TodaysArt 2017 Program Guide by TodaysArt

Zero

No 01

Friday 22 September

Program Overview

Friday 22 September

Koninklijke Schouwburg 02

19.15 - 20.15 Sote presents“Sacred Horror in Design”-Tarik Barri (20) 21.30 - 23.00 Hauschka (20) 00.00 - 01.00 01.00 - 02.00 02.00 - 03.00 03.00 - 04.00 04.00 - 05.00

02 Paradijs

23.00 - 00.00 00.00 - 01.00 01.00 - 02.00 02.00 - 03.00 03.00 - 04.00

03 Sol LeWitt 02

Main

23.30 - 01.00 01.00 - 02.00 02.00 - 03.00 03.00 - 04.30

Outdoor

17.00 - 20.20 18.25 - 18.50 20.30 - 22.00 22.00 - 23.00

Torus (37) Fausto Bahia (NAAFI) (31) Omaar(NAAFI) (36) Lao(NAAFI) (32) DJ Panic (36)

Christian Löffler (30) SKY H1 (37) Toxe (37) Boska (30) Charlotte Bendiks (30)

Tutu (37) Elektrovolt (31) Yon Eta + Sphynx (38) NSDOS (35)

Aram Bartholl (53) Santa Melodica Orchestra by Andreas Trobollowitsch (27) Jasmin (32) Tammo Hesselink

TheateraanhetSpui 02

22.30 - 23.15 “Still be Here” with Hatsune Miku (23) 21.20 - 21.40 Force Field by Dimtry Gelfand + Evelina Domnitch (24)

20.00 - 20.30 Sven-Åke Johansson (24) 20.45 - 21.10 Acapulco by Julien Desprez (24) 22.30 - 23.30 Quantum Music with LP Duo (27)

Friday 22 September

Program Overview

Friday 22 September

Program Overview

Friday 22 September

Foyer

13.00 - 14.15 How blockchain technology will change the music industry w/ Gonzo magazine (77) 14.30 - 15.45 Riot in the Matrix (77) 16.15 - 17.45 New Emergences #9 Gender,electronic music and the Iron Curtain (78) 17.45 - 18.15 Proj. Pres. Gender diversity in Mongolian context (85) 19.20 - 19.50 Physical Rythm Machine/Boem BOem -Philip Vermeulen(62) 21.50 - 22.20 Physical Rythm Machine/Boem BOem -Philip Vermeulen(62) 23.40 - 23.55 Physical Rythm Machine/Boem BOem -Philip Vermeulen(62)

Studio 03

19.20 - 19.50 Dissense by Chris Salter + TeZ (23) 21.50 â&#x20AC;&#x201C; 22.20 Dissense by Chris Salter + TeZ (23)

Koninklijke Schouwburg

18.00 - 00.00 The gag reflex & other reactions towards complexity(40) 03

Theater aan het Spui + Filmhuis den Haag 03

12.00 - 00.00 The gag reflex & other reactions towards complexity(40) 03 03

Filmhuis den Haag

17.00 - 23.00 A lot of Sorrow by Ragnar Kjartansson & The National(48)

The Grey Space in the Middle

13.00 - 22.00 Locating ArtScience (56) 13.00 - 16.00 Make your own self-driving car-Hackers & Designers(82) 03 16.00 - 18.00 Cryptoparty (82) 16.30 - 18.00 Lecture Eric Kluitenberg + Panel discussion with the 03 artists (58)

Quartair 03

17.00 - 20.00 Connect the Dots: Performance, Objects, Bodies (68)

Friday 22 September

Program Overview

Friday 22 September

FRIDAY? FRIDAY... FRIDAY! FRIDAY? FRIDAY... FRIDAY!

TodaysArt

VENUES? VENUES... VENUES! VENUES? VENUES... VENUES!

TodaysArt

Koninklijke Schouwburg Performances - Club - Works - Context Korte Voorhout 3 2511 CW The Hague Opening Hours: Friday 22 September: 18.00 - 05.00 Saturday 23 September: 12.00 - 05.00 Theater aan het Spui Performances - Club - Works - Context Spui 187 2511 BN The Hague Opening Hours: Friday 22 September 12.00 – 00.00 Saturday 23 September 11.00 – 00.00 Filmhuis Den Haag Works - Context Spui 191 2511 BN The Hague Opening Hours: Friday 22 September 12.00 – 00.00 Saturday 23 September 12.00 – 00.00 The Grey Space in the Middle Works Paviljoensgracht 20-24 2512 AR The Hague Opening Hours: Friday 22 September: 13.00 - 22.00 Saturday 23 September: 12.00 - 22.00 Quartair Works Toussaintkade 55 2513 CL The Hague Opening Hours: Friday 22 September: 17.00 - 20.00 Saturday 23 September: 14.00 - 17.00

READ ME? READ ME... READ ME!

TodaysArt

In your hands you have the program booklet for TodaysArt 2017. This guide will help you navigate the program, offering in-depth information about this yearâ&#x20AC;&#x2122;s theme, and all of the artists, performers, panelists and musicians that make up TodaysArt 2017. The booklet is organized around four categories: Performance, Club, Context and Exhibitions, offering an overview of each. Our program is presented through two detailed time schedules: the green in the front for Friday, the pink in the back for Saturday. The page numbers listed next to each event in the timetable refer you to their detailed description in the booklet. Missing the TodaysArt blockscheme? We offer a mobile-friendly block-scheme online. During the festival it will show all last-minute changes and additions to the program. Check it out at todaysart.nl.

To be able to enter TodaysArt 2017, please make sure to exchange your ticket for a wristband at the information and ticket sales-points during the festival. Single ticket holders and Support Pass holders please be aware to arrive at the venue at least 15 minutes before the performance starts to guarantee seating, since the capacity of the venues is limited. Festival Pass holders can reserve their seats for single ticket concerts on the day of the show at our ticket sales-points.

WELCOME? WELCOME... WELCOME!

TodaysArt

TodaysArt, the festival renowned for its program of pioneering digital art, experimental electronic music, and audiovisual performances returns to the city centre of The Hague to present its newest edition.

works by Manuel Beltrán, Mike Rijnierse, Gabey Tjon a Tham and others. The other exhibition is presented by iii, with local artists Natali Blugerman and Marit Mihklepp, at project space Quartair, The Hague.

This year’s multifaceted program revolves around four categories: Performance, Club, Works and Context. TodaysArt 2017 takes place in multiple venues in the The Hague: Theater aan het Spui, Filmhuis and the classic royal theatre Koninklijke Schouwburg. A former 18th century palace, Koninklijke Schouwburg’s stunning gilded auditorium hosts the festival’s opening concert by Sote with Tarik Barri, followed by Hauschka on Friday and Laurel Halo and Ata Kak on Saturday. In addition to providing the stage for a series of impressive audiovisual performances, TodaysArt transforms the theatre into a multi-floor dance club, hosting our famous late-night parties.

The festival is accompanied by an extensive ‘Context Program’ of discussion panels, workshops, and project presentations that delve into, elaborate, and extend on this year’s theme of algorithmic complexity and the central questions on ethics, blockchain technology, new democracies and the future of music. Participants include Paul Feigelfeld, Liisa Janssens, Menno Grootveld, Renata Avila, Chris Salter, Thomas Ankersmit, Next Nature, and Hackers & Designers, and others.

This booklet is a guide that will help you navigate the program, offering in-depth information about this year’s theme, and all of the artists, performers, panellists and musicians that make up TodaysArt 2017.

TodaysArt 2017 presents an exciting selection of visual and digital works, including artists Aram Bartholl, Ragnar Kjartansson, Ingrid Eel, Bogomir Doringer, Technoflesh (Simone C. Niquille), Jonas Lund, Nicolas Maigret and Maria Roszkowska and more. The art works presented at Theater aan het Spui, Filmhuis and the Koninklijke Schouwburg question complexity, data norms and the opaque nature of algorithmic systems. TodaysArt is also collaborating with The Hague’s artistic scene, with two exhibitions. One of them takes place at The Grey Space in the Middle, presenting

Enjoy! TodaysArt 2017 team

ETERNAL? ETERNAL... ETERNAL! ETERNAL? ETERNAL... ETERNAL!

TodaysArt

For a number of years, TodaysArt took a nomadic trek through the city of The Hague, presenting artists and their works in a diverse range of venues: from an electricity factory to vacant government buildings, from theatres to churches, from the Pier in Scheveningen to public spaces under construction. Throughout our program, we have always tried to question the consequences and impact of technological developments and cultural innovations, especially how they shaped and re-shaped their spatial context. How do new ideas shape our lives? How do they influence society and shape the spaces we interact with? Our explorations often resulted in spatial experiments, such as a vertical festival in a skyscraper, a landing strip in a shopping street, and various forms of experimental architecture in public space. Within these settings we tried to present a program that had many faces, using both large gestures and intricate details; from a performance with actual trains to highly technical projections on public buildings, from hands-on artwork to theoretical ‘highbrow’ visual art. Contrast was central to our programs, mixing popular tendencies with contemporary developments. We believed in simultaneously celebrating and questioning the human spirit of innovation and creation.

This has always been the ‘recipe’ for TodaysArt. Whatever shape it took, we simply asked ourselves how new technology and innovative thinking related to the reality of daily life, and how we could introduce new ideas to a wider public. But in the past couple of years, we noticed that things were changing all around us, fast. The ubiquity of technology in society accelerated drastically.

The question central to our program practically inverted; instead of revealing innovative technological developments, today we ask ourselves how we can adapt to a reality wherein technology already seems to rule the world. What kind of context or environment do we create for this seemingly unrestrained move towards a techbased society? As a festival we are facing this new reality and want to question not only the omnipotent power of technology itself but also to take a deep look at its contextual landscape, at the forces that shape it and bring it into being. In light of all this, TodaysArt 2017 focuses on the opaque and complex nature of algorithmic systems and the automated data feeds that frame our daily lives. A focus that generates all kinds of questions. Whose data, norms, and values are being fed into the algorithmic systems that we use and how can we keep track of this information and its results? Who is the norm? What consequences do algorithmic outputs have on somebodyâ&#x20AC;&#x2122;s life and future? Who is accountable when large capitalist platform companies like Facebook and Uber, who label themselves as just â&#x20AC;&#x2DC;techâ&#x20AC;&#x2122; companies, take no responsibility for their actions and impact on social and cultural systems? How can alternative systems emerge and new forms of democracy be made outside of big politics and capitalist platform-based economies? How can we escape systems controlling our data and futures? And does the cultural community have answers to any of these questions? From algorithms to politics, from business to the arts, it sounds as if our minds are all over the place. And this is not far from the truth, because everything, all topics,

tendencies, and disciplines, are increasingly entangled. As the Dutch media theorist Geert Lovink puts it in his e-flux article “Overcoming Internet Disillusionment: On the Principles of Meme Design”: “We cannot process such a sudden overproduction of reality. We no longer turn on television news thinking that we’re watching a film. We’ve moved on. It is not life that has become cinematographic; it is film scenarios and their affects that shape the grand designs of our technological societies. Films anticipated our condition, and now we’re situated in the midst of yesteryear’s science fiction. Minority Report is now a techno-bureaucratic reality, driven by the integration of once-separate data streams. Virtual reality feels like The Matrix. Trump’s reality TV show proved to be a rehearsal. The logic of the avant-garde is very much alive. The last industry to deal with the fake and real whirlpool is the news industry. Hyperreality becomes our everyday situation – regardless of whether we perceive it as boring or absurd.” The people behind TodaysArt have always felt the need to destabilize, confuse and rebel. A good festival is, and always was, a merger of tight productions, loose sketches, in depth conversations and weird encounters. A cultural momentum of deep confusion perhaps. But now, we are slowly beginning to ask ourselves: are we entering the age of an eternal TodaysArt?

