilities.

Natalie Fyfe is an artist and performer who positions herself at the border of art and music. With an interest in psychopathology Natalie composes with mundane sounds and isolated body parts to create intersections of control between delusion and reality. Natalie’s works are derived from her own personal experiences with mental health but navigate towards her audience to play with expectations and perceptions.

 

Matthias König is an artist and a musician/producer, based in The Hague (NL). His work is defined in sculptures, installations, drawings and music, but most of the time it‘s a symbiosis of these elements. His artistic practice is based on the creation of compositions with a specific acoustic and physical interaction, where form and sound coexist. The playful, unpredictable aspects of this interaction has his main interest. The specific qualities of music like tone, dynamics, rhythm, timbre and its swiftly immateriality create the poetic counterpart of the physical and visual. With a visual and more or less static space for the quick and fleeting properties of time — as such almost stretched towards infinity — he creates an oscillating experience of constant change. The ambiguity in the sensory perception is an open invitation to explore an audible and visual space, where time seems to evaporate.

Jeroen Uyttendaele is interested in sound and it’s relation to light, space, time and the viewer.  This translates itself in the development of audiovisual instruments, installations and sound compositions. His works often exploit basic properties of technology such as electricity, metal, conductive materials as the main tools for expression.

Erfan Abdi (1983 – Tehran) is an artist, designer and performer based in The Hague. Creating sensory stimulation to invoke active perception is Erfan’s way of investigating the intra-actions between the artist, the instrument, and the audience. In his instrument design practice, he takes advantage of the possibilities offered by DIY technology, and employs found or repurposed material, seeking alternative ways to connect to the world of production and consumption.

No Patent Pending #33 is presented with the support of Stroom Den Haag, Gemeente Den Haag and the Creative Industries Fund NL in collaboration with DCR guest studios and Stichting WD4X. Fiona Lee’s participation is supported by CMHK (Contemporary Musiking Hong Kong).

The aim of my residency was to build and finalise a new installation within the series Último Esfuerzo Rural for the exhibition the “Installatie Expeditie” at the Kruithuis in Den Bosch, as part of the festival November Music. As starting point I had the work Último Esfuerzo Rural III, premiered at the JustMAD Art Fair in Madrid, February 2017 within the framework of the EX prizes for Experimental New Media Art. In version III, we used seven antiquated metal objects, collected in the rural Spanish village where we live.

After losing their original functions, objects that remind us of everyday aspects from our recent past are given a new soul. Once brought into resonance by air-driven industrial vibrators, these objects recover their forgotten value by producing mysterious, hypnotic sounds; a process wherein the potential energy of once meaningful but now dead objects, is transformed into a spiritual experience, by stimulating their resonant frequencies in an unusually unpredictable and vivid manner.

 

On October 5, I presented the old version of the piece with seven objects, as part of “Connect the Dots: No Patent Pending #29. Normally the work is controlled by computer but at this event I opened and closed the individual taps of each vibrator manually. It exceeded expectations. The large public and the theatrical setting definitely helped.

After this event I started to work on a new version for November Music, twice as big as former versions. Prior to the residency, Simone and I decided to collect our most appealing objects such as old spraying equipment worn as backpacks when in use. It was quite easy to find more of these on the Internet, as they are a rather popular object in Spain to collect and hang on a wall. In the next step, I had to double the number of valves used for controlling the vibrators from 7 to 14.

Thereafter it was time to think about how to distribute the objects in space. In Mid-October Simone Simons came to The Hague for a few days and we looked at different setups. We liked to have a rather orderly distribution of the nine spray backpacks and a freer approach for the other five objects, a concept that I more or less maintained for the final exhibition in Den Bosch.

Thereafter I hung the objects in a very compact way in the workspace of iii to start testing sound and software. It was about time because soon thereafter, Russian scientist/sound artist Sergey Kostyrko came to The Hague for a weekend to test the response of the air-driven vibrators to RGB data of video footage for another collaborative project.

During the last week of the residency I worked on the software (PureData) for the exhibition. The program has the same structure as it did in former versions of the work. This structure is very simple: Each vibrator/object has it´s own on/off cycle, defined by how many milliseconds it is on and how many off. The program goes on “for ever”, regardless of whether the work itself is on or off.

During the tests I varied the length of the cycles and the percentage of time the objects were on. In the final version the length of the cycles varied between 40 and 200 seconds and the percentage of “on” per cycle was 20 %. For instance, object nº 1 has a cycle 39986 milliseconds of which it is first on for 7997 milliseconds and then off for ( 39986 – 7997 = ) 31989 milliseconds (see picture). The reality is more complex because all the vibrators receive the air from the same compressor and it might happen that a vibrator does not receive enough air to start at the programmed moment, depending on the amount of vibrators that are already on and the amount of air it receives varies.

Because most of the cycles have different lengths with hardly any numerical relationship, these two factors, together with the complex behaviour of the vibrators, make the results very unpredictable. Unpredictability is a theme you will find in all of our works. Our sounds always vary in little details and therefore we think it does not make much sense to make a fixed score. We merely play with parameters like duration and density to surprise not only the public but also ourselves. What is the “best solution” for each work and space is difficult to say. After all, this is a subjective matter.

At the very end of the residency, Tanja Busking did a video interview wherein I talk some more about the background of the work. I am happy with the final result that was shown at the exhibition in Den Bosch. The space itself is beautiful. Visually, it worked very well, but the acoustics were maybe a bit dull compared with the space I worked in during the residency. You always have to work on the spot on the sounds of the objects and often also on details in the software. You learn from each exhibition. This first appearance of this big setup was not a definitive version. Our works develop further over time and each show is different.

Bosch & Simons is a duo consisting of artists Peter Bosch and Simone Simons.

From 1985, the beginning of their collaboration in Amsterdam, Bosch & Simons have been involved in performances, concerts and theatre productions. Since 1990, however, they have focused in particular on the development of autonomous “music machines”. They have created installations in museums, at international symposiums and concert halls around the world.

Peter Bosch had a residency at iii from Oct 1 to 31, 2017.
See more from his residency here

www.boschsimons.com
https://www.facebook.com/BoschandSimons/

Jamie Allen and Will Schrimshaw work as artists, researchers, musicians and educators. Through performance, installations and workshops their collaborative work explores noise as a source of creative potential. As improvisers they work with white light, handmade synthesizers and drums.

Residency dates: January 8th to January 18th 2016.

Public activities connected to the residency:

Jan 10 – Reading Room #6 Noise as Pure Potential  at Stroom Den Haag, The Hague
Jan 10 – Pure Potential performance during No Patent Pending #18 at Quartair, The Hague
Jan 14 – Reading Room #7 Subtraction and Differentiation at Stroom Den Haag, The Hague
Jan 16 – Pure Potential concert, OCCII, Amsterdam
Jan 16 – Talk at STEIM, Amsterdam

 

Jamie Allen

Born in Canada, and working between New York, the UK, Copenhagen and Basel, Jamie has been involved with emerging technologies as a designer, researcher, artist and teacher for over 12 years. He likes to make things with his head and hands – investigations into the material systems of media, electricity, and information. His work has been exhibited internationally, from Eyebeam in NYC, to the Foundation for Art and Creative Technology in Liverpool, to SIGGRAPH Asia in Yokohama, Japan.

Will Schrimshaw

Will Schrimshaw is an artist and researcher from Wakefield based in Liverpool. His work is broadly concerned with the subliminal influence of backgrounds, ambiances and atmospheres, with the often imperceptible determinants of space and place. In 2011 he completed a PhD in Philosophy and Architecture at Newcastle University, focusing upon ideas of acoustic space and auditory influence within architectural and artistic practice. He teaches courses on sonic interaction and sound design and has completed a number of residencies, solo and group exhibitions, performances and workshops across the globe.

Screen Shot 2015-08-10 at 7.56.57 PMSunday, September 20th 2015

With Adam Donovan, Young Eun Kim, Amir Bolzman, Yaprak Sayar, Yael Levy & Karlijn Hamer

Quartair, Toussaintkade 55, The Hague
Doors open at 19:00, starts at 19:30
entrance: €5

presented by iii in cooperation with TodaysArt and Quartair.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

Adam Donovan (AT/AU)
Adam Donovan is a hybrid media artist originally from Australia and currently based in Vienna who works in the area of science, art and technology. His artwork incorporates Nonlinear Acoustics, robotic sculpture, Game Engine Environments and camera tracking. Inspired by our attachment to machines and the intangible aspects of physics that we experience every day, Adam Donovan explores these phenomena amplifying their effects to create new mediums and new experiences.

Young Eun Kim (KR/NL)
Young Eun Kim is currently working and living in Amsterdam as an artist-in-residence at the Rijksakademie van beeldende kunsten. She works predominantly with sound as a medium. Rather than creating music with sound, she is interested in inventing a system that allows for various ways of listening to a selected subject.

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Yaprak Sayar (TR/NL)
Yaprak Sayar is an artist based in the Hague, Netherlands, originally from Istanbul, Turkey. In her works, she combines multiple disciplines in a very personal way; pursuing a scientific and an artistic research process and a path of fascination of its revelations. Yaprak holds a bachelor’s degree in Painting, and a second one in Artscience. Having a background in Visual Arts, her artistic curiosity expanded in a larger field that embraces sound, performance art and music. Recently, she produces electro-acoustic musical instruments and sound systems that finds inspiration in various artistic fields such as installation, sound, performance arts and kinetic sculpture. She experiments with electricity, electromagnetism, physical tension and heat as well as the “unpredictable”, “uncontrollable” and “risky” elements in the context of a performative instrument.

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Amir Bolzman (NL/IL)
Musician, Sound artist and instrument builder based in Den Haag, Netherlands. Born in Brazil, 1985. Graduated with honors at The Naggar School in Musrara, Jerusalem, July, 2010.
Founder and member of the Jerusalem music/video label “ no coast productions ”.
Released and produced albums for : Amy McKnight, Subjunk and Daniel Slabosky.
The last three years focusing his energy on free improvise of electronic music with self build instruments.When it’s a sunny day performs in the street of Amsterdam with the Biovon van tube a PVC homemade instrument. He graduated from the institute of Sonology/Royal conservatory in the Hague in 2015. He is a member of Stichting Centrum , an artist collective located in Den Haag.

Yael Levy (NL/IL)
Yael Levy is a composer, a visual artist and an educator, born in Israel in 1983. She studied composition with Dr. Hagar Kadima (2007-2011). In 2010 she completed her Bachelor in music education and choir conducting (B.Ed) at the School of music in Levinsky College of education, Tel-Aviv. In 2014 she completed her second Bachelor in music composition, studying with Gilius van Bergeijk and Yannis Kyriakides at The Royal Conservatory in The Hague. After she completed her Bachelor she continued her studies, and today she studies with Yannis Kyriakides and Justin Bennett for her Masters in music composition. Her works have been performed by various ensembles in Israel and Europe. Levy is an active member in several creative groups: “GoedLaak music collective” – social-educational group, “KHZ Kollektiv” – electronic ensemble of the composition faculty of the Royal Conservatory, and “Catchpenny Ensemble” – ensemble which consists on multimedia works and group composition.

Sunday, January 10th 2016

With Jamie Allen, Will Schrimshaw, Toktek and Ingrid Lee

Quartair, Toussaintkade 55, The Hague
Doors open at 19:00, starts at 19:30
entrance: €5

presented by iii in cooperation with Quartair.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

Jamie_and_Will

program details:

Jamie Allen (CA/DK)

 Born in Canada, and working between New York, the UK, Copenhagen and Basel, Jamie has been involved with emerging technologies as a designer, researcher, artist and teacher for over 12 years. He likes to make things with his head and hands – investigations into the material systems of media, electricity, and information. His work has been exhibited internationally, from Eyebeam in NYC, to the Foundation for Art and Creative Technology in Liverpool, to SIGGRAPH Asia in Yokohama, Japan.

Will Schrimshaw (UK)

Will Schrimshaw is an artist and researcher from Wakefield based in Liverpool. His work is broadly concerned with the subliminal influence of backgrounds, ambiances and atmospheres, with the often imperceptible determinants of space and place. In 2011 he completed a PhD in Philosophy and Architecture at Newcastle University, focusing upon ideas of acoustic space and auditory influence within architectural and artistic practice. He teaches courses on sonic interaction and sound design and has completed a number of residencies, solo and group exhibitions, performances and workshops across the globe.

Toktek / Tom Verbruggen (NL)

Tom Verbruggen aka TokTek is a Dutch artist who designs and deconstructs his own electronic instruments, giving his music a unique character and allowing him to improvise live on stage with the help of a joystick – the central piece in his live equipment. His eclectic electronic style has been described as illogical hardware bending, where the outcome creates dramatic live compositions, which break down into delicate and tender sound moments. His work has been presented extensively in Europe, East Asia and North America and received an honorary mention at the Prix Ars Electronica in Linz in 2012.

Ingrid Lee (US/HK)

Ingrid Lee is a composer and performer from Los Angeles/Hong Kong. Her work takes the form of compositions, installations, performances, lectures and objects that explore collective listening practices, the physicality of sound and themes of failure and hybridity. Taking an interdisciplinary approach, Lee is currently researching erasure and forgetting as generative methods of thinking, doing and being. She is based in the Netherlands.

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Yuri Landman (1973) is a musician and an inventor of musical instruments. Based on prepared guitar techniques, he built his first instrument in 2001 to solve the inaccuracy of instant preparations. He has built experiments for acts such as Sonic Youth, dEUS, Melt-Banana, Rhys Chatham, Ex-Easter Island Head, Half Japanese, Kaki King.

In the past seven years he has given over 100 DIY-instrument building workshops in Europe and the US at music festivals, music academies, art academies, concert venues and art spaces. In 2012 Yuri Landman and Bart Hopkin published Nice Noise, a book about string preparations and extended techniques for guitar. In the same year he started his band Bismuth with Arnold van de Velde followed by an album in 2014 Bismuth.

Institutes such as MIM (Phoenix), Muziekgebouw aan ’t IJ, WORM, Extrapool, Sonoscopia own collections of his instruments. Articles about his work have appeared in Pitchfork, The Guardian, CNN, Libération, El País, Frankfurter Algemeine, and many others.

During his residency, Yuri built three of his helicopter instruments and performed with them on No Patent Pending #28. You can read an interview with him on Jegens & Tevens.

Gabriela Prochazka is a multimedia artist with a focus in light art. She often collaborates with musicians and sound designers to create a complex immersion in her artwork. She’s interested in the intersection of light design, audiovisual performances, club culture, and fine arts.

She has a Masters from Digital Media at the Faculty of Arts and Design J. E. Purkyne in Usti nad Labem and has participated in study internships at Universities of Art in Paris and Bezalel Academy of Fine Arts in Jerusalem. Her artworks had been exhibited at galleries (Chemistry Gallery, Holesovicka Sachta), theatres (Theatre Archa, The drama studio of Usti nad Labem) during AV performances in Prague clubs, venues & parties (National Gallery of Prague in The Fair Trade Palace, Neone club, BOILER ROOM Prague), Berlin (Berghain, OHM, Funkhaus, Spektrum – art science community) and new media festivals (Retune festival Berlin, DE / International Festival of Technologies, Delft, NL / RGB Light Festival, Rome, IT).

She has collaborated with music producers such as: Robert Lippok, Oake, Codex Empire, Hiro Kone, Kanding Ray & James Sigha (Neone Chambers), Iron Sight, Tommy Four Seven, and Peter Kirn among others.

Gabriela was scheduled to present her work at No Patent Pending #39 within Rewire festival, Theatre aan het Spui, on April 4, 2020. However, due to COVID-19 regulations, this event was cancelled and the residencies were done virtually.

Read an interview with Gabriela on Jegens & Tevens here

Documentation of the results of the residency:

October 12, 2019
iii workspace, Willem Dreespark 312, The Hague
Doors open 20:00
Event starts 20:30
Tickets: €5-€10 sliding scale

Performances by Mario de Vega, Marianthi Papalexandri-Alexandri, Budhaditya Chattopadhyay, Mischa Daams.

Mario de Vega (MX/DE) is an artist. He creates site-specific interventions, sculptures, sound improvisations, and experimental publications. In the context of music, his practice explores the value of fragility and indetermination. De Vega is also interested in both the perceptive capacities and incapacities of humans, such as the limits of aural perception and the transposition of high and low frequencies into audible sounds.

Marianthi Papalexandri-Alexandri is a Greek-born composer and sound artist working in Berlin, Germany, Ithaca, NY and Zurich, Switzerland. Papalexandri’s works interweave the borderlines of sound art, musical composition, visual objects and performance and explore the factors that link these art forms. It is a work that challenges the production and perception of sound by questioning the instrument as a sound-generator as well as the type of sound production and behavior of the performer. The world of sound and the visual appearance of Papalexandri’s works are in continuous interaction, while being uncompromisingly precise, pure and economical in their means.

Budhaditya Chattopadhyay is a contemporary artist, researcher, writer and theorist. Incorporating diverse media, such as sound and moving image, Chattopadhyay produces works for large-scale installation and live performance addressing urgent issues such as the climate crisis, human intervention in the environment and ecology, migration, race, and decolonization. As an artist, Chattopadhyay is an attentive and com(passionate) listener of the world around him, endeavoring to connect the disparate resonances across the borders and cultures through a practice committed to advocating for reciprocity and equality in the contemporary societies.

Mischa Daams is a interdisciplinary artist that lives and works in The Hague, the Netherlands. Daams’ artistic practice consists of experiential environments, performances and films in which simple choreographies unfold complex & chaotic behavioral patterns in diverse media such as kinetic motion, moving images, light and sound. Daams is interested in exploring, revealing, creating and controlling patterns in many forms, including patterns involved in human and machine perception and those arising in altered states of consciousness or the ones that influence our social behavior.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

No Patent Pending #38 is presented by iii in collaboration with WD4X and with the support of the Creative Industries Fund NL, Stroom Den Haag and Gemeente Den Haag.

::vtol:: is the alias of Moscow-based media artist and musician Dmitry Morozov who implements his ideas in technological art: robotics, sound art, science art. He also develops and creates experimental musical instruments and modular synthesizers. He regularly holds workshops and lectures dedicated to technological practices in art.

::vtol:: took part in 4th Moscow Biennale of Contemporary Art, festivals Archstoyanie and CTM (Germany), exhibitions at such prominent venues as: NCCA (Moscow), MMOMA (Moscow), Central Exhibition Hall Manege (Moscow), Laboratoria Art&Science Space (Moscow), Electromuseum (Moscow), Garage museum of contemporary art (Moscow), ZKM (Germany), and Boulder Museum of Contemporary Art (USA). He is a laureate of the Sergei Kuryokhin Prize (2013), Prix Cube (France, 2014), and has honorary mentions in the VIDA 16.0 (Spain, 2014) andArs Electronica (Austria, 2015).

Read an interview with Dmitry on Jegens & Tevens here.

During his residency, Dmitry created his instrument Driver, with which he performed an algorithmic composition on No Patent Pending #27 

 Jesus Canuto Iglesias was born in Madrid in 1992. His education was based in Spain, The United States, France, and The Netherlands.

