IN SITU 2019 magazine by IN SITU Network

European platform for artistic creation in public space

IN SITU 2019

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IN SITU artists bear witness to European challenges -------

Europe: Germany, Spain, Finland, Greece, Italy, Portugal, Slovakia and Sri Lanka.

What a long way weâ&#x20AC;&#x2122;ve come since 2016! The goal of developing IN SITU into an ecosystem dedicated to structuring the artistic creation in public space sector in Europe is becoming more and more of a reality every day. Despite ever-increasing constraints, whether financial, security or political, which are further exacerbated by the shrinking of public space, the 20 network partners continue to work passionately with audiences, convinced that the irreverent perspective of emerging artists creating in public space can provide a unique take on the reality and challenges of our contemporary European societies. This structuring requires an overall review of the life of the network. The past year has been an opportunity to address cross-cutting topics such as diversity and gender balance regarding supported artists. Consideration has also been given to how to expand the network, which has always been intended to involve a gradual approach. In 2018, we launched an associated partnership model, allowing cultural organizations aligned with the themes important to IN SITU members to join the network. IN SITU now has 8 associated partners, expanding the range of territories covered, mainly in

In this publication, we present some of the works in progress for 2019: the Pilot projects, each narrated and contextualized by a member of the network who hosted it, as well as a selection of artists discovered during the most recent artistic laboratories, the Ateliers or the Hot Houses, the last edition of which was held in November 2018 on the island of Terschelling in the Netherlands, introducing the exciting projects of 17 new artists to the network. 2019 will be a year of construction. The Think Tank is launched, Artistic Acupunctures for Places in Europe started in Graz, Austria, at the end of 2018 with the artist Danae Theodoridou and will continue in the coming months. Nine more explorations are planned by the end of the year, and the material harvested will be published in 2020. As for training, the MOOC adventure is taking shape. The video lessons were filmed last autumn, and we are now editing, creating additional content and building the web platform. We look forward to seeing you next September for the launch! Itâ&#x20AC;&#x2122;s all about Europe!

The IN SITU team & members

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PILOT PROJECTS -------

In Search of Democracy 3.0 Lucas de Man / Stichting Nieuwe Helden - The Netherlands

How can citizens return to feeling comfortable and involved in democracy? The In Search of Democracy 3.0 project by Stichting Nieuwe Helden led by Lucas de Man focuses on just such questions.

------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Democracy in Europe is under pressure. Citizens are not happy with the way things are going and distrust national governments and the European Union. Authoritarian leaders, right-wing populist governments and other popular thinkers are playing into the hands of the people, and the less fortunate, who traditionally distance themselves from power, are excluded from power structures. How can the tide be turned? A few years ago, I saw a performance Lucas de Man had developed, In Search of Europe. It was also partly a lecture/performance, with a strong form. Lucas de Man travelled through Europe with his team and met creatives, who all provided unexpected short takes and insights and together sketched an interesting image of Europe. When I saw it, two and a half years ago, I thought: Lucas de Man has to join IN SITU – he creates large projects on major issues in Europe where art can speak with a different voice. The first time we met, another question came up: what is democracy? It was already being suppressed in countries like Hungary and Turkey, and anti-democratic forces were also at work elsewhere. I thought: yes, you wouldn’t want to make a sequel, but rather do it in cooperation with the entire European IN SITU network, so that the project can connect with local issues and initiatives in different places in Europe. For me, the hope is that a European narrative will emerge, which by its very nature can grow through the input of local partners. The idea is that Lucas de Man would create a basic structure to which organisations could join in on the spot, and where you could also shape

the collaboration with local creators during the presentation of In Search of Democracy 3.0. The project In Search of Democracy 3.0 consists of a theatre performance, a series of short documentaries, a major pan-European research component and an associated online platform.

“Lucas’ project poses an intriguing investigation into contemporary expressions of democracy, which is inextricably linked to public space. Through Lucas’ performance we may be able to shed an alternate light upon the mechanisms of local democracy.” James Moore Curator-producer for Østfold kulturutvikling Avd. Scenekunst, the Norwegian IN SITU partner

The aim of the project is really to focus on public space and at the same time to see how we can involve the public in a broader way. The idea of using the web, putting videos on a site and putting a European story on the Internet was a good starting point. Also, to check locally if you can do things differently in other places. To see whether you can create a place for democracy at your festival. I’m glad that we are programming it for two years in a row at the Oerol Festival. This year is the

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premiere, then it goes to different places in Europe. Through cooperation with IN SITU partners, the project will also grow during its execution and be enriched by public participation and continuous research. The input of the co-producers will be added, and hopefully the number of documentaries will also grow. In the 2020 edition, the theme of democracy will be given an important place in the Oerol programme, in consultation with other theatre makers and artists.

“For me, the essence of democracy is to take into account those who have no voice. What makes Europe Europe? In Europe, you can doubt. We have democracy and we can act according to the doubt. I hope to convey that with our project.”

Sometimes I’m almost afraid that it’s too late, that we’ve passed the point where these kinds of creative perspectives still make sense. On the other hand, Lucas de Man isn’t sitting still – he looks, listens, learns and shares with the audience, who in turn will hopefully also become a catalyst for change. Democratic reform is, of course, a huge subject to address, but my great hope is that small initiatives in particular will have a very inspiring effect. I hope that In Search of Democracy 3.0 will create coherence between individual European projects and become a database of inspiration.

“As parliaments become more and more theatre, perhaps the theatre should become more and more parliament.” Jasper van den Berg Research and creative production In Search of Democracy 3.0

Lucas de Man Creative director In Search of Democracy 3.0

A lot has happened which has increased the relevance of this project. Brexit, the Yellow Vests movement, they’re related. They all touch on this project. It’s getting more, not less relevant. Even the Dutch VVD (People’s Party for Freedom and Democracy) is now moving in a more populist direction. I find these developments interesting, but also worrying.

------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------14 – 23 June

5 October

Oerol Festival ---------------------------Terschelling — The Netherlands

Lieux publics ---------------------------Marseille — France

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PIG Kaleider â&#x20AC;&#x201C; United Kingdom

------------------------------------------------------------------------------------------------------------------------------------------------------------By Seth Honnor

Seth Honnor is the Artistic director of Kaleider, a production studio at the edges of installation, live performance and digital based in Exeter. He presents the 2018 European journey of Pig, an IN SITU Pilot project.