PERFORMANCE? PERFORMANCE... PERFORMANCE!

TodaysArt

Ata Kak Laurel Halo ‘What if’ by Hauschka ‘Still be Here’ with Hatsune Miku

Santa Melodica Orchestra by Andreas Trobollowitsch

Quantum Music with LP Duo

Serge & Mondriaan by Thomas Ankersmit

From Schönberg Dissense to Monk by Chris Salter + TeZ by New European Ensemble + Julien Desprez DEFRAME Force Field by Evelina Domnitch + Dmitry Gelfand

Sote presents ‘Sacred Horror in Design’ with visuals by Tarik Barri

Sven-Åke Johansson

Ata Kak What happens when an artist from Ghana manages to blend his rap skills with funk, electronica and the lo-fi recording charm of early Chicago house music? Ata Kak. It took nearly 22 years for his work to be recognised; American musicologist Brian Shimkovitz stumbled upon Ata Kak’s ‘Obaa Sima’ cassette tape at a street stall in Cape Coast, describing the music as “left field madness”. Eight years later that tape became the stimulus for Shimkovitz to launch his famous Awesome Tapes from Africa blog. After more than a decade of searching Brian finally tracked down the singer and released the LP officially in March 2015. Since then Ata Kak has performed at some of the biggest festivals around the world. Ata Kak is presented in co-curation with Reworks festival, as part of the We are Europe network (supported by the Creative Europe programme of the European Union).

Hauschka Oscar-nominated Volker Bertelmann - aka Hauschka – will give a special live A/V show based on his latest album ‘What If’. Arranged as a one-man-piece, Hauschka explores the percussive qualities of three pianos - a grand piano and two Yamaha Disklavier player pianos. Mixed with electronic and noise elements they form the experimental playing field for Hauschka’s distinct imaginative soundscapes. ‘What If’ redefines the very notion of piano music in a dramatic and exceptional fashion and reveals itself as the work of a man hungry to explore new

sounds, eager to experiment with new approaches. Hauschka is presented in co-curation with Reworks festival, as part of the We are Europe network (supported by the Creative Europe programme of the European Union).

Laurel Halo 20

Heavy, mutilated strains of electronic music: Laurel Halo’s productions are shapeshifting messes, moody and ecstatic, with flashes of rhythmic brilliance mediated by modal simplicity. Taking influence from the techno of her Midwest roots, the Berlin-based artist has developed a unique take on electronic music, combining the machine pulse of hardware and software instruments (synthesizers, samplers, drum machines) with her own voice to address physical process, liminality, and virtual violence. Halo’s debut album ‘Quarantine’ and its successor ‘Chance of Rain’ were met with widespread critical acclaim, topping year-end lists at The Washington Post, The Wire, and other respected publications. Halo will be premiering her latest record ‘Dust’ at TodaysArt. Sote presents “Sacred Horror in Design” with visuals by Tarik Barri, featuring Behrouz Pashaei and Arash Bolouri Tehran-based electronic music composer Ata ‘Sote’ Ebtekar will present the Dutch première of ‘Sacred Horror in Design’, a collaboration with musicians Arash Bolouri (santoor) and Behrouz Pashaei (setar). As the opening concert of the festival, Sote’s performance sets

Ata Kak

Hatsune Miku 21

Laurel Halo Hauscka

out to conjure a “Persian techno apocalypse” where electronics merge with traditional Persian acoustic instruments and melt together with a stunning A/V show by acclaimed visual artist Tarik Barri, who also worked for Thom Yorke, Monolake and Nicolas Jaar.

Dissense by Chris Salter + TeZ

Dissense is a live performance for a solo performer and 50 audience members. The work revisits composer Alvin Lucier’s groundbreaking 1965 composition Music For Solo Performer in which Lucier, equipped with an early EEG ‘Still be Here’ device, activated a series of percussion with Hatsune Miku instruments using his brain’s Alpha waves. Dissense expands and updates ‘Still be Here’ looks at the multiple constructed identities of vocal synthesiser Lucier’s work by exploring the transferring of sensations from performer turned cyber-celebrity Hatsune Miku, to audience. Equipped with a range a ‘performing’ 3D hologram projecof body-based sensors (heartrate, tion. Since her 2007 launch in Japan, Hatsune Miku became the ultimate pop respiration, EEG, electrical signals from the muscles), the Korean trained dancer star, a globally adored and collaboraand performance artist Miri Lee untively constructed cyber celebrity with leashes a minimal composition of sound a growing user community, countless and light from her physiological signals stadium performances as a 3D hologram projection and more than 100.000 by way of extreme micro-movements – almost unnoticeable gestures and songs released worldwide. After the actions which, over time, grow larger debut of ‘Still be Here’ last year at CTM festival, it is now coming to TodaysArt for and more intense. As the performance develops, the performer’s body signals its Dutch première. not only influence the visual and acousFollowing an idea initiated and concep- tic environment but are also transferred directly onto the bodies of the audience. tualised by artist Mari Matsutoya, ‘Still The performer and audience thus Be Here’ is collectively created with music producer Laurel Halo, award-win- become the test subject of a new kind of collective experiment in sensation at a ning choreographer and visual artist distance. Darren Johnston/Array, virtual artist LaTurbo Avedon and produced by digital artist Martin Sulzer. Note: E ach performance is limited to 50 people.

Dissense is supported by the Fonds de recherche du Québec - Société et culture (FRQSC), Speculative Life Cluster/Milieux Institute for Arts, Culture and Technology @ Concordia University, Montréal.

Please keep in mind that this is a special performance authorised by Crypton Future Media, however it is not an official Hatsune Miku show.

Julien Desprez Julien Desprez is a musician and performer based in Paris. Jazz and rock were his early musical loves, but they rapidly evolved to free forms where body and space find their places through sound. Oscillating between sound art, performance and contemporary improvisational music, his work today is centred around the body, space, sight and light, with sound always remaining at the centre of his work. Taking inspiration from the techniques of tap dance, Julien plays various instruments and uses effect pedals, completely opening up the possibilities of sound and the physical environment of his instruments.

ity of sound and the elusive physicality of water, the droplets’ ever-changing dynamics comprise a live, immersive performance. From Schönberg to Monk by New European Ensemble + DEFRAME The New European Ensemble and visual artists from the collective DEFRAME bring the musical world of world famous artist Piet Mondriaan to life.

In the Netherlands, 2017 was announced as the year of ‘De Stijl’, titled: ‘From Mondrian to Dutch Design’. One hundred years ago, Theo van Doesburg founded ‘De Stijl’ in the city of Leiden. A Julien is also a co-founder of the Collec- new art movement was born, which was tif Coax, a music cooperative based in to influence modern art worldwide. DurParis and created in 2008, which was ing the roaring 20s, Mondriaan, a painter recently labelled “Compagnie Nationand key-figure of ‘De Stijl’ movement, ale” by the French Ministry of Culture listened to Stravinsky and Satie while and Communication. living in Paris. Later, in the 1940s, he came to New York and was confronted Force Field with the dazzling bebop from Theloniby Evelina Domnitch + Dmitry Gelfand ous Monk, further stirring his ideas on music. This year, in a performance at TodaysArt, the New European EnsemWorking at the interface of art and ble and DEFRAME will bring his musical science for over a decade, Amsterdam-based Evelina Domnitch + Dmitry world to life. Gelfand have developed their newest project, Force Field, together with Sven-Åke Johansson computational artist Paul Prudence and acoustic physicist Alexander Miltsen. Sven-Åke Johansson is a Swedish composer and musician, poet and visual Force Field uses acoustic levitation to artist, writer and initiator of several music suspend water droplets that resonate and performance art productions. He and transform from spheroids into osis a major stylistic forerunner within cillating polygons as the sonic pressure improvisational music. In the 1960s, he increases. Unveiling the 3-dimensional- developed a European form of free jazz.

He often collaborates with visual and performing artists worldwide. At TodaysArt, Johansson is performing solo, with a live performance piece for cardboard packaging, involving three boxes made of corrugated cardboard, a chair and two bass bows.

Quantum Music with LP Duo ‘Quantum Music’ aims to explore the connection between music and quantum physics through the creation of a new art & science experiment that results in a live performance. The project, initiated by pianists Sonja Loncar and Andrija Pavlovic of LP Duo, a group of scientists, and engineers, presents quantum physics and the quantum world to a wider audience and contributes to the creation of a new musical and scientific genre, Quantum Music.

Santa Melodica Orchestra by Andreas Trobollowitsch Andreas Trobollowitsch is a Vienna-based composer, performer, and sound- and installation artist. Trobollowitsch recently has been focusing primarily on the creation of inventive sound performances, sound installations, conceptual compositions and drawing installations.

shifts in speed, turning the performers into a continually transforming kinetic organism. Serge & Mondriaan by Thomas Ankersmit Musician and composer Thomas Ankersmit returns to TodaysArt with the world première of “Serge & Mondriaan”. Since 2006 Ankersmit’s main instrument, both live and in the studio, has been the Serge Modular synthesizer. With this specially commissioned project, Ankersmit explores the visionary but little-known musical ideas of Dutch modernist painter Piet Mondriaan. As far back as the early 1920s, Mondriaan imagined radical, abstract, electrically produced music of pure frequency and noise: “tone” and “non-tone”. Ankersmit realises these ideas in an electronic composition of his own, using an original 1970s Serge Modular from the collection of Gemeentemuseum Den Haag - an instrument inspired by Mondriaan’s work.

Acoustic phenomena such as sound reflections, infrasonic vibration, otoacoustic emissions, and highly directional projections of sound play a central role in Ankersmit‘s work. His music is also characterised by a deliberate misuse of the equipment, using feedback and disruptions to the signal, and the extremes of frequency and dynamics, to create The ‘Santa Melodica Orchestra’ is a visceral but finely detailed swarms sound performance for twenty-five performers, melodicas, cable tubes and of sound. Ankersmit has performed balloons. While playing, each performer throughout Europe, North and South America, the Middle East, and Asia. swings their instrument at a certain speed. Together they create an arpeggio effect, that constantly changes due

CLUB? CLUB... CLUB! CLUB? CLUB... CLUB!