A trained photographer, Jesus is a multidisciplinary artist focused on the creation of art that is rich in conceptual ideas and sensorial transmission. He has a high level of interest in discussing the purpose of Art and Music for the individual and the collective, as well as the usage of the knowledge of different psychological biases as conceptual and methodological backgrounds to his work. Not leaving only the role of sensorial, interactive or conceptual elements; his artworks consist of installations that ask questions about his lived experience. He makes use of traditional creation methods and techniques as well as of technological elements in his artworks.

Iglesias has presented at numerous festivals and exhibitions including TodaysArt, November Music, Into The Great Wide Open, and RAFLOST Festival in Iceland.

Jesus was scheduled to present his work at No Patent Pending #39 within Rewire festival, Theatre aan het Spui, on April 4. However, due to COVID-19 regulations, the event was cancelled and the residency was done virutally.

Read an interview with Jesus on Jegens & Tevens here
Listen to Jesus’ radio interview on Rumoriii here
Documentation of the residency:

Jenny Pickett‘s practice crosses: sculpture, sound, drawing, video, interactivity and performance. This plurality of mediums garner layers of meaning, she often explores her subject through the influences of sound upon the gaze and visa versa, altering both sonic and visual counterparts, asking the viewer rethink their encounter with the oeuvre. Pickett’s preoccupation lies at the point at which technology (new or ancient) becomes the landscape or the body by accumulating their prior states, our prior norms. Jenny Pickett is a member of the artists’ collective and cultural project APO33.

Julien Ottavi is a mediactivist, artist-researcher, composer / musician, poet and tongues destroyer, experimental film maker and anarchitect, founder and member of APO33. Julien Ottavi is involved in research and creative work, combining sound art, real-time video, new technologies and body performances. Since 1997, he develops a composition work using voice and its transformation through computer. His practices is not limited to the art spheres but crosses different fields from technological development to philosophy / theoretical research, biomimetic analysis & experimentation. Since many years he reflects on the relations between experimental practices and collective practices within the creation of autonomous collective groups, putting in question the authorship strategy of the “art ideology”.

During their residency, Jenny and Julien developed Ctenocene : a Meduse topology, a performance using instruments they built. They performed this on No Patent Pending #27.

Davide Tidoni is a researcher in the field of sound and listening. With a particular emphasis on observation, action and participation, he realizes a variety of works that include site specific interventions, live performances and audio projects.

Davide’s residency at iii focused on the realization of new actions centered around his interests in sound propagation in open space, active listening, and the use of microphone and loudspeaker as performative instruments.

During his stay, Davide gave a listening intervention workshop and performed an intervention at No Patent Pending #28

Here is an interview with him on Jegens en Tevens.

Born in Hong Kong, Fiona Lee‘s works of art are derived from the intersection between installation and performance. Listening creates an important connection between Fiona and the world; this is when she feels the movement of every single moment. She believes her art creations represent the progress she is making in exploring and accepting her own and others’ possibilities. 

Lee’s installations have featured at a number of art festivals, including ART CAMP TANGO 2017, Around Sound Art Festival 2014 (Kyoto, Japan), Transi(en)t Manila Project Glocal 2014 (Manila,Philippines), the 12th Seoul International NewMedia Festival and the 16th ifva(Interactive Media Category) Finalist Works Exhibition (Hong Kong). Her sound and light performance “delight” has been hosted internationally in Taiwan, Korea, Macau and Hong Kong. She was invited to perform at the Asian Meeting Festival 2016 in Japan, and she also takes part in improvisations with a variety of musicians & sound artists. Recently, she is the member of Namiji ,an artist group formed with Samson Cheung & Wong Fuk Kuen. Fiona has released her self-published album, “walking in a daze”(2016), which has collected sound works she created.

Fiona Lee will present her work on May 4th 2018 during No Patent Pending #33.

May 4, 5, 6, 2018
iii workspace, Willem Dreespark 312, The Hague

May 4, 16:00 – 19:30 – Human Experience, free (includes free entrance in No Patent Pending #33)
May 5, 13:00 – 17:00 – Strangers, €10
May 6 13:00 – 18:00 – No Island is an Island, €10

Registration details below.

Guest resident Nina Runa Essendrop will present three larps (live action roleplay) May 4-6. Nina designs larps with a strong focus on movement, sensory experiences and the meaning of physical action. 

To participate in the larps no preparation is needed apart from wearing neutral dark (black) clothing.

WHAT IS LARP?

Larp is originally an acronym for Live Action Role Playing, but today it’s used as name in itself. It refers to a type of interactive game or storytelling in which the players assume a role and act as a character within the set fiction. It can be described as theater without an audience or script (description kindly borrowed from nordiclarp.org). Johanna Koljonens presentation at our symposium last year gives a good overview of what larp is.

The larps Nina will present are non-verbal larps. During the events, she will build up a movement and/or sonic language with the participants through which they will interact during the playing of the larp. After playing the larp a discussion will guide the participants back to everyday life and give space to share reflections on the experience.

ABOUT THE LARPS

Human Experience

May 4th, preparation workshop: 16:00 – 18:00 (to be confirmed); 19:30 start.

“Human Experience” is an immersive, interactive performance focussed on the sensations we get from movements, touch and senses.  Ancient consciousnesses get a brief chance to experience the world through human bodies and explore how humans move and sense. They do this with the help of the audience and influenced by the surroundings. “Human Experience” is a mix between LARP (Live Action Roleplay) and performance art.

Practical information:

Human Experience is a larp with an audience. 7 – 12 people will play the ancient consciousnesses. To participate, you have to join the preparation workshop in advance of the performance. Between the workshop and the start of the performance, you can join dinner with the other artists performing in the evening for €8.

The performance itself is part of the performance program No Patent Pending #33.

Strangers

May 5th, 13:00 – 17:00
System: Blackbox larp
Genre: Drama.
Participants: 8 to 18 players.

Two cultures in neighbouring countries. Not friends and not enemies, each minding their own business. Then catastrophe hits one country, forcing the inhabitants to flee and seek refuge among their foreign neighbours.

Strangers is an abstract larp which uses physical methods such as sign language and simple movement routines to create two cultures and the feeling of belonging or not belonging to these. It aims to explore refugees trying to fit in, and the reactions among the people who they try to fit in amongst.

Previously presented at: Blackbox Cph VI (2016), Grenselandet (2016), The Smoke (2017), A Love Piece (2017), Black Box Horsens (2017).

No Island is an Island

May 6th: 13:00 – 18:00
Participants: 5 to 15 players

A larp where players create fictive islands together by making soundscapes and afterwards explore these places as members of a lost tribe.

No Island is an Island is an intuitive, sensuous and abstract larp. The players will practice how to use their voices in different ways and how to follow each others sounds to create coherent soundscapes. Besides sounds the larp uses touch, movement and description of inner visions as primary tools. Players will have their eyes closed during most of the larp. The larp was originally created to produce sound material for the performance installation “Ingen ø er en ø” by Francis Patrick Brady.

About Nina Runa Essendrop

Nina Essendrop is a Danish artist and larp designer with a masters degree in Theater, Dance and Performance Studies. She has a strong focus on movement, sensory experiences and the meaning of physical action.
Nina is an active player in the Nordic Larp community. She has designed and produced blackbox larps, freeform games, large scale-larps, audience inclusive larps and larp festivals and she has collaborated with artists in both Europe and New York.
She has designed and run workshops, larps, performances and interactive theatre pieces at among others Transmediale 2016 (Berlin, Germany), Momentum: The 8th Nordic Biennial of Contemporary Art (Moss, Norway), The Flea Theatre (New York, US), Dome of Visions (Århus, Denmark) and Ormston House (Limmerick, Ireland)

Signup

For these larps we try to get participants both from the larp community in the Netherlands, as well as those who are new to larp. So, it is possible to sign up to multiple larps, but we will make a selection so that there is a diversity of player backgrounds and as many people as possible can participate.

Half of the available places we will be assigned about one month in advance, the other half one week in advance. We will also keep a few spots open for last minute signups on May 4th. If you signed up and are not able to come after all, please let us know as soon as possible.

When you have been assigned a place, we will ask you to pay in advance by bank transfer.

To signup, write an email to Marije Baalman with the following information:

-Name
-Which larps would you like to participate in (in order of preference)
-Have you played larp before?
-If participating in Human Experience, do you want to join the artist dinner (cost will be ca. 8 euro)
-Any food preferences/allergies that we need to know about

 

Pelle Schilling (born 5 June 1996, Amsterdam) is a young artist from Amsterdam who works
with natural phenomena, chaotic processes and large machines.

“Bright arcs, sparks, raging water, large machines. My work is about the fascination with
movement and the unexpected. I look and look again and look continuously at everything
around me, in search of wonder. I’m always finding something of beauty and interest in the
things around me that I can play with. When I see something with potential, I look for ways to
manipulate it to enhance the astonishment or surprise.”

Pelle was scheduled to present his work at No Patent Pending #39 within Rewire festival, Theatre aan het Spui, on April 4. However, due to COVID-19 regulations, the event was canceled and the residency continued virtually.

Read an interview with Pelle on Jegens & Tevens here
Documentation of the residency:

 

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The 13th edition of the nomadic series No Patent Pending will take place at Aparaaditehas in Tartu, Estonia on October 10th 2015.

The program will feature talks and performances by Mischa Daams, Wen Chin Fu, Lars Kynde, Matteo Marangoni, Patrizia Ruthensteiner, Yolanda Uriz, Dewi de Vree presented by iii, together with Adam Dentone and Luke Twyman of The Audacious Mobile Research Library (AMRL).

The evening will be hosted by Timo Toots and MoKS and the talks will be moderated by Taavi Suisalu.

 

October 17th 2017
STUK, Leuven

Performances by: Wen Chin Fu, Yuri Landman, Mariska de Groot and Jo Caimo

In collaboration with Overtoon – platform for sound art.

iii presents the 30th edition of its nomadic performance series No Patent Pending at STUK, Leuven’s house for Dance Image and Sound. For this first edition of the series at STUK,  iii has selected 4 works produced within the context of iii’s program in The Hague between 2015 and 2017.

Ideophones made of crystallised sugar by Wen Chin Fu will resonate at the opening of the program. Yuri Landman will present a newly commission work using self-made automated string instruments tuned to alternate musical scales. A drawing machine inspired by the 19th century Harmonograph created by Mariska de Groot will project images and sounds oscillating between harmony and chaos. Closing the evening the audience will be invited to participate in a choral performance by Jo Caimo.

Wen Chin Fu graduated in 2006 from the Classical Music Department of Shih Chien University, Taipei, and continued her studies at the ArtScience interfaculty of The Hague, where she graduated in 2010. Her performances explore the relationship between physical movement, sound and the environment. A key element of her practice is concentration, which opens the senses for perceiving things through new perspectives.

Yuri Landman (1973) is a musician and an inventor of musical instruments. Based on prepared guitar techniques, he built his first instrument in 2001 to solve the inaccuracy of instant preparations. He has built experiments for acts such as Sonic Youth, dEUS, Melt-Banana, Rhys Chatham, Ex-Easter Island Head, Half Japanese, Kaki King.

Intrigued by the phenomena and history of optical sound, Mariska de Groot (1982, NL) makes and performs comprehensive analog light-to-sound instruments and installations which explore this principle in new ways. Her work often has a reference to media inventions from the past, with which she aims to excite a multi-sensorial and phenomenological experiences in light, sound, movement and space

Jo Caimo is a visual artist, composer, performer and musician. He studied media-art at KASK Ghent Belgium. He works with reporting, sound recording, video installation, Gesamtkunstwerk, performance, internet based things. He uses music and new media as a basis to make spatial work. New mainstream media like Skype, bluetooth, html, Wifi, and 3G are used by him in several ways.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

 

 

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The 16th edition of iii’s nomadic performance series No Patent Pending will take place at Third Space in Helsinki on October 30th 2015.

With performances by Aurelie Lierman, Wen Chin Fu, Mariska de Groot and Matteo Marangoni.

EJ5_1776_Aurélie Lierman_Studio Loos_TDA14_©_Ed_Jansen

 

Dmitry Morozov - Reading My Body 02

Friday, April 21st 2017
iii workspace, Willem Dreespark 312, Den Haag

Doors open at 19.30, program starts at 20.00 sharp
Entrance 5.-
Free for We Are Public members

Performances by Dmitry Morozov (::vtol::), Julien Ottavi, Jenny Pickett (APO33), Philip Vermeulen, RecPlay and Fauna

On the occasion of the inauguration of iii’s new production space in The Hague, No Patent Pending #27 presents new installations and performances by local artists and iii artists in residence. Celebrations continue into the night with a DJ program by Fauna.

Artist bios:

Dmitry Morozov (::vtol::)
::vtol:: is the alias of Moscow-based media artist and musician Dmitry Morozov who implements his ideas in technological art: robotics, sound art, science art. He also develops and creates experimental musical instruments and modular synthesizers.

Julien Ottavi is a media activist, artist, researcher, composer, performer, poet and tongues destroyer, experimental filmmaker and founding member of Apo33 in Nantes. His work combines sound art, real-time video, new technologies and body-performance. Since 1997, he develops composition work using voice and its transformation by computers.

Jenny Pickett‘s practice crosses: sculpture, sound, drawing, video, interactivity and performance. This plurality of mediums garner layers of meaning, she often explores her subject through the influences of sound upon the gaze and vice versa, altering both sonic and visual counterparts. Pickett’s preoccupation lies at the point at which technology (new or ancient) meets the human body. 

Philip Vermeulen is a young upcoming artist from The Hague currently studying at the ArtScience Interfaculty. Vermeulen discovers primary phenomena in all kinds of media; sound, light, physics, and nature. He builds setups and immersive installations to provoke experiences which question the senses of the viewer by transporting them to another world.

RecPlay is an ensemble of students from the ArtScience Interfaculty led by sound artist Robert Pravda. Some of the research topics that are addressed by RecPlay are multi-player interfaces, improvisation structures, noise art, feedback in image and sound, realtime composition systems, spatial compositions and interaction with architectural elements.

Fauna is a young initiative based in The Hague, creating one-night platforms presenting music, art and innovative projects. Founded to break through the boundaries of existing cultural islands, Fauna aims to outline a space where new creative forms find stage and audience.

No Patent Pending #27 is presented with the support of Stroom Den Haag, Gemeente Den Haag and the Creative Industries Fund NL in collaboration with DCR guest studios and Stichting WD4X.

Images: top, Dmitry Morozov – Reading My Body; bottom, Philip Vermeulen – Ten meters of sound

Philip Vermeulen

Tuesday, December 8th 2015

With Echo Ho, Wen Chin Fu, Mei-yi Lee, Mariska De Groot, Ludmila Rodrigues, SonoLab, Ana Smaragda Lemnaru, Leo Svirsky, Jeromos Kamphuis and Ivan Babinchak- Revquist.

Quartair, Toussaintkade 55, The Hague
Doors open at 19:00, starts at 19:30
entrance: €5

presented by iii in cooperation with Quartair.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

program details:

Echo Ho – Solaris Objectiveness

During her residency with iii in November 2015, Echo Ho will produce a cover version of Tarkovsky’s 1972 movie “Solaris” that she will perform on her instrument “Slow Qin”.

Echo Ho is a interdisciplinary artist and composer born in Beijing who lives and works in Cologne. Her artistic practice often shows a complex migrational context and conceptual links of culturally diverse materials and artistic disciplines, which range from mixed media, audio video installations, art interventions to performances. As a musician she works with field recordings, experimental electroacoustic composition, she performs live and collaborates with musicians from around the globe.

EchoHoCloseup©Aurélien FoucaultEchoHo ©Aurélien Foucault

Mariska de Groot Sonografs

Sonografs is a analogue and mechanical performative installation wherein simple rhythmical body movements activate a pendulum drawing machine based on the 19th century Harmonograph.  The circular movements of the elements and the body become a ritual, noises of resistance are amplified and sound patterns are created by swinging speakers that scan the  images.

Intrigued by the phenomena and history of optical sound, Mariska de Groot (1982, NL) makes and performs comprehensive analog light-to-sound instruments and installations which explore this principle in new ways. Her work often has a reference to media inventions from the past, with which she aims to excite a multi-sensorial and phenomenological experiences in light, sound, movement and space.

Schermafbeelding 2015-07-07 om 00.10.47

Wen Chin Fu Sounding Sugar, Tang
performed by Mei-Yi Lee

Every material has its own hidden secret. By making, observing and listening we can find the entrance into this secret. Wen Chin Fu started experimenting with the acoustic potential of sugar in an abandoned sugar refinery in Taiwan together with Mariska de Groot. Tang is a percussion instruments made of crystallized sugar that was developed during this residency. In this performance the instrument Tang will be played by percussionist Mei-Yi Lee.

Wen Chin Fu graduated in 2006 from the Classical Music Department of Shih Chien University, Taipei, and continued her studies at the ArtScience interfaculty of The Hague, where she graduated in 2010. Her performances explore the relationship between physical movement, sound and the environment. A key element of her practice is concentration, which opens the senses for perceiving things through new perspectives.

Mei-Yi Lee is a percussionist and Performer based in the Netherlands. After achieved her bachelor degree at the National Taiwan University of Arts, she moves to The Netherlands to continue her postgraduate studies at the Royal Conservatory in The Hague. In 2013 she concluded the “Konzertexamen” degree under the guidance Marta Klimasara at the University of Music and Performing Arts in Stuttgart, Germany, with the support of the Fonds Podiumkunsten and Prins Bernhard Cultuurfonds from The Netherlands.
She is interested in experimental music and interdisciplinary practices combining dance, theatre and visual arts. Presently she is a member of SonoLab, Paper Ensemble, Mutu Ensemble in Holland and iOFloat in Taiwan.

tang

Ludmila Rodrigues – Polytope
Performed by SonoLab

Tractable geometry for the curiosity of the user. Polytope is an articulated net of tetrahedrons, built by rods of carbon fiber, which by its geometry allows a multitude of constructions and possibilities. The structure is designed for the interaction of one or more individuals, who can discover the possibilities of the object by handling it and moving through space. The strategy of the structure is to engage the users in an intuitive exploration of various shapes and positions.

Ludmila Rodrigues was born in Rio de Janeiro (Brazil, 1979). She has a degree in Architecture and Urbanism (at UFRJ, Rio, 2006) and in Arts from the Artscience Interfaculty (KABK-KonCon, The Hague 2013). She worked as Art History lecturer and artistic coach at NGO Galpao Aplauso (Rio de Janeiro, 2007-2009), and works as graphic and web designer freelancer since 2004.
As an artist today Ludmila researches way of interacting with the audience. She develops situations, spaces and devices for choreographing the public, generating spontaneous, collaborative actions in which she aims to enrich human communication.

 

Test-Quartair-june

Ana Smaragda Lemnaru – Bow
for four performers, light sensors and light gags
performed with Leo Svirsky, Jeromos Kamphuis and Ivan Babinchak- Revquist

Four performers sit in a row, on their knees, with luminous gags in their mouths. They bow towards a sensor laid down in front of them. They each move within a coordinated system, passing a signal to one another. When their light is close enough to their sensor, a speaker plays a single tone. Then the performers slowly raise their heads, cuing the person next to them. This goes on for some time, until the performers silently agree to stop.