------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------It’s Norfolk and Norwich Festival (United Kingdom) and we’ve placed Pig in a public space for the first time. The LED bar inside scrolls: “This is a community fund, you can contribute to it if you like, and when you’ve agreed how to spend it you can open me and spend it.” We sit and watch at a distance. It’s our first experience of “Pig watching”, which over the next months will become a very particular sport. A young girl in front of us wants to be the first to put money in. Someone says “it works”. People will put money in it – I never doubted this – to that extent it works, but what is it we’ve made? As Nadia Aguir1 will later observe: “Pig reveals itself and the city it is in as it goes.” The first opening brings a tangible relief to the Festival team members. It’s been opened by someone who has seen it on TV and she’s come down with some 7 year olds from her football team. The manager has run off and taken the money for their new kit with him. The newspaper photograph the entire team of 7 year olds in front of the Pig. I feel myself waiting for the next story as soon as I’m told this one. It will come, and then another, and another. Oerol Festival, The Netherlands. We decide to move it around every other day or so. The project becomes about the pilgrimage to find Pig. In that way Pig becomes somewhat of a celebrity. On Terschelling it wasn’t the money that created a new community, but the Pig itself. August, Moss, a small city in Norway. No 1 - Nadia Aguir, general manager of IN SITU

festival, no announcement. The story quickly becomes about where the mysterious Pig has arrived from. No one has opened Pig. I’m told it is deeply engrained that no one should think that they are better than another and so maybe no one will open it. In the last hour of two weeks (we didn’t publicise the end date), late at night, a young man opens it. James Moore2 films him and asks him what he’s going to use the money for: a community organic farm – he wants to save the world – but he opens the pig carelessly, flicking the bolts to the ground. He holds his hoard aloft, two weeks of donations wrapped in his coat. He walks off, leaving the lid of the Pig hanging off.

“Utterly fascinating reactions from passers by. More smart work from the creators of The Money and one which puts its trust in people and thinks the best not the worst of them.” Lyn Gardner Journalist and Writer

We pack up Pig and send it to Hull (United Kingdom) for Freedom Festival. It’s September. Pig arrives on a telehandler into the historic heart of the city, Beverly Gate. It does its thing. People put money in. Some open it and take money out. And so on. The police arrive. They ask “if there’s a spike in deaths

2 - James Moore, curator-producer for Østfold kulturutvikling – Avd. Scenekunst

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tonight due to increased drug taking, how will you reconcile that?” A duality of “this is not the responsibility of this artwork”, and “I definitely don’t want anyone to die” rises up in me. We talk with the police, who calm down, they ask us to move Pig to a festival site, and I witness some impressive liberal policing with full understanding of the artwork and full cooperation with the festival to make it brilliant and keep people safe. Over the next few days, thousands of pounds is placed in Pig and taken out in at least 12 openings. I’m told by a BBC reporter that 1 in 3 people in Hull grow up in poverty. Add to this a street drug problem that is not in any way under control and this conversation, inevitably, rises right to the top of the agenda, in the press, amongst the festival going public, with the police, on social media. A cute transparent pig asking a

city to face itself. An emotionally expensive 3 days. There are too many Hull stories to do any justice here. But like everywhere Pig has been, each story sheds new light on the stories that have gone before. After Hull, Marseille (France), with £400 in its belly from the people of Hull. Marseille was, in short, what we have come to expect from Pig: it attracts the curious and the rebellious, to engage in the humour, and the play. It asks a question about the commons and what makes up our communities, about how we will make decisions about our planet when we are 12 billion, about how we come to agreement and with who. And it attracts people in uniform.

To read the full chronicle of the Pig tour diary 2018 by Seth Honnor: www.in-situ.info/en/blog

------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------4 – 12 October 2019 4+4 Days in Motion ---------------------------Prague — Czech Republic

Past dates in the network (2018) 11 – 27 May Norfolk & Norwich Festival ---------------------------Norwich — United Kingdom 15 – 24 June Oerol Festival ---------------------------Terschelling — The Netherlands 1 – 15 August Østfold Kulturutvikling ---------------------------Moss — Norway

31 – 2 September Freedom Festival ---------------------------Hull — United Kingdom 25 – 30 September Travellings ---------------------------Marseille — France 9 – 11 November Citizen of Nowhere festival ---------------------------Dundee — Scotland

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A certain value Anna Rispoli & Martina Angelotti â&#x20AC;&#x201C; Italy / Belgium

--------------------------------------------------------------------------------------------------------------------------------------------------------------By Anna Rispoli and Martina Angelotti

Anna Rispoli is an Italian artist based in Brussels working across the boundaries of artistic creation in public space. Martina Angelotti is a curator and art critic who works on projects and exhibitions related to the relationship between art and the public sphere, through the use of moving images, participatory formats and performance. Together, they conceive the multi-disciplinary project A certain value.

------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Today, mutualism is a theory in decline, devalued by decades of liberal politics and economics. When it comes to pensions, public transport, health and schools, dismantling the structures of mutualism is the watchword. The so-called midfield, citizen organizations, are the most affected by this disempowering isolation enforced by social and economic pressure. The transition is not only political but also ideological and, after two decades, it is now fully integrated into the collective imagination. This sort of bashing of solidarity values has generated real and horrific economic consequences on people’s lives and too much social exclusion. So how can we renew the link between value and values today? Experiments in reinventing the commons, even if mostly limited to specific and closed communities, are flourishing at all levels, with groups of people somehow wanting to “dispossess themselves” and give up some part of their individuality in order to open up to the approach of others. Their vitality pushes us to an ethical requirement: as artists and researchers, we have to provide or become part of communities in common.

To explore these concepts of value(s) and sharing, we are going to encounter six models of “mutualizing practices” in Europe (France, Belgium, United Kingdom, Hungary): alternative economy prototypes, citizens resisting segregation, loving communities challenging the monogamous culture of profit and activists claiming housing rights for all. We will try to connect them through space and through time, by learning from each other. Each residency will question a different group of citizens about the links between value and values. These experiences involve group discussions, irreverent actions in public space, or collective meetings. They intend to challenge the participants’ know-how about sharing and mutualization as much as their individual experience of “de-evaluation” and “re-evaluation”. Can artistic research serve as connective tissue between these different situations? Can the intimate and the collective dimensions merge? This is what we’re going to explore. At the end of the research phase, a script will bring the different European voices into a staged conversation between the six cities that will discuss the possibility of sharing value today.

------- I N R E S I D E N C Y ------- I N R E S I D E N CY ------- I N R E S I D E N CY ------- I N R E S I D E N C Y ------Retired miners and a communist ex-priest Genk — Belgium ---------------------------Migrant families and activists squatting a building together Marseille — France

Long-term women prisoners Rennes — France ---------------------------A polyamorist community Glasgow — United Kingdom

Common Wallet: a radical intimate economic alternative Brussels — Belgium ---------------------------A group of hackers Budapest — Hungary acertainvalue.tumblr.com

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Foreign Tongues Liquid Loft â&#x20AC;&#x201C; Austria

HAPU - Festival of Art in Public space, organised by Teatri ODA in Prishtina, Kosovo, opened the 2018 edition on the first night with movements from internationally acclaimed performance company Liquid Loft from Austria, choreographed by Chris Haring. Designed for public spaces, the Pilot project Foreign Tongues uses the collision of languages and communicative contradictions as a means of creation.

