F O L D

Concept:

F O L D’ is a performative environenment merging powerful optical architectures, compositions of structure born sound, and the aesthetics of chiaroscuro image,  ‘F O L D’  envelops the spectator  in the performative,  theatrical and  cinematic  experience of self and the other.’

 ‘F O L D’ has been developed as a platform for interdisciplinary approaches to ‘performance’ and ‘performative environment. It is a stage of an ‘exhibition’; it’s a ‘cinema’; it’s a ‘concert’ and it’s a ‘contemporary dance’

Description:

Optical Architectures of the ‘ F O L D’ are formed by several elements. It includes mirrors suspended from the grid (28 mirrors 12″ x 72″),  dark, nearly transparent shark-tooth fabric (3 folds 15 m x 4.5 m), 26 theatre lights, projection technology, a life-processed image, 16-28 transducers, 3 microphones. Through the play of light and darkness and the carefully precontemplated design configurations of the materials, all the elements compliment themselves structurally, optically and audibly, set at play of the virtual, and the actual, creating a temporal maze of infinities, forming a labyrinth of  appearances and disappearances, memories and forgettings, sounds and echoes.

Sound: Sound in the project is both structure and air born. There are 16 – 28 transducers attached to each mirror forming, a spatial sonic ensemble within the optical architecture of the F O L D. 16 channel composition by Otso Lahdeoja is interwoven through the space via transducers that vibrate the mirrors and become a music instrument of unique architectural and spatial qualities completing the double function of the mirror: optical/visual, and audible/compositional. In addition, there  are  three microphones placed at each curve of the fold, each configured to different interactive settings developed by Joe Browne.

F O L D: There are three folds in the alignment of the ‘Optical Architectures’ of the ‘F O L D’ Each fold is configured to its own setting. Each fold, on its own and independently of each other, provides actualities, virtualities, and the experience of the orchestra ensemble on the audible level.

To achieve the infinities on the perceptual, visual, and temporal ground, the assemblance of three folds interlocked into each other is required. The interlocked structure of the folds, is designed site specifically to each specific venue by the author, to configuration of 2, 3 or 4. Once the structure and the media are set in place the infinities  open across the horizon of the F O L D.  (At Agora UQAM, Montreal an assamblence of three folds had been proposed and finally presented on November 6 and 7, 2014)

Performance: 

There are two types of performances introduced in the F O L D as a platform for performative environment and performance:

Invisible Performance: (Invisible Theatre)  Defined as ‘invisible performance’  this core performance follows the format of invisible theatre. The performers are present and active in the space of the F O L D. Their role is to engage with the audible and optical qualities of the work, and may also engage with the spectator (s) in the space. While they perform,  their role is to disguise the performative nature of their presence from those who may choose to participate in it, leading the participant to experience the work itself, themselves and others as a performance. (Call for invisible Performers is launched in advance at each venue of public presentation.) In November 2014 during the first public showing as a public prototype the designers of the work took the place of the invisible performers. The format of invisible performance will be further developed in 2014 /2015

Narrative Performance: Will be developed in 2014/2015. The outcomes of the narrative performance will be presented along the concepts of the Invisible Performance.

Spectators: 

The space is configured for a maximum of 1 – 2 or 3 participants at the time. The participants are lead to enter the space in these small units. Once in the F O L D, all the elements (visual and audible) of the optical architecture are activated, the participants, and the space begins to perform. As they move throughout the space they will observe, experience and witness their own performance, as well as the continuous performance of the other and the space within. Once they exit the space and proceed towards their experience within the outside of the space (often in the arranged auditory) they become aware, through the continues illusions of the systems put in place (perpetuating long delays), that the space continues the performance that was their own within the cinematic setting of the actual stage. (collapsing the perceptions of  present and past)

It is important that complete silence and darkness is maintained throughout the event.

Cinema / Theatre: (Research)

Within ‘F O L D’ as a platform for Performative Environment and Performance, I create, observe, think and write about tensions and interfacings of  Theatre – Cinema – Visual Arts. The development of the ‘ F O L D’ can be followed in more detail at : www.lenkanovak.com/fold.  Also, I am available for artist talks, lectures regarding the subject at: Lenkanovak30@gmail.com

Quotes:

 The soul is the expression of the world (actuality), but because the world is what the soul  express (virtuality). (Deleuze 1988, 28)

 …The problem is not how to finish a fold but how to continue it, to have it go through the ceiling, how to bring it to infinity. (Deleuze 1988 ,141) 

 More information: http://www.lenkanovak.com/fold/ 

Date of Creation: 2014
First Public Premiere: Agora Coeur Des Sciences, UQAM, Montreal, Quebec – Canada (October 27 – November 7th, 2014) First Public Showing/Public Prototype: November 6 and 7 2014 

Related essays: (available upon request)

Lenka Novakova: Unfolding Baroque: Perception in The Mirror (November 28th, 2013)
Lenka Novakova: Unfolding Baroque: Perception in Between Two Mirrors (December 10th, 2013)
Lenka Novakova: Fold (November 1st, 2014)

Production

Production: (detailed write up may be available upon request)

28 sheets of glass 12” x 72”
50 m x 4.5 m dark shark tooth fabric
28   theatre lamps
28   transducers
3 x  microphones
2 x   motu interfaces
1 x   amplyfier
2 x   cameras

Dimensions:

Dimensions are variable and the work is designed site specifically for each venue. For best results the minimal requirements are 35' x 55' (the work may expand to larger settings). First prototype was premiered at 30' x 78' Black Box. (Best in the Black Box setting, Large Gallery and Black Box Theatres.)

 

Credits

Lenka Novakova: Concept / Direction
Otso Lahdeoja: Music / Sound Composition
Navid Navab: Image / Interactive design
Omar Faleh: Mapping / Consultation / Interactive design
Joseph Browne: Interactive Sound

Invisible Performers: November 7th, 2014
Navid Navab, Joe Brown, Omar Faleh

Ted Stafford: Light Tech.
Technical Assistance: Pietro Cerone
Graphic Designer: Alena Nová
Event Coordinator: Pamela Tudge
Event Assistant: Julie Caron

Photo Credit: © Lenka Novakova, Omar Faleh
Video Credit: © Sonya Mladenova, Adina Vukovic, Karim Dogruel

Selected Exhibitions

Agora Coeur Des Sciences, UQAM, Montreal, Quebec - Canada (October 27 - November 7th, 2014) - First Public Showing November 6 and 7 2014 (Prototype)

Hexagram Black Box, Concordia University, Montreal, Quebec - Canada (July 2014) - Research / Creation

Matrabox, Matralab, Montreal, Concordia University, Montreal, Quebec - Canada (July, August 2014) - Research / Creation

 

© Lenka Novakova 2014