Ana Smaragda Lemnaru (b 1985, RO) is a visual artist based in The Hague, Netherlands and Bucharest, Romania. She graduated in 2008 in fine arts from the National Arts University Bucharest and in 2012 from the Master of Artistic Research at the Royal Academy of Arts in The Hague.
The concepts she is currently engaged with are futility and overpopulation, through performance, drawing and objects.
Her work has been presented works in venues such as: Nuitshuis, GEMAK, Loos (the Hague NL), Kadmium (Delft, NL), Noise Equals Noise (London, UK), Saint Denis University (Paris, FR)

Lightgag

 

 

sonografs1

Towards the end of the residency at MoKS on October 24th iii will present a program with new experiments resulting from the residency in Mooste.

With performances by Wen Chin Fu, Lars Kynde, Matteo Marangoni, Patrizia Ruthensteiner, Yolanda Uriz, Dewi de Vree, Aurelie Lierman.

 

 

October 13, 2018
iii workspace, Willem Dreespark 312, The Hague
Doors open at 19:30, program starts at 20:00 sharp
Entrance €5.-
Free for We Are Public members
RSVP on Facebook

Artists: Geert-Jan Hobijn, Jaime del Val, Andreas Trobollowitsch, Nina Runa Essendrop, Erfan Abdi, Marije Baalman, Wen Chin Fu and Matteo Marangoni

The 34th edition of the interdisciplinary performance series No Patent Pending will present new work by guest residents and iii members. Expect things like hacked toys, aeolian sounds, role playing, flapping machines, tree climbing and more. A fifty percent contemplation and fifty percent action packed evening especially suited for the restless, the curious, the undecided or those who like “none of the above”.

Nina Runa Essendrop is a Danish artist and larp designer with a masters degree in Theater, Dance and Performance Studies. She has a strong focus on movement, sensory experiences and the meaning of physical action. Nina is an active player in the Nordic Larp community. She has designed and produced blackbox larps, freeform games, large scale-larps, audience inclusive larps and larp festivals and she has collaborated with artists in both Europe and New York. She has designed and run workshops, larps, performances and interactive theatre pieces at among others Transmediale 2016 (Berlin, Germany), Momentum: The 8th Nordic Biennial of Contemporary Art (Moss, Norway), The Flea Theatre (New York, US), Dome of Visions (Århus, Denmark) and Ormston House (Limmerick, Ireland)

Geert-Jan Hobijn is the initiator of Staalplaat Sound-system. He has been the organizer of many sound art and performance events in the past and is head of the Staalplaat record label that hosts leading cutting edge experimental music acts. Within the current mood of worshipping the latest technology in media art, Staalplaat Soundsystem provides a breath of fresh air, reminding us of the 100-year tradition of noise-making machines, in which “mad” inventors and various kinds of artists operating in the margins of the art world meet. All these installations were made with the same low tech working philosophy, making an installation look so simple that you think ‘I can do that’. The works by Staalplaat Soundsystem are usually brilliant in their simplicity, the first impression leaving no room for technological mystification.

Jaime del Val is a transdisciplinary media artist, philosopher, activist, promotor of the Metabody Project, Forum and Institute, and the non profit organisation Reverso, currently based in Madrid and the rural area of Salamanca, after periods in London, Florence and other places. Since 2000 Jaime develops transdisciplinary projects in the transvergence of arts (dance, performance, architecture, visual and media arts, music), technologies, critical theory and activism. Jaime’s projects propose redefinitions of embodiment, perception and public space that challenge contemporary control society as well as normative conceptions of affect, sex, gender and ability, and have been presented with over 100 performances and installations in over 50 cities of 25 countries, across Europe, North and South America Asia as well as Asia and Africa, mostly under the collective REVERSO.

Gallery Image

Andreas Trobollowitsch is a Vienna and Brazil-based composer, performer and sound-and-visual artist. He works extensively in the fields of electroacoustic composition and improvisation, and has composed for dance, theatre, film and radio. 
Based on rotation, vibration and feedback systems he uses mainly modified everyday objects, prepared fans and string instruments. Recently he has been focusing on conceptual compositions, self-developed musical instruments, sound and drawing installations. Interested in dichotomy of the intellectual and the physical he includes visual aspects, spatiality, movement, and the way that they relate to sound.

No Patent Pending #34 is presented with the support of Stroom Den Haag, Gemeente Den Haag and the Creative Industries Fund NL in collaboration with Stichting WD4X.

STAALPLAAT SOUNDSYSTEM PRES. YOKOMONO (NL)

Geert-Jan Hobijn is the initiator of Staalplaat Sound-system. He has been the organizer of many sound art and performance events in the past and is head of the Staalplaat record label that hosts leading cutting edge experimental music acts. Within the current mood of worshipping the latest technology in media art, Staalplaat Soundsystem provides a breath of fresh air, reminding us of the 100-year tradition of noise-making machines, in which “mad” inventors and various kinds of artists operating in the margins of the art world meet. All these installations were made with the same low tech working philosophy, making an installation look so simple that you think ‘I can do that’. The works by Staalplaat Soundsystem are usually brilliant in their simplicity, the first impression leaving no room for technological mystification.

Geert-Jan will be presenting new work at No Patent Pending #34 on October 13, 2018.

STAALPLAAT SOUNDSYSTEM PRES. YOKOMONO (NL)

 

CitySondolsToronto_StClare

Friday 16th Oct, 20h at Kanepes Kulturas Centrs, Skolas ilea 15, Riga, Latvia

The 13th edition of the nomadic performance series No Patent Pending will take place in Riga as part of iii’s tour through the Baltic region, featuring:

City Sondols  – Matteo Marangoni
Spine Spining – Wen Chin Fu
Transitory Presences #02  – Yolanda Uriz
murmur ~ singing – Mariska de Groot and Yolanda Uriz

Kulunka00

 

Jaime del Val is a transdisciplinary media artist, philosopher, activist, promotor of the Metabody Project, Forum and Institute, and the non profit organisation Reverso, currently based in Madrid and the rural area of Salamanca, after periods in London, Florence and other places. Since 2000 Jaime develops transdisciplinary projects in the transvergence of arts (dance, performance, architecture, visual and media arts, music), technologies, critical theory and activism. Jaime’s projects propose redefinitions of embodiment, perception and public space that challenge contemporary control society as well as normative conceptions of affect, sex, gender and ability, and have been presented with over 100 performances and installations in over 50 cities of 25 countries, across Europe, North and South America Asia as well as Asia and Africa, mostly under the collective REVERSO.

Jaime will be performing at No Patent Pending #34 on October 13, 2018.

March 27th 2018
STUK, Leuven

Performances by: Myriam Bleau, Doron Sadja, Erfan Abdi, Dieter Vandoren and Matteo Marangoni

Spinning tops, robotic fireflies, dynamic sculptures of light and sound. The 31th edition of iii’s nomadic performance series No Patent Pending returns to STUK, Leuven’s house for Dance Image and Sound. iii presents a program of performances by artists and inventors who create unique experiences for the senses and the body. This edition will focus on digitally augmented objects and spaces. The potential of computation is harnessed to connect bodily gestures with sensorial stimuli, exploring new and radical ways to make music.

Erfan Abdi will perform Notesaaz, a work of delicate audio-visual craftmanship based on the immediacy of instrumental improvisation, in duo with Ben Terwel. Myriam Bleau will perform her spectacular Soft Revolvers. Using spinning tops as interfaces to remix samples from house and techno, she ingeniously combines playful simplicity with aesthetically refined virtuosity. Matteo Marangoni and Dieter Vandoren explore artificial life in embodied form with Lampyridae, a swarm of electronic fireflies that create generative spatial music inspired by animal communication in nature. The program will end with a performance of We Are Never Ever Ever Getting Back Together by Doron Sadja, which borrows it’s title from american pop singer Taylor Swift in order to propose the concept of audiovisual prism, deconstructing white light and white noise in an immersive light and sound experience with romantic overtones.

April 2, 2020
Radio Tonka, FM 92.0, Den Haag FM, The Hague
23:00 – 00:00

Listen live here
Listen to the archived recording here
List of episodes here

Rumori, meaning noise in Italian, is an ongoing radio project by Arthur Elsenaar. In this edition, Rumoriii, Arthur will be interviewing artists and highlighting works and themes from iii’s annual program. The show takes place every first Thursday of the month from March 5 to June 4.

In this episode on April 2, Arthur will be interviewing guest resident Jesus Canuto Iglesias, who will be presenting his work at No Patent Pending #39 during Rewire Festival on April 4.

Arthur Elsenaar is an artist, former radio and television pirate, radio dj and electrical engineer. His main occupation has been the artistic exploration of the computer-controlled human face. A main driver and inspiration is the emphemeral nature of electricity and its intimate relationship with the human body, which played a decisive historic role in the harnessing of electricity. His electro-facial choreographic work has been shown world-wide and is part of museum collections.

In 2011 he received a PhD in art and design from Nottingham Trent University for his fundamental research in electro-facial choreography.

Rumoriii is presented by iii with financial support from The Municipality of The Hague, Stroom Den Haag, The Creative Industries Fund NL and The Performing Arts Fund NL

csm_spektrum_event_space._resized__1__d237b7a38b

Spektrum, Bürknerstraße 12, Berlin, 22.01.2016

As part of Club Transmediale’s Vorspiel program iii presents in collaboration with FIBER (Amsterdam), Retune (Berlin) and Spektrum (Berlin) a weekend full workshops, meetings, talks, screenings and performances.

iii will present the performance program No Patent Pending #19 on the evening of January 22nd, featuring :

Ground – Dewi de Vree & Jeroen Uyttendaele
Lampyridae  – Dieter Vandoren & Matteo Marangoni
Transitory Presences #02  – Yolanda Uriz

transitory presences Riga web 02

 

14-15 November 2020
NOTE: moved online
11:00 – 15:30
Facilitators: Marije Baalman, Matteo Marangoni, Yun Lee, Dieter Vandoren
Cost: €25, buy tickets HERE

Art school may have taught you how to experiment, make, and critique, but if you recently graduated, you might be finding yourself at a loss when it comes to navigating the larger cultural sector. This is where the Artist Survival Guide comes in.

The Artist Survival Guide is a 4-part workshop by iii members covering entrepreneurial survival skills such as grant writing, budgeting, negotiating with curators, and promoting your work. The workshop is aimed at recent or soon-to-be art school graduates.

Bring a work idea/proposal and we’ll guide you through the steps of budgeting, communicating, fundraising, and distributing that you need to make your project happen.

Day 1
11:00 – Marije Baalman: Budgeting for a Sustainable Practice
13:00 – Break
14:00 – Matteo Marangoni: Project Management and Fundraising
16:00 – Drinks (optional)

Day 2
11:00 – Yun Lee: Promotional Writing for Artists
13:00 – Break
14:00 – Dieter Vandoren: Production and Standard Contracts
16:00 – Drinks (optional)

About the workshops

Budgeting for a Sustainable Practice
Marije will guide you through how to make a personal budget as a working artist, how to create a project budget, and how BTW works.

Project Management and Fundraising
Matteo will take you through the different phases of making a project happen, from planning, securing funding, connecting to stakeholders, to presentation. This workshop also goes through how to make your project relevant to public and society.

Promotional Writing for Artists
From the perspective of both an artist and a PR person, Yun will take you through various writing exercises to come up with different versions of biographies and work descriptions for different audiences/purposes. We will assemble basic press kits, select good documentation of work, and talk about how to talk about your work.

Production and Standard Contracts
In this workshop, Dieter will outline the practical details of a presentation in different settings (theater, gallery, museum, festival), from negotiating contracts to writing tech riders.


About the facilitators

Marije Baalman is an artist, researcher/developer, and treasure of iii. She creates sustainable budgets for iii, makes sure that everyone is paid fairly, and is developing fair payment practices for iii.

Matteo Marangoni is an artist, curator, and chairman of iii. Within iii he coordinates the activities of the organization, fundraises, and curates No Patent Pending.

Yun Lee is an artist, educator, and curator who also spent three years doing PR for iii and currently coordinates the iii workshop program. Their PR motto is “a bio is not a CV”.

Dieter Vandoren is an artist, performer, IT developer, and associate of the rental and production company Squat Deluxe Rotterdam.

This workshop is made possible with support from the Municipality of The Hague and Creative Europe.

magnescopia dewi

Sunday, April 10th 2016

With BMB con., Patrizia Ruthensteiner, Dewi de Vree, Aurélie Lierman, Marianna Soroka and Jo Caimo

Quartair, Toussaintkade 55, The Hague
Doors open at 19:00, starts at 19:30
entrance: €5

presented by iii in cooperation with Quartair.

Program details:

BMB con. known for their sometimes dangerously electrical performances will pull the plug and make a completely acoustic and candle-powered performance. Patrizia Ruthensteiner will perform her project Magnetoceptia, a collaboration with Dewi de Vree in which cargo cult like antenna costumes are used to explore the invisible electromagnetic fields surrounding the wearer’s body. Aurélie Lierman will premiere a first étude for analogue electronics and talking drums: exploring the idea of the voice from a metaphorical point of view, together with percussionist Marianna Soroka. Jo Caimo will present the outcome of his residency with iii: will it be vuvuzelas made with colored straws  or perhaps an organ that is played by the breath of the audience?

Plasy

BMB con. was founded by Justin Bennett, Roelf Toxopeus and Wikke ‘t Hooft in 1989. Since 2006 BMB con. consists of a core duo working together with a changing group of invited artists / performers.
BMB con. incorporate electronic and acoustic music, film, video and physical theatre in their performances and installations. As well as these fleeting, sometimes unique actions, BMB con. make and publish audio CD’s, cassettes, videos and photography.

Patrizia Ruthensteiner is an interdisciplinary artist from Vienna. She creates costumes from parallel universes in which predetermined valuations of subjectivity and physical form are pushed into absurdity. She aims to reverse common concepts of what is defined as plant, animal, human or inanimate, blurring the boundaries of life, theatre, performance, architecture, fashion and sound art.

Dewi de Vree (1983) is a Dutch sound artist. Her work includes sound performances, interfaces and installations based on sensual experience of physical experiments. Her interest in the interaction between the human and the machine led to different translating-machines and sound interfaces. She studied at the Audiovisual department at the Rietveld Academy in Amsterdam and at the interfaculty ArtScience at the Kabk in The Hague, The Netherlands.

IMG_7332

Jo Caimo is a visual artist, composer, performer and musician. He studied media-art at KASK Ghent Belgium. He works with reporting, sound recording, video installation, Gesamtkunstwerk, performance, internet based things. He uses music and new media as a basis to make spatial work. New mainstream media like Skype, bluetooth, html, Wifi, and 3G are used by him in several ways.

Aurélie Lierman (sopraan)

Aurélie Lierman was born in Rwanda but grew up in Belgium from the age of two. She’s an awarded independent radio producer, vocalist and composer trying new directions by fusing these three disciplines into one hybrid form. Currently Aurélie Lierman is developing a set of site specific installations and electro acoustic compositions for Slagwerk Den Haag to be premiered in January 2017.

Marianna Soroka studied percussion at the Poznań’s Academy of Music. After a 6-month student exchange in Spain, she went to The Hague’s Music Conservatory.  She lives now in The Netherlands, where she still learns how to perform contemporary, baroque and latino music. Apart from La Mythomanie, Marianna performs with such ensembles as Slagwerk Den Haag. In recognition of her cultural achievements, Marianna received a scholarship from the Marshal of the Voivodeship of Great Poland.

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

 

 

 

 

Transitory Presences

Sunday, May 29th 2016

With Doron Sadja, Yoneda Lemma, Yolanda Uriz and Jeroen Uyttendaele

Quartair, Toussaintkade 55, The Hague
Doors open at 19:00, starts at 19:30
entrance: €5

presented by iii in cooperation with Quartair.

Program:

Jeroen Uyttendaele: Vonkveld, performative installation with electrical short circuits
Yolanda Uriz: Transitory Presences, AV performance with cymatic smoke patterns
Doron Sadja: We Are Never Ever Ever Getting Back Together, spatial composition deconstructing white light and white noise
Yoneda Lemma: digital sound compositions

Artist Bios:

Doron Sadja is an American artist, composer and curator based in Berlin whose work explores modes of perception and the experience of sound, light, and space.  Working primarily with multichannel spatialized sound – combining pristine electronics with lush romantic synthesizers, extreme frequencies, dense noise, and computer-enhanced acoustic instruments, Sadja creates post-human, hyper-emotive sonic architecture. Although each of Sadja’s works are striking in their singular and focused approach, his output is diverse: spanning everything from immersive multichannel sound pieces to sexually provocative performance / installation works, and stroboscopic smoke, mirror, laser, and projection shows.

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Yolanda Uriz: with a particular interest in the lower senses (smell, taste and touch), not only on their aesthetic potential, but also on their implication in politics, genre and perception, Yolanda´s work is an amalgam of elements from sound art, visual arts, inspiration from science and techniques from new media-art.

transitory presences Riga web 02

Jeroen Uyttendaele is an artist who works mostly with sound and its relation to materiality, light, space, time and the viewer.  This translates itself in the development of audiovisual instruments, installations and sound compositions. Jeroen often uses basic properties of technology such as electricity, metal, conductive materials as his main tools of expression. He is a founding member of iii who graduated from the ArtScience Interfaculty and pursued further studies at HISK in Gent before establishing his practice in Brussels.

IMG_9599

Yoneda Lemma connects the universal world of functors (abstract/concrete “natural” transformations) to the universal world of morphisms. We can use the Yoneda Lemma to articulate the morphism definition of a product. Yoneda Lemma is phenomenologically trivial but a powerful tool for understanding the universal morphing of entities vis a vis how they relate to other entities. Entities are things that engage activities. Accounts of change pertain to changes in the function of the entity (the morphism), locatable within a wider environment qua parametrizable contexts (or niches). Yoneda Lemma is concerned with the embodied functionalism of listening (the engineering problem of embodiment) to repurpose inter- and infra-level functional properties of an entity.

Yoneda_lemma_commutative_diagram

 

No Patent Pending is a nomadic performance series presenting radical interdisciplinary practices that engage with sound, image, space and the body. Imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

This edition of No Patent Pending at Quartair is presented as part of iii’s guest residency program supported by the Creative Industries Fund NL and Stroom Den Haag.

 

Patrizia Ruthensteiner is an interdisciplinary artist from Vienna. She creates costumes from parallel universes in which predetermined valuations of subjectivity and physical form are pushed into absurdity. She aims to reverse common concepts of what is defined as plant, animal, human or inanimate, blurring the boundaries of life, theatre, performance, architecture, fashion and sound art.

During the residency Patrizia Ruthensteiner worked on further developing the project Magnetoceptia, initiated in Vienna in 2015 in cooperation with Dewi de Vree.

The outcome of the residency was presented through the following public activities:

In Praise of Shadows, SIGN, Groningen, April 2016

No Patent Pending #22, Quartair, The Hague, April 10th 2016

No Patent Pending #23, Tetterode, Amsterdam, presented by Kulter, April 13th 2016


“these are more than mere noise generators or homemade instruments. They are ‘extensions of our rudimentary animal senses’”

-Tristan Bath, The Wire

Jo Caimo is a visual artist, composer, performer and musician. He studied media-art at KASK Ghent Belgium. He works with reporting, sound recording, video installation, Gesamtkunstwerk, performance, internet based things. He uses music and new media as a basis to make spatial work. New mainstream media like Skype, bluetooth, html, Wifi, and 3G are used by him in several ways.