The slang, the rhythm and the words chosen carefully from local sources, became a unique experience for the audience. By recognising the charm of their own language, they discover a different level of their mother tongue brought by the choreography, sound and performers. Interpreted through dance, voice recordings from different regions in Europe become readable like an open-air score. The sounds of the city are turned into a spoken word symphony. But what was the specific sound of a certain meaning? How does its embodiment look? The languages sampled in Foreign Tongues were, even before they have meaning, fundamentally sound and rhythm, ambivalent islands of sound. Dialects, regional languages and slang get transformed into sequences of movement, based on their dynamics, emphasis and acoustic atmosphere. Foreign Tongues invites us to explore languages we don’t understand in words, in a form of bodily communication, discovering how much actually, we already understand.

------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------28 August – 1 September 2019 Freedom Festival ---------------------------Hull — United Kingdom

Past dates in the network (2018) 15 – 24 June Oerol Festival ---------------------------Terschelling — The Netherlands 19 – 21 June Hapu Festival ---------------------------Moss — Norway

27 July – 4 August La Strada ---------------------------Graz — Austria 10 – 12 August Theater op de Markt ---------------------------Neerpelt — Belgium

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Studio Cité Benjamin Vandewalle – Belgium

In Moss (Norway) in August 2018, Trevor Davies saw the first tests of Studio Cité, a Pilot project created by the Belgian artist Benjamin Vandewalle. In this project, the artist combines a series of installations, performances and interventions in a public space in a city, transforming the urban location into an artistic fun fair.

classic Invisible Cities should in fact only be a temporary site of “home-made” and “walkable” architecture. We are momentarily part of Vandewalle’s “microtopian” reality, where normality is turned on its head and inside out, so simple to create and yet so impossible apparently to construct in the cities of the world.

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Benjamin Vandewalle has certainly succeeded in curating the everyday and the normal in this unpredictable, sensory exploration in the temporary city of hyper realism, childhood memories, Kafka absurdism and traditional fairground stalls. However, once the senses have settled and returned to normal, the question arises as to why this very real and humble experience and interpretation of Italo Calvino’s inspirational

------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------29 - 30 June Atelier 231 Festival Viva Cité ---------------------------Sotteville-lès-Rouen — France

4 - 14 July Metropolis ---------------------------Copenhagen — Denmark

7 - 14 August (TBC) Artopolis ---------------------------Budapest — Hungary

27 - 29 July La Strada ---------------------------Graz— Austria

14 - 15 September Lieux publics ---------------------------Marseille — France

Twenty-eight

Richard Wiesner â&#x20AC;&#x201C; Czech Republic

I saw the installation Twenty-eight by Richard Wiesner for the first time in October 2014, on an empty patch of grass in the middle of one of Prague’s districts, Vršovice. Four years later, I programmed the project for the Placc Festival in Budapest.

the visitors interpret it in their own way – letting them think about it on their own.

When we programmed Twenty-eight in Budapest for the Placcc 2018 Festival, we also decided to present it without any kind of interpretative explanation. After consulting with Richard Wiesner, we chose a location for the installation in front of (or rather facing) the Ludwig Museum of Contemporary Art, a state-funded institution whose leadership is still quite independent and open-minded. It gave an ideal spatial set-up, with the vicinity of the Danube and the grassy area around the museum building, and an artistic context for the project. In addition to the plaques with the texts of the anthems, we added one more plaque with a short biography of the artist and the title of the project, and let

Four years later, I felt rather worried about the vulnerability and fragility of this union, shame because the country where I was born, live and work (and which I barely can call “my country”), is one of the biggest threats for this union, fear that the 28 – after potentially decreasing to 27 with Brexit – might soon become 26 if the prime minister of “my country” continues his anti-democratic and anti-European policies…

The first time I saw the installation in 2014, I had quite different thoughts than in 2018, when we decided to present the project. In 2014, I more or less agreed with the artist, who wrote about his project: “The Motto of the EU, Unity in Diversity, however, highlights the need of individual states to define (seek) and build their own identity. The content of national anthems often conflicts with the EU’s efforts to unify and highlight the need of states to fight and protect themselves as unique and undisrupted space.”

------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------11 - 26 May Norfolk & Norwich Festival ---------------------------Norwich — United Kingdom

13 - 18 September Provinciaal Domein Dommelhof (C-TAKT) ---------------------------Neerpelt — Belgium

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We support artists, follow them all over Europe! -------

Alongside the Pilot projects, IN SITU continues to support many emerging artists with original meeting formats that are constantly being reshaped and redesigned to meet artists’ needs. IN SITU has been adapting and developing these encounters – artistic moments outside time – as a chance to think about practice, get new perspectives, glimpse new ways of interacting with the audience and with a local area, get a new lease of life, step out of the comfort zone, adapt a show to a location or context, and always in a supportive, listening environment. Each of these encounters fits with a specific stage of the artistic endeavour. From the ideation phase (Hot House), through design phase (Residencies) all the way to production (Ateliers), artists are invited to share their ideas with other artists and organisers from across Europe, to develop their project. Last November in Terschelling (The Netherlands), the IN SITU members invited 17 artists from all over Europe and the USA to discuss their next project. They had one week to share ideas, look at his/her own project from a foreign perspective and discover other artists from various aesthetics. Through the projects, we spoke about the relationship humans have with nature, with technology, with other humans, about what we see and what we think we see, diving into some of IN SITU’s most cherished themes. Over the next few pages, you will find out about the projects developed by various artists who attended meetings in Terschelling (The Netherlands), Budapest (Hungary) and Glasgow (United Kingdom). Some of them are still a work in progress and are at the very early stage of their creation process, others will tour soon in Europe. Find out what’s going on!

Find out more about all the other IN SITU artists and their tour dates at www.in-situ.info We also invite you to read on our blog the chronicle of Nan Van Houte, who was invited to the Hot House for an external perspective. http://www.in-situ.info/en/blog

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IN SITU ARTISTS FOLLOW THEM! -------

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-----------------------------------------------------------------------------------------------------------------------------------French journalist, Mathieu Braunstein writes European chronicles for IN SITU. He is presenting the narrative of six artistic projects you will soon see in different IN SITU festivals.