TodaysArt

Friday 22 September Christian Löffler Elektrovolt Fausto Bahia (NAAFI) Jasmín Lao (NAAFI) Laurel Halo NSDOS Omaar (NAAFI) DJ Panic SKY H1 Tammo Hesselink Torus Toxe Tutu Yon Eta + Sphynx

Saturday 23 September Aleksi Perälä Boska Charlotte Bendiks Clap! Clap! Elektrovolt Richard Devine Ison Ja Ja Ja Nee Nee Nee Inga Mauer Legowelt Marie Davidson Ron Morelli N.M.O. Olivia Serge Tomasa del Real Tutu Yodashe 751

Aleksi Perälä

to African groove and Latin beats. Widely known for creating euphoric, hot “You know that feeling and sweaty dance floors, when you hear a really Bendiks transforms her amazing song and your DJ sets into ‘happenings’ hairs go up on your body?” This is how Finn- that combine live vocals, ish artist Aleksi Perälä, in a percussion, and other recent Resident Advisor musicians. interview, describes the novel tuning system Winning over the crowd Colundi that fostered his with her energetic techno creativity to create his set last year, Charlotte subtle techno sets, full of Bendiks returns to Touncanny melodies and daysArt with a new set in hypnotic sounds. Born in collaboration with NorweFinland in 1976, Perälä has gian producer Boska. been an independent pro- Boska started producing ducer and an electronic UK influenced house music composer for over during his music studies in 20 years, self-releasing Tromsø, quickly becoman enormous amount of ing a household name in music, mostly under a the city’s night clubs and series of pseudonyms. progressing to a series of releases on major labels. Aleksi Perälä is presented in His music channels ghetco-curation with Reworks festival, as to house, ballroom, and part of the We are Europe network (supported by the Creative Europe grime, but with techno programme of the European Union). foundations. Boska + Charlotte Bendiks

Growing up in Tromsø, the techno capital of Norway, Charlotte Bendiks became interested in electronic music at a young age. Although her main genre is classic house, her sets are inspired and influenced by music ranging from disco

sounds. Löffler uses various field recordings taken from the surroundings of his atelier, a log cabin in the jungle-like Darss peninsula. Mixing the sounds of tapping, singing, playing, and footsteps, as well as percussive elements such as bottles, sticks or a set of keys, into his live set, Löffler creates a melancholic mélange of sounds. Löffler is presented in co-curation with Reworks festival, as part of the We are Europe network (supported by the Creative Europe programme of the European Union).

Clap! Clap!

Clap! Clap! is longtime Jazz player Cristiano Crisci, also known in electronic circles as Digi ‘Alessio. With cross-genre accolades and support Christian Löffler spanning the globe he is one of Italy’s brightest talCelebrated German ents. Clap! Clap!’s global producer Christian Löffler rhythms owe as much is known for his highly debt to the Inuit tribes emotive sound, using of Alaska as they do the deep house as a stylistic Staccato footwork of Chiframework. While his cago and West African self-released debut ‘A percussion. Crisci’s music Forest’ was heavily sam- features traditional Italian ple-based, his second folk rhythms and meloalbum, ‘Mare’, includes dies mixed with a global mostly self-recorded harvest of found-sounds

smashed through an electronic beat machine.

club night with an experimental live set. Elektrovolt

all Interest’), running the Mexican record label alongside Mexican Jihad, and RBMA 2014 alumni Richard Devine Lao. Needing a Mexican Richard Devine is an Elektrovolt is the electron- outlet for their favourite dance sub-genres, the Atlanta-based electronic ic alter ego of Jimi Hellartist and accomplished inga, from The Hague, the group of friends came together in celebration of sound designer, special- Netherlands. At an early Ritmos Perificos, a term izing in musical compoage, Jimi took viola lesand short-hand manifesto sition, sonic mnemonics, sons, but making noises that translates literally to field recording, sound and experimenting with effects and sound design sounds and other instru- ‘outsider rhythms’. Since for film, web media, ments was what he really throwing their first party VR and video games. wanted to do. After buying in 2010, the NAAFI team garnered a considerable Devine’s music moves like his first synthesizer, his reputation in Mexico and a slightly unhinged force, first tracks appeared. beyond, establishing a in rapid clicks and metallic Recorded live without thrums or alien funk, with sequencers, these were community to celebrate scattering beats. Conalso his first performanc- outsider music. stantly reconfiguring his es. Influenced by Logic Inga Mauer own hardware systems, System, Kraftwerk, the Devine creates music by Hague’s electronic scene processing layer after Coming from St. Petersand medieval music, his layer of sounds derived burg, Russia, where she music can be described from abstract electronic as melodic, electro, drone, is a resident DJ in the rhythms, field recordings, and techno. Elektrovolt famous club Stackenand electronic tracks. collaborated with Legow- schneider, Inga Mauer is now gaining attention in elt (Nacho Patrol, Zandvoort & Uilenbal), Tjebbe Europe. Growing up in a In his latest premiere remote village in the heart van der Kooij (Black of his “Disturbances” of Russia, Inga listened patch, which is a custom Helikopters), Trapper Drone Orchestra and, as intensely to early Bunker built modular system a medieval musician, with Records, Cybernetic for organic on-the-fly Broadcasting System Carole et Brullare. songwriting/music gen(now intergalactic.fm), eration, Devine goes from Trax, and UR recordabstract ambient compo- Fausto Bahia (NAAFI) ings which have set the sitions to rhythmic bomscene for her seductive bardments, ready to take Tomás Davó, aka Faussound: a mix of blistering listeners into uncharted to Bahia, is one of the atmospheres and dark sonic territories. At Tofounders of NAAFI emotions, flirting with a daysArt, Richard Devine (Afrikaner acronym for wide range of genres like opens the CLONE 25Y ‘No Ambition and Fuck-

Industrial Techno, EBM, New Wave and Disco.

Ison

Ison, means equal in the Greek language. Devoted to the underground scene for more than one and a half decades, Ison is regarded as one of the most influential faces in the Greek contemporary electronic music scene today. Founding member of the NON collective, music designer of Reworks Festival, radio host, and involved in various other events, Ison is also a key DJ selector, constantly bringing his electronic eclecticism back home.

Ison is presented in co-curation with Reworks festival, as part of the We are Europe network (supported by the Creative Europe programme of the European Union).

Ja Ja Ja Nee Nee Nee Ja Ja Ja Nee Nee Nee is a radio collective run by artists, curators, musicians and DJs. They broadcast and produce talk shows, discussions and lectures at art institutes and events. Ja Ja Ja Nee Nee Nee is also an online space for audible works of art and sonic residues of artistic

research, installations and performances. At the centre of TodaysArt, they will present a three hour broadcast, that explores the underlying themes of the festival and unveils a different side of the artists present. Presented by Femke Dekker & Radna Rumping.

reinventing the traditional Latin American sound. In addition to being a producer and DJ, Lao is also a vital facilitator in Mexico City’s club nights and operates two labels, NAAFI and Extasis. He took part in the Red Bull Music Academy Tokyo in 2014.

Jasmín

Laurel Halo

After her DJ debut last year, Jasmín has quickly made a name for herself in both the East and the West side of the Netherlands. She hosts her own radio show on Stranded FM, and recently made her Red Light Radio debut as a guest for Deep Sea Discotheque. As part of Enschede’s Pikzwart crew, her sounds first met the dance floors of Enschede, but have since then made their way to Utrecht, Amsterdam, and now The Hague, with an experimental and emotive set.

Lao (NAAFI) Lao, aka Lauro Robles, is part of the NAAFI collective, which has spent the last few years taking over the underground club scene of Mexico City,

Halo’s debut album ‘Quarantine’ and its successor ‘Chance of Rain’ were met with widespread critical acclaim, topping year-end lists at The Washington Post, The Wire, and other

Olivia 33

Tomasa del Real Aleksi Perälä

Ison 33

Marie Davidson

Christian Lรถffler 34

Boska Legowelt

respected publications. Halo will be premiering her latest record ‘Dust’ at TodaysArt.

Legowelt

Techno veteran Danny Wolfers, aka Legowelt, has a vast musical output that spans many different worlds – some real, some imagined - and does so in a unique and captivating fashion that keeps listeners enthralled. Always fascinated by old and battered noise-making machines, his dizzying output veers from techno to freaky deep house via old school acid, whizzing electro and deep electronic sounds.

Marie Davidson

Montreal’s Marie Davidson has emerged as one of the foremost electronic artists working in contemporary pop today. As a long-time member of Essaie pas and DKMD, Davidson has had the opportunity to hone her many talents. In 2012 she began to unveil compositions under her own name, creating music that is embodied through a host of synthesizers, sequencers and drum ma-

chines which coalesce in synchronized harmony, punctuated by vocals, half sung, half spoken in both French and English.

and inventive forms of sound ‘spatialisation’. The duo behind N.M.O., North Sea drummer Morten J. Olsen and Mediterranean synthesis aficionado Her live sets are energetic Rubén Patiño, create a unique blend of repetitive and built for dancing, percussive patterns and as audiences become synthetic sounds that, immersed in hypnotic rhythms, absorbed by the combined with performative aspects, explode durtightly sequenced bass lines and engaged by her ing their live shows. N.M.O. attempts to question vocals. standardized formats of electronic music and aims Ron Morelli to break down the pattern of passive listening. DJ and producer Ron Morelli started the NSDOS highly respected record label L.I.E.S. in 2010 as After studying dance, an outlet to release the music rising from the New Kirikoo Des aka NSDOS, felt the need to create York City underground his own sound in order to scene. What started as explore movement. This is a small project evolved how he started imagining to now include releases from artists as diverse as a whole new sonic order, techno pioneer Adam-X, an alternative approach to music through abDutch synth master straction. NSDOS cannot Legowelt, Black Dice’s Eric Copeland, Sandwell limit himself to existing technological tools and Districts Silent Servant, software; he prefers creand Miami native Greg ating his own mediums. Beato, to name a few. He creates instruments from old audio converters N.M.O. (carte son), Gameboy emulators, and various N.M.O. is a rolling compieces of metal dismanputerized ceremonial aerobics unit operating in tled and welded together, a hybrid territory between giving form to surreal club music, performance machines. NSDOS

explodes traditional textures, mutilating sounds and bringing them back to their essence. A huge admirer of the Dada and Lettrism movements, NSDOS can be considered as the offspring of DIY culture.

plicity of electro and the warmth of house, her sets shine with originality and a strong belief in the sound she delivers. The infinity of space, the unfulfilled promises of robot designs and the unexplained mysteries of paranormal phenomena all inform Olivia’s approach to sound and her search for music.

seems to appear everywhere in contemporary pop culture. Going back to its roots, TodaysArt is very excited to announce gabber legend DJ Panic to close its Friday club night.

