transitstation artists

transitstation artists for transitstation artists for artists for art

The voices of Transitstation

Dagmar talks about Transitstation

The labyrinth of transitstation inside the mind of Andreas :-)

Transitstation Promo by Ana Godinho De Matos

Check out the new promo TS movie made by Ana !! very proud :-)
enjoy !! !!

Pteria - JL Williams and James Iremonger - Royal Danish Academy of Fine Arts

Post-Volcano Transit Station Performance of Pteria by JL Williams and James Iremonger (KEDA) at the Royal Danish Academy of Fine Arts, June 2010.

http://jlwpoetry.googlepages.com
www.myspace.com/iamkeda

T.a.T. Performance Art Workshop 9-13th August 2010

Come and join a unique experience of creative intensity, play and philosophy in the wonderland of Jerxheim, a place for happenings, knowledge and self-development through live art performance.

Jerxheim, Germany

www.kunstwirkstoff.de

Return to Copenhagen

Event:
Niko Raes will be performing ALL WITH TRUST

A body floating in the air,
strung up by ropes and sandbags…
It’s the audiences actions that will make this body move.

A performance about trust…

Entrance 60,- DKK

Held at Warehouse9, Saturday 26th at 8pm.

Halmtorvet 11,
Copenhagen, Denmark

Info at:
http://warehouse9.dk/blog/?p=2101

See you there!!!
Nathalie

transitstation post syndrome: the ashes continue

18 April 2010 18:28:16 GMT+02:00

Tivoli at the Meadows, amidst the Ash Clouds

By Ian Stephen

It’s more than a little strange. I usually try to go surface. It was ferry, bus, sleeper, Eurostar, TGV to Brest and I’ve been typing away often recently as someone else is driving the train, London to Thurso. Recent travel has even been under sail from Stromness, home to Stornoway in a fight against winds, which just did not shift as forecast.

So there I was tidying up the aftermath of a cold 42 hours by sea and looking forward to the whine of propellers on the Edinburgh flight. The postie commented on the unusual level of outdoor activity and asked where I was going.

“Denmark”, I said

“No you ain’t.” he said, “Not unless you’re sailing.”

Well hell if I’d left the boat in Orkney I might have tried to reach transitstation Copenhagen, that way. This is a 3 day festival of live art, run with pace and verve and continuing into the night. Events overlap and risk is encouraged. Performances cross many media but poetry and music can occur beside or with contemporary dance and video projection.

I had intended to work with Peter Urpeth, the pianist who now insists on improvisation and hates air travel. We were on the point of booking a ferry, some weeks ago but it was all getting very expensive, getting a team to Denmark, that way. So I sent a digital version of Urpeth’s silent movie type piano response to an action by Alex Patience (representing Portskerra and Melvich) which in return was a response to language you don’t see or hear directly any more. The intention was then to combine live action with the recorded work.

Just as well that DVD went off in the post in good time. I did a rapid fire sort-out and hopped on the ferry. Buses were fully booked and there was some question of whether an extra one would be laid on but I met a friend driving to Edinburgh. When I say the airport was quieter than a mortuary, I’m qualified to say that because I used to be a hospital porter. At a glance there would be no flights for some days.

So I accepted the offer of a bed at Cramond, in the home of Maxwell Macleod, the journalist. We talked till late and he left me with a set of instructions on how the house was run and another set on how it wasn’t.

That’s how the transitstation (Scotland) event was generated. Alex was also stranded in Aberdeen and Aaron McCloskey was in Edinburgh, traveled down from Dundee. A series of e mails from stranded northern Scots became a transitstation work. They were being distributed around the Royal Danish Academy of Fine Art today (18^th April and day 2 of the event).

Once Aaron and myself faced up to the fact that neither planes nor ferries were going to get us across the North Sea in time, we settled to taking part by remote link.

Aaron (HTTP://AARONMCCLOSKEY.COM) had prepared a video work based on taking his camera deep into the social reality of life for the Quechuan miners – the ones with a life expectancy of 37 years. It’s a collaboration with music by Dan Gorman. He had also planed a live action to work with a projection. The transitstation formula works around a simple scaffolding system which can represent just about anything and provide staging or a suggestion of a descent down into the depths.

Very appropriate, to show the dust still under the ground when Icelandic dust is now well distributed above it. So Aaron went into instant editing mode and responded to being stranded, by developing a variation on the work. He then downloaded it on to a web storage system. It can then be collected, at the venue and projected straight from the computer.

He then got the bus to Cramond. Down from the bridge, the River Leven enters the Forth where there is a clear route across. If you could see all the way, there would be Denmark. So it seemed completely appropriate to make a film of the beginning, the middle and the end of my telling of a Danish story. I was given the links to versions by Karen Bek-Pedersen, a Danish Academic lecturing at Aberdeen University.