Radio Local The Ship

------------------------------------------------------------------------------------------------------------------------------------------------------Hunt & Darton - United Kingdom

De Utvalgte

------------------------------------------------------------------------------------------------------------------------------------------------------“We’ve hijacked the airwaves”, that’s how they define their project. Wearing beige dresses and bizarre aerials on their heads, Jenny Hunt and Holly Darton set up their radio studio in a public square and do their thing for twentyfour hours. These women have fine arts training and experience in improvisation. They do not define themselves as actors or professional radio presenters. “How do you find my radio voice?”, Darton asks Hunt innocently, when she isn’t asking the same question to the guest presenters passing by… Because here, it’s the listeners who are responsible for filling the schedule of this temporary ultra-local radio station. They record jingles in the jingle shed. Games are organised, like the ridiculous scavenger hunt in which participants have to bring back a theatre programme, two identical leaves, a muscle [!] and a bearded man. There

is local news (“flashy flashy new news”), which is mainly about birthday parties, and weather reports presented by the intrepid Jenny Hunt, who describes clouds “with the shape of a jumping cow” or “in the shape of a comedy mustache”. When they toured with their previous project, H&D Café, the two artists got translators involved in the set-up. “We want to create a bilingual or multilingual version of Radio Local” explains Jenny Hunt. “Instead of shrinking our Britishness, this could be elevated as a point of interest and entertainment.” So far we have heard a lot about food, especially in the pre-recorded reports, where listeners can experience a family meal in real time. You hear the sound of knives and forks and conversation around the table, with the microphone almost balancing on the plates. You can’t get any closer to listeners than that! www.huntanddarton.com

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Bel Ship Horizon The

------------------------------------------------------------------------------------------------------------------------------------------------------G.Bistaki - France

De Utvalgte

------------------------------------------------------------------------------------------------------------------------------------------------------“It all started with the idea of an Asian western”, explains Florent Bergal, co-founder of the company from Toulouse. In its latest adventure, the previously all-male collective welcomes five women dancers, actors and circus performers. Everyone will be dressed in wide-brimmed hats and long skirts. “We wanted to create androgynous looks without negating gender.” These very visual artists love to play with perceptions and symbols, as illustrated by the main objects they use. The fencing foil is a long and flexible weapon, traditionally perceived as masculine even when used by a woman. And an urn is a vital container for conserving and carrying food, water or even ashes, making it an essential

recipient for the survival of a nomadic group like this one claims to be. This wandering clan may meet people today who come from another realm of reality. What space-time period do the ten representatives of this lost civilisation hail from? Are they from an imagined past? Or a post-apocalyptic future? With their precise movements and myriad of objects, we can trust the acrobats of G.Bistaki not to get bogged down in nostalgia. Watch out for fights and ritual challenges… that will be sorted out without any definitive punishment. “Bodies are sometimes brutalised […], twisted, bent out of shape, and then proudly get back up to fight,” explains Florent Bergal. “They never die.” www.bistaki.com

------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------- F O L LO W T H E M ! ------13 - 21 September Østfold kulturutvikling ---------------------------Avd. Scenekunst ---------------------------Askim — Norway

25 - 28 October Theater op de Markt ---------------------------Neerpelt — Belgium

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What is public space A space for expression & democracy B U DA P

OSLO Public space should at least be a place where we can contest or debate or discuss, a place that can hold diﬀerences and, in that sense, serve a kind of democracy.

EST

Mia Habib | Mia Habib & Jassem Hindi

Working in public space serves the main goal of our activity: transforming people’s way of thinking and making them more open. Dániel Makkai | Transforming association

A place to share and to live in together PRAGU

A place in which you must be very gentle because it is a space for everybody. Artur Magrot

BRIGHT

RENNE

It is a place we have to share. The challenge is how to succeed in being together in the same place with respect. Maud Jégard | Cie Queen Mother

Whatever space that it could become it’s going to mix people, it’s going to be a place of the day-to-day. Jenny Hunt | Hunt and Darton

TERNI

It is the place where we share, where we have something in common with the others. The invisible space. Marta Bichisao | Opera Bianco

for IN SITU artists? AMSTE

L E C TO U

R DA M

A place that belongs to everybody, a place to reclaim

It is still a research area where I like to explore how we can be more in contact. We need to recover public space again.

BORDE

AUX

Dagmar Slagmolen | Via Berlin

It is the space of the common. Presenting high-quality conceptual works in it is important to me because this is the place where everybody can receive it. Zineb Benzekri | Collectif Random

PRISHT

INA

Public space is subject to a lot of control these days, so we have a responsibility as artists to use public space not only to do entertainment. Caroline Melon | De chair et d’os

A place to play in & with

It is the best place where we can interact with the audience.

GLASGO

Donika Rudi

COPEN

HAGEN

BRUSS

ELS

Public space is, maybe, a place that is constantly being transformed. Something that isn’t still. Nada Gambier

If you don’t respond to the space you’re in, and draw inspiration from the people that use the space, there is no point. Alan Richardson | SURGE

It is an ongoing dialogue with space and place, what is public, what is private. I like working in public space as an ongoing exploration of the dialogue between space and place. Nana Francisca Schottländer

Outdoor The Ship Input

------------------------------------------------------------------------------------------------------------------------------------------------------Nick Steur - The Netherlands

De Utvalgte

------------------------------------------------------------------------------------------------------------------------------------------------------We’ve seen Nick Steur piling stones on top of one another, slowly and obstinately in Freeze!, alone at the top of a dune, in a flooded rice field or surrounded by statues. Now he’s gone one step further with Borderline, a walking performance he’s developed with a handful of Belgian and Dutch artists, including the Amsterdam-based Collectief Walden, who are experts in environmental stories and the manipulation of objects. Inspired by Henry David Thoreau, the founding father of selfsufficiency and getting back to the land, the Dutch artist insists that his partners develop their projects using no preconceived ideas or electricity. ”No drills, no beamers, no phones”. This first walking performance has given rise to Outdoor Input, a project now in the writing stages. By letting time take its course, the

artist seeks to leave the door open to surprise. “I want to make sure that the audience doesn’t see the project as a performance closed within a given timeframe.” Nick Steur loves breaking down formats. In A piece of 2, another solo performance, he spends seven hours seeking to find the centre of balance between two several-tonne boulders connected using a manual hoist. For anyone who hasn’t seen the process, these perilously balancing boulders look like meteorites that have fallen out of the sky… www.nicksteur.com

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ActsShip of Citizenship The

------------------------------------------------------------------------------------------------------------------------------------------------------Via Berlin - The Netherlands

De Utvalgte

------------------------------------------------------------------------------------------------------------------------------------------------------Between 11th July and 13th July 1995, 8,000 Bosnians were slaughtered by Serbian militias in Srebrenica, a “safe area” supposedly protected by a UN Dutch battalion. Twenty-two years later, the Netherlands are still under trial by the International Tribunal in The Hague, accused of partial liability for the killings. In 1995, Dagmar Slagmolen was 15 years old, an age at which humans start to form their own opinions about political and social topics. Acts of Citizenship, the new production she runs for the Dutch company Via Berlin, intends to work the topic of atonement, starting from the traces Srebrenica left in the collective subconscious… In this play, performers and musicians (here the Ragazze Quartet) will work together, as they have always done in the company’s previous productions. Of their repertoire, Dead End (2015) is the production Acts of Citizenship will probably be closest

to. It is a play about illegality, where a refugee confronts a border officer… and where the audience is unable to hold neutral position on the subject. Atonement is a strong word, far beyond “simple” guilt. “Europe is further away from atonement then ever since World War II”, says Cecile Brommer, dramaturg on Acts of Citizenship. “Is atonement possible in a world that increasingly asks us to take position in black or white zones? But beyond that, it is about our relationship to acts of our (i.e. the Dutch) government. How do we relate to deeds that we weren’t asked or informed about, but that are nevertheless performed in our name?” www.viaberlin.nl 30 ----31