DJ Panic, born as Dennis Copier in 1975, was barely 16 when he performed at a dance-party for the Omaar (NAAFI) first time. Soon after that, the Forze DJ Team was Omar Suárez, aka Omaar, founded, consisting of DJ Paul Elstak, DJ Lars and is one of the members DJ Panic. Together they of NAAFI, a collective made a name with their and label in Mexico City instant hit “May the Forze that uses club music to be with you”. In the years explore Latin American following their hit release, identity. Omaar digs underneath the heavy bass DJ Panic toured all over Europe, the United States of club-centric tracks and Japan together with to latch onto rhythmic details and make them his Paul Elstak and Lars, own, reshaping beats and becoming the gabber legend he is today. Olivia vocal samples to guide his heady atmospheric viOlivia has been a key play- sions for a juke-footwork Serge er in the Polish electronic techno. music scene for 12 years, So good he is known only both solo and performing DJ Panic by his first name, Serge as Chrono Bross, with her is the man responsible brother Kinzo Chrome. for large swathes of the In recent years the Her reputation has stead- gabber genre, emerging best electronic music out ily risen over the years there, thanks to his Clone in the 90s in Rotterdam, thanks to her idiosynempire. With a store in has again gained worldcratic track selection and wide attention, inspiring Rotterdam as well as a excellent technical skills. various artists and brands. whole network of labels, Through raw and dark From Dior advertorials to he scouts everything techno, liquid acid, deep Lorenzo Senni’s inspired from classic house to cosmic reaches, the sim- compositions, gabber banging basement tracks In his latest album, Intuition, he was inspired by meteorological stations. Using the principles of «bio feedback», NSDOS surveyed the movements of nature and turned them into data before translating them into sounds, textures and rhythms. His alternative vision and the way he reinterprets technological tools have made him one of the most important techno hackers of his generation.

to seminal electro from the most respected names in the scene.

Tomasa del Real

“It’s a movement, a new way to listen to reggaeSerge’s ongoing contritón.” Tomasa del Real is bution to the worlds of revamping reggaetón house, Italo disco, electro with futuristic vibes, and techno with Clone softening the genre’s over the last 25 years is machismo dynamics with remarkable. His unques- her open displays of emotionably keen ear has altional vulnerability. Del ways kept Clone ahead of Real’s sensual lyrics are the curve, and the records filled with self-affirming Serge picks out to deploy testaments of pleasure, his trend-defying DJ sets celebrating women’s sexstand out, regardless of uality in a genre dominatgenre or style. ed by men. Reggaetón’s got a new queen. SKY H1 Torus SKY H1 is one of the most exciting new voices in the Torus is the ever-evolving electronic music scene. musical alter ego of The With an ear for detail, Hague-born artist and the Belgian producer producer Joeri Woudstra. blends cloudy melodies, The young producer and vocal samples, dark synth RBMA Tokyo graduate clouds and sparse drums, has gradually refined his creating dreamlike, expansive sonic aesintoxicating productions. thetic with each subInspired by a wide range sequent release. Torus of genres from grime to recently returned from ambient, SKY H1’s music Dokumenta 14 where he is both brutal and sublime, presented an immersive melancholic and cheerful. audiovisual installation in She debuted in 2015 on collaboration with PAN’s Berlin label Creamcake Malibu, showing his and released her recent un-going attempt to blur EP ‘Motion’ on CODES the boundaries between (an imprint of Bill Kouligas sound and image. As a DJ and Visionist’s label PAN) his selection ranges from in 2016. Mariah Carey acapella to obscure club tools and

ethereal trance drops, deconstructing pop-culture and providing new perspectives through his music.

Toxe 37

Toxe is a Swedish musician crafting some of the most stomach-churning music productions, innovative drum patterns and lovelorn melodies in the scene, and somehow she always finds a way to make it sound all her own. Her debut EP ‘Muscle Memory’ was released in October 2015, containing boulder-heavy rhythms clashing against intricate details, and painting a very human and emotional picture with a very distinctive sound. Since then, her style has constantly evolved, as evident in her latest project ‘Morning Story’, an audio-visual production in collaboration with artist Niclas Hille. Last year, Toxe was tipped as a producer to watch by the likes of Noisey, FADER and Dazed, further cementing the quality of her work.

Tutu

Gemma Planell has performed under the Tutu

pseudonym for a number of years, always displaying exquisite taste and versatility in her DJ sets. Preferring to remain out of the spotlight and away from media attention, she has, step by step, forged a personal style heard in clubs and festivals, with online recordings of sets and sessions created for the radio and magazines that demonstrate her unique talents. The Catalan DJ has the innate ability to mix deep house, cosmic disco, introspective electronica, electro dance, garage, techno, breaks, bass music and future beats.

take on classical music. Having opened for Primal Scream and Bloc Party, she also has a mean indie streak, which is revealed in her live performances. Yodashe combines the experimental with the classical: she’s a multi-faceted vocalist who’s been playing piano since the age of five, but has also previously recorded the sound of sugar being ground by a metal spoon.

es, and the ‘Bar None presents’ club series in Amsterdam where he explores the past, present and future of club culture. He is based in the Hague, and has showcased his work at Sonic Acts Festival, FOAM and EYE Film Institute,

Sphynx is installation artist and UX designer Enrique Arce Gutierrez, originally from Mexico. This Utrecht based visual Yodashe is presented in co-curation artist’ work revolves with Reworks festival, as part of the around the exploration We are Europe network (supported by the Creative Europe programme of technology and its of the European Union). creative incorporation within art and design. His works display the desire Yon Eta + Sphynx to create autonomous and embodied artworks Yodashe In a one-off show for that distance themselves TodaysArt 2017, Dutch from the author as the Yodashe’s artfully artist Yon Eta and Mexioperator. He is fascinated mind-bending pop is can artist Sphynx presby computer vision and situated somewhere ent a hybrid A/V show between classical music, exploring contemporary microbiology and is the indie rock and electronimashup culture. Inspired founder of algo-clothing brand Aegis IO and part ca. Obsessed chorister, by social media infraclassical pianist and a structure and today’s fast of Mexican label Sonido lover of ‘Medúlla’-era content creation, they are Inconciente. Björk, Yodashe cuts her consciously reinterpretown shapes out of the ing meaning by playing world and samples them with source versus the in her haunting alternative context of online content. pop acapellas. Yon Eta is a multilingual Like an Athenian Arthur artist who runs the DERussell, Yodashe uses VORM imprint, a hybrid cityscapes and landcommunity challenging scapes to inform her the form of A/V releas-

THE GAG REFLEX AND OTHER REACTIONS TOWARDS COMPLEXITY

Exhibition

Friday 22 September Saturday 23 September Theater aan het Spui Sponsored by Filmhuis Den Haag Bogomir Doringer (Saturday only) Dan Walwin DISNOVATION.ORG Ragnar Kjartansson & The National (Friday only) Technoflesh (Simone C. Niquille)

Koninklijke Schouwburg Collective Works + DEFRAME Evelina Rajca Ingrid Eel + Natela Lemondzhava Jaakko Pallasvuo + MSL Jacob Tonski Jonas Lund Josefin Arnell PWR Takeshi Ikeda Wifibles Rebekka Fries

Outdoor Aram Bartholl (Friday only)

The gag reflex and other reactions towards complexity

The starting point for selecting the art works was the often incomprehensible and opaque nature of algorithmic systems. The algorithm – which has major consequences for everyday reality due to how embedded it is in our economic, governmental, and cultural systems – ensures, for one thing, that our newsfeeds define our daily reality, constantly reflecting back our own ‘echo chambers’. Contemporary technologies often seem ‘occult’ or ‘magical’ because of our inability to fully understand them. The various levels of machine learning, from basic algorithmic systems to deep learning and neural networks, work with data input and a desired outcome. While we know what goes in and we can see what comes out, no programmer or computer scientist can fully know the exact processes the machine undergoes to arrive at its output. As Kevin Kelly, founder of Wired Magazine, metaphorically put it: Water comes down from a mountain, but you can never really know the route it is taking.

Kelly goes on to claim that what technology wants is the same as what life wants, what life is moving towards and has a bias towards: an ever increasing complexity. As different systems, data sets, formats, and forms move and shift between one another and in relation to external elements, systems, and users, we will (have to) get used to the complexity of the technological ecosystems that

we inhabit. Within the uncertainty and unknowing that surrounds algorithmic complexity, we have to search for ways to influence the infrastructure, context and politics around them. For this edition, TodaysArt commissioned works from Jonas Lund, PWR, Dan Walwin, Ingrid Eel / Natela Lemondzhava and Technoflesh (Simone C. Niquille). DISNOVATION.ORG made a new version of their Predictive Art Bot especially for TodaysArt. Next to these artists we exhibit works by Ragnar Kjartansson and The National, Bogomir Doringer, Evelina Rajca, Aram Bartholl, Josefin Arnell and Takeshi Ikeda. The Wifibles, a wearable router project by Ibo Ibelings, Jelle Reith and Hanneke Klaver, host material being harvested by Peter Zuiderwijk for www.todays.art, while some wearables host a video by Rebekka Fries or Aram Bartholl. The diverse works that are on display at the Koninklijke Schouwburg, Theater aan het Spui and Filmhuis relate to complexity and question different kinds of systems, mechanisms and formations. Artists respond to the theme of the festival in different ways, taking absurd approaches, questioning in a critical manner, and observing in both serious and humorous ways. Through the work that we present, we seek contradictions and chaos in order to construct a complex reality that deepens the contrasts between location, time, content, creators, and audience. The artist Jonas Lund, for instance, likes to outsmart systems by twisting the perception of how things are meant to operate. In doing this, he questions feedback

systems, power structures and our emotional response, using code, video and painting.

With their ‘Predictive Art Bot’, DISNOVATION.ORG responds to the prediction and identification of trends in engineering and marketing. A combination of ‘hot topic’ keywords and ideas for radical artistic actions generates a range of artistic concepts. By integrating marketing methods in this absurd way, the duo engages with the question of how art, experiments and exceptions can become part of algorithmic logic. The video ‘Gag Reflex, I wanna puke in heaven’ by Josefin Arnell is something entirely ‘different’: it features three teenagers dwindling in endorphin filled laughter and fountains of puke. Even though it is a video about nothing specifically technological, the connection can be made to puking as an algorithmic system, where the obsession of mastering the body’s gag reflex are taken over by an unstoppable automatic response. In the video ‘Pandæmonium’ by PWR, the artists suggest a state wherein “everything is an interface of something else.” ‘Pandæmonium’ is a logistical nightmare, a pan-computational dream sequence. The work shows a future in which digital networking has merged with fundamental reality, blurring the boundaries between who is producing and who is consuming, between what is valuable and what is useless. Many of the works circle around ideas of confusion, control and chaos within human or technological systems.

In the Filmhuis, these themes are apparent in the work of Technoflesh (Simone C. Niquille), who questions the power of decontextualised images and raw data used in forensic investigations by looking at motion capture technology. In both the long documentation pieces by Bogomor Doringer and Ragnar Kjartansson, technology is used predominantly as a recording device and not as the subject of the work. The essence here is in studying the material to see where things might shape-shift within these long durational processes, which seem to be very repetitive from the start. The longer you look at what appears to be a clear concept, the more you start embracing the complexity and richness of it.