So the Cramond recordings were dispatched, in sections. Tomorrow they will be projected at the Academy, in sections so there is space for response from the participants, working in whatever medium they choose. The work will return the Danish story close to home but will also generate contemporary versions of a timeless story. Strangely, the method of sharing the story has become a metaphor for the way stories travel sea-routes and generations.

And then there was a Skype link-up with Aberdeen, or rather an unusually peaceful Dyce. Alex Patience was to have premiered her Crabwoman piece with a projection happening on her own form. But she also compressed files and sent them by relay. In transitstation Leith, she developed a rapport with an artist who will also be in Copenhagen. So there is real hope that the show will go on, with roles delegated from a distance.

There’s an encouraging email from time to time from Dagmar Glausnitzer-Smith, curator and artistic director of this dynamic event. They have a real sense of the feed of ideas and electronic pulses coming from Scotland. She says how it is all being projected and disseminated through the pace of the events.

I think I can imagine the actions weaving in and out of the scaffolding arrangements but I’m longing to see some images. The three of us have had a real feeling of taking part, something more than a compensation. But tonight, for me, it’s a stroll through the Meadows rather than Tivoli.

17 April 2010 22:15:38 GMT+02:00

The Virtual Storytelling Workshop by Ian Stephen

we now have material for the Eduaction Day 18 April 2010

workshop based on

returning the Limfjorden story to Denmark

realise you will not access this till you have time for a breather but....

Aaron will send you 3 files in a similar format to the video files he sent relating to his own video

1. opening of the Danish story - about 5 mins video with sound, widescreen format

a queen needs help to have a child

she has to eat a red rose for a boy and a white for a girl but she eats both

she gives birth to a serpent and to a fine healthy son

the serpent disappears but years later

it's time for the son to be married

his horse is stopped by a serpent -

"I am the eldest brother. i should be married first."

space and time for participants to imagine the next part of the story - in any medium

2. middle section of the story - albout 6 mins

the king hears the full story and a princess is found for the eldest brother

she carries out the ceremony because it's too late to turn back

in the morning there is nothing but the serpent and blood

this happens again

so the king makes a final match for the serpent - a shepherd's daughter

she is advised to take several things into her marriage chamber

(space and time to imagine the next part , in any medium)

3. ending - just over 2 mins

the shepherd's daughter brings 7 shirts, branches, lye (caustic soda) and milk into that room

things happen

in he morning she is in bed with a prince, at least as fine a man as his younger brother

so dear Dagmar know you have so much to deal with - but think the workshop will work very well with video being played then space for responses -

better still if a good performer can introduce each section

Aaron's done a fantastic job - and we've had a lot of fun - sipped some wine and eaten between takes -

love from transitstation Scotland (a little up the river from Leith)

note: transitstation Edinburgh took place in Leith 2006

an awesome transit

and the station sets....

Equally would like to thank every single one of you artists who made it all possible!! Myself and the team were very amazed by your contributions, energies, dedications, graciousness, you are all unique singularities!!

We hope you transport and share that energy to everywhere and everyone you meet. It has been an honour to share these experiences with you all and we hope to see you all in the next TRANSITSTATION.

still in the mood...

Dear Artists from Transit Station, i wanted say thank you to everyone of you!

Thank you for the inspiration you gave me! Thank you for the conversations, laughters and "actions" we shared! I am still enjoying the energy i got from it!

..Looking forward to the next TRANSIT STATION !!!!...

Love from Germany, Leipzig :0)

Volcano Nathalie..... so it seems....

station still on transit

working round the clock

artists networking..

making sure the artists don't lose their heads

working day and night

volcanic ash skies

Out of the ashes there is a pheonix rising......

Transitstation trailor 2010

Transitstationers trapped by Volcanic Ash!!???!!

Last updated: 7:00am

Following advice from the Met Office, the National Air Traffic Service (NATS) has introduced restrictions to UK airspace this morning as a result of volcanic ash drifting across the UK from Iceland. These measures currently affect Aberdeen, Edinburgh and Glasgow airports which are closed but may also affect other parts of the UK later today. Passengers intending to fly today are asked to contact their airline for further information and should expect disruption in the coming hours. Updates will be issued throughout the morning.

sneak peak behind the scenes. . . . but we're keeping the BIG surprise until you get here. . . .

Transitstationers!! We are waiting for you!!!!!!