Landscape The Ship Bodyscape Relationscape

------------------------------------------------------------------------------------------------------------------------------------------------------Nana Francisca Schottländer - Denmark

De Utvalgte

------------------------------------------------------------------------------------------------------------------------------------------------------“The wind is a very present factor in the Wadden Sea. This was a surprise to me when I first started working in the area, since I thought the ‘main’ phenomena would be the tide.” For her projects using bodily performance, video, still photography and sound compositions, Copenhagen-based performance and installation artist Nana Francisca Schottländer works site-specifically with the landscape as her main artistic partner. Deliberately naked or wrapped in just a thermal blanket, she risks a light touch on the moss, the moor or the mud, and adapts her pace to the elements. Lying like a mermaid on the sand, she can wait for hours for the return of the tide or play with the wind, like a contemporary Loïe Fuller without artifice. Her project Landscape Bodyscape Relationscape is an attempt for a dialogue with non-human

entities and phenomena. As a conceptual artist, Nana Francisca is nurtured by speculative realism, ecofeminist thoughts and the poetry of Walt Whitman and others. She talks about the professional gathering which brought her to connect with the nature of Terschelling island (The Netherlands) during the Hot House last October: “This was my first time anywhere in the Wadden Sea outside Denmark. My immediate impression was that people have been living here, communing with and shaping the landscape for a long time. This is merely an intuition, but something that struck me while I was there.” www.nanafrancisca.com

------ I N R E S I D E N CY --------- I N R E S I D E N CY --------- I N R E S I D E N CY --------- I N R E S I D E N CY ------November Sura Medura ---------------------------Hikkaduwa — Sri Lanka

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Apocalypse-training The Ship

------------------------------------------------------------------------------------------------------------------------------------------------------Dániel Makkai - Hungary

De Utvalgte

------------------------------------------------------------------------------------------------------------------------------------------------------The word “game” appears thirteen times on the page presenting Dániel Makkai’s Apocalypse-training project. His collective, which also includes three other artists and educationalists working on the project (Csilla File, Dorottya Poór, Klara Cserne), brings us face to face with our fears through a cooperative and site-specific game for children and adults that draws on tools developed by Transforming Association (Átváltozó Egyesület in Hungarian) Dániel Makkai is no stranger to working collectively and outdoors, and is trained in cultural anthropology, ethno-musicology and education. On the collective’s website, a curious fictional character named Lord Nickelback Taylor, a renowned social science professor, extols the virtues of collectives and how they disintegrate and reassemble… explaining that the members of Transforming Association

met in a children’s camp. “Every summer, we visit somewhere new in the Hungarian countryside”, explains Dániel Makkai. “We use this framework as the backdrop for our role playing and transform the physical space into a fictional playground. In this context, the maps we create are primarily in our minds. It would be interesting to guide others using this kind of map, but they would definitely get lost!” The role-playing adventure game Apocalypse-training is still in the research and collection phase. And, in light of Dániel Makkai’s winning smile, the apocalypse may yet turn out to be fun! We mustn’t forget the phenomenon’s fun side. “Play should be acknowledged as a useful activity and should be part of the method for education, leisure and arts.” This quote may not be taken from a well-referenced book, but every word has been carefully chosen. www.atvaltozo.com

------ I N R E S I D E N CY --------- I N R E S I D E N CY --------- I N R E S I D E N CY --------- I N R E S I D E N CY ------October Lieux publics ---------------------------Marseille — France

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Think Tank: Artistic Acupuncture for Places in Europe

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Artists as the needles of our European body: a renewed perspective on contemporary challenges -------

Today, spaces in Europe, let it be cities or rural areas, share the same issues: gentrification, privatization, migration and self-segregation, competition, urban sprawl, rural depopulation, etc. IN SITU members are convinced that the cultural sector, and particularly artistic creation in public space, has an important role to play in addressing these challenges. Artistic Acupuncture for Places in Europe is an attempt to point out how foreign artists can bring a renewed, relevant understanding of societal issues. Ten Artistic Acupuncture sessions will take place in Europe before the end of 2019, hosted by IN SITU members or associated members. The artists will spend at least five days exploring the context identified by the host member and meeting local actors. They will come up with proposals for a future artistic

action. It may or may not be carried out – in the end, it will be valued as a unique artistic perspective on a specific European context that illustrates the artists’ meaningful ways of reading social spaces: a focus on the visionary power of artists on society. In the end, the artistic proposals and the material collected will be given to academic experts to broaden the discussions. At the time of writing, four Acupuncture sessions have already taken place. Danae Theodoridou (Greece) worked on an undeveloped area (100 hectares) in the city of Graz (Austria) where there is a plan to create a lively urban district. For several years now, various working groups, committees and conventions have been engaged in dialogue with investors and political representatives pursuing political discussions about how this part of the city should be developed.

------ I N R E S I D E N CY --------- I N R E S I D E N CY --------- I N R E S I D E N CY --------- I N R E S I D E N CY -------

The next Artistic Acupuncture sessions in Europe —————

May August FrancescaChandraguptha Grilli — Italy — Sri Lanka Thenuwara ------------------------------------------------------— Belgium HullGenk and Glasgow — United Kingdom September Sjoerd Wagenaar — The Netherlands ---------------------------Morten Traavik — Norway Moss — Norway ---------------------------Prishtina — Kosovo

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“We must keep some safe areas for experimentation in cities and not give everything to experts’” Interview during the Acupuncture session of Danae Theodoridou in Graz

Nada Gambier (Belgium) and Mark Etchells (United Kingdom) have been working on an industrialised district in Budapest (Hungary) that was privatised after the fall of communism in the eighties. Today, different communities live there and the artists sought to understand what could bring them together.

“Those who bought their buildings in the beginning of the regime change, they are getting old and retiring. Their children are mostly not planning to take over the companies and so what will happen next in this area, who knows?”

Maria Sideri (Greece) investigated the place of women in public space in Marseille (France), notably the various strategies that teenage girls use when they walk in the streets. To do so, she met with various people, including a city planner working on the urban renewal of a rough neighbourhood in the city centre, an association that helps prostitutes in the streets and a community centre working with a collective of architects to develop a local project with a group of women to reclaim public space.

«It is important to promote gender diversity in public transport as much as possible, because it is an extremely socially diverse part of the public space that crosses entire cities” Interview during the Acupuncture session of Maria Sideri in Marseille

Lastly, Joanne Leighton (Belgium) was invited to Terschelling (The Netherlands) and shares her experience on the island in a few words.