Bogomir Doringer

Dan Walwin 48

DISNOVATION.ORG Predictive Art Bot V3.0

Technoflesh (Simone C. Niquille) - The Stranger

Dan Walwin Show called spies

DISNOVATION.ORG is a working group based in Paris, initiated by Nicolas Maigret and Maria Roszkowska. At the crossroads of contemporary art, research and hacking, the collective develops situations of disturbance, speculation, and debate, challenging the ideology of innovation and stimulating the emergence of alternative narratives. They recently edited The Pirate Book, an anthology on media piracy.

Simone C. Niquille is a Swiss designer and researcher living in the Netherlands. Her studio Technoflesh investigates the representation of identity without a body, the digitisation of biomass and the increasingly omnipresent optic gaze of everyday objects.

Walwin designs situations that have a certain opaque nature. His works can be thought of as speculative fictions vacant of a linear narrative, inhabited by humans or objects. Many times his exhibitions consisted of videos embedded within display structures that borrowed the aesthetics of industrial and technical settings.

‘The Stranger’ is a commissioned installation on motion capture technology’s application in forensic investigation. Motion capture technology can record a person’s The ‘Predictive Art Bot’ by DISNOVATION.ORG movement, via a set of coordinates into multiple responds to the predicdata points mirroring tion and identification of the corporeal joints and trends, as used in engispine. This recording neering and marketing. can be used to create a Using algorithms, the bot identifies meaningful 3D animated figure with corresponding joints, hot-topic keywords and be it fictional, fantastical combines them with or humanoid. However, ideas for radical artistic actions, generating a wide motion capture recordrange of artistic concepts. ings completely disregard By integrating marketing the surrounding environment, only capturing raw methods in this absurd way, the duo critically en- movement data. With ‘The Stranger’ Simone gages with the question C. Niquille questions the of how art, experiments power of the decontexand exceptions can become part of algorithmic tualised image and raw data. logic.

Walwin presents a new work commissioned by TodaysArt, titled ‘Show called spies’. Focused on a composed setting, its actors and their interactions, Walwin emphasizes ways of observing and being observed. Bogomir Doringer Selected Material I Dance Alone (Saturday only)

dance notations, ‘I Dance Alone’ endeavours to give us a new understanding and imagery of collectivism versus individualism in contemporary society. Can we understand clubbing as a living system, regulating and stabilizing the state and function of the collective and the individual in regard to a changing society?

artist himself is sometimes visible as the roadie bringing water and food to the musicians. Multiple camera angles show that with every repetition the crowd and the band are feeding off each other’s energy. Kjartansson’s performances often bring friction between pathos and humour; a melancholia of longing and loss.

A presentation of selected documentation from the project will be screened on September 23rd.

Evelina Rajca

Evelina Rajca, currently a resident at the Rijksakademie in Amsterdam, presents her site-reRagnar Kjartansson & sponsive ‘instruments’ at The National TodaysArt. This sound A lot of Sorrow installation is based on (Friday only) piezoelectric properties. One of the core materials, In ‘A lot of Sorrow’ the Ice- a partly self-cultivated landic artist Ragnar Kjar- quartz mineral, generates tansson, known for his a small amount of elec‘durational performances’, tricity through pressure. A collaborated with the wooden drumstick, with band The National. For a piezoelectric sensor this project, the band inside, is striking the glass played their song ‘Sorrow’ bells while they rotate repeatedly for 6 hours at around their own axes. MoMA PS1. This was not There is a small electrimeant to be an endurcal charge produced ance test, but “a study in which is monitored and the evolving emotional processed within the tenor of a work stretched algorithmic composition, to its limits”. As the hours modulating the instrupass the musicians subtly ments’ frequencies. alter the song, adding Countering this force layers to its meaning. The to stay in balance, the

resonating instruments are turning into self-regulating devices. The glass shapes can be tuned to specific tones, as with bells or singing bowls. In her recent process based work Rajca questions if the “best” ecology is reasonably the one that keeps on operating under high pressure. Ingrid Eel + Natela Lemondzhava Ingrid Eel is an artist, composer, and performer interested in failure, hybridity, and collective listening. Natela Lemondzhava works in interdisciplinary contexts, between visual art, performance, sound and philosophy, using her skills to investigate the audience’s physical and mental condition. For TodaysArt, they will be working with graphic designer Manus Nijhoff to create a new installation: ‘www.wwwebshop. online’, a tool to navigate the extensive complexity of the digital market. What services or products do you really need to buy today? This interface is a collage of internet transactions and frustrations, ranging from increasingly illegible captchas, invasive

Ingrid Eel + Natela Lemondzhava

Ragnar Kjartansson & The National Jacob Tonski

Jonas Lund PWR

questions, never-ending identity verification methods, to uninterpretable terms and conditions. The wwwebshop’s main currencies are time, choice, privacy and patience, capturing hyper-capitalism in all its absurdity. Jaakko Pallasvuo + MSL Bridge Over Troubled Water It’s 1967, 2015, 2515, 10000 AD. Simon and Garfunkel are travelling through time. Seeking an answer to their growing sadness and anxiety, brought on in part by the slowly overwhelming presence of climate change, they head to the coast, are incarcerated, visit the botanical garden in Turku, and watch Jake Gyllenhaal in Deep Impact in a darkened room. ‘Bridge Over Troubled Water’ is a video that is part of an ongoing collaborative project between the performance collective MSL (Antti Jussila and Jari Kallio) and artist Jaakko Pallasvuo. By using the music duo Paul Simon and Art Garfunkel as protagonists they look into our increasingly precarious contemporary

existence. Past, present and future landscapes are shown, as well as personal and ecological loss.

Jonas Lund Happy or Not

Jonas Lund engages with a variety of technologies, such as big data, machine Jacob Tonski learning and algorithms Balance From Within to explore and subvert networked systems of power, with a special inBalance is delicate, and terest in how the contemsometimes we fall down. porary art world evaluates and mediates value. In Artist Jacob Tonski, his works he effortlessly currently an Associate combines programming Professor in the Art with painting, sculpand Technology Studture and photography, ies Department at the School of the Art Institute amongst others. Using different media, he develof Chicago, tries to blur ops tactics and strategies the separation between for outsmarting systems feeling and thought by by twisting the perception presenting everyday objects and situations in a of how things are meant to operate. different context. ‘Balance From Within’ is a 170-year old sofa that balances on one leg, supported by a robotic mechanism. Continuously teetering, the sofa responds internally to external forces from the environment. This surrealistic work by Tonski explores the possibilities and impossibilities of seemingly invisible new technologies, tested against the forces of nature.

With a series of wall pieces, the artist invites the viewer to leave emotional feedback on their exhibition experience. In addition, Jonas stages an opposing dialogue within a video installation about feedback systems, power structures and happiness.

Josefin Arnell Gag Reflex, I wanna puke in heaven The Swedish artist Josefin Arnell, who recently finished her residency program at the Rijksakademie van beeldende kunsten in Amsterdam, works with extended video, mixed media installations, poetry and performance. Together with amateur actors, she creates unrehearsed film scenes and uses humour as a device to discuss notions of the body, health industry and sexual politics. Her fictional and semi-fictional works combine elements and structures from disaster documentaries, advertising campaigns, theatre, porn and soap operas. The video work ‘Gag Reflex, I wanna puke in heaven’ features three teenagers dwindling in endorphin filled laughter and fountains of puke. It shows puking as an algorithmic system, where the obsession of controlling the body’s gag reflex is taken over by an unstoppable automatic response.

PWR Pandæmonium

“the music is too boring to concentrate on and the music seems very PWR investigates current individualistic and distant”. He took this as a starting and future communication systems, combining point for his recorded performance called ‘Fuck practical research with speculative design. They Everything’ (2017). work at the intersection At TodaysArt you can between technology, also see the video ‘666 design and art. or more malignant songs Everything is an interface which should be forgotten immediately after they’re of something else. Pandæmonium is a logistical played’, a hilarious take nightmare, a ‘pan-compu- on hardcore punk music, tational’ dream sequence. which revolves around The work shows a future the sound of biting into tomatoes. in which digital networking has merged with fundamental reality, blurring Aram Bartholl the boundaries between (Friday only) who is producing and who is consuming, Aram Bartholl is rebetween what is valuable nowned for his works on and what is useless. internet culture and reality. ‘Greenscreen’ is a perTakeshi Ikeda formance-intervention in public space. Random Takeshi Ikeda draws inspi- passers-by are ‘caught’ in ration from experimental a portable green screen, music and hardcore punk unknowingly becoming rock. Ikeda finds the two actors of an imaginary genres very structured movie set. Bartholl aims and monotonous, boring to show us current even. He actually calls alternative realities that them “Boredom Music”. we are simultaneously a Ikeda explores new ways part of. The green-screen of making ‘boring’ combackground represents positions, since Ikeda unlimited layers of augconsiders it a significant mentation in a post-media quality of music, and life. everyday life. The artist considers that

Sponsored by #givitatitle The “#givitatitle” is a multidisciplinary installation made by students of the Royal Academy of Art in collaboration with TodaysArt, in the context of 100 years anniversary of establishing a journal called “De Stijl”. The installation consists of three transparent display panels activated by projecting a constantly fluctuating flow of information that creates a juxtaposing narrative to the keynote speaker. Materials are synchronized according to the time period in order to visualize overwhelming diversity by inclusion, not exclusion. This work is developed with the purpose of reminding people that reality is constructed and choices are predetermined, hence the illusion of freedom. With artists Chris Kore, Katsiaryna Banar, Roslana Yotova, Maja Pop-Trajkova.

Wifibles

Wifibles are wearable routers that will host

online content. During the TodaysArt festival, a number of pieces are hosted on these devices. When you’re in range of one of the Wifibles’ wifi signals, you will be able to connect to the network and a piece of video will be shown through the browser. Wifibles plays with the idea of a wifi-hotspot as a way to distribute art, and with the concept of ‘free wifi’. Wifibles is a collaberation between Ibo Ibelings, Jelle Reith (code, design, production) and Hanneke Klaver (Wifibles production). The content hosted on some Wifibles is “harvested” by Collective Works for www.todays.art, others contain material by designer Rebekka Fries and artist Aram Bartholl. ‘Did not take place’ Rebekka Fries Rebekka Fries is a designer and researcher motivated to expose disconnected worldviews of minorities in mass media.

the disconnected worldview Western society developed on the current refugee crisis. Collective Works and DEFRAME (Carolien Teunisse & Bram Snijders) Word-drawing#1 Words have meaning, only in a framework of a sentence. WordDrawing#1 looks at the meaning of words and how they transform into something new when the context is changed. Visitors of the Koninklijke Schouwburg will be bombarded with words that are all harvested from online sources. Every word, every source, every combination results in different readings and different “shades of color”. These word-streams are projected on top of the wall-painting WD #696 by Sol LeWitt and follows the instructions of this original work.