What is happening in the city...

it's real!!! up and running!!!

schedules!!

while the city moves we work

making of the schedule

We are here in K! The Experimental Bunnies are coming to the Royal Art Academy. Don't forget to stop by and check us out, Saturday, April 17th at kl. 16-18

ACTION ACTION ACTION ACTION ACTION ACTION ART

visit: http://www.checkoutart.ca/art-thoughts/dagmar-i-glausnitzer-smith-on-transitstation-stop-copenhagen-2010-17-18-april/

Art In Action

Transitstation evolving for 2010

transitstation links

kunstwirkstoff.blogspot.com

new website launch, Monday March 29 7 am

transitstation.de

Akasha Project at chillbase.org

Det.Kgl.Danske Kunstakademi Billedkunstskolerne

Royal Danish Academy of Fine Arts Schools of Visual Arts

transitstation 2010 Copenhagen Images and Artists Work

transitstation 2010 artists

on the road to Copenhagen

Picture Journey

at the Synagoge...photographed by H. Havris

Glausnitzer-Smith Copenhagen 2010

transitstation 2010 Copenhagen Action in Art in Action

Festsalen and transitstation space at the Royal Danish Academy of Fine Arts Copenhagen

Dagmar I. Glausnitzer-Smith on Transitstation Stop Copenhagen (April 17-18) 2010

Dagmar I. Glausnitzer-Smith on Transitstation Stop Copenhagen (April 17-18) 2010

transitstation History

transitstation historical notes

The beginning of transitstation
The idea ‚transitstation’, exhibition as event, started with the observation of images alongside the tracks while moving on a train between places and destinations in foreign towns. The fleeting landscapes, cities and homes became the ephemeral and could only be imagined as a foreign every day life. I envisaged an exhibition concept, which is dominated by a multiplicity of images and small event places like huts, wagons, designed walkways, temporary platforms in different heights, all mounted together within the confines of the Gallery Space. A world within a world within a world.
The visual impact of different activities, foods, curiosities and superficial challenges for the visitor’s eyes: an overload of impressions and nothing that could stand still.


The Gallery space was visualized with different temporary structures. Artists could temporarily occupy places to counter-act with the idea of Live Art and Performance Art. The core question, which preceded the image of the fun fair was a very subjective question: what is Performance Art? Knowing that many people are still relating this art practice to theatre, Live Art, Performing Arts and Entertainment strategies. My understanding and intention with Performance Art are however very different. I felt the challenge to allow this question to be positioned within an exhibition concept. Like in a mirror maze, the viewer and artist alike were imagined to share experiences and time in a dynamic situation, to search ways through different places and actions, walking up and down, passing through doors, climbing ladders, standing on platforms. ...

The artist and the work on tour travelling, nomadic and transient as he carries the pack like part of the caravan is confronted with his restlessness yet hides an inward longing for what is known and familiar. The meaning of ‚home’ is indeterminate and temporary. People working and living whilst travelling are in a binary position in regards to the idea of ‚home’. They are travelling and establishing an alien temporary position: a structure for the moment. "When the caravan passes, the dog barks" and when transitstation stops with its vivid images of either comforting or distressing moments, life just goes on and time passes regardless of the dog's eternal complaints.

The artist and the work on tour travelling, nomadic and transient as he carries the pack like part of the caravan is confronted with his restlessness yet hides an inward longing for what is known and familiar. The meaning of ‚home’ is indeterminate and temporary.

People working and living whilst travelling are in a binary position in regards to the idea of ‚home’. They are travelling and establishing an alien temporary position: a structure for the moment. "When the caravan passes, the dog barks" and when transitstation stops with its vivid images of either comforting or distressing moments, life just goes on and time passes regardless of the dog's eternal complaints.

Apart from the initial images of ‚staging’ an exhibition like that, it became more important to experiment and research the idea of transience and to engage with the notion of ‚the nomadic artist’: Artists on the road, Artists transporting their work, Artists searching for destinations and places, Artists making their work in foreign countries, Artists facing their identities, Artists meeting different witnesses, Artists meeting Artists, Artists in solitude because their home is not their home.
There is an image between stations en route; a train is moving between locations and different cultures whilst moving through the landscapes. Every now and then it stops at a station: a transitstation.
The work transitststation and the exhibition concept developed in the process of production on a transient route involving organisation, coordination and operation.


Kabakov, "the Palace of Projects“ (1995-1998)
"In principle, such a Palace can ... be disassembled and assembled in any other place, similar to a traveling circus.“
Kabakov’s work consisted of 65 staged, themed and constructed projects, known, created and invented by the author.
(reference:http://www.artangel.org.uk/projects/1998/the_palace_of_projects/introduction_to_the_palace_of_projects/page_3)
Over the years, since 2003, it seems that the process of moving is governed by networking with new artists, regional artist organizations, host-city partners, host spaces, accommodation of travelling artists and the organization of funding for each transitstation event. The procedures embrace the methods of synchronic encounters, networking, and most of all an idealism for a systematic sensitivity to meet with interested audiences and people from everyday and professional lives.
transitstation stop Copenhagen 2010 has a total of 72 participating artists performing and exhibiting 53 individual works and actions during a 24 hour weekend. 22 regional Scandinavian and Danish artists are greeting and hosting 50 visiting artists. Artists are coming together to present their artwork within the weekend of April 17-19 in 2010. The work of transitstation is seen as ‚Gesamtkunstwerk’. It begins to shape itself only in the duration of the entire weekend with non-stop action in art in action as a total exhibition event.