Interview during the Acupuncture session of Nada Gambier and Mark Etchells in Budapest

------ I N R E S I D E N CY --------- I N R E S I D E N CY --------- I N R E S I D E N CY --------- I N R E S I D E N CY ------August Thenuwara Chandraguptha — Sri Lanka ---------------------------Hull — United Kingdom

Autumn Zweintopf — Austria ---------------------------Prague — Czech Republic

September Morten Traavik — Norway ---------------------------Prishtina — Kosovo

Artist tbc ---------------------------Tàrrega — Spain

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Acupuncture in Terschelling : weaving stories Joanne Leighton - Belgium

------------------------------------------------------------------------------------------------------------------------------------------------------By Joanne Leighton

Joanne Leighton is an Australian-born Belgian choreographer settled in France, whose career is closely linked to a vision of original and evolving dance. Her approach explores notions of space and site as a whole, a common place populated by territories, identities, and interdependent spaces. She has been invited by Oerol Festival to do an Acupuncture session on Terschelling island.

An isolated society facing the unpredictable outside It was 5 am in the morning on the 2nd of January 2019 when reports came in that one of the world’s largest containerships, MSC ZOE, had run aground during a storm and lost 281 containers in the sea near the island of Terschelling. This sparked both a navigational and an environmental crisis in what is one of the busiest stretches of waterway in Europe. The immediate response from many of the local islanders on Terschelling was to get down to the beach to see what had been washed up. This is not the first occasion where locals had witnessed ships losing cargo at sea. There is also a local tradition on the island called Juten,

otherwise known as beach-combing, where whoever collects the goods owns them. But in this case, what had been washed up was nothing more than useless plastic... The impact of this ecological disaster was substantial and it provoked a strong reaction amongst people both on the mainland and in the islander community. The disaster resulted in people from the local community coming together to clean up the beaches themselves. Initial curiosity transformed rapidly into anger and discontent. Why do we buy this rubbish? Why were container ships travelling all the way across the world from China transporting

plastic junk, and why do we create a demand for it? In coming to Terschelling to work with the Oerol Festival team, I felt that this event was significant and representative of the cultural identity of the local community in many ways. It found its way into every conversation I had. In this instance, both the local public and

the fragile ecosystem of the island are forced to bear the brunt of an ecological disaster. The irony is that so many people actually move to the island to live a quiet, simple existence in one of the most natural, well-preserved environments in Europe. But even here, in comparative isolation, we can’t escape our consumerist society and its consequences.

A sense of community? Women stories My initial discussions on the island were with Artistic director Kees Lesuis and his team in regards to Oerol Festival, where the local community of around 5,000 residents expands to a gigantic 50,000 people over a 10 day period. The festival, rooted in Terschelling’s unique island culture, has, after 37 years of existence, become an island tradition. It creates an expanded society, a coming together with the local community around the arts and the landscape. Kees discussed the topic of cultural identity in relation to the island and its local community. This community, with its roots in an isolated society, has a lot in common with other island communities, with a strong sense of belonging, ownership, tradition and community. But these notions of community didn’t entirely align with what I had learnt on my last visit to Terschelling. I had heard that the local women tended to be marginalized from some of these local traditions. I had also heard that the Terschelling women were not permitted to give birth on the island, that they have to travel on to the mainland. This intrigued me, as the women of the island seemed strong and independent. In response, I asked Kees to set up meetings with different women on the island in order to have

a series of conversations. These exchanges were largely focused on building up knowledge and understanding of the local community, its traditions and rituals, and was based on my desire to learn more about the local customs and this apparent segregation between the sexes. During my residency, in the heart of the icy winter, I was able to meet a number of women of diverse ages and backgrounds, including local workers, activists, a town planner, a politician, a business woman, and a local elder. This series of conversations, which I see as something within itself, transformed into actively collecting and gathering stories, women’s stories, often transmitted over simple tasks like walking, eating a meal, performing daily chores, or driving in the car. Over this period, through these direct experiences and exposure to local collective knowledge, I was able to build up a story about the life and history, a her-story of the island. Around central ideas of belonging, ownership, traditions and community I am interested in the cultural identity of the islanders and the transposition of these rituals within society. How, as an artist can I respond to the specificity of this environment and this culture? What are our contemporary rituals, how can we build new rituals?

The answers to these questions will soon be given by Joanne Leighton, as many other artists commissioned by IN SITU to do an Artistic Acupuncture somewhere in Europe.

Follow them on www.in-situ.info

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Create in public space

Join the first MOOC dedicated to artistic creation in public space!

On 9th September 2019, the first digital lesson on artistic creation in public space will go online. This MOOC is produced by the FAI-AR, high education training programme for art in public space, and draws on the experience and stories of all IN SITU partners to reflect the realities of contemporary European creation.

----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------Massive Online Open Courses (MOOC) are online courses accessible to all. This teaching tool has been growing over the last twenty years. It is easy to share, flexible for learners and distance is never a problem! There are a whole range of art theory and history lessons available, but only a few schools have started experimenting with practical lessons. FAI-AR is working closely with the IN SITU network on this pioneering project. Since March 2018, it has been developing the “Create in public space” MOOC, which brings together theoretical and practical knowledge on artistic creation in public space for the first time. In 2018, an editorial college was assembled, the teaching content was written, edited and translated, actors were filmed presenting all the lessons, and 25 interviews were carried out with international professionals. In 2019, the work will be finalised, which will include editing of all the content produced, creation of the web interface and international promotion before it goes live. From 9th September 2019, around 15 hours of video will be made available to learners, covering history, aesthetics and the specifics of dramaturgy, scenography and audience relationships that characterise this sector, through a hundred or so recent artistic projects from over twenty countries. Learners will be encouraged to be more than passive receivers of turnkey information, and to experiment at home and in public spaces

in order to master the concepts covered. They can take the MOOC alone or in working groups coordinated by our professional partners. This MOOC aims to present all the artistic, political and human diversity of projects in public space and the full range of their aesthetics. It is first and foremost an analytical tool and a knowledge base, which, we hope will be used by a whole host of cultural professionals and players from all around the world. 42 ----43

4 weeks of online lessons ————— Bilingual English / French Free, registration required Registration opens in summer 2019 Online launch on 9th September 2019 Please contact Camille Fourès at info@createinpublicspace.com to find out more www.createinpublicspace.com

The Residency programme

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How to develop a project in another European or international context -------

------------------------------------------------------------------------------------------------------------------------------------------------------To produce works that reflect the local context or that are inspired by other contexts and involve the audience, artists need to immerse themselves deeply into the local environment. This is the basis behind a new residency programme under IN SITU ACT.

The IN SITU members choose a residency location within the network that is the most relevant for a project they support. These residencies are hosted by members who use their tools and know-how to help artists develop their projects. Some run creative spaces able to receive artistic teams wanting to develop or rehearse, while others develop creative residencies that coincide with their festivals.