The use of instructions was a major strategy used by conceptual artists in the 20th century. Among its principal originators was Sol LeWitt, whose instructions for the With her graduation project ‘Did not take place’ wall-drawing WD #696 in the foyer of the Koninklijke Fries wants to address

Technoflesh (Simone C. Niquille)

Aram Bartholl 55

Rebekka Fries

Collective Works and DEFRAME 56

Schouwburg consisted of definitions of the geometrical outlines and buildup of color fields. The large strips of color are built up from multiple layers of ecoline ink, directly applied to the wallâ&#x20AC;&#x2122;s surface. LeWittâ&#x20AC;&#x2122;s working method of creating precise instructions to create an art piece are comparable to the code we write for computers to execute our visual designs and artworks today.

LOCATING ART SCIENCE LOCATING ART SCIENCE

Exhibition

Friday 22 September 13.00 – 22.00 Saturday 23 September 12.00 – 22.00 16.30 Lecture Eric Kluitenberg + Panel discussion with the artists

Location The Grey Space in the Middle Paviljoensgracht 20 The Hague Physical Rythm Machine / Boem BOem Philip Vermeulen: Theater aan het Spui Spui 187 2511 BN The Hague

Sunday 24 September 12.00 – 18.00

Supported by TodaysArt Stroom The Hague Creators project

Locating ArtScience

Locating ArtScience is a Todaysart Festival 2017 exhibition presented at The Grey Space in the Middle with works by Manuel Beltrรกn, Mischa Daams, Mike Rijnierse & Rob Bothof, Gabey Tjon a Tham and Philip Vermeulen, and TodaysArt resident Bat-Erdene Batchuluun (Mongolia).

The organising artists emerged as a group of ArtScience alumni from different generations. Using Locating ArtScience as a conceptual framework, a term through which media theorist Eric Kluitenberg seeks to define what the ArtScience field is, they look at their intergenerational approaches to establish and analyze the position of ArtScience in a global context. They investigate this framework through the shared subject of automation, it being a recurrent subject in their works. Automation acts as a mirror of our current society in which much of our identity is shaped and controlled by algorithms and complex digital technologies. Algorithms and automation are used by the artists to define motion, rhythms, sequences, experiences, and economic transactions. Instead of controlling these algorithms, it is sometimes the algorithms themselves which shape the works in ways the makers did not foresee. The artists take different perspectives on how we interact with algorithms, or rather, how algorithms interact with us.

Automation is not just a subject that concerns the replacement of human labor. In this exhibition the artists

use algorithms to execute tasks. They question the role and influence algorithmic structures in todayâ&#x20AC;&#x2122;s and future technology have in our lives. Do we understand the implications of our own use of these algorithms and the development of algorithms by our use? What can algorithms reveal about our existence and what new challenges will these algorithms pose to us?

The works in this exhibition shape a layered perspective on these questions. The artists will reflect further on these topics accompanied by a lecture by media art historian Eric Kluitenberg followed by a panel discussion.

Manuel Beltrán

chines. In Biological Labor, humans are hired to lay down on working stations wearing a bodysuit that transforms their Manuel Beltrán is an artist, activist, and body heat into electricity, which is then researcher. His artworks and projects have been widely presented in Europe fed into a microcomputer that produces and abroad. He researches and lectures cryptocurrency. on contemporary art, activism, contemporary social movements, post-digital Philip Vermeulen  culture and new media. As an activist, he was involved in the Indignados movePhilip Vermeulen is a young upcoming ment in Spain, the Gezi Park protests in artist from The Hague, who recently Turkey and several forms of independ- graduated at the ArtScience Interent activism and cyber-activism in Eufaculty (at the Royal Conservatory & rope and beyond. In 2012 he co-found- The Royal Academy of the Arts, in The ed the art collective Plastic Crowds and Netherlands). Vermeulen discovers since 2013 is head and co-founder of primary phenomena in all kinds of difthe nomadic school and artistic organi- ferent media, sound, light, physics, and zation Alternative Learning Tank. In 2015 nature. He plays and fights with them, he founded the Institute of Human Ob- trying to isolate the things he sees and solescence, through which he explores ‘taming’ them so that he can use them the future of labour, the socio-political for compositions. He builds setups and implications regarding our relationship immersive installations which provoke with technology and the economic and experiences that question the senses governance systems surrounding the of the viewer by transporting them to production of data. another world. Work

Work

Institute of Human Obsolescence

Physical Rhythm Machine / Boem BOem (2017)

We are being replaced by machines. What happened to horses after the invention of the steam engine, is now happening to us. Soon our manual labour will no longer be required and with the advance of artificial intelligence, intellectual labour will be performed by machines as well. The Institute of Human Obsolescence explores this scenario and tries to ask questions about how to re-position the role of humans, particularly how to cope with a labour market dominated by ma-

This work is on display at Theater aan het Spui. This installation is an immersive visceral acoustic instrument. The installation shoots balls at speeds of up to 150 km/h that smash into sound boxes. This ‘Physical Rhythm Machine’ (PRM) can perform different compositions. Vermeulen created his own funky rhythm compositions, but the machine itself can also create algorithmic non metric

Manuel Beltrรกn

Philip Vermeulen 63

Mike Rijnierse + Rob Bothof

Mike Rijnierse

Gabey Tjon a Tham Mischa Daams

‘rhythms’. PRM visualises violent compositions, while resonating the space and the bodies of the audience.

The pendulums create light, sound and movement, dancing an abstract automated ballet.

This project is made possible as part of the Summer Sessions network with V2_ Lab for the Unstable Media, with the support of the Creative Industries Fund NL

Red Horizon was created in close collaboration with software artist Marcus Graf. It is a co- production of TodaysArt (the Hague) and Museum of Transitory Art (MoTA, Ljubljana). With the kind support of Stroom Den Haag and Creative Industries Fund NL.

Gabey Tjon a Tham 65

Gabey Tjon a Tham is an installation artist who transforms spaces into sensory and immersive environments through kinetic machines, light, and sound. She observes behaviours and patterns in nature from where she extracts and assembles fundamentals. Her work explores relationships between humankind, nature, and technology. The artist develops techniques and invents mechanical sculptures that embed different materials and perform at different poetic levels, creating what she calls ‘natural-mechanical choreographies’. Her work invites us to marvel at, to contemplate, and to investigate. Work  Red Horizon (2014 - 2017)  A field of double pendulums form a plane of white particles in a three dimensional space. Each arm of the pendulum contains a white light and a small speaker that moves in an unpredictable pattern, creating both order and chaos. The emergence of complex behaviour – a phenomenon that occurs in for example a swarm of individuals, which, through simple rules, display complex intelligence as a whole – forms the starting point of this project.

Mike Rijnierse Mike Rijnierse is a Dutch artist, performer and educator working in the fields of light, sound and architecture. He is intrigued by sensory experience, whether visual, acoustic, spatial, or cross-sense and synesthesia, creating installations, performances, and public interventions, often collaborating with other disciplines. For over a decade, Rijnierse has developed a meticulous study on the interaction between light, pigment and the retina. He gave concrete form to his discoveries in installations, projections and light designs with CYMRGB, Lumokinese, and CUBE, which have been widely exhibited in Europe and abroad. His most recent installation RELIEF, based on the principle of echolocation by means of ultrasound, premiered in Novas Frequencias Festival 2016, in Rio de Janeiro.

Rob Bothof  Rob Bothof works as a software/game developer, animator, sound engineer and technical problem solver. In addition to his commercial projects Rob is an independent artist and musician. His artistic work extends the thin line between art and science in the disciplines of interaction, animation, autonomous

systems and procedural generation. Rob Bothof enjoys working together with a variety of companies, institutions, visual artists, graphic designers, architects, and musicians. Returning themes in his artistic works are chance and context. Bothof experiments with chance through computer generated randomness, experimentation, improvisation and the unpredictability that emerges from direct communication of a work with its viewers. Chance can be found both in the final shape of a project as in the way by which a project has come to life. In the search for context, aimless chance is filtered and tamed, while chance which enhances the work or has a potential for emergent behaviour is reinforced. Through context, interaction between the work and the viewer becomes a meaningful layer, a way of communicating, where involvement of the human participant is as important as the work itself.

Work

Relief (2016) by Mike Rijnierse & Rob Bothof

Relief is an installation based on the principle of echolocation by means of ultrasound. Mounted on a wall, this sculpture is not primarily designed to be gazed at, but to be listened to. The work examines the process of hearing, decomposing reflections of the space that inform orientation, emphasising the relationship between source and receiver. RELIEF is therefore not a sound sculpture, but an echo sculpture. As architect Juhani Pallasmaa wrote in ‘The Eyes of the Skin’: “Sight isolates,

whereas sound incorporates; vision is directional, sound is omni-directional. The sense of sight implies exteriority, whereas sound creates an experience of interiority. I regard an object, but sound approaches me; the eye reaches, but the ear receives. Buildings do not react to our gaze, but they do return our sound back to our ears.” Relief is realised with the kind support of TodaysArt and Stroom Den Haag

Work 66

Soundman (2017) by Mike Rijnierse Soundman is a sculpture based on sound reflection. A satellite dish polished to a mirror reflects the whispering sound of a plastic tube dancing on airflow, generating an unpredictable composition of sound and image. Soundman refers to the Soundman-cyclus (1981-1990) by Dick Raaijmakers. This work was inspired by Night Owls (1930), the first sound film by Laurel and Hardy. In this movie Laurel and Hardy are two burglars trying to enter a house. Almost all the sound that they produce in the middle of the night while trying to pass an obstacle, is explicitly followed by a ‘... shhh!...’. Particularly in their first sound film, Laurel and Hardy leave the biggest part of the twenty-minute costly soundtrack deliberately unused. A sublime interpretation of sound film.

Mischa Daams

Mischa Daams’ work consists of experiential environments, performances and

films in which simple choreographies convey complex behavioural patterns in diverse media, such as kinetic motion, moving images, light and sound. Daams approaches his works as ‘open systems’, out of which emergent characters unfold that take a life of their own and occupy space physically and virtually. His work explores and reveals patterns of control and co-dependence between the biological, physical and technological systems that surround us everyday. Work

Bat-Erdene Batchuluun Leading up to a creative partnership with Ulaanbaatar International Media Art Festival, TodaysArt has invited an upcoming media artist from Mongolia for a two-week residency prior to the festival. During this residency, BatErdene Batchuluun collaborated with local artist from The Hague, developing a new media art installation that is on display in the Grey Space in the Middle, The Hague.