Jo Caimo’s work Koorvorming was presented during No Patent Pending #22 at Quartair in The Hague on April 10th 2016 and at No Patent Pending #23 on April 13th in Amsterdam.

The residency was a cooperation with the Brussels-based platform for Sound Art Overtoon, where Jo Caimo was also in residence in 2016.

Sonority, presence and invisibility are starting points of Mario de Vega’s artistic work and research, utilising strategies as handouts, or rather the requirement to sign a declaration form to take over the responsibility for eventual consequences of an art exhibition visit, no obvious warning labels, blindness, otoacoustic phenomena, architectonic barriers, ambiguous situations between acoustic phenomena and signal amplification. Ambivalences between processes and results, between the obvious and the unknown.

His work explores the tension between documentation and performativity, addressing aural activity visually. Photographic documentation, video, objects, remains of actions, events, and situations producing ambiguous relations between objects and spaces. Performative situations both improvisational and contingent in which documentation constitutes a nuanced aspect of his practice developing modes of presentation for pieces that are otherwise not amenable to a more traditional art context, like the gallery or museum.

Mario de Vega has been guest artist and lecturer at Universität der Künste Berlin, Rijksakademie Amsterdam, Internationales Musikinstitut Darmstadt, Technische Universität Berlin, Ecole Nationale Supérieure des Beaux Arts de Paris, Centro de Diseño, Cine y Televisión, KW Institute of Contemporary Art, Laboratorio Arte Alameda, Kyushu University, Tama Art University, Universität für angewandte Kunst Wien and Harvestworks Digital Media Arts Center, among others. His work has been exhibited in Mexico, North America, Chile, South Africa, India, South Korea, China, Russia, Japan and around Europe.

Mario will be presenting his work at No Patent Pending #38 at the iii workspace on October 12.

This research post is partly a conversation between 2018 iii guest resident Nina Runa EssendropMarije Baalman, and Matteo Marangoni on larp, and partly a report on the work that Nina developed during her residency in collaboration with iii members Marije Baalman, Matteo Marangoni, Wen Chin Fu, and Erfan Abdi. This work was presented at No Patent Pending #34 on October 13, 2018

Starting points

Nina

What is larp?

 

Larp (originally an acronym for Live Action Roleplay, but now its own noun or verb) is a participatory media where people take on characters and enters a fictional situation together.

Their behavior, possibilities and interactions within the space of the larp is sometimes mediated by rules or directions, letting participants know how to engage with the larp and allowing them to collaboratively bring the fictional space to live in an improvised manner.

Larp is a relatively new media dating back from the second half of the 1900 and it has evolved a lot in style and content within the last 20 years. It has become a media testing a wide variety of fictions and ways of being and experiencing.

Larp is being explored in different contexts such as art and education, but it has its origin in play and games.

Larp with an audience

 

Larps are usually fully participatory with all the players taking an active part in how the larp unfolds by playing their characters and interacting with the larp and each other.

They usually play within a fiction and with a set of rules and possibilities decided upon by the larp design, but the real unfolding of the larp is what takes place within and among the larpers.

If the larpers are not actively participating and buying in to the fictional circumstances, the larp does not work.

The contract for how to engage as an audience with an art-piece (even a piece of art offering interaction or participation) is often different. As an audience member you don’t expect to have  responsibility for getting the piece to function.

Finding ways of creating larps with an audience is something I am exploring in different ways and within different contexts. I find that adding an audience has the potential to bring something to the experience of the players as well as creating meaningful situations and interactions for the audience.

Nordic larp

 

I come from Nordic Larp, a specific branch of larp originating in the nordic countries, but now spreading out to the rest of the world. Nordic Larp represent a wide range of different styles and genres of larp, which has generated a nuanced skill-set and academic praxis allowing larp designers to learn from one another by reading about or participating in each others larps.

 

My larp designs

 

I have studied Theatre, dance and performance theory which has been a big inspiration for my larp designs. I work with abstract, sensory or movement based experiences.

My larps often focus on non-verbal ways of communicating or with ways of experiencing that works on other premises than rational logic.

I feel that embodying characters who thinks or acts differently than our everyday selves is an effective way to understand different modes of experience. It allows us the broaden our possibilities for how we interpret ourselves and others and how we perform ourselves in everyday life.

Collaborating with iii

 

One of the things I want to explore through my larp designs, is different aspects of how we as humans are able to experience and understand our moment to moment life. I am especially interested in the more abstract and intuitive levels of understanding and I find that some of this has to do with sound and the kind of logics or influences that functions in sound/music.

My main goal for this residency was to learn more about how to work with and understand sound in a performative context and to get to work with the direct and tactile relation to sound that comes from playing and constructing different kinds of instruments. Collaborating with four of the iii artists was a wonderful way to learn.

Music and sound always played a big part in my design and the focus on materials, the different instruments and the thoughts behind them as well as how to make compositions with them was extremely inspiring and relevant.

Translating a music way of thinking into a fictional frame and participatory experience was a lot of fun!

Marije

In 2017 iii hosted the symposium “The Craft of Experience Design”, which I curated. My aim there was to bring together people from different disciplines that create interactive works, where the visitors need to take an active role in experiencing the artistic works.

Inviting Nina in 2018 for a residency was in a sense a follow-up to that symposium to explore the crossover between interactive media/sound art and larp.

Personally, since I have played and organized larp for many, many years, and created interactive sound art for many years, I have been interested in bringing these two disciplines together for a long time.

The larps I’ve played have mostly been narrative and verbal, it is only in the past few years, that I have explored the more abstract, non-verbal larps, as I feel that in that direction it is easiest and most interesting to make the crossover with interactive sound art.

The challenge for the residency was to bring together the disciplines and artistic backgrounds –  my fellow iii-members had no previous experience with larp.

Preparation – playing larps

In preparation of the residency in the Fall, we invited Nina to come over to iii in May, so that iii-members could play and experience some of Nina’s works and have time to reflect on that before the collaboration started.

Three larps were played:

  • – Human Experience
  • – Strangers
  • – No Island is an Island

 

Human Experience was designed as a ‘larp with an audience’, so we integrated it with the No Patent Pending evening on May 4th, during which other artists-in-residence were presenting their works. In the few days before the evening, Nina met with the other artists and Matteo, who curated the evening, and engaged in discussions on how to do the integration.

On a practical level, for iii, this meant a different way of organizing and scheduling – where usually the full afternoon until dinner is used to prepare the space, setup and sound check, we now had to schedule in time for the preparation workshop for the participants in the larp before the dinner, as we had no other space available to do the workshop – and for the participants it was useful to already be in the space with the art works they would interact with during the larp itself. The participants were in a way really in between performers and ‘regular’ audience.

 

Integrating Human Experience into No Patent pending

 

Human Experience is a larp about experiencing senses and movement as for the first time. The larp has been played in different iterations and playing it at “No Patent Pending” gave the opportunity to adjust the design of the larp to make the larpers specifically focus on experiencing the instruments and performances taking place that evening, as well as interacting with the audience and becoming part of the overall experience.

Nina

Meeting the iii members and the artists in residence was exciting and inspiring. The mood was relaxed and pleasant even though it was a couple of days before “No Patent Pending” and everyone was focused and busy finishing up their instruments and presentations.

Finding out how to incorporate “Human Experience” into “No Patent Pending” was a challenge though, because I did not know the format of the evening or the works of the other artists presenting, and neither the other artists nor Matteo, who was curating the evening had an in-depth knowledge of larp or any experience with my work.

The difference in approach and terminology became apparent, but it was the same differences that also made the residency so interesting and giving. And getting Marije there to translate made things a lot easier. And with good will on all sides, we made it work.

One reaction from a participant (familiar with the art of iii, but no previous larp experience) was:

“The intensity of perception (sound, movement, space, etc) was amplified a lot as a larp, very different from the experience as a visitor.”

The other two larps were scheduled as separate events lasting a full afternoon.

In Strangers the emphasis was on creating a movement and sign language in two groups and then during the larp finding out how integration and interaction between these two groups would work.

In ‘No Island is an Island’ the participants were blindfolded most of the time and the interaction was through sound. For the iii members participating, this way of interacting was perhaps most familiar – since it was close to improvising musically.

Matteo

I came into the collaboration very much intrigued by the long form format and the possibility to establish ad hoc rules of engagement, as well as the elimination of distinctions between audience and performer.

In Nina’s larp “No Island is an Island” I liked the experience of being blindfolded for a long period of time and improvising with vocal sounds with the other participants. That was a memorable experience. The framing of the experience in terms of language and narrative I found difficult to engage with.

In Strangers I liked very much the concept underpinning the experience, how it searched for a synthesis of what constitutes group identity and inter-group interactions. In the experience itself I found it difficult to develop a meaningful connection with the actions that I was instructed to perform.

In the period between May and September, the group was formed: Matteo, Erfan, Wen Chin, and Marije would collaborate with Nina.

They had a couple of joint online meetings and gathered ideas and concepts via email and a shared document.

In this process a main concept was developed for the setting: a kind of cultural exchange with a tribe where sound is the predominant medium, and the concept of initiation rituals. Later on this concept was refined in how it was presented.

Method

Choosing characters during the presentation of Sonic Embassy (photo Pieter Kers)

During the residency period, we scheduled three three-day periods to bring together the ideas we had developed during the online meetings.

In the first of these periods, each of the iii members introduced an instrument they wanted to work with and we jointly explored these instruments and developed ideas on how to use them and we transformed them into ‘trials’ the participating audience had to go through.

In between the periods, the iii members built the instruments that we needed for the presentation, while Nina further elaborated on the fiction that would frame the experience.

During the second week, we worked further on integrating these trials into a coherent whole. On the last day of this period we had the opportunity to test the work with 50 visiting students, so we could see what worked and what did not, and could adapt these before the official presentation.

In the last week, we worked out characters for Wen Chin, Erfan and Marije in a workshop led by Nina. Also, short character descriptions were made for the audience by Nina and Matteo, which were then designed as small cards for the audience to choose from.

During the presentation at NPP, Matteo would not join as a character (since he was also busy curating the rest of the event), but he would read the introduction text to the audience. Nina would be the guide for the audience.

Matteo

I very much enjoyed playing, exploring and brainstorming together. It was challenging to create a finished piece in the time we had, the final stage of the process was driven by the pressure to deliver a finished result. Here is the never ending question of how to facilitate open ended experiments while also giving something back of sufficient value to justify the resources that are made available to us.

The Sonic Embassy

The larp/performance we designed was called Sonic Embassy.

Three sound ambassadors (played by iii members) were visiting iii and No Patent Pending to show how they perceive the world through sound, by guiding the audience through three games/exercises and showing them a short sound ritual.

 

The trials

 

Each trial was connected to collaboratively playing an instrument. All trials allowed (some of) the audience members to explore the use of the instruments and the sounds they made based on different parameters and with game-like goals for how several audience members could play (with) them at the same time.

For the first trial we used Drone crosses, which was an instrument Matteo brought. Drone crosses are wooden crosses with elastic bands attached which vibrates and creates sound when the cross is swung around.

The idea of the trial was to create a soundscape with a coherent volume, following the consensus of the group making the shared sound louder or more quiet. Audience members got small versions of the instruments and while playing them they tried to hit the same speed creating a similar sound from the instruments. When hitting a certain level of sound with all the instruments, a bigger Drone Cross would activate (played by one of the sonic embassy performers).

The goal of the audience members playing the drone crosses was to listen to one another and without talking, shifting up and down in speed (making the sound louder or more silent).

The first trial during No Patent Pending - the drone crosses (photo: Pieter Kers).

For the second trial we used a version of Erfan’s Marble Machine. For the trial we used marbles balancing on wooden surfaces lined with reflective materials, which changed the sound of the marbles rolling across the wood.

Audience members took turns holding the wooden surfaces and had the shared responsibility to not let the marble hit the ground while they balanced and passed the marble between them. While balancing the marble participants could explore the different sounds it made.

Other audience members got flashlights and as we turned off the light, they had to make sure that the marble would always be visible to the people with the wooden surfaces and that they had enough light to make it possible to balance the marble.

The second trial of Sonic Embassy at No Patent Pending #34 (photo: Pieter Kers)

The third trial was based on Wen Chin’s bodycello, but for Sonic Embassy the instrument was changed so it required at least three people, and eventually seven people, to play. The instrument consisted of two boxes with a string in between them. Two players each held a box, making sure to keep the string between them tight, while the third player would play the string.

In the trial the instrument worked as a kind of vehicle where the players holding the boxes were the wheels and the player playing the string was the driver. The wheels were blindfolded and the driver would give them directions by making the sounds on the string slide either up or down.

Three bodycellos were played at the same time and the goal for the drivers where to get across the space without colliding with the other bodycellos. We increased the amount of people acting as wheels, in order to have more people from the audience involved in playing the instrument.

After our test run with the students, we changed the aim of the trial to arriving to the other side of the room at the same time as the other cars rather than arriving first. So we made it a collaborative, rather than a competitive goal. We also added front lights to the cars and dimmed the overall light in the space.

Wen Chin Fu's instrument "Body Cello"

Goodbye ritual

 

We ended the larp/performance with a short performance by the three sound ambassadors which was a sequence of bowing, which triggered various notes at different levels of bowing. This was an instrument created by Marije; though during the preparation time we brainstormed and tried if we could make it into an instrument that audience members could play, but we ran into problems of time to make it easy enough to play. So in the end, we decided to include it as a goodbye ritual to end the performance.

Presentation at No Patent Pending

Sonic Embassy followed an outdoor performance by Jaime del Val; in the absence of the audience the elaborate setup in the space for Geert-Jan Hobijn’s work was removed and the space was prepared for the larp. So when the audience came back inside, the space was transformed – and the audience sat down quietly waiting for the next performance.

Nina

Nina: Making larp accessible for an audience at “No Patent Pending” was for me the biggest challenge of the residency for several reasons.

The first challenge was to get the audience to buy into the premise of the larp, accepting the fictional frame and the level of participation required. The larp we created (Sonic Embassy) was not the only piece being shown at “No Patent Pending” so audience members did not come specifically to take part of a larp, but to experience the whole program.

Another challenge was to teach the audience members how to participate in a larp as well as teaching them the frame and mindset of this specific larp. And this had to be done in a very short time, as to fit The Sonic Embassy into the rest of the program for “No Patent Pending”.

The ambassadors bid the audience farewell at No Patent Pending #34. (photo: Pieter Kers).

Evaluation & reflection

Matteo

The presentation with the students from the art academy in Bern worked very well. The students were on a study trip during which they visited many cultural institutions in the Netherlands, including major museums, and they reportedly described the visit to iii as a high point of their whole trip.

The presentation during No Patent Pending was more problematic as the audience was not prepared to engage in such a format to such an extent and for so long, and perhaps the sonic and instrumental elements of the experience were too simple for our audience members who are sound art experts.

Having had the opportunity to evaluate the presentation with several participants, I think that this format would be excellent to offer as a standalone activity, perhaps during the day, for a less specialized audience.

It could work very well to connect to children, adolescents or adults who are not familiar with sound art. It could also work really well as a team building activity for companies, as it gives participants the possibility to become children again for one hour while also working together to achieve the proposed tasks.

Marije

It was quite a challenge to bridge the different experiences and expectations. Both as makers and for the audience. One of the interesting aspects of larp is the collaborative component, rather than that it is a competitive game, and that the players and roles they take can vary.

Within the performative context however, this is very hard to transfer in the short time span, while also having to overcome the expectations of the audience. For this, the method with the small character descriptions helped, but there could perhaps have been another exercise to let the participating audience enter the space.

In the larps we played beforehand, a lot of time was dedicated to learning how to play – and in this project we squashed it down to a very short amount of time.

Looking back at it, there were three levels that we had during the presentation at NPP:

  • – The performers
  • – The audience that wished to participate
  • – The audience that preferred to watch rather than participate

Marije

I guess in the design, we had not taken care enough to separate the last two groups. Even though, we had a character description that allowed for non-participation, there were audience members who did not even want to choose that character description.

It might have helped if we had made the separation more easy, so the non-participating audience would not disturb those that did want to participate. But this is a tricky one – being watched by your non-participating friends can be hurdle to drop out from the social role you usually take with them.

In the process we worked from the instruments we had and developed an experience around these – I wonder how it would have been if we had worked the other way around – start from the fiction and develop instruments from the fiction.

Nina

During the presentation at NPP, the amount of people not interested in participating was large enough to change the group dynamic. This made it harder for those who wanted to participate to find their alibi.

Perhaps it is important to be more strict: if you don’t participate, you don’t get in. Or define an alibi for the non-participating.

The instruments were fun to play with and there is a potential in the structure of the larp/performance where single parts can be used or replaced depending on the context of presentation and possibilities.

It could be interesting to present the work in a more game-like context, where participation is more experienced, instead of a performance context.

We tried to pass on complex thoughts and experiences in a short time and through a medium that was unknown for most audience members. Maybe it would have been better to focus on something simpler?

During the collaboration we had to do a lot of translating between different ways of creating experiences. This was new to all of us and the techniques take time to master. Still, it was a valuable learning experience and I have a lot to build on for later projects.

Doron Sadja is an American artist, composer and curator based in Berlin whose work explores modes of perception and the experience of sound, light, and space.  Working primarily with multichannel spatialized sound – combining pristine electronics with lush romantic synthesizers, extreme frequencies, dense noise, and computer-enhanced acoustic instruments, Sadja creates post-human, hyper-emotive sonic architecture. Although each of Sadja’s works are striking in their singular and focused approach, his output is diverse: spanning everything from immersive multichannel sound pieces to sexually provocative performance / installation works, and stroboscopic smoke, mirror, laser, and projection shows.

During his residency he focused on the creation of a new project entitled “We Are Never Ever Ever Getting Back Together”, a kinetic installation investigating ways of dismantling and recontextualizing white noise and white light.

The outcome of the residency was presented in The Hague at Quartair during the 24th edition of the No Patent Pending series on May 29th 2016.

Find out more about “We Are Never Ever Ever Getting Back Together” here.

Budhaditya Chattopadhyay is a contemporary artist, researcher, writer and theorist. Incorporating diverse media, such as sound and moving image, Chattopadhyay produces works for large-scale installation and live performance addressing urgent issues such as the climate crisis, human intervention in the environment and ecology, migration, race, and decolonization.

Conceptually, Chattopadhyay’s work inquires into the materiality, objecthood, site, and technological mediation of lived experiences, and considers the aspects of subjectivity, contemplation, mindfulness, and transcendence inherent in listening.

His artistic practice intends to shift the emphasis from object to situation, and from immersion to discourse in the realm of sound and media art. As an artist, Chattopadhyay is an attentive and com(passionate) listener of the world around him, endeavoring to connect the disparate resonances across the borders and cultures through a practice committed to advocating for reciprocity and equality in the contemporary societies.

His works are published by Gruenrekorder (Germany) and Touch (UK). Chattopadhyay is a Charles Wallace scholar, Prince Claus grantee, and Falling Walls fellow, and has received several residencies and international awards, notably a First Prize in Computer and Electronic Music category of Computer Space Festival, Sofia, and an Honorary Mention at PRIX Ars Electronica, Linz.

He has graduated from India’s national film school, specializing in Sound, completed a Master of Arts degree in New Media and Sound Art at Aarhus University, Denmark, and received a Ph.D. in Artistic Research and Sound Studies from Leiden University, The Netherlands.