In doing so, they foster residencies that enable artists to immerse themselves locally.

IN SITU also offers residency opportunities outside of Europe, particularly in collaboration with associated members. These residencies are important as they give artists a chance to encounter different contexts, sometimes outside their â&#x20AC;&#x153;comfort zoneâ&#x20AC;?, and the possibility to show their works elsewhere in the world. The Snowball Effect project in Sri Lanka is a great example of strong collaboration with a partner in Asia to offer residencies to European artists working in and with the public space.

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A snowball effect across Europe

------------------------------------------------------------------------------------------------------------------------------------------------------By Anne Le Goff, Director of Atelier 231 - France

This project is based on an original idea by Neil Butler, Director of UZ Arts in Scotland, and brings together six IN SITU network members1, who, in pairs or alone, invited an artist from their country to join a six-week creative experience at the Sura Medura residency centre in Sri Lanka, which is an IN SITU associated partner. This unique concept around the 70th anniversary of the Universal Declaration of Human Rights provided artists from across Europe the opportunity to step out of their usual creative environment and open up to this broad European artistic laboratory for 45 days on another continent. Under the artistic direction of Italian artist Matteo Lanfranchi, this first group of six European artists met with four Sri Lankan artists and other artists at Sura Medura in November and December 2018. The aim was to come up with the first step of a project designed to grow through various residencies and venues, releasing a snowball effect that expands while gathering momentum. At the first public presentations after the sixweek residency, this creative step discussed encounters between communities, what divides or unifies a group, mutual appreciation, 1 - UZ Arts (Scotland), l’Atelier 231 (France), La Strada Graz (Austria), ODA Teatri (Kosovo), 4+4 Days in Motion (Czech Republic) and Terni Festival (Italy)

and the desire / fear of meeting others. Local myths, traditions and resources, like wood, plants, earth, colour, rope or fabric naturally inspired the aesthetic and dramaturgical backdrop to this in situ creation.

“In order to understand what it means to be European, you have to work outside of Europe.” Neil Butler Director of UZ Arts and initiator of The Snowball Effect

Four2 of the initial six artists with Neil Butler now form the core artistic team for the next steps that will involve other artists and amateurs from the European cities involved in the project, with continued exploration of the issue of communities. The Snowball Effect is about taking time out, meeting artists from other countries, writing together, getting away from familiar contexts, discovering other processes, materials and techniques, and testing creative practices by exposing them to another country, continent or culture. 2 - Matteo Lanfranchi – Choreographer and Director (Italy), Florent Mehmeti – Actor and Director (Kosovo), Fabrice Deperrois and Tim Hinam – Visual Artists and Scenographers (France)

The Snowball Effect, a cross-border and cross-artform project

At the end of 2018, I found myself facing one of the most demanding, yet interesting challenges of my professional life. English producer Neil Butler, with whom I have been working for some time, asked me to direct a project in Sri Lanka with the objective of producing a performance that we would eventually take back to Europe.

order to avoid misunderstandings. The way we perceive the world is very different in Europe and South East Asia. To understand this, it is not enough to travel a lot.

My only worry wasn’t so much the time at our disposal but the fact that I had to work with a team of artists who didn’t know each other and of different nationalities from the United Kingdom, France, Kosovo, Sri Lanka, Iceland, Australia, the Czech Republic and Italy.

One of the biggest challenges of putting together the performance was to find a common “language” that everyone could understand, considering that our audience would comprise locals, people from the capital city, expats and tourists. We had to find an inclusive form of communication. I decided to use one of my favourite forms of expression, namely communicating through the use of a game or role-play.

I was aware of the difficulties I would face, cultural differences to start with and working in English which isn’t always ideal, contrary to what one would think. Nothing that couldn’t be overcome with patience and flexibility but one has to accept that time has a different rhythm in that part of the world.

In the performance we would invite the audience to play a game in which they had to divide into two groups or “communities” who didn’t know anything about each other. The performance would lead people to realise that we all have a distorted view when it comes to “others”.

I suggested we should work on themes that have a strong impact in many countries, such as the sense of community, identity and prejudice. During the first weekend of our residency I organised a workshop aimed at finding a common starting point that would help us define the themes. It was very interesting to see how people questioned their bias and backgrounds. Despite being all openminded we needed to clarify our positions in

The local communities attended all our rehearsals and gave us precious support and feedback. Seeing them involved in our performance was extremely satisfying and their comments even more so: “It’s the story of humanity, of all of us: nobody knows why we inevitably divide up into groups and instigate conflicts. Yet, we still end up together”’. These words have become an inspiration for the whole project.

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M F

3 C R P

B K

E L

2 A

7 5

Network & associated members IN SITU book 2019

IN SITU members A B C D E F G H I J K L M N O P Q R S T

Artopolis – Budapest – Hungary Atelier 231 – Sotteville-lès-Rouen – France CIFAS – Brussels – Belgium Čtyři dny – Prague – Czech Republic FAI-AR – Marseille – France Freedom Festival – Hull – United Kingdom Indisciplinarte – Terni – Italy Kimmel Center – Philadelphia – USA La Paperie – Angers – France La Strada – Graz – Austria Les Tombées de la Nuit – Rennes – France Lieux publics – Marseille – France Metropolis – Copenhagen – Denmark Norfolk & Norwich Festival – Norwich – United Kingdom Oerol festival – Terschelling – The Netherlands On the Move – Brussels – Belgium Østfold kulturutvikling – Moss – Norway Provinciaal Domein Dommelhof – Neerpelt – Belgium Teatri ODA – Prishtina – Kosovo UZ Arts – Glasgow – United Kingdom

IN SITU Associated members 1 2 3 4 5 6 7 8

ANTI Festival – Kuopio – Finland Biela Noc – Bratislava & Košice – Slovakia Bildstörung Europäisches Straßentheaterfestival Detmold – Detmold – Germany Bússola – Santa Maria da Feira – Portugal Eleusis 2021 European Capital of Culture – Eleusis – Greece FiraTàrrega – Tàrrega – Spain Matera 2019 European Capital of Culture – Matera – Italy Sura Medura – Hikkaduwa – Sri Lanka

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IN SITU Calendar 2019

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festivals & events Metropolis

------May – September 2019 ------Copenhagen Denmark ------------------------------------------------------

Norfolk & Norwich Festival

------10 – 26 May ------Norwich United Kingdom ------------------------------------------------------

UZ Arts

------At Kelburn Garden Party ------5 - 7 July ------Fairlie United Kingdom ------------------------------------------------------

Provinciaal Domein Dommelhof

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Theater op de Markt ------25 – 28 October ------Neerpelt Belgium ---------------------------

C-TAKT #3

------13 – 18 September ------Genk Belgium ---------------------------

Winternights

Oerol Festival

------13 – 14 December ------Maastricht Belgium ------------------------------------------------------

Atelier 231 Festival Viva Cité

------13 – 21 September ------Moss Norway ------------------------------------------------------