Origin: Sustained (2017) 67

Origin: Sustained is Daams’ newest audio-visual expedition into the abstract, organic universe that results from a feedback loop between an LCD screen and a video camera. A machine that controls the camera creates a hypnotizing voyage of abstract patterns. This happens before the eyes of the audience, in real time. This evolutionary ‘copying process’, where one image feeds and mutates the next, demands for continuation. So in order to sustain this loop, Daams deployed a perception algorithm to look at and respond to the chaotic patterns that emerge. The machine is responsible for the unfolding and continuity of the light/life cycle, directly resulting in the film. Origin: Sustained has been realized in collaboration with Marcus Graf (cv programming) and Jim Zweerts (sound design). Origin: Sustained is commissioned by FIBER with the support of the Mondriaan Fund NL and Stroom Den Haag. The first automatic expedition ‘Origin:Cycle #1’ was realized as part of the Summer Sessions network in a co-production of Art Center Nabi and V2_ Lab for the Unstable Media, with support of the Creative Industries Fund NL.

CONNECT THE DOTS: PERFORMANCE, OBJECTS, BODIES

Exhibition

Connect the Dots: Performance, Objects, Bodies presented by iii

Friday 22 September 17.00 - 20.00

Saturday 23 September 14.00 - 17.00

on display till 7 October Thursday & Friday 17.00 - 20.00 Saturday 14.00 - 17.00 Location Quartair Toussaintkade 55 The Hague

Ludmila Rodrigues

Marit Mihklepp 70

Connect the Dots: Performance, Objects, Bodies

Sometimes it is not so clear where our bodies end and objects begin. Are we projecting life into objects or are objects allowing our bodies to express their vitality? This exhibition presents a series of works in which simple objects invite visitors to take part in playful and open-ended experiences. Visitors become part of the works. They are compositions that can be performed by anyone, much like the Fluxus text score “draw a straight line and follow it”, with the difference that the concepts here are embodied in objects rather than presented through text. As conceptual artist Robert Morris put it, “simplicity of form is not necessarily simplicity of experience”. Performance, Objects, Bodies is presented in an open laboratory format, integrated in a four week long residency, during which four artists will be working in parallel at Quartair, developing and testing new ideas. At the end of each week, visitors are invited to come and participate in the artists’ process.

Natali Blugerman

Catinca Tilea 72

Natali Blugerman

Ludmila Rodrigues

Through her installations and performances, Natali Blugerman creates spaces in which the audience can experience strong elemental aspects of our universe. 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.

Ludmila Rodrigues is an artist, designer and researcher operating between sensory experience, architecture and social interaction. She investigates the sense of touch – and proprioception – creating spaces, situations and devices to influence, interfere and engage with the audience. Ludmila deploys playful strategies to trigger physical awareness, in a synergy of the senses, where the notions of performance, self-control and enjoyment become blurred. Her works unfold a physical dialogue with the public, where everyone becomes an actor.

Marit Mihklepp Marit Mihklepp is interested in making space, instead of taking space. After studying textile design and ArtScience, she found a way to combine her lifelong passion for movement, writing and daydreaming. Deeply fascinated by the qualities of pauses and the characteristics of silent languages, she is currently collecting ‘im/possible’ models of communication, be it with microorganisms or everyday objects.

Catinca Tilea Catinca Tilea is a concept designer with a multi-disciplinary background. Her work focuses on behaviour driven by creativity. Tilea’s work experience varies from teaching product- and interior design at the National University of Fine Arts in Bucharest to collaborating as an interior architect with Rotterdam-based architecture firm ZUS (Zones Urbaines Sensibles).

CONTEXT PANEL DISCUSSIONS WORKSHOPS PRESENTATIONS

TodaysArt

This program is divided between overarching topics around algorithmic complexity, design ethics, and new democracies, and more specific panels about blockchain technology and the music industry, cross disciplinary collaborations and the future of music, data sovereignty and encryption, and gender diversity.

In addition to the program of talks and panel discussions, we also have workshops, project presentations, and film screenings. Project presentations focus on specific projects that centre on the themes within the context program and the festival as a whole.

Panel Discussions

Riot in the Matrix Revolutionizing Communication and How blockchain technology will change Ending Data Slavery Friday 22 September the music industry 14.30 - 15.45 Friday 22 September 13.00 - 14.15 Giant corporations are harvesting our digital life, for the profit of only a few. This panel discussion, a collaboration between TodaysArt and Gonzo Circus, “Free services” like Facebook, Skype, expands on the recently published arti- Whatsapp, and Google, among others, exploit our identity, our network, cle by Dimitri Vossen about the radical our content, and our communication changes that blockchain technology history. Somehow we’ve all been misled can bring to the music industry. What into a form of digital data slavery. In this are alternative ways to use and share creative content with systems built with session a proposal for a radical shift of the current paradigm will be presented blockchain technology? Extending and discussed; a decentralization of beyond individual content to festivals as a whole, how can we use blockchain our identity and contacts. Some of the most cutting edge developments in the technology for smart contracts, payfield of revolutionary communication, ment transparency, and distribution of user-centric identity and the blockchain risk and trust? will be discussed. Share your ideas and projects at this special gathering of Participants professionals and continue spinning the - Dimitri Vossen wheel of the digital revolution. (moderator) - editor at Gonzo Circus and author of the article on blockchain technology in Gonzo Circus magazine Participants - Maxime Faget - Daniel Erlacher (SeaNaps festival) - Leipzig festival Elevate Festival, Graz using blockchain technology for smart - Markus Sabadello contracts, transparent payment, and founder Danube Tech, Vienna identification systems - Joachim Lohkamp founder and CEO Jolocom, Berlin - Nele Buys Consouling Sounds label and agency - Ksenia Ermoshina researcher at Nextleap - Raf Ganseman CGI Global Blockchain Core Committee

New Emergences #9 Gender, electronic music and the Iron Curtain Friday 22 September 16.15 - 17.45

Cross-disciplinary collaboration and the future of music Saturday 23 September 11.00 - 12.30

In conversation with musicians, comElectronic and experimental music have posers, artists, and scientists, we different histories that unfolded, and explore what the â&#x20AC;&#x2DC;future of musicâ&#x20AC;&#x2122; can resources that were available, on the look like and how this emerges through two sides of the Iron Curtain. The history cross-disciplinary projects that operate of feminism, women in society, gender at the intersection of science, technoloidentity, and the representation of these gy, music, and art. Our invited panelists topics had quite different trajectories are deeply invested in the research, in North-West Europe and Central and development, and production of work Eastern Europe respectively. that reshapes and pushes the boundaries of how we understand music, sound art, and audio-visual performances. This panel elaborates the influence of these historical pretexts on gender inequality and the representation of Participants different genders in the field of electron- - Evelina Domnitch ic and experimental music and sound (moderator) - artist art. In addition, the panel will give insight - Dr. Andrew Garner into a comparative approach to these Centre for Quantum Technologies, issues. The panel invites speakers from NUS both regions who have been involved - Klaus Molmer in developing, and advocating for, the Professor of Physics, Institute of representation of women and non-cisPhysics and Astronomy (University men in the electronic and experimental of Aarhus) and part of the Quantum music scene and sound art. Music research team - Dragan Novkovic Participants Professor at the Audio Department of the Faculty of Electrical Engineering - Andras Simongati-Farquhar and Computer Science in Belgrade (moderator) and one of the initiators of the Quantum - Justyna Banaszczyk aka FOQL Music project - Lucia Udvardyova Easterndaze - Chris Salter artist, Concordia University Research - Svetlana Maras Chair in New Media and the Senses, composer and sound artist from Serbia Co-Director of the Hexagram Network and Associate Professor of Computation Arts at Concordia University, Montreal

Algorithmic complexity and design ethics Saturday 23 September 13.00 - 14.30 This panel explores algorithmic systems and the relationship they have to the ethics of design. Companies and governments handle complexity and deliver solutions to us in a simplified form, but can our contemporary technologies fully grasp and process the complexity and nuances of the world? If we don’t even have a commonly accepted Normative Theory of ethics among people, then how can we choose which one to embed in system design? With algorithmically driven machine learning and AI becoming increasingly embedded in the tools and systems that we use, and will use, on a daily basis, these questions are more vital than ever. Participants - Liisa Janssens (moderator) - researcher and scientist at TNO and Vrije Universiteit Brussel - Gauthier Roussilhe designer and writer using design fiction, writing, and research to explore critical futures - Georgios Grigoriadis Data Scientist, CEO of Baresquare - Paul Feigelfeld studied Cultural Studies and Compu ter Science and works as a researcher, professor, writer and curator. - Esther Keymolen Assistant Professor and Academic Coordinator of the Advanced Master Program Law and Digital Technologies (Leiden University)

New Democracies Saturday 23 September 15.00 - 16.30 Although companies like Uber and AirBnB create a certain kind of platform functionality within the ‘sharing’ economy, the ultimate function for its founders and users is fundamentally financial. The key question is how we can use digital platforms to shape new forms of self-organization. What tools and strategies can we use to shift power on the internet from extractive monopolies to generative democracies? What is the role of cities in networking, communication, and setting up platforms for participatory democracy? Do forms of self-organization emerge from politics or are they based on more social and autonomous ways of organizing? This panel will offer a spectrum of discussions on different forms of organizing.

Participants - Menno Grootveld (moderator) - Journalist and writer - Renata Avila Human rights and digital rights lawyer, member of DiEM25, part of Assange’s legal team - Shuyang Lin re:architect at PDIS.tw (Public Digital Innovation Space) - Manuel Beltrán, artist, activist, researcher, and founder of the Institute of Human Obsolescence - Jaromil Researcher in philosophy of technology, artist and software artisan

Workshops Make your own self-driving car with Hackers & Designers Friday 22 September 13.00 - 16.00 Technology can be taken apart and put back together in unexpected ways. Using the topic of the self-driving car as a starting point, this workshop explores and reflects on the ever changing role of technology in our civic society. During this hands-on workshop Heerko van der Kooij and Selby Gildemacher (of Hackers & Designers) will show you what is going on inside a toy car, how to hack the remote control and make the car follow a line independently. Workshop participants will work in smaller groups and use sensors, Arduinos (open source computer platform) and soldering irons to create their own self-driving cars.

Thomas Ankersmit and the Serge synthesizer Saturday 23 September 13.00 - 15.00 In this workshop, musician and composer Thomas Ankersmit will engage in a discussion about his experience working with the Serge synthesizer on a deep level. In the context of his performance at TodaysArt, he will speak shortly about the musical vision of Dutch modernist painter Piet Mondriaan and how this influenced the piece he made for the festival. Ankersmit will discuss his experimental approach to analogue synthesis, how he uses the instrument live and in the studio, and some history of Serge synthesizers. This workshop is for a small group of participants and will include a Q&A, as well as some time to explore and play around with the instrument.

Cryptoparty Friday 22 September 16.00 - 18.00 A cryptoparty is a grassroots global endeavour to introduce the basics of practical cryptography such as the Tor anonymity network, key signing parties, disk encryption and virtual private networks to the general public. As an extension of the Riot in the Matrix panel, Ksenia Ermoshina (TransCyberien) and Daniel Erlacher (Elevate festival) will host a cryptoparty during the festival, in order to give visitors a â&#x20AC;&#x2DC;hands-onâ&#x20AC;&#x2122; experience using and working with privacy and encryption technologies.