Budhaditya will be presenting his work at No Patent Pending #38 on October 12, 2019.

Jeroen Uyttendaele is an artist who works mostly with sound and its relation to materiality, light, space, time and the viewer.  This translates itself in the development of audiovisual instruments, installations and sound compositions. Jeroen often uses basic properties of technology such as electricity, metal, conductive materials as his main tools of expression. He is a founding member of iii who graduated from the ArtScience Interfaculty and pursued further studies at HISK in Gent before establishing his practice in Brussels.

During his residency he worked on the development of a new composition for his Sparkfield, using basic properties of electricity as an expressive medium.

The outcome of the residency was presented in The Hague at Quartair during the 24th edition of the No Patent Pending series on May 29th 2016.

Find out more about Sparkfield #1 here.

Marco Donnarumma (b. 1984) is a performance artist and scholar. A unique presence in contemporary performance, he distinguishes himself by his use of emerging technology to deliver body performances that are at once intimate and powerful, oneiric and uncompromising, sensual and confrontational. Working with biotechnology, biophysical sensing, and more recently artificial intelligence and neurorobotics, Donnarumma expresses the chimerical nature of the body with a new and unsettling intensity. He is renown for his skill in using sound, whose physicality and depth he exploits to create experiences of instability, awe, shock and entrainment.

During the residency Marco Donnarumma will lead two sessions of the Reading Room at Stroom Den Haag on October 6th and 14th and will perform within the No Patent Pending series at Baruch Pavilion on October 15th 2016.

 

Marianthi Papalexandri-Alexandri

Marianthi Papalexandri-Alexandri (1974/ Greece) is a composer and sound artist based in Switzerland and Ithaca, NY. She is known internationally for her elegant and innovative sound kinetic constructions that she develops both independently and together with Swiss kinetic artist Pe Lang. Papalexandri’s works interweave the borderlines of sound art, composition, visual objects and performance and explore the factors that link these art forms.
Papalexandri’s work have been exhibited internationally, including the Kunstmuseum Basel, MuDA museum of digital art, Zurich; Asmolean Museum, Oxford; Museum of Musical Instruments Berlin; ISEA, Hong Kong; San Francisco Art Institute; ZKM, Karlsruhe; Transmediale, Berlin; Espoo Museum of Modern Art, Finland, Donaueschingen Festival and Venice Biennale of Architecture. Marianthi had received commissions by Neue Vocalsolisten, Klangforum Wien, Ensemble Mosaik and festivals such as MaerzMusik; Japan Media Art; Ultraschall; ECLAT and Archipel among other.
The recipient of the Humboldt-University of Berlin: Cluster of Excellence International Fellowship (2015), Papalexandri has been honored by numerous awards, residencies and grants, including the ProHelvetia grant, Ernst Von Siemens Foundation Commission, the Berlin Senate Sound Art Grant, the Swedish Arts Council Composition Grant, the Berlin Senate Composition Grant, the International IMPULS Composition Award) and the Dan David Prize for Contemporary Music. Papalexandri has been nominated artist in residence at the Akademie Schloss Solitude, the Villa Concordia, the Humboldt-University, the Instrument Inventors Institute and the St John’s College, University of Oxford.

Since 2016, Papalexandri is an Assistant Professor of Composition at the Department of Music of Cornell University, in Ithaca NY. Marianthi is currently collaborating with Guy Hoffman and the International Contemporary Ensemble -ICE on a large scale project titled ‘Human and Machine Improvisation in Action’  supported by a Cornell NYC Visioning initiative grant.

Marianthi will be presenting her work at No Patent Pending #38 at the iii workspace on October 12.

Maciej Ożóg is a sound artist, culture and media theorist based in Lodz, Poland. Since the early nineties he’s been involved in experimental music scene of Poland. In his solo performances he critically explores the liminal territory between body physical activity and invisible electric infrastructure of hybrid space. He uses custom designed instruments and devices as well as digital and analogue electronics.

 

During the residency Maciej Ożóg will lead two sessions of the Reading Room at Stroom Den Haag on October 6th and 14th and will perform within the No Patent Pending series at Baruch Pavilion on October 15th 2016.


Evelina Domnitch - Dmitry Gelfand - Camera Lucida web
Camera Lucida: Sonochemical Observatory, E. Domnitch and D. Gelfand

Within the exhibition In Praise of Shadows at TETEM Kunstruimte iii will give a presentation of its freshly printed publication No Patent Pending, self-made performative media.

The book collects contributions from Ewen Chardronnet, Evelina Domnitch & Dmitry Gelfand, Lars Kynde, Alessandro Ludovico, Matteo Marangoni, Jonathan Reus, Joel Ryan & Kristina Andersen, Dieter Vandoren, Anne Wellmer, Godfried-Willem Raes and Yolanda Uriz within a playful format designed by Studio Luc Derycke.

The book presentation will be accompanied by a program of talks by Evelina Domnitch & Dmitry Gelfand, Matteo Marangoni and Jonathan Reus.

Doors open at 19:00,  program starts at 19:30.

Talks will be in English.

lower senses- javier jaen web
The Lower Senses, Javier Jaén

 

No Patent Pending #41 / Philip Vermeulen / FanFanFan / Photo by Pieter Kers

Dutch Below

This Spring iii hosts a program of public events and workshops offered online as well as delivered to your doorstep

As an initiative who host sensorial events, iii have been working hard to bring you these experiences without the need to be physically present within the iii workspace: introducing our Sensory Kits series. This series brings you original sensory artworks to make and experience at home. The first three include Wen Chin Fu’s sugar instrument ‘Tang’, Lauren Jetty’s perfume ‘ArtScience Body’ and Matteo Marangoni and Dieter Vandoren’s electronic sound creature ‘Komorebi Larva’. These kits will also be adapted for kids in collaboration with Laaktheater. They will soon be available to order from the iii website.

’The Spring program starts on March 4th with a corona-proof radio show hosted by Arthur Elsenaar. Elsenaar returns to Radio Tonka for Rumoriii #3.1. Rumoriii, meaning noise in Italian, is available online or 92.0FM on the first Thursday of March and April (04/03 and (01/04). The March edition hosts the iii Agency Coordinator and performance artist Anastasia Loginova who is interested in human/plant/virus intelligence from her position within these roles. The April episode invites sound artist and performer Kunrad (Koen De Groot), to talk about his holistic approach to making and his involvement in the sensory DIY kit series.

Later on in the Spring, NL_CL #4 (23/04) will also be an opportunity to engage from a distance. The theme of this edition is ‘coding as interactive practice’ and it will be possible to interact online, with new curator Rafaele Andrade promising games and playful approaches.

Raw Dates / Lena Gluksman-Nilsson / photo by Pieter Kers

iii will also be offering online workshops. Learn collaborative machine/human writing with Karina Zavidova (8-9/05) or Synth building with Ricardo Marogna (01-02/05). There are also workshops aimed at supporting artists based in The Netherlands including a Dutch language course which is tailor made for artists (15/03 – 21/06) and a VAT admin workshop for freelance artists in The Netherlands (28/05). Something that artists have struggled with during the pandemic is the ability to record and show documentation of work in place of the ‘real thing’. iii will be addressing this challenge with a course on pre and post production held by artist and filmmaker Flora Reznik (date TBC).

iii have many more pending activities which will resume when conditions allow, including improvisation series Raw Dates, PANT Public (Platform of Artists Netherlands Taiwan,) Intimate Open Studios, screening series Matters of Being, experimental concert series Post Paradise, a Crystal Radio week and a workshop on the language of touch with Ludmila Rodrigues.
iii is an artist run, community platform supporting new interdisciplinary practices linking performance, technology and the human senses. The hosted program of iii serves as a podium in which artists can experiment in front of an audience and receive feedback, as well as a space to exchange knowledge and make new encounters.

The full agenda of iii’s hosted program, with detailed program information, can be found HERE

Intimate Open Studios / Koen de Groot / Klingel 5 bij 5 voor 5

Als een initiatief dat zintuiglijke evenementen organiseert, heeft iii hard gewerkt om u deze ervaringen te bieden zonder dat u fysiek aanwezig hoeft te zijn in de iii-workspace: de introductie van een serie zintuiglijke doe-het-zelf kits. Deze serie brengt je originele zintuiglijke kunstwerken om thuis te maken en te ervaren. De eerste drie zijn het suiker instrument ‘Tang’ van Wen Chin Fu, het parfum ‘ArtScience Body’ van Lauren Jetty en Matteo Marangoni’s en Dieter Vandoren’s elektronische geluids wezen ‘Komorebi Larva’. Deze kits worden in samenwerking met Laaktheater ook aangepast voor kinderen. Ze zullen binnenkort beschikbaar zijn om te bestellen via de iii-website.

Het voorjaarsprogramma begint op 4 maart met een corona-proof radio show gepresenteerd door Arthur Elsenaar. Elsenaar keert terug naar Radio Tonka voor Rumoriii # 3.1. Rumoriii, wat ruis betekent in het Italiaans, is online beschikbaar of 92.0FM op de eerste donderdag van maart en april (04/03 en (01/04). De maart editie biedt onderdak aan de iii Agency-coördinator en performancekunstenaar Anastasia Loginova die geïnteresseerd is in mensen / plant / virus intelligentie vanuit haar positie binnen deze rollen. De aflevering van april nodigt geluidskunstenaar en performer Kunrad (Koen De Groot) uit om te vertellen over zijn holistische benadering van maken en zijn betrokkenheid bij de zintuiglijke DIY kit-serie.

Later in het voorjaar zal NL_CL # 4 (23/04) ook een gelegenheid voor verbinding zijn op afstand. Het thema van deze editie is ‘coding as interactive practice’ en het zal mogelijk zijn om online te communiceren, met nieuwe curator Rafeale Andrade die games en speelse benaderingen zal beloven.

iii zal ook online workshops aanbieden. Leer samen machine/ human writing met Karina Zavidova (8-9 / 05) of Synth bouwen met Ricardo Marogna (01-02 / 05). Er zijn ook workshops gericht op het ondersteunen van kunstenaars die in Nederland zijn gevestigd, waaronder een Nederlandse taalcursus die op maat is gemaakt voor kunstenaars (15/03 – 21/06) en een btw-administratie workshop voor freelancers in Nederland (28/05). Iets waar kunstenaars tijdens de pandemie mee worstelden, is de mogelijkheid om documentatie van werk vast te leggen en te tonen in plaats van het ‘echte’ werk. iii zal deze uitdaging aangaan met een cursus over pre- en postproductie, gehouden door kunstenaar en filmmaker Flora Reznik (datum n.t.b).

iii heeft veel meer lopende activiteiten die zullen worden hervat wanneer de omstandigheden het toelaten, waaronder improvisatieseries Raw Dates, PANT Public (Platform of Artists Netherlands Taiwan,) Intimate Open Studios, screening serie Matters of Being, experimentele concertserie Post Paradise, een Crystal Radio-week en een workshop over de taal van het aanraken met Ludmila Rodrigues.

iii is een door kunstenaars geleid community platform dat nieuwe interdisciplinaire praktijken ondersteunt die performance, technologie en de menselijke zintuigen met elkaar verbinden. Het publieke programma van iii dient als een podium waarop artiesten kunnen experimenteren voor een publiek en feedback kunnen krijgen, maar ook als een ruimte om kennis uit te wisselen en nieuwe ontmoetingen te creëren.

De volledige agenda van het publieksprogramma van iii, met gedetailleerde programma-informatie, is te vinden via deze link:: https://instrumentinventors.org/agenda/



Magnetoceptia, Dewi de Vree & Patrizia Ruthensteiner

Dutch below

How a group of fresh graduates from abroad created a national platform for Art, Science & Technology in The Netherlands

iii is announcing the start of its program for the period 2021-2024.  This spring will be the beginning of many new adventures with the artist-run platform based in The Hague focusing on the field of Art, Science & Technology. 

iii (instrument inventors initiative) was founded in 2013 by a group of recent graduates of the ArtScience Interfaculty and Institute of Sonology in The Hague. The founders of iii came from all over the world to The Hague to study, attracted by the rich and unique Dutch history of experimentation in the field of Art, Science & Technology. In The Hague they found a fertile territory for inspiration, community and exchange. But starting a professional artist career at that time was especially challenging: the budget cuts which decimated the cultural sector left limited space for developing new talents. For the members of the group without European passports, this meant not only a road to poverty, but also to the denial of residency permits under threat of deportation. Not finding sufficient support in the existing infrastructure, the founders of iii decided to create a new platform, initially to support each other in developing their own professions, and later extending this support to an increasingly broader community. 

Fazle Shairmahommed & Mári Mákó & Oddkin

From this starting point, iii has developed into a very active and internationally established cultural incubator, organising residencies, providing artist studios, offering weekly public events and workshops and functioning as an international distribution agency. Despite this growth, iii has remained true to its initial group spirit: in a cultural sector dominated by top-down foundations, iii remains an association with a bottom-up structure, where programs and spaces are managed collectively. Central to this vision is cultivating an inclusive and accessible community, based on sharing and facilitating others. The studio facilities and presentation space of iii is located in Moerwijk in The Hague.

New Emergences #19 / Power Tools / photo by Pieter Kers

What funding committees say about iii:

Creative Industries Fund NL:  “it is good to see how a grassroots initiative has grown over the past seven years into an energetic institution that produces, facilitates and succeeds with its own agency in distributing works internationally […] If the committee looks at the quality and the degree of innovation in both the content of the program and the form and role of the organisation, it can only conclude that iii is exemplary in each of these criteria within the creative industry.”

Municipality of The Hague:  “The Commission is enthusiastic about the interdisciplinary focus of iii, and the way iii actively focuses on connecting different domains such as science, technology, performance and music. The artists at iii have different cultural backgrounds and explore in their public program the artistic implications of the changing technological society”.

What visitors say about iii:

Cathy van Eck: “My students from the Bern University of the Arts (Switzerland) made a study trip to the Netherlands. They naturally visited Amsterdam, viewed the major museums and art centers, galleries and concerts. When I returned, I asked them what impressed them most. Their answer was clear: the visit to iii in The Hague.”

The 4 year plan of iii is publicly available HERE

iii is an artist run, community platform supporting new interdisciplinary practices linking performance, technology and the human senses. Arising from the ArtScience tradition of The Hague, iii strives to balance technological innovation, theoretical reflection and human experience. iii contributes to international developments in the field of Art, Science & Technology, functioning both as a cultural incubator supporting research and creation, and as an agency connecting creators to a broad audience via a wide (inter)national partner network.

No Patent Pending #35 / Akio Suzuki & Aki Onda / photo by Pieter Kers

iii PROGRAMMA 2021-2024

Hoe een groep pas afgestudeerden uit het buitenland een nationaal platform voor Kunst, Wetenschap & Technologie in Nederland heeft gecreëerd

iii kondigt de start aan van zijn programma voor de periode 2021-2024. Dit voorjaar zal het begin zijn van vele nieuwe avonturen met het door kunstenaars geleid platform in Den Haag dat zich richt op het gebied van kunst, wetenschap en technologie.

iii (instrument inventors initiative) is in 2013 opgericht door een groep pas afgestudeerden van de ArtScience Interfaculteit en het Instituut voor Sonologie in Den Haag. De oprichters van iii kwamen van over de hele wereld naar Den Haag om te studeren, aangetrokken door de rijke en unieke Nederlandse geschiedenis voor experiment op het gebied van Kunst, Wetenschap & Technologie. In Den Haag vonden ze een vruchtbare grond voor inspiratie, gemeenschap en uitwisseling. Maar het beginnen van een professionele kunstenaarscarrière was in die tijd vooral een uitdaging: de bezuinigingen op de begroting die de culturele sector decimeerden, lieten beperkte ruimte voor het ontwikkelen van nieuw talent. Voor de leden van de groep zonder Europees paspoort betekende dit niet alleen een weg naar armoede, maar ook tot het weigeren van verblijfsvergunningen onder dreiging van uitzetting. Omdat ze onvoldoende steun vonden in de bestaande infrastructuur, besloten de oprichters van iii een ​​nieuw platform te creëren, aanvankelijk om elkaar te ondersteunen bij het ontwikkelen van hun eigen beroepspraktijk, en later om deze ondersteuning uit te breiden naar een steeds bredere gemeenschap.

Vanuit dit uitgangspunt heeft iii zich ontwikkeld tot een zeer actieve en internationaal gevestigde culturele broedplaats die residenties organiseert, voorziet in kunstenaarsateliers, wekelijkse publieke evenementen en workshops aanbiedt en functioneert als een internationale agency. Ondanks deze groei is iii trouw gebleven aan zijn oorspronkelijke groepsgevoel: in een culturele sector die wordt gedomineerd door top-down-stichtingen, blijft iii een initiatief met een bottom-up-structuur, waar programma’s en ruimtes collectief worden beheerd. Centraal in deze visie staat het cultiveren van een inclusieve en toegankelijke gemeenschap, gebaseerd op het delen en faciliteren van anderen. De studiofaciliteiten en presentatieruimte van iii is gelegen in Moerwijk te Den Haag.

Wat adviescommissies zeggen over iii:

Stimuleringsfonds Creatieve Industrie: “het is volgens de commissie goed om te zien hoe een grassroots-initiatief de afgelopen zeven jaar is uitgegroeid tot een energieke instelling die produceert, faciliteert en er met een eigen agency in slaagt werken internationaal te distribueren […] Als de commissie kijkt naar de kwaliteit en de mate van vernieuwing in zowel de inhoud van het programma als de vorm en rol van de organisatie, dan kan ze niet anders concluderen dan dat iii op elk van deze criteria voorbeeldstellend is binnen de creatieve industrie”.

Gemeente Den Haag:
“De Commissie is enthousiast over de interdisciplinaire focus van iii, en de manier waarop iii zich actief richt op het verbinden van verschillende domeinen als wetenschap, technologie, performance en muziek. De kunstenaars bij iii hebben verschillende culturele achtergronden en onderzoeken in hun publieksprogramma de artistieke implicaties van de veranderende technologische samenleving ”.

Wat bezoekers zeggen over iii:

Cathy van Eck: “Mijn studenten van de Hogeschool voor de kunsten in Bern (Zwitserland) maakten een studiereis naar Nederland. Ze bezochten natuurlijk Amsterdam, bekeken de grote musea en kunstcentra, galerieën en concerten. Bij terugkomst vroeg ik hen, waar ze het meest van onder de indruk waren. Hun antwoord was duidelijk: het bezoek aan iii in Den Haag.”

Het 4-jarenplan van iii is openbaar voor publiek HIER


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For its 11th edition the nomadic performance series No Patent Pending returns to STEIM to present a selection of new works by Erfan Abdi, Wen Chin Fu, Lars & Nikolaj Kynde, Jonathan Reus, Matteo Marangoni and Dieter Vandoren.

Thursday December 4th, starting at 20:30:

Erfan Abdi – Vibroplasm 2.5
Wen Chin Fu – Spine Spinning
Matteo Marangoni and Dieter Vandoren – Lampyridae
Jonathan Reus – iMac Music

Address: Utrechtsedwarsstraat 134, Amsterdam

Friday December 5th and Saturday December 6th:

Lars & Nikolaj Kynde will present Tasteful Turntable, a composition for tasting and hearing for an audience of 4.