------14 – 23 June ------Terschelling The Netherlands -----------------------------------------------------------28 – 30 June ------Sotteville-lès-Rouen France ------------------------------------------------------

Teatri ODA HAPU

------11 – 14 July ------Prishtina Kosovo ------------------------------------------------------

Les Tombées de la Nuit

------3 – 7 July ------Rennes France ------------------------------------------------------

Festival La Strada Graz ------26 July – 3 August ------Graz Austria

Østfold kulturutvikling Avd. Scenekunst

Freedom Festival

------24 August – 1 September ------Hull United Kingdom ------------------------------------------------------

Indisciplinarte Terni Festival

------5 – 8 September ------Terni Italy ------------------------------------------------------

Čtyři dny 4 + 4 Days in Motion

------4 – 12 October ------Prague Czech Republic ------------------------------------------------------

Artopolis PLACCC

------12 – 21 Sept (TBC) ------Budapest Hungary

www.in-situ.info

IN SITU Associated members

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Movements by Bildstörung Festival

------5 – 7 July 2019 ------Detmold Germany ------------------------------------------------------

FiraTàrrega

------5 – 8 September ------Tàrrega Spain ------------------------------------------------------

ANTI Festival

------10 – 15 September ------Kuopio Finland ------------------------------------------------------

Biela Noc

------28 September ------Bratislava Slovakia -----------------------------------------------------5 October ------Košice Slovakia ------------------------------------------------------

Bússola LEME

------5 – 8 December ------Ílhavo Portugal

IN SITU is the European platform for artistic creation in public space. Since 2003, it has supported more than 200 artists working outside conventional venues and contributing to the transformation of our territories. IN SITU is an ecosystem connecting a new generation of artists with audiences, programmers, and key-players involved in the economic, political and social realities around Europe. IN SITU develops an ecology of creation based on transnational artistic workshops and laboratories, European and international residencies and collective mentoring for pilot artistic projects. IN SITU also designs tailored consulting and expertise for European cities, online training modules (MOOC) and a Think Tank dedicated to artistic creation in public space. Pilot projects / ACT 2016-2020: In Search of Democracy 3.0, Stichting Nieuwe Helden / Lucas De Man (The Netherlands); A certain value, Anna Rispoli & Martina Angelotti (Italy / Belgium); 28, Richard Wiesner (Czech Republic); Studio Cité, Benjamin Vandewalle (Belgium); Foreign Tongues, Liquid Loft / Chris Haring (Austria); PIG, Kaleider / Seth Honnor (United Kingdom).

--------------------------------------------------------------------------------------------------------------------------IN SITU is led by Lieux publics - national & European centre for artistic creation in public space (France), and brings together 20 partners from 12 countries: Artopolis Association / PLACCC Festival (Hungary), Atelier 231 / Festival Viva Cité (France), CIFAS (Belgium), Čtyři dny / 4+4 Days in Motion (Czech Republic), FAI-AR (France), Freedom Festival (United Kingdom), Kimmel Center (The United States of America), Metropolis (Denmark), La Paperie (France), La Strada Graz (Austria), Les Tombées de la Nuit (France), Lieux publics (France), Norfolk & Norwich Festival (United Kingdom), Provinciaal Domein Dommelhof (Belgium), Teatri ODA (Kosovo), Østfold kulturutvikling (Norway), Oerol Festival (The Netherlands), Terni Festival (Italy), UZ Arts (United Kingdom). Since 2018, IN SITU gathers new associated members: Bildstörung Europäisches Straßentheaterfestival Detmold (Germany), Biela Noc (Slovakia) Eleusis 2021 European Capital of Culture (Greece), FiraTàrrega (Spain), Bússola (Portugal), ANTI Festival (Finland), Matera 2019 European Capital of Culture (Italy) and Sura Medura (Sri Lanka).

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--------------------------------------------------------------------------------------------------------------------------Photographs

--------------------------------------------------------------------------------------------------------------------------Pages 4 & 7: Lucas de Man / Stichting Nieuwe Helden, In Search of Democracy 3.0 © Jasper van den Berg; page 8: Kaleider, PIG © Tom Arran; page 11: Kaleider, PIG © Didier Verdureau © Tom Arran; page 12: Anna Rispoli & Martina Angelotti, A certain value © Barbara Sandra; page 14: Liquid Loft, Foreign Tongues © Michael Loizenbauer © Arben Llapashtica; page 16: Benjamin Vandewalle, Studio Cité © Eef Bongers © James Moore; page 17: Benjamin Vandewalle, Studio Cité © Paul McGee; page 18: Richard Wiesner, Twenty-eight © Grégoire Edouard © Attila Balogh; pages 22 & 23: Hunt & Darton, Radio Local © Christa Holka © Clare Haigh; page 24: G.Bistaki, Bel Horizon © Josiane Guilpain © Guillaume Bautista; page 28: Nick Steur, A piece of 2 © Livia Smith; page 29: Nick Steur, Borderline © Mirjana Vrbaski; page 30: Via Berlin, Instant love © Moon Saris, Dead End © Styze Pruiksma; page 31: Via Berlin, Dead End © Styze Pruiksma; page 32 & 33: Nana Francisca Schottländer (artist) Alexandra Buhl (photographer) and Ellen Birgitte Rasmussen (composer) Landscape Bodyscape Relationscape © Alexandra Buhl; page 34: Dániel Makkai, Factory Playground © Lasse Leonhardsen; page 39: Maria Sideri, Acupuncture in Marseille © Bastien Gueriot, Nada Gambier & Mark Etchells, Acupuncture in Budapest © Nada _ Co; page 40: Joanne Leighton, Acupuncture in Terschelling © Joanne Leighton; page 45: The snowball effect © Neil Butler

--------------------------------------------------------------------------------------------------------------------------Publication’s Director: Pierre Sauvageot Coordination: Nadia Aguir, Benjamin Lengagne, Elisabeth Simonet Texts: Nadia Aguir, Martina Angelotti, Mathieu Braunstein, Trevor Davies, Camille Fourès, Seth Honnor, Kees Lesuis, Matteo Lanfranchi, Anne Le Goff, Joanne Leighton, Florent Mehmeti, Fánni Nanay, Anna Rispoli, Elisabeth Simonet Layout: Stéphan Muntaner Printed by CCI, May 2019 Information correct at time of print

--------------------------------------------------------------------------------------------------------------------------IN SITU ACT 2016 - 2020 is co-funded by the Creative Europe programme of the European Union. This communication reflects the view only of the author, and the Commission cannot be held responsible for any use which may be made of the information therein.

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IN SITU European platform for artistic creation in public space Coordination Entity: Lieux publics, national & European centre for artistic creation in public space Cité des arts de la rue – 225 avenue des Aygalades – 13015 Marseille / +33 (0)4 91 03 81 28 / insitu@lieuxpublics.com