Pyramid of Technology with Hendrik-Jan Grievink of Next Nature Saturday 23 September 15.30 - 18.30 Every human being has to cope with technological change, yet few of us are aware of how new technologies are introduced, accepted and discarded in our society. The Pyramid of Technology visualizes how technology becomes nature in seven steps. It describes the seven levels at which technology may function in our life. At the bottom of the pyramid we find technologies that only exist as an idea or image (such as the time machine). At the top we find technologies that have become part of our human nature (such as clothing and

cooking). Hendrik-Jan Grievink of Next Nature will take participants through a workshop using the Pyramid of Technology toolkit to investigate speculative senses and extensions of the senses. Data Workers Union Saturday 23 September 18.00 - 20.00 The Institute of Human Obsolescence advocates for the understanding of the production of data as a form of labour. All of us have unwittingly become data workers yet we lack the capacity to even negotiate the terms of our labour. In the current context of surveillance capitalism, we believe that the struggle for the preservation of our rights over the production of data must go beyond a struggle of human rights. To embrace its complexity, we propose to look at it through the framework of workers’ rights. The industrial revolution witnessed the rise of the movement of the labour unions. Along the way, their power and the trust people placed in them has decreased and it has become common to speak about the crisis of the unions. In the advent of human obsolescence and of a new understanding of our relation to work, how can we re-imagine the workers union? We will discuss how to move forward our pursuit of data labour rights through the process of building the Data Workers Union.

DJ Workshops for Women Saturday 23 September 16.00 - 18.00 The workshop series DJ Workshops for Women aims to offer alternatives to the self-fashioning, intentionally inaccessible and intimidating myth of the DJ-god and wants to make DJ-ing approachable for women. The workshop is open to women of all breeds, ages and genders. During the workshop, female DJ’s share their experience and knowledge, tech skills and know-how with like-minded music lovers. This workshop is both for active DJs and those who have a burning desire to DJ and want help getting started. The workshop is coordinated by Amal Alhaag and Maria Guggenbichler and will be led by DJ Evelyn Rae. Project presentation and film screening

Media Art and Gender Diversity in the Mongolian Context Project Presentation by Nomintuya Baasankhuu Friday 22 September 17.45 - 18.15

Nomintuya Baasankhuu, deputy executive director at Arts Council of Mongolia, will speak about the Ulaanbaatar International Media Art Festival in Mongolia (now in its second year) and gender diversity in the Mongolian context. This talk follows, and is linked thematically to, the New Emergences panel on With Manuel Beltrán, Ksenia Ermoshina gender diversity within electronic music and René Mahieu. and sound art on both sides of the Iron Curtain.

I Dance Alone Project Presentation by Bogomir Doringer Saturday 23 September 17.00 - 17.30

these dilemmas that are a constant within the design profession, it is essential to create a basis for reflection and to define an ethical framework. Roussilhe’s documentary ‘Ethics for Design’ was created because of the necessity to not leave the present and future generations of designers indifferent to the impact of their profession and the value of their responsibility.

Bogomir Doringer’s long term ongoing research project, ‘I Dance Alone’, uses bird’s eye view documentation of dance parties to investigate clubbing as an organism. Through the use of artistic and scientific methods in recording and Team: Clément le Tulle-Neyret, describing dance notations, ‘I Dance Alone’ endeavours to give us a new un- Sylvain Julé, Gauthier Roussilhe derstanding and imagery of collectivism versus individualism in contemporary society. Can we understand clubbing as a living system, regulating and stabilizing the state and function of the collective and the individual in regard to a changing society? Doringer will do a short presentation and discussion of his research project prior to the screening of selected documentation on the evening of the 23rd. Ethics for Design Film by Gauthier Roussilhe Saturday 23 September 15.00 – 16.15 Gauthier Roussilhe is a designer and writer who researches the future implications of ethics and complexity. Every day we use objects, services, and applications designed by all kinds of designers, but is everything that the designer conceives of done in our interest? The design of any product can be a moral dilemma when the designer must choose between his economic survival, the financial interest of his sponsor and the well-being of the user. Faced with

Platform for innovative music and audiovisual art

16 festivals x 48 artists each year shapeplatform.eu

Verslim je IT met managed operations van True

R SO T ON AR SP YS I S DA E O U T TR AN V

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TODAY’S IDEAS FOR TOMORROW’S CULTURE

a project by c/o pop, Elevate, Insomnia, Nuits sonores, Resonate, Reworks, Sónar & TodaysArt about the future of culture.

invites Elevate - Music, Arts & Political Discourse and Nuits sonores/European Lab forum

When? — 26 - 28 October, 2017 Tromsø, Norway

WWW.WEARE-EUROPE.EU

Crossing Parallels

t Ar ys da To

TU Delft and TodaysArts proudly announce Crossing Parallels, a programme bringing together artists and scientists to collaborate on innovative projects, stimulate future technologies, and reflect upon scientific inventions and its challenges for society at large. Its residency program kicked off with ground-breaking fashion designer Iris van Herpen and artist Mike Rijnierse. At Crossing Parallels Rijnierse works with light, sound and colour in the immersive project Sound Shades, developing a prototype in collaboration with the Optics Group led by Dr. AurĂ¨le Adam at the Faculty of Applied Sciences.

Supported by:

Supervisory Board Marieke Dekker Frans van der Harst Floris Kaayk Board of Directors Olof van Winden Management Team Karel Feenstra Daniëlle de Hoog Iris van der Wal

TodaysArt 2017 93

Artistic Team Petra Heck Margarita Osipian Remco Schuurbiers Joeri Woudstra Peter Zuiderwijk

Marketing & Communication Inken Bornholdt Maaike Hammerstein Soscha Monteiro de Jesus

Production Kwinten Vissers Graphic Design and Campaign Collective Works

Web Development buurmen Spatial interventions Refunc International Workers Exchange Caroline Bernard Maïna Thomas Aurelie Zemire Volunteer Coordination Joya de Bock Moniek van der Kwaak Other crew and Volunteers TodaysArt wouldn’t be what it is today without the great efforts by many other crew members and all volunteers who are not listed here!

TodaysArt Festival 2017 is proudly supported by:

INFO? MAPS... INFO! MAPS? INFO... MAPS!

TodaysArt

Koninklijke Schouwburg Korte Voorhout 3

Opening Hours: 22 September - 18.00 – 05.00 23 September - 12.00 – 05.00

Ground Floor

Outdoor 96

Bar

C 96

03 | Sol Lewitt

A) Info / Guests / Presale / Press B) Night Entrance Exhibition C) Box Office

01 | Main 96

Mid Floor

04 | Paradijs Workshop Space

Top Floor

Works 96

02 | Paradijs

Bar

Main

Theater aan het Spui Filmhuis Den Haag Spui 187 Spui 191 The Hague The Hague Opening Hours: 22 September 12.00 – 00.00 23 September 11.00 – 00.00

Opening Hours: 22 + 23 September 12.00 – 00.00

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Opening Hours: 22 September 12.00 – 00.00 23 September 11.00 – 00.00

Opening Hours: 22 September 18.00 – 05.00 23 September 12.00 – 05.00

Opening Hours: 22 + 23 September 12.00 – 00.00

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11 min walk From Koninklijke Schouwburg to Theater aan het Spui

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The Grey Space in the Middle Paviljoensgracht 20

Quartair Toussaintkade 55

Opening Hours: 22 September 13.00 - 22.00 23 September 12.00 -22.00

Opening Hours: 22 September 17.00 - 20.00 23 September 14.00 - 17.00

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SATURDAY? SATURDAY... SATURDAY! SATURDAY? SATURDAY... SATURDAY! TodaysArt

Saturday 23 September

Program Overview

Saturday 23 September

KoninklijkeSchouwburg 01 Main

19.30 - 20.30 Laurel Halo (20) 21.30 - 22.30 Ata Kak (20) CLONE25Y Club Night 00.00 - 00.45 Richard Devine (31) 00.45 - 01.30 Aleksi Perälä (30) 01.30 - 03.00 Serge (36) 03.00 - 04.00 Legowelt (35) 04.00 - 05.00 Inga Mauer (31)

02 Paradijs

13.00 - 15.00 WorkshopThomas Ankersmit & the Serge synthesizer(82) 15.30 - 18.30 Workshop Pyramid of Technology w/ Next Nature (82) 16.00 - 18.00 DJ Workshops for women (85) 23.00 - 00.00 00.00 - 01.30 01.30 - 02.10 02.10 - 03.10

Clap! Clap! (30) Tomasa Del Real (37) N.M.O. (35) Marie Davidson (35)

03 Sol LeWitt

22.30 - 23.30 Yodashe (38) 23.30 - 00.30 751 00.30 - 02.30 Ron Morelli (35) 02.30 - 04.30 Olivia (36)

Outdoor

19.00 - 21.00 Tutu (37) 16.00 - 19.00 Ja Ja Ja Nee Nee Nee (32) 21.00 - 22.30 Ison (32)

Theater aan het Spui 01

21.20 - 21.40 Force Field by Dimtry Gelfand + Evelina Domnitch(24) 22.30 - 23.15 “Still be Here”with Hatsune Miku (23)

20.00 - 20.30 Sven-Åke Johansson (24) 20.40 - 21.10 Serge & Mondriaan by Thomas Ankersmit(27) 22.30 - 23.30 New European Ensemble + DEFRAME (24)

Saturday 23 September

Program Overview

Saturday 23 September

Saturday 23 September Foyer

11.00 - 12.30 13.00 - 14.30 15.00 - 16.30 17.00 - 17.30

Program Overview

Saturday 23 September

Cross-disciplinary collab. and the future of music (78) Algorithmic complexity and design ethics (81) Panel discussion New Democracies (81) ‘I Dance Alone’by Bogomir Doringer (86)

19.20 - 19.50 Physical Rythm Machine/Boem BOem -Philip Vermeulen(62) 21.50 - 22.20 Physical Rythm Machine/Boem BOem -Philip Vermeulen(62) 23.40 - 23.55 Physical Rythm Machine/Boem BOem -Philip Vermeulen(62)

Studio

19.20 - 19.50 Dissense by Chris Salter + TeZ (23) 21.50 - 22.20 Dissense by Chris Salter + TeZ (23)

Outdoor

18.50 - 19.15 Santa Melodica Orchestra by Andreas Trobollowitsch(27)

Koninklijke Schouwburg

12.00 - 00.00 The gag reflex & other reactions towards complexity(40)

Theater aan het Spui + Filmhuis Den Haag

12.00 - 00.00 The gag reflex & other reactions towards complexity(40)

Filmhuis Den Haag

15.00 - 16.15 Ethics for Design by Gauthier Roussilhe (86) 17.00 - 23.00 ‘I Dance Alone’ by Bogomir Doringer(49)

The Grey Space in the Middle

12.00 - 22.00 Locating ArtScience (56) 18.00 - 20.00 Workshop Data Workers Union (85)

Quartair

14.00 - 17.00 Connect the Dots: Performance, Objects, Bodies (68)

Saturday 23 September

Program Overview

Saturday 23 September

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