Tasteful Turntable schedule:
Dec. 5th: starting at 14,15,16,17,19, 20 and 21
Dec. 6th: starting at 14,15,16,17,19, 20 and 21

The performance has a duration of 30 minutes.

Tasteful Turntable requires reservation. Please reserve a seat here.

Address: Achtergracht 19, Amsterdam

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Erfan Abdi – Vibroplasm 2.5

We perceive our surroundings through vibration in one form or another. It can be in form of physical contact or heat (molecular vibration), audible or infrasonic mechanical vibrations, or light (which can be measured as vibrations in the EM field). Such view was not shared so much before late 19th century, and ever since, has had a considerable impact on the way people perceive themselves and their surrounding world. Vibroplasm is a work in progress that deals with  vibration as its core focus, while each of its realizations revolves around a different way of tacking the subject. In Vibroplasm 2.5, a construction consisting of springs, magnets, pickup coils and a transducer becomes a field for vibration to pass through, creating positive feedback with ever changing overtones. In an effort to steer the uncontrollable feedback, the artist invites the audience to observe the vibratory phenomenon through magnification and translation.

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Wen Chin Fu – Spine Spinning

Spine Spinning is a performance investigating the movement of the spine in the human body inspired by Étienne-Jules Marey’s Etude de la locomotion humaine: Homme marchant avec une baguette fixée le long de la colonne vertébrale. Focusing on the perception of the body through the control of light and sound amplification, the performer transforms the human body into an unknown creature.

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Dieter Vandoren and Matteo Marangoni – Lampyridae

Lampyridae is a participatory experience in which humans facilitate the establishment of a society of artificial entities called Lampyridae, which is the latin denomination for the family of the fireflies. The Lampyridae are devices that operate as a distributed local network using communication protocols that are situated entirely within the range of human perception. Each participant is given a small portable, handheld device that is capable of both emitting and sensing light and sound signals. Participants act as carriers of these autonomous objects, facilitating the emergence of swarm-like behaviors as the devices communicate between each other in space, immersing the audience in a field of pulsating light beams and spatial sound projections.

Jonathan Reus - imac music

Jonathan Reus – iMac Music

iMac Music is a live cinema / live music performance where obsolete first generation iMac G3 computers are invasively hacked on stage – drawing sound and visual material directly from the circuitry of the machines as they operate. The machines are essentially e-waste, too clunky and dependent on legacy software for today’s tasks, but for reasons of cultural nostalgia still remain on storage shelves in basements and back rooms. In the hands of instrumentalists the computers are re-animated; resonating with nostalgia but also conscious of contemporary concerns such as the practice of planned obsolescence and its ecological impact as a producer of e-waste.

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Lars and Nikolaj Kynde – Tasteful Turntable

How does sound affect our perception of food, and how does taste affect our experience of music?

Tasteful Turntable is a sensuous performance that explores this sense-interference between music and gastronomy. The performance takes place around a slowly rotating dining table designed to let the guests experience parallel stimuli through these two senses. Different small dishes containing only one bite each are carefully positioned on the table, and four guests wearing headphones are seated around it. As the table slowly turns, the guests taste the flavors and listen to a synchronized music composition coherent with the position of the foods and their tastes.

The development of the works presented at No Patent Pending #11 has been supported by the Creative Industries Fund NL within iii’s 2014 research and production program focusing on “non-data based technologies, embodied knowledge and returning to the senses”.

Tasteful Turntable was produced with additional support from Stroom Den Haag.

No Patent Pending is a nomadic performance series presenting radical artistic practices that involve developing, composing and performing with self-made instruments that engage with the four dimensions of sound, image, space and the body.

previous editions:

No Patent Pending  #1, Q02, Brussels, 2012
No Patent Pending  #2, STEIM, Amsterdam, 2013
No Patent Pending  #3, Het Nutshuis, Den Haag, 2013
No Patent Pending  #4, Loophole, Berlin, 2013
No Patent Pending  #5, Signal Raum, Munich, 2014
No Patent Pending  #6, bb15, Linz, 2014
No Patent Pending  #7, MOTA, Lijubliana, 2014
No Patent Pending  #8, Macao, Milan, 2014
No Patent Pending  #9, NUB, Prato, 2014
No Patent Pending  #10, Villa No, Brescia, 2014

 

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Studio Loos, Thursday December 18th 2014

De Leslies  (Horst Rickels / Robert Pravda)
Evelina Rajca
Lampyridae (Matteo Marangoni / Dieter Vandoren)

Doors open at 20:00, starts at 20:30
De Constant Rebequeplein 20B, Den Haag

Avant-garde composers since the latter half of the 20th century have adopted increasingly complex electro-acoustic tools to project sound in space, deploying audio technologies within high-tech shrines for electronic music. On the other side of the playing field individual artists have developed their own personal tools and idiosyncratic practices to create new kinds of listening experiences.
The 57th edition of Wonderwerp presents three different approaches of this second kind. Horst Rickels and Robert Pravda will perform with 8 speaker-objects obtained by repurposing the Leslie speaker, which is the sounding component of the Hammond organ. After having been hidden in the cabinets of Hammond organs for decennia, now these Leslie speakers find a new life. Evelina Rajca will present a new piece in which the oral cavities of performers are used as resonance chambers, which become activated by another person’s breath. Matteo Marangoni and Dieter Vandoren will present their Lampyridae, a swarm of artificial creatures that communicate between each other with sound and light, performing a spatial composition in which the electronic sound sources are handed over to the audience.

Artist Biographies:

Horst Rickels, 1947,MA, studied piano construction at Grotrian-Steinway in Braunschweig and worked in that function at Bechstein in Berlin. After this he studied music in Kassel where he composed ballet and theater music for the Staatstheater and was member of the underground-band ‘Pigblood’. In 1972 he started studying electronic composition at the Royal Conservatory in Den Haag. From 1973 he worked as a composer for the theater group Proloog in Eindhoven. In 1983 he earned his degree in music theory at the Brabants Conservatorium with a thesis on the dialectics of Brecht’s texts and Eisler’s music. During the next years he formulated new principles for multimedia theater, resulting in Van Gogh’s Laatste Oor and The Simulated Wood, among others. Supported by a grant from the Fonds voor Scheppende Toonkunst he focused his research on the development of sound objects, sound sculptures and sound installations.
The central question of his research is how the principle of instability of tuning-systems, pictorial structures and performance practices can be made the central theme of art works. Another important aspect of his research is the study of spatial qualities of sound in relation to the natural and artificial environment. As a sound artist he has shown his works in many countries and at international festivals. Often he has participated in projects that aimed at transforming outstanding places into a soundscape, such as Fort Klank in 1994 in which he, Dick Raaijmakers, and Walter Maioli transformed an old fortification into a monumental musical instrument.
From 1985 until 2006 Rickels worked as a lecturer at the Design Academy Eindhoven where he initiated sound-,theatrical- and interdisciplinary projects. In 1989 Rickels was invited to teach at the Interfaculty ArtScience of the Royal Conservatoire and the Royal Academy in The Hague. Since 2002 he has been coordinating the ArtScience masters program and he has been the acting head of the Interfaculty in 2007 and 2008. He composed the soundtracks for diverse films of his daughter Jiska Rickels, among which ‘Himmelfilm’ ,‘Untertage’ ,’4Elements’ which won different international prizes. In 2006/07 Horst Rickels was Artist in Residence at the NFTA (Dutch Film and Television Academy) with a research on the dialectics on music/sound and moving pictures.

Robert Pravda (1967) is a sound-artist, composer and performer currently living in Rotterdam in the Netherlands. He studied engineering at the Technical University of Novi Sad (Serbia), after which he dedicated himself to making music in experimental underground circles. After moving to the Netherlands he studied interdisciplinary art on the Royal Academy for Fine Arts Music and Dance in the Hague. His examination project, the sound-light installation 5x5x5, was awarded with the visitor’s prize of Shell’s Young Artist Award. From 2002 he is teaching sound related courses and developing research projects as a member of the teaching team of the ArtScience department at the Royal Academy for Fine Arts Music and Dance in the Hague.
During and after his studies he concentrated on building instruments for multimedia performances, making compositions for spatial sound and light installations and theater productions. Exhibitions and concert in different venues/festivals:SonicActs Paradiso Amsterdam, Melkweg Amsterdam, PandPaulus Schiedam, Worm Rotterdam, New Forms festival Paard Den Haag, Galerie Den Haag, Gallery 1646 Den Haag, Whitespace Den Haag, Garage Den Haag, TodaysArt Den Haag, Platoux Frankfurt, Der Kunsten festival Brussel. CTM Berlin, Kapelica Ljubljana, Purcell Room London.
Since 2009 he is an active member of Tilt. Tilt is an interdisciplinary platform founded by choreographer Andrea Bozic, sound artist Robert Pravda and visual artist Julia Willms to inspire and support artistic practice and thinking beyond disciplines.

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Evelina Rajca studied from 2006-2011 at the Academy of Media Arts in Cologne and at the Central Academy of Fine Arts in Beijing.
In her work the assumption that collective imaginations, dreams, values and fears, as more or less socially unredeemed, are enrolled as forceful imaginary reality in public and private spaces and what is left over of a reformulation of nature, represents a vital link. Her practice is based in between intuitive embodied knowledge and different systems that construct processes of documenting these experiences and translating them into interventions, objects, maps, scores. She re-use old and new technologies as new working material in an ever-changing process. Her complex performative explorations, unfolding in a variety of forms as collaborations, compositions, sculptures, interventions, i.e. within international institutions and public space are wholly present in the space, stimulating the question of who inhabits it. Yet in the process of play and exploration, they continue and transform.
Rajca’s work was recently awarded with a Giga-Hertz Prize for Sound Art by the ZKM ( Center for Art and Media ) in Karlsruhe, an artistic research grant from Stroom, The Netherlands and the DAAD research Grant for the USA (Stanford University) and Austria (Art University Linz).

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Matteo Marangoni is a DIY enthusiast that operates at the margins of various artistic disciplines. His practice investigates the perception of space and the subject-object dichotomy through processes that articulate the real within idiosyncratic rituals. He is a founding member of the artist collective iii and curates the nomadic performance series “No Patent Pending”. His work “Quiet Before the Storm” received an honorary mention at the Sonic Arts award 2014.

Dieter Vandoren (°1981, Belgium) is a media artist, performer and developer. His work balances on the edge of creative arts and scientific research & development. Drawing from his diverse backgrounds in music, informatics and interactive architecture, he is currently occupied with the development and performance of spatial, immersive audiovisual instruments with a strong focus on the embodied aspect of performance.   He is a guest tutor and researcher at the Hyperbody and StudioLab groups at the Delft University of Technology. His works have been featured at Ars Electronica, TodaysArt, STEIM, NIMk, STRP, Glow, amongst others.

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About the Wonderwerp series

Wonderwerp is a monthly performance series presenting radical artistic practices that engage with sound, image, space and the body:  imagining new tools to articulate everyday phenomena, extending the body, remapping sense perceptions, hacking and reinventing existing media and codes, creating time and space for events which find their preferred storage medium in the memory of participants.

About Studio Loos

Studio LOOS is the hot spot for new music in The Hague (NL), and is located in the multidisciplinary arts building DCR. It is a workspace, laboratory and a public presentation space for artistic research, experimentation, development, innovation and production of interdisciplinary, experimental, electro acoustic music, sound art, improvisation, composition ranging from monomedia via bimedia to polymedia and hypermedia. Studio LOOS is part of the LOOS Foundation, which brings together internationally renowned and yet unknown artists in the field of interdisciplinary new music, who use the space to conduct their research during residencies and rehearsals and present the results of their experiments and their newest work to the public. The LOOS Foundation is supported by the Municipality of The Hague.

 

 

STEIM announced that it will cease to exist as a formal organisation. We are indebted to STEIM as a meeting ground, as a source of support and inspiration. As students we studied the history of STEIM. As starting professionals STEIM invited us to gain valuable experience. Two of our members are proud to have been a face of STEIM for several years. The lessons learned and the people we met at STEIM have formed an important part of what is iii today. We would like to share some cherished memories from our own archive to celebrate the continuation of STEIM’s legacy. 

In February 2013 we were invited for a group residency at STEIM. During this residency, we planted the seeds that would lead to the formal founding of iii in July of that year. Participating in the residency were Lars Kynde, Joris Strijbos, Nicky Assmann, Wen Chin Fu, Dieter Vandoren, Jeroen Uyttendaele, Dewi de Vree, Erfan Abdi, Matteo Marangoni, Ben Terwel, Mariska de Groot, Yolanda Uriz, Angel Faraldo and Jonathan Reus. Justin Bennett, Kristina Andersen and Joel Ryan also joined us for an inspiring discussion. 

The second edition of our performance series No Patent Pending (now at its 41 edition) took place at STEIM concluding our group residency. We share here some photos and the video documentation of that event. 

Following that gathering, Kristina Andersen and Joel Ryan in 2014 contributed to our publication “No Patent Pending, self-made performative media” with a beautiful photographic essay that we now publish digitally here

As iii moves forwards, we remain committed to providing a platform where artists can develop their own instruments and explore new forms of bodily and theatrical music.

photo credits: Marije Baalman

iii Sensory Kit #3 - Komorebi

Matteo Marangoni and Dieter Vandoren
Sound Creature

This iii sensory kit is an environmental audiovisual instrument that generates music from the moving shadows of trees. You can bring it with you on a walk to the park or put it in your garden and listen to how the music changes in tune with the weather.

Available to preorder with shipping starting on May 17th.

iii Sensory Kit #2 - ArtScience Body

Lauren Jetty
Experimental Perfume

This kit will provide you with the materials needed to create the perfume ‘ArtScience Body’ yourself; already in suitable dilutions, quantities and with pipettes and a bottle for your finished perfume.

Set up a miniature perfume lab at home, smell the materials separately, observe how they change when blended together, as well as over time.

Available to order now

iii Sensory Kit #1 - Tang

Wen Chin Fu
Sugar Instrument

Sugar instrument ‘Tang‘ is a musical instrument made of an everyday product – sugar. This kit contains the materials and instructions to make sugar instruments at home in your kitchen. 

Available to order now

audio-DH - sonic manifestations by 250 creators from Den Haag / The Hague

high capacity USB memory card with 195 tracks by 250 creators from The Hague selected by 50 curators + 3 full-concert recombinant performances by autonomous composition software

concept and direction: Francisco López

Ground

Jeroen Uyttendale & Dewi de Vree

book + DVD

drawings, photos and performance on video

text by Hicham Khalidi

No Patent Pending, self-made performative media

Edited by Matteo Marangoni

Designed by Studio Luc Derycke

84 pages, 17 x 24 x 1.5 cm, 500 grams, loose leaf prints + box
Limited edition of 800, numbered

 

 

No Patent Pending, self-made performative media

Ewen Chardronnet | Evelina Domnitch & Dmitry Gelfand | Lars Kynde | Alessandro Ludovico | Matteo Marangoni | Jonathan Reus | Joel Ryan & Kristina Andersen | Dieter Vandoren | Anne Wellmer | Godfried-Willem Raes | Yolanda Uriz

84 pages, 17 x 24 x 1.5 cm, 500 grams, loose leaf prints + box
Limited edition of 800, numbered
Price: €25.00 + shipping, orders: write to info@instrumentinventors.org

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How to convey ephemeral, performative practices based around unique and inventive media within the fixed and standardized format of a book?
This publication by iii presents itself as a large pack of cards that the reader is invited to explore. The cards are shuffled at random, forcing intruders to reverse engineer its sorting algorithm. Each individual copy of the book was manually assembled following a procedural score composed by Lars Kynde and performed by iii.

Contributions range from theoretical essays to poetic exercises with text and image reflecting a wide range of practices seeking radically subjective approaches to media in performance. DIY media technologies, avant-garde music rituals, artistic-scientific hybrids, idiosyncratic new instruments, speculative business approaches, phenomenological investigations, open-source and feminist perspectives on digital culture are all present here as part of a cut-up treatise on media less traveled.

Press:

“this publication seeks and vindicates the new
– Jose Luis Espejo Díaz, Mediateletipos

“There are some books that manipulate content and form to create a seamless continuum of a central idea. This anthology of texts is one such book: perfectly consistent in its design, production and content”
– Neural

Editor: Matteo Marangoni
Design: Luc Derycke, Stijn Verdonck, Studio Luc Derycke
Publisher: iii editions with MER. Paper Kunsthalle
Media partner: Neural
Printed by: Ando bv, The Hague, October 2014
ISBN 978 94 9177 567 3
Produced with the support of the Creative Industries Fund NL

 

permutation of pages still 01 startpermutation of pages still 02 collectingpermutation of pages still 05 packing frontpermutation of pages still 06 endpermutation of pages still 04 signing

Wen Chin Fu, Mariska De Groot, Matteo Marangoni and Dieter Vandoren performing Permutations of Pages by Lars Kynde

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Shadow Puppet?, photo by Ed Jansen

Saturday June 27th 2015

Paradiso, Weteringschans 6-8, Amsterdam
Entrance: €12,50 / students €7,50
Tickets available here.

After the success of Rites for a New Utopia, the celebrations for the 25th anniversary of the ArtScience Interfaculty, the alma mater of iii, continue with a wide-ranging program of performances, installations and keynotes presented as a joint collaboration between the Interfaculty, ParadisoSonic Acts and Holland Festival. The program consists of selected works by ArtScience alumni, lectures from current and former faculty members and will feature the special participation of Mika Vainio. Among others Mariska de Groot and Dieter Vandoren will perform Shadow Puppet? Erfan Abdi will perform Scatterflow – repetition on Notesaaz and iii’s publication No Patent Pending – self-made performative media will be on display and available for purchase with the mobile detachment of Underbelly.

More information can be found here.

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Notesaaz trio, photo by Ed Jansen

 

[UPDATE 24-03-20]: Until June 1st, public events and gatherings are banned in the Netherlands. This means that we will not be hosting any physical events until June 1st. We are currently discussing our plans for the Spring program with our membership and curators. As planned, NL_CL #1 will be live-streamed.

[UPDATE 16-03-20]: From March 15 until April 6, The Netherlands will be on lockdown. This means that we will be moving our program during this period online. NL_CL #1 will be live-streamed and No Patent Pending #39 will be recorded from our workspace and the video distributed later.

[MARCH 13] In light of the most recent government mandate, we want to let you know that we are taking the situation seriously and are taking extra hygienic precautions at the iii workspace.

As our events do not exceed an audience of over 100, we will continue our program as planned unless new public health announcements advise us against doing so or travel bans affect the program lineup. We will keep you updated via social media and our website.

Some extra notes:

-If you are in the risk group, we discourage you from attending our public program

-We encourage visitors to pay by card rather than cash to minimize skin to skin contact

-For now, Raw Dates #1 and No Patent Pending #39 at Rewire are the only events that have been postponed until further notice

Stay safe

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Executive board

The-Puppeteer

Matteo MarangoniChairman – matteo@instrumentinventors.org

Matteo Marangoni is an artist interested in ritual arenas, home brewed inventions and applied utopianism. Involved with grassroots organizations since the age of 16 in his hometown of Florence, he studied music performance, sound engineering and cultural management, before moving to The Hague,  where he obtained his masters diploma from the ArtScience Interfaculty in 2011. Within iii he coordinates the activities of the organization, he curates the nomadic performance series No Patent Pending and co-curated the Wonderwerp series at Studio Loos in 2014/2015. In 2017 he co-founded the cultural incubator WD4X, which provides 2500 m2 of permanent and affordable workspaces to over 45 artists.

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Wen Chin FuSecretary – wenchin@instrumentinventors.org

Wen Chin Fu graduated in 2006 from the Classical Music Department of Shih Chien University, Taipei. She continued her studies at the Academy of The Arts in The Hague, receiving a bachelors from the ArtScience interfaculty program in 2010 and a masters diploma from T.I.M.E Muziektheater in 2018. Her performances explore the relationship between physical movement, sound and the environment. A key element of her practice is concentration, which opens the senses for perceiving things through new perspectives. She has organised events in contexts such as Tedx AmsterdamED and is involved in culture exchange programs between Taiwan and the Netherlands. Wen Chin is the founder of 台荷藝集 (Platform for Artists Netherlands Taiwan) .

Sand-Songs-33-Wind-Instrument-–-Marije-Baalman

Marije Baalman Treasurer – marije@instrumentinventors.org

Marije Baalman (°1978, The Netherlands) is an artist and researcher/developer working in the field of interactive sound art. She has a diverse background in applied physics, acoustics, electronic music, computation arts and interactive technologies, and has studied and researched at the TU Delft (NL), TU Berlin (DE), and Concordia University (Montréal, CA). Her current research goes into the use of wireless networks for live performance (such as dance and music), installations, interactive environments and participative experiences. Marije has worked as a consultant in academic research projects, and was part of the EU-project METABODY while working at STEIM. She develops, maintains and sells Sense/Stage wireless sensing technology. She is also a co-founders and board member of Vrijcoop, an organisation dedicated to taking real estate off the market and transferring it to collective ownership for self-organized living.

Team

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Yun Lee Workshop Coordinator – yun@instrumentinventors.org

Yun Lee is an artist, composer, curator and educator mostly working with text, sound, and performance. Much of their work engages critically and playfully with recording technologies (from the phonograph to the internet) to navigate shifting definitions of being human. Other works turn to acoustic phenomena to push the capacities of individual and collective sensorial experience. At iii, Yun programs workshops at the intersections of art, sound and technology.

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Kay Churcher – Residency program coordinator/Project Space Manager – kay@instrumentinventors.org

Kay is a Scottish artist who recently graduated with a bachelor in ArtScience at the Royal Academy of Art in The Hague. Her work consists of site-specific immersive installations focusing on the experience of the audience, often with surreal elements. Kay manages the residency program and the project space at iii’s workspace during hosted events.

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Lauren JettyPublic Outreach – lauren@instrumentinventors.org

Lauren Jetty Howells-Green (UK) moved to The Hague in 2017 to study a Masters in ArtScience at KABK/KonCon. Her practice explores the cross-modality of sensory experience; how our senses can collaborate or contradict one another to form new, often surprising, experiences. She has a particular interest in olfaction and her most recent works have been an exploration into scent, sound and language. She has also been nominated for the 2020 Sadakichi Award for experimental work with scent.

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Anastasia LoginovaInternational Agency Distribution – anastasia@instrumentinventors.org

Anastasia is a cultural producer and part-time artist with a keen interest in holistic and spiritual practice. Her strengths lie in curating and facilitating exhibitions and events as well as developing new partner relations. Having lived in many different countries and with dual nationality Anastasia is excellent at cross-cultural communication. She hold degrees in Art History, Art Business and ArtScience. In her artistic practice she focuses on communication with other entities and beings, namely plants and cabbages. She is also an avid writer and maintains a steady yoga practice.

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Satoshi ShiraishiWeb Design

Satoshi Shiraishi is a Web Developer/Programmer based in The Hague, Holland. He has been working for over 5 years, developing a number of ambitious web apps and websites for clients such as Modernista!, Shoebaloo, VPRO, Todaysart, Maxalot, Bach Collegium Japan, The Hague Process on Refugees and Migration, and ArtScience Interfaculty. Because of his insight and skills in web programming in combination with his educational background in Interactive Media Design his focus is not only on how to build the website/app well but also on how it is experienced by the users (User Experience Design).

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Tanja Busking – Videographer

Tanja Busking is a filmmaker mostly working in the field of artscience, technology, coding, dance and fashion. She produces promos, summary videos, teaser videos, website video backdrops, 360 video, music videos and documentaries. Tanja captures iii’s ephemeral events and documents the process of iii members and guest residents.

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Pieter Kers – Photographer

As a photographer of cultural events since the 1980’s, Pieter Kers contributes his skills as a photographer to the field of art and science, working closely with artists and organisers. He is always looking for new ways to communicate concepts through images and enjoys working under challenging circumstances.

Supervisory Board

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Evelina Domnitch

Evelina Domnitch is an artist and researcher, creating sensory immersion environments and performances that unveil the slippery frontier between quantum and classical physics. Working in unison with Dmitry Gelfand since 1998, she is a recipient of the Japan Media Arts Excellence Prize (2007), and four Ars Electronica Honorary Mentions (2013, 2011, 2009, 2007).

 

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Nico Feragnoli

Nico Feragnoli is a multidisciplinary artist, designer, and cultural producer from Rome, Italy. At the core of his practice is not a focus on the production of artifacts but on translating and creating possibilities for cultural meaning through a multidisciplinary and curatorial activity. He is co-founder of 1646, project space for contemporary art in The Hague, the Netherlands.

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Klaas Koetje

Klaas Koetje is a writer and primarily a fundamental video-artist. He also produces works that could be described as multitech. In his artworks he shows a profound interest in sound and the relation between image and sound. Next to that he occasionally shows up in performances both designed by himself and in collaboration with others. He lives and works in Groningen, Netherlands.

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Olga Mink

Olga Mink is the director of Baltan Laboratories in Eindhoven, which initiates artistic research and development on the edges of disciplines in relation to pressing societal challenges. She developed exhibitions and projects as an independent curator for festivals like GLOW Next, Plaza plus, and Eindhoven maker faire, amongst others. She co-founded Age of Wonderland, a four year exchange program to boost global social innovation with creatives from Africa, Asia and Latin-America in collaboration with Hivos. Mink is currently affiliated as a researcher Design for Transformative Practices as part of Creative Economy at Fontys University of Applied Sciences.

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Paul Koek

Paul Koek studied percussion at the Royal Conservatory in The Hague. He was part of numerous ensembles, including Hoketus with composer Louis Andriessen. After his studies, Koek was connected to Toneelgroep De Appel. In 1987 he joined Theatergroep Hollandia, of which he became co-artistic director in 1993. Within Hollandia he founded the Veenfabriek to stimulate the development of music theater. As a director, Koek made the performances Voet (2005) and Smekelingen (2006) and the location performance Her life her death (2007).

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Artist in residence Budhaditya Chattopadhyay was recently interviewed by Nathalie van der Lely on Jegens & Tevens about his residency, colonized sound, cultural intersections vs appropriation, compassionate listening, his nomadic influence and more.

“Do you see sound and media as a cultural battleground?

I would say interaction, and with any kind of interaction there is a tension. And tension gets intensified when there’re cultures involved. I as an Indian young man came to Europe and got a cultural shock due to the silence that people embrace in Europe. People don’t like to shout, you rarely hear a scream. Self-silencing is something I find very interesting.

But this is a post-globalization moment, with cultures intersecting is far more important than the cultural differences. For that matter I wouldn’t call it a battleground, but an encounter. To give a few examples: The encounter of Claude Debussy with Javanese music. Of American Minimalist School composers like La Monte Young and Indian musicians like Pandit Pran Nath, his teacher for 30 years. Also Beatles and Ravi Shanker. There’re many encounters like this taking place.”

Budhaditya performed his work at No Patent Pending #38 on October 12, 2019.

Read more on Jegens & Tevens.

Local resident artist Mischa Daams was recently interviewed by Mirjam Verloop on Jegens & Tevens.

“I am currently working on something that started very simple. I was queuing for the cash desk in the supermarket and there was an olive oil bottle on the conveyor belt. The belt started to move and when the belt stopped, the bottle started to rock back and forth. A random customer next in line and I were captivated by this -seemingly timeless- moment. This moment of tension, the rocking of the bottle and whether it falls or not, that is something that fascinates me quite a lot.”

Mischa recently performed this new work at No Patent Pending #38.

Read more on Jegens & Tevens.



iii artist in residence Mario de Vega was interviewed by Frits Dijcks on Jegens & Tevens about his early influences, how different cultural contexts change his work, and the work he’s developing for No Patent Pending #38 on October 12.

Frits: “And after a while your interest in music turned into an interest in art?

Mario: I need to tell you a story. After having some beers, guys invited me to join them to visit a friend. I was already very late at night. We drove with a car more than an hour to the south, outside of the city. We arrived at a house, knocked on the door. Somebody opened and the first thing I saw was two dead horses at the entrance of the house. And a person with a camera filming. And when he saw me, he said: what is that kid doing here? He cannot be here! So I got very scared. I thought they were doing something quit bad. There was a discussion about me being there and at a certain point they agreed that I could stay. They were listening to very heavy music, far beyond what I was used to at that time. I was very quiet, I had no idea what these people were doing. We were standing in a corridor where you could park five cars and there were these tow dead horses at the entrance and a car with a chain. A studio was in the back. They had to move the horses. They had made a system that worked, so the first one went fine. But then it started raining and the car had no grip, so we had to push the second horse. And there was this mud and blood and the smell of beer. And I was not able to understand what was going on, so I asked: what are you doing? They said: we are making an installation. An installation of what? I never heard this word before. They said they had an exhibition in a museum and they invited me to come to the opening. They gave me the address of the museum. I put it in my pocket and was still very confused. I could not understand what these people were doing. They dropped my at the house of my grandma around nine in the morning. I was completely drunk. My mother opened the door and saw me completely drunk, so she asked me what the hell happened and I said I helped with making an installation. What??? I was trying to explain, but I couldn’t.

But later I came to the opening. I went to the museum by myself. And the guys were surprised that I really came. They hugged me and showed me the exhibition. And it completely shocked me. That was when I realized I wanted to do these kind of things.”

How important are initiatives like iii for you?

I think we need communities like these to progress. I think the time for solo artists is over. We need communities. We don’t always have to agree, we also need the conflict. We promote new practices. It is a way to attack the existing systems. And to use the system. I think that is really important.”

Read the full article here.

The cultural season literally starts with a splash in the canal this weekend with Laagtij opening iii’s largest program yet.

At our workspace this season we host events presented by Azimuth, New EmergencesPlatform for Thought in Motion, Itchy Tongue, SepiaZebra and Platform Artists Netherlands Taiwan, as well as an edition of our performance series No Patent Pending

Our educational program continues with workshops focusing on performance, instrument mapping and creative coding.

Meanwhile iii will be partnering with Gaudeamus Muziekweek, November Music, HUBS Immersive Festival and Tetem as part of our circulation  program. 

And last but not least, meet our artists in residence this fall: Mario de Vega, Budhaditya Chattopadhyay, Marianthi Papalexandri-Alexandri, Mischa Daams, Ji Youn Kang, and Michele Abolaffio. 

The program of iii is supported by Stroom Den Haag the Municipality of The Hague and the Creative Industries Fund NL.

With the spring kicking in our hosted program bounces back propelled by an exciting line up of performances and workshops. iii’s performance series No Patent Pending continues with two editions focusing on the subtle sounds of everyday objects activated by bodies, movement and machines. No Patent Pending #35 will present performances by the renowned sound art duo Akio Suzuki & Aki Onda as well as performances exploring the performative potential of paper by Kunrad and Paper Ensemble. No Patent Pending #36 will feature Rie Nakajima and Pierre Berthet’s collaborative project “Dead Plants and Living Objects” and new work by kinetic sculptor Leslie Nagel.
Azimuth will present two interdisciplinary projects: “Tierkreis, a music fashion film” by percussionist and director Nerea Vera based on music by Stockhausen, and the premier of a the dance project “Hold” by electronic composer Mári Mákó in collaboration with designers Oddkin and dancer Fazle Shairmahomed.
New Emergences will present “Trans and Noise #2” a discussion and concert that investigates noise and the blurring of gender and identity boundaries.
The workshop program features 4 workshops: Introduction to Programming and Text and Image Processing with Sohrab Motabar, Digital Deathmask Workshop with Jonathan Reus and Cybil Scott and Sunlight Photo Printing (for children) with Farah Rahman.

Our hosted program takes place at iii workspace within the cultural incubator WD4X. It is presented with the support of Stroom Den Haag and Gemeente Den Haag. The participation of Akio Suzuki and Aki Onda is made possible in collaboration with Q-O2 and STUK. The program presented by New Emergences has additional support from the Creative Industries Fund NL.

 

After all, who nowadays wants still to spend eight hours a
day of her or his youth, practicing the violin?

Godfried Willem Raes

a convivial tool is mastered by man and allows him to shape the world following his intentions, his imagination and his creativity. A tool that makes one autonomous.

[…] since our daily life has been flooded by digital technologies, I have tended to be wary of tools that are presented first as friendly but which in fact become actually essential to survive in hyper-competitive liberal societies.

Ewen Chardronnet.
..
     Maybe live performance is akin to setting up an experiment in a laboratory. You set out to explore one thing and on the way, because you are looking and listening, you find other things that are brought into focus by the attention itself.
Our sense of time is of course actually a gamble on the part of the nervous system (like consciousness itself).

We could argue that music is one way, we can watermark time consciously, it allows us to insert a bit of ourselves into the awesome noise of time. So that we can make this dimension we live in our own.

In this way the instrument is a kind of mystical machine, incorporating both a poorly understood phenomena and a piece of the material world, acting as an intermediary.
 
Joel Ryan and Kristina Andersen
..
     According to Husserl […] Science involves precise measurements and gives meaning to these measurements by finding mathematical patterns in repeated measurements, disregarding the uniqueness of each concrete occurrence in favor of repeatability.
[…] we took a rather Husserlian stance by

deliberately dismissing the utilization of recording and fixative media. Only the totality of an unfolding phenomenon, together with the observer in the act of perception, can provide the psycho-sensorial conditions for the emergence of meaning.

Evelina Domnitch & Dmitry Gelfand
..
     Like the paleolithic stone shaper, the engineering efforts of the media artist carry a certain innocence and simplicity compared to the perfection of mass production.
When the potency of a device becomes uncessary function and dysfunction become equally uncessary distinctions and we can think only in terms of the culture and material of the object.

It is also a bit of an archaic sensory urge, this desire to hack at found materials. Part of the sensibility of nature is its disposability — and with this disposability comes the willingness to test the tensile strength of materials.

Jonathan Reus

..

with Mariska de Groot, Mat­teo Marangoni and Wen Chin Fu

No Patent Pend­ing is a nomadic series orga­nized by iii that explores the rela­tion­ships between sound, image, space and the body through self-made per­for­ma­tive media. Opti­cal sound, media archae­ol­ogy, hobby robot­ics and foot play will be fea­tured in this 4th edi­tion of the series.

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mariska

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Wen Chin Fu, Matteo Marangoni, Jeroen Uyttendaele, Dewi de Vree

OHHO ||| Wen Chin Fu

 

OHHO is an instrument exploring physical movement and searching for an intimate contact with sound. The human body is used an integral part of a string instrument, replacing the body of the instrument with the body of the performer. Strings are strung onto the player so that the amount of muscular tension in the body directly affects their tension. Through slow and subtle movements, the performer gradually reveals the implicit relationships between movement and sound that are thus formed.

 

SPEAKER BOTZ ||| Matteo MarangoniSpeaker Botz are mobile robotic speakers, acoustic explorers of terrestrial space, artificial creatures that probe their environment with sonic impulses. Initially developed in reaction to the practice of sound spatialization as found in electro-acoustic music, they have become an autonomous project, resulting in poetic machines who’s purpose is to envelop listeners with patterns of echoes bouncing off the walls. Staging forms and interaction that range between attraction and threat, they activate a referential mode of listening routed in instincts of navigation and survival.Ground ||| Jeroen Uyttendaele and Dewi de VreeGround is an audiovisual performance in which graphite drawings are used a control interface for several electronic instruments. Drawing, erasing and touching become the main gestures for a unique audiovisual composition. Graphite is a conductor for electricity. By using graphite as a variable resistor (instead of a standard knob) the pitch, amplitude and sound color of sound generators can be controlled. Ground offers a field of possibilities in which auditive and visual elements are interconnected. Drawing, touching and slowly or rapidly (re)positioning the instruments on the drawing have a direct auditive result. Live electronic music becomes an explicitly tangible and open practice.

Free entrance

iii, present an afternoon and evening event investigating the role of instrument and media design as a performative practice. Self-made media, and instrumental media as performance practice has a long and unique history in the Netherlands. This event intends to understand how performing artists today, with what seems like an ever-increasing fluency, combine histories and technologies to re-negotiate relationships within the musical, technological, perceptual, and ritual through live performance and improvisation.

This program concludes a four-day collective residency at STEIM by iii, and includes an afternoon panel discussion on the role of DIY media in cultural entrepreneurship moderated by Justin Bennet. Later in the evening will be a concert program featuring artists from the initiative. Entry to both events is free.

DETAILS

Date:
Sunday 10 February, 2013
Time:
17:00 (discussion panel moderated by Justin Bennet)
21:00 (concert begins)
Cost:
Free entry
Location:
STEIM Concert Space, Utrechtsedwarsstraat 134, Amsterdam

Erfan NOTESAAZ

PROGRAM

17:00-19:30 – Discussion Panel: Self-made media and cultural entrepreneurship.

Moderated by Justin Bennet.

21:00-23:00 – Concert Program

SPIRALS IN RESONANCE(sound installation by Lars Kynde+Joris Strijbos+Nicky Assmann)

OHHO (Wen Chin Fu)

DRIFT (Dieter Vandoren)
GROUND (Jeroen Uyttendaele+Dewi de Vree)
NOTESAAZ (Erfan Abdi+Matteo Marangoni+Ben Terwel)

OPTICAL WIND WHEELS(Mariska de Groot+Matteo Marangoni)
FEEDFORTH(Yolanda Uriz+Erfan Abdi+Wen Chin Fu)
NO INPUT MIXER(Àngel Faraldo) + IMACG3(Jonathan Reus)

Ground - Jeroen Dewi

OHHO - Wen Chin

 

Presenting a set of unique approaches to live performance the Instrument Inventors Initiative showcases a selection of different works exploring the relations between sound, image, space and the body. Each work responds to a specific question: What if sound could be drawn on paper with a pencil? What if a musical instrument could be literally merged with the body of the performer? How can a laptop be played as physical object?

The boundary between instruments as tools and instruments as representations of intimate cosmologies is probed in an evening that promises to initiate the audience through several stages of idiosyncratic rituals.

Performance schedule:

19:00 – 23:00 Installation:
Mellifluous – Yolanda Uriz

20:00 Bank Hall:
OHHO – Wen Chin Fu 10′
Ground – Jeroen Uyttendaele, Dewi de Vree 20′
Notesaaz Trio – Erfan Abdi, Matteo Marangoni, Ben Terwel 15′

21:00 Vault:
Laptop Music – Jonathan Reus 20′

21:30 Bank Hall:
Monodrone – Joris Strijbos, Nicky Assmann, Daan Johan 15′

22:00 Board room:
Candle – Mariska de Groot, Matteo Marangoni 10′
Epileptic shadow puppet has hard time – Mariska de Groot, Dieter Vandoren 20′

22:30 Bank Hall :
Feedback study #4 – Àngel Faraldo, Yolanda Uriz 30′

Resident artists Natalie Fyfe and Yun Ingrid Lee talk about BodyScores, a score-making workshop for non-musicians. about focusing on discomfort and fears, and what you can learn through scores in this interview with Nathalie van der Lely on Jegens & Tevens.

I tend to focus on the places of absolute discomfort. Things that make me feel anxious, all the things that I find most difficult and confront them. I try to use my fragilities as a positive, as a strength that contributes to a piece.”

-Natalie Fyfe

Read the full interview here.

During his residency at iii, Matthias König developed a new body of work around the celebration of frenzied life in which “he uses sculpture, drawing, video and sound as instruments to magnify the mad, the fool, the bullhead, the unheard, the self-entitled, the antihero, the leader to the unknown, the king and queen of kinky kingdom… who reside in all of us.”

Read the full interview here.

Matthias will be showing work on No Patent Pending #33.

In this interview on Jegens & Tevens, artist in residence Dianne Verdonk talks about her instruments, the physicality of sound, what music is to her, and inspiration outside of music.

“During my residency, I’m focusing more on sound ‘textures’, like noises and layers that are non-pitched, rather than on pitch and harmony. These are musical ingredients that I like a lot and can introduce unpredictable elements. I’m working out the former ‘Pulseyarn’ right now; a physical ‘sequencer’ to make rhythms. It’s a pendulum that swings its light over objects on the ground, which will make a sound when that happens. This way, it can play circular patterns. The patterns, however, change since the pendulum swings slightly different each round, so it will include or exclude objects (and sounds) over time. It will be part of the bunch of instruments with which I hope to create an album with. I hope they enable me to compose with the new instruments in a way that feels natural to my body and as a fluid way of making and performing music.”

Read the full interview here.

Presenting a set of unique approaches to live performance, iii showcases three different acts exploring the relations between sound, image, space and the body. The program at  the Museum for Transitory Art in Ljubljana will feature performances with self-made instruments ranging from the intimate bodily interfaces designed by Wen Chin Fu for Spine Spinning, to the mesmerizing Murmur ~ Singing by Yolanda Uriz and Mariska de Groot, to Matteo Marangoni’s forays into acoustic space.

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This project is supported by the Performing Arts Fund NL

Artist in Residence Nina Essendrop’s LARPs (live action roleplay) “focus on investigating the basic sensory experiences and human emotions that are so common in our everyday lives, yet are so often pushed aside in favor of more rational ideas and actions. Favoring abstract soundscapes over words or dialogue, she encourages her performers and audiences to experience both the joys and sorrows of living through play as a way of preparing for real life outside the theatre.”

Nina presented three larps between May 4 and 6. More info here.

Read the full interview here.

Presenting a set of unique approaches to live performance, iii showcases a series of interventions exploring the relations between sound, image, space and the body. The program at Macao in Milan will feature performances with self-made instruments ranging from the intimate bodily interfaces designed by Wen Chin Fu for OHHO, to the mesmerizing Murmur ~ Singing by Yolanda Uriz and Mariska de Groot and Matteo Marangoni’s robotic opera-ballet Echo Moire‘.

echo_moire_large

This project is supported by the Performing Arts Fund NL

Artist in residence Myriam Bleau was interviewed by Jegens & Tevens’ Cybil Scott.

“A lot of my work comes from anger. But when I create I prefer ambiguity to any didactic attempt. I don’t need to make a point. I’m interested in mixing cultural references, in science fiction, in the future of human embodiment in a technological context, in cyborgs and the confrontation of the virtual and the real.”


Read the full interview here.
Myriam will be performing on No Patent Pending #32 on Apr 5.

iii presents a series of performances exploring the relations between sound, image, space and the body. The program at  Nub in Prato will feature performances with self-made instruments ranging from the intimate bodily interfaces designed by Wen Chin Fu for Spine Spinning, the mesmerizing Murmur ~ Singing by Yolanda Uriz and Mariska de Groot, Dieter Vandoren and Mariska de Groot’s collaboration Shadow Puppet? and Matteo Marangoni’s City Sondols.

 

shadow_puppet_6_Ed_Jansen

 

This project is supported by the Performing Arts Fund NL

iii presents a series of performances exploring the relations between sound, image, space and the body. The program at  Villa No in Brescia will feature Dieter Vandoren and Mariska de Groot’s collaboration Shadow Puppet?, Matteo Marangoni’s City Sondols and a Davide Tidoni‘s “A Slingshot and I”.

City Sondsol Toronto still 01

This project is supported by the Performing Arts Fund NL

We are excited to announce the start of iii’s 2018 program. Between March and May iii will be hosting a dense program of activities, with many guests working and presenting at our workspace. At our new space in Moerwijk, artists with diverse backgrounds will explore different modes of working with sound, vision, space, time and movement, sharing the attitude: take nothing for granted, start from scratch and reinvent it your own way. Starting in 2018, iii’s guest residency program opens up to local artists, who will work side by side with our (inter)national guests.

The Reading Room series continues at Stroom Den Haag with two editions focusing on the topic of “Time in the Age of Algorithms” on March 4th and May 22nd. Guests Yvonne FörsterJaime del ValWarrick Roseboom and Joel Ryan will be guiding a discussion over texts by Mark Hansen, Erin Manning, Timothy Barker as well as their own writings.

The residency program kicks off with Azimuth, a new platform for electroacoustic music, who has invited Francisco López, Erik Nyström, Marie Guilleray, Bjarni Gunnarsson, Casper Schipper and Siamak Anvari to develop and present new work for a custom multichannel speaker setup designed by Azimuth for iii’s project space. The new work will be present during two concert programs at our workspace on March 23rd and 24th.

Canadian audio-visual artist Myriam Bleau will develop a new performance for a constellation of luminous physical interfaces, inspired by pendulum effects explored in works such as Poème Symphonique by Ligeti or Swinging Speakers by Gordon Monahan. The Hague based composers Ilya Ziblat Shay and Roi Nachshon will collaborate on a new work using a prepared double bass as an electro-mechanical synthesizer.  Instrument maker and perfomer Dianne Verdonk will be working on a new solo album fusing folk and electroacoustic music, using self-made instruments to accompany her singing voice. Natalie Fyfe and Yun Ingrid Lee will conduct a workshop on score-making for non musicians, while Jochem van Tol will research different approaches to create scores and develop performance routines around newly invented instruments. The Hague based sound artist Matthias Konig and Hong Kong exchange artist Fiona Lee will both develop and present new work in iii’s project space. Copenhagen based larp designer Nina Essendrop will introduce our community to the participatory performance format of larp.

Guest residents will be presenting their work during two editions of our performance series No Patent Pending at our workspace in The Hague on April 5th and May 4th. A touring edition of the series will also be presented at STUK in Leuven on March 27th.

Keep updated by following us on Facebook and Instagram!

iii’s program is supported by the Creative Industries Fund NL, Stroom Den Haag and the Municipality of The Hague.

What better to do during the lethargic season than to take a moment to think back on what happened over the past year? What was really important? What did we miss? Over the past weeks we have been busy sifting through the aftermath of surprising, hectic, often intense and challenging adventures. The result is a lot of new material available for you to read, watch and listen to while wrapped up in warm blankets. Here is a summary to guide you through it.

The program of iii in 2017 opened under the auspices of the programmatic theme “prototyping new rituals“. We conclude that while tinkering with bodies and electricity, origami and explosions, sound and architecture, stones and fingers, we have been “playing with fire or feathers”, or trying (and sometimes failing) to venture with gentleness into (for us, thus far) unknown (and sometimes risky) territories.

In the Reading Room we practiced how to conduct research outside of an academic setting. In addition to holding regular gatherings, we have started to publish a series of interviews which relay the topics of discussion. We organised the symposium “The Craft of Experience Design” asking questions such as “How do you set the rules for a game that’s not about winning or losing, but about experience?” Listen to how 6 different speakers answer this and other questions in the documentation which is now fully accessible online. The symposium was accompanied by the exhibition “Performance, Objects, Bodies“, now portrayed in this excellent video by Tanja Busking.
In parallel to running our program, in 2017 we have established a new self-managed workspace which now provides long-term working facilities for 16 artists. In addition to our regular members, at the workspace we also hosted 7 (inter)national residencies and presented many new projects during our No Patent Pending performance series. Here are two fresh video interviews with our guest residents Peter Bosch and Cathy van Eck. Finally we have added 14 new works in our agency portfolio that are available for distribution, they are too many to list them here but make sure to check them out!

Throughout 2017 we have worked with partners including Stroom Den Haag, Quartair, Korzo, Tetem, November Music, Veenfabriek, Hubs Immersive, STUK, Transmediale and many others to bring our creations out in the world, for a total of over 70 presentations in The Netherlands and abroad, reaching over 8000 people. To make all this happen, we raised €83,405 from public funds and generated €84,427 in direct income. We thank our supporters for their generosity: Stroom Den Haag, The Municipality of The Hague, The Creative Industries Fund NL, Prins Bernhard Cultuurfonds and the Danish Arts Foundation but above we thank everyone in our unorthodox organisation for their tireless dedication to remaining on the edge!

Häxan – Sounds of Silence
DNR Theater, The Hague

Performance, Objects, Bodies
Quartair, The Hague and Tetem, Enschede

Sound Art Exhibition for November Music
Kruithuis, Den Bosch

Connect the Dots: The Craft of Experience Design Symposium
Korzo Theater, The Hague

No Patent Pending #29
Korzo Theater, The Hague

 

Wen Chin Fu, Dieter Vandoren, Mariska de Groot, Yolanda Uriz and Matteo Marangoni will be in residence for a week at bb15 developing new projects related to the theme of ‘non database technologies, embodied knowledge and returning to the senses’.

bb15 will open it’s doors to the public on two occasions to present the work of iii.

No Patent Pending #6 will feature a program of performances which will combine intimate body interfaces, optical-sound, murmuring liquid projections and forays into the acoustics of the city.

On April 2nd the collective will present the outcome of the experiments conducted during the residency at bb15 and share an insight into their working process and inspirations.

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Program supported by the Creative Industries Fund NL and the Performing Arts Fund NL

Presenting a set of unique approaches to live performance, iii showcases three different acts exploring the relations between sound, image, space and the body. The program will feature performances with self-made instruments ranging from the intimate bodily interfaces designed by Wen Chin Fu for Spine Spinning to the spectacular light and sound projections of Dieter Vandoren‘s Integration.04 to the mesmerizing Murmur ~ Singing by Yolanda Uriz and Mariska de Groot.

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This project is supported by the Performing Arts Fund NL

Jegens & Tevens​’ Cybil Scott interviews iii artist in residence Peter Bosch:

“We try to create a kind of living creatures with complex unpredictable behavior. It is maybe this combination of at first sight rather simple and rough, antiquated objects and a rather high-developed concept around complex behavior, order and chaos that makes our work recognizable and different.”

Read the full interview here.

Peter will be performing at Connect the dots: “No Patent Pending #29”

 

This fall 2017, iii presents “Connect the Dots”, a program revolving around participatory artworks, through which we invite the audience to take part in playful and open-ended experiences. The program will be composed of three parts, an exhibition, a symposium and a performance program. The exhibition “Performance, Objects, Bodies” will present works by young makers who use simple configurations of objects to engage with the senses of the audience. The interdisciplinary symposium “The Craft of Experience Design” will bring together makers to share ideas and methods for engaging the audience in performance art, theatre, exhibition design, media art, game design and larp. A night of interdisciplinary performances in the No Patent Pending series concludes the program.

Dates

“Performance, Objects, Bodies” Exhibition
Sep 15 – Oct 7, 2017
Quartair (Toussaintkade 55, The Hague)
Featuring Natali Blugerman, Marit Mihklepp, Ludmila Rodrigues and Catinca Tilea

“The Craft of Experience Design” Symposium
Oct 5, 2017
Korzo Theatre (Prinsestraat 42, The Hague), 10:00-18:00
With Marloeke van der Vlugt, Carina Westling, Zuraida Buter, Johanna Koljonen,  Time’s Up (represented by Tim Boykett), Valentijn Byvanck and Marinka Copier

“No Patent Pending #29”
Oct 5, 2017
Korzo Theatre (Prinsestraat 42, The Hague), 20:00 – 23:00
Including performances by Cathy van Eck, Peter Bosch & Simone Simons, BMB con., OKAPI, iii and Ymke Vertelman.

Image: Ludmila Rodrigues, Flexor 1

Prior to his Performance at No Patent Pending #28, Yuri Landman was interviewed by Jegens & Tevens’ Nathalie van der Lily.

“You don’t have a problem with people duplicating/replicating your work?

Well, I wish them all the best ;). First of all, if I publish something, it’s mine. And if someone wants to be a copycat… then he or she is already doomed. Patent is something for the capitalists and in the arts it doesn’t make any sense. I like to think in terms of community art. 500 people can do the same, but if you are the first then you are the pioneer and stay the most important one. They are so many bands who copy Nirvana – and actually some bands came very close sound wise –  but eventually you just want to hear Nevermind (album Nirvana).

But sometimes, the next generation of replicates is just as (or even better) good. A guy in Australia, he owns this company called New Complexity, builds similar “guitarhybrids” as I did in 2008. His instruments are actually more accurate, so I’m glad he’s developing new niche instruments. I bought a part from him and I consider him as totally equal and likeminded. Eventually art is mere evolution.”

Read the full interview here.

During his residency at iii, Davide Tidoni was interviewed by Nathalie van der Lely on Jegens & Tevens.

“I think sound is the key for me in connection to the other, but I don’t work with the medium per se. I’m not interested in sound specifically, but to me, sound allows me to get me in touch with you or everybody.”

-Davide Tidoni

Read the full interview here.

Davide will be giving a listening intervention workshop in the iii workspace on June 8, and will be performing on No Patent Pending #28 on June 11.

iii artist in residence, Dmitry Morozov (::vtol::), was interviewed by Nathalie van der Lely on Jegens & Tevens prior to his performance at No Patent Pending #27.

“For me, my works… they have their own psychic, their own soul, they are my kids. My works could have secrets, they could act wrong, could do weird things… They have the same problems as we do.. or show the same behaviour or specific habits..

People are talking to their devices/machines, not like Siri or Google, but, for example, if the car doesn’t start, people shout at it or say nice words (come on…please start).. For me it’s very important if machines start to work, wrong or not, it shows that they are human, they are alive. Because it’s part of you, it’s your creature, it’s alive.”

-Dmitry Morozov

Read the full interview here.

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iii is proud to announce the outline of its program for 2017.

Since 2014, iii has run an annual program of activities supporting radical interdisciplinary practices that engage with image, sound, space and the body. iii’s program combines activities in the area of research, production and presentation, following the development of artistic trajectories from conception to completion. It facilitates cooperation and exchange between artists, striving to connect the visions of artists with financing and presentation partners and with all kinds of audiences.

In 2016, over 50 artists and researchers developed and presented new work through iii’s program in over 50 presentations in the Netherlands and abroad. 250 artists published their work in iii’s publication audio-DH. Presentations reached a total audience of over 30,000 people with over 100,000 contacts online, generating a total income over €150,000, of which 90% was spent on program activities and 10% on organising the program.

For 2017 iii has an exciting program lined up.  Under the thematic focus “prototyping new rituals” iii will host a guest residency program in cooperation with DCR guest studios, inviting artists to The Hague to develop and present new work. iii will continue hosting the performance series No Patent Pending and the discussion series The Reading Room, within a broader program of presentations in collaboration with partners including Stroom Den HaagQuartair and Sounds of Silence Festival in The Hague, November Music in Den Bosch, Tetem in Enschede, Transmediale and Spektrum in Berlin.

Confirmed guest residents for the first half of 2017 are: Dmitry Morozov (::VTOL::)Jenny Pickett and Julien Ottavi (APO 33)Leslie García and Paloma López (Interspecifics) and Yuri Landman. More will be announced for the second half of the year. 

Admiraal van Delfshaven the 1st_Tetterode_photo by Jasmin Peco-web

Thematic Focus: “prototyping new rituals”

Rituals are fundamental in giving meaning to experience. The seemingly most trivial detail in a ritual context can be a matter of life or death. We associate rituals with highly codified traditions: Christian mass, Japanese tea ceremonies, Italian opera, etc. An informed observer knows exactly how to interpret every single gesture within these sacred arenas. In a society obsessed with innovation, these kinds of rituals seem to be out of touch with the present. How do rituals come to be codified in the first place?
The maker movement and its fablabs have brought together traditional arts and crafts with electronic circuits, computer programming and industrial automation. This has empowered artists and makers to engage with materials that used to belong to the domain of big corporations but are now an important part of our everyday life. But how do we move from creating “gadgets” to meaningful experiences? Here is where it seems necessary not only to create prototypes for new machines, but to think of these machines within a ritual context. “Prototyping new rituals” then is a proposal for a shift away from technology towards creating meaningful new experiences. Just like we don’t necessarily need big corporations to design our future, perhaps sacred rituals don’t need to be determined by the past. How do we create rituals responding to our own personal aspirations, and how do we involve others?

Regular updates on program activities will be issued throughout the year, stay in touch to know more!

The annual program of iii is supported by the Creative Industries Fund NL and Stroom Den Haag.

images: top, ::vtol::, pzr-10; centre, Patrizia Ruthensteiner and Dewi de Vree, Magnetoceptia; bottom, Yolanda Uriz, Submerged

 

 

In depth interview with Doron Sadja during his residency at iii in May 2016, conducted by Cybil Scott.

“The material to make any song in the history of existence is all within a fraction of a second of white noise. I was thinking about a prism, which is a tool that divides white light into the full color spectrum so that it’s visible – and I was curious if you could do the same with white noise”

“My biggest piece of advice is to make sure that you’re uncomfortable a lot of the time, and to constantly do the things that you don’t necessarily want to do. That’s the only way to push your work forward. I feel like you learn a lot more about yourself by doing things that you don’t feel comfortable doing.”

Read full interview here: http://jegensentevens.nl/2016/05/interview-with-doron-sadja-for-iiis-no-patent-pending-program/

 

 

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40 copies of No Patent Pending, Self-made Performative Media will be sent as a gift with the first 40  new (or renewed) subscriptions to Neural magazine.

Here is what Neural writes about the book:

There are some books that manipulate content and form to create a seamless continuum of a central idea. This anthology of texts is one such book: perfectly consistent in its design, production and content.

Read the full review here.

 

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A review of No Patent Pending, self-made performative media was published on Mediateletipos.Jose Luis Espejo Díaz writes of the book:”this publication seeks and vindicates the new

the pack fulfilled the essential norm, almost as an artists’ book, where form and content are inseparable

Read the full review here.

iii was featured in the news on Slovenian national broadcaster RTV during an instance of the nomadic performance program No Patent Pending at MOTA in Ljubljana.
The feature is online here

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City Sondols performance in Ljubljana

Ed Jansen published some gorgeous photographs of our performance program at Het Nutshuis. Check them out on his flicker profile:
http://www.flickr.com/photos/de_buurman/sets/72157632959054502/

 

 

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Video compilation of iii’s No Patent Pending #3

program at Het Nutshuis, The Hague, 8/3/13.