The process of nomadic moves between host cities, their partners and foreign spaces and foreign languages require several visits and negotiations. Three production teams conquer communication difficulties in a slow process until they are able to speak a language, which seems foreign to Society but familiar to artist communities.

The invention of transitstation is dealing with the kind of mastery of chains of situations. Numerous situations occur during the transitstation weekend with a privilege devoid of rules and boundaries of assumed categories within the contemporary art practice. If the viewer attempts to capture a definition or a category of genre or conventional differentiation, the moment of experiencing Live Action in the process is lost.

Where is the art, in a place with situations that change according to perception and interaction? Presence, endurance and witnesship gives a chance to capture a total image of transitstation as ‚Gesamtkunstwerk’.
Artist next to artist next to artist next to viewer next to viewer next to object next to object next to viewer next to artist.

The gravitation code of artistic genre within continuous, overlapping actions has been redefined and apparently the center of assumed genre is off balance. The project is everywhere, the places are everywhere and the ‚author’ is visiting strange locations and times with his personal, foreign ‚bundle’. Though the structures are clear and the margins are defined on the outskirts of the transitstation space, which is suggested by the scaffolding sculpture, the space with continuous Actions remains in the constant state of change.

A world within a world within a world defines itself through live experiences, viewers and artists alike: the transformation of ideas, objects and spaces, which are re-directing the expectation level for completeness. A free ticket is offered into the permissiveness for curiosity and surprise. Artists and viewers alike are amenable to possibilities of de-categorization between performing art and fine art, between classical music and experimental sounds, fashion and painted clothes between film and theatre, between projection and speech. The experience itself offers change.
During the transitstation weekend the idea of freedom and the expansion of social or personal opportunity in an mixed inter-disciplinary and inter-active context opens the door to a live experience. The audience-viewer-artist relationship neglects the untouchable distance between work and artist, and creates a platform of immediacy and intimacy in an unpredictable situation.
The viewer’s position is one of discovery.

Follow transitstation train to the next stop Copenhagen 2010 at the Royal Danish Academy of Fine Arts on 17 April and 18 April, 12 – 12 pm both days.
Written by Dagmar I. Glausnitzer-Smith, 2009-2010

… excerpt from the Brothers’ Grimm:

"I will give you three days, time," said he, "if by that time you find out my name, then shall you keep your child."

On the third day the messenger came back again, and said, "I have not been able to find a single new name, but as I came to a high mountain at the end of the forest, there I saw a little house, and before the house a fire was burning, and round about the fire quite a ridiculous little man was jumping, he hopped upon one leg, and shouted -

'To-day I bake, to-morrow brew,

the next I'll have the young queen's child.

Ha, glad am I that no one knew

that Rumpelstiltskin I am styled.'"

Imagine Rumpelstiltskin, after all the people have left, he is dancing alone in the circles around the fire, talking to himself with ironic smiles: hihihi, no one knows how to call the art!

transitstation moving image

transitstation Edinburgh 2006
exhibition as event

http://vimeo.com/6142841

transitstation 2010

top image: composed by Champagne Valentine 2009

bottom image: second transitstation stop Berlin 2005

4th transitstation stop Copenhagen 2010

Artists

Denmark / Scandinavia:

Nanna Lysholt-Hansen (DK), Robert Johannssen and Jan Hakon Erichsen (DK/NO), Jørgen Callesen and miss fish, Christian Van Schijndel and Prafix Aztech (DK), Stine Marie Jacobsen & Body Lotion And The Bloody Hands (DK), Charlotte Grum (DK), Julie Galsbo (DK), Sofie Holten (DK), Samina Bazai (DK), Claus Jensen Haxholm (DK), Iris Smeds (S), Malene Dam (DK), ANU (IN/DK), Mute Comp: Kasper Ravnhøj and Jacob Stage (DK),

Germany

Dagmar Glausnitzer-Smith aka Seven of Eglise (D), Alexander Rues aka Eru (D), Jasmin Möller (D/NL), Sun Ok Yoon (D/KR), Akasha Project (D), Muhannad Zidan (SY/D), Markus Schaller (D), Barbara Kowa (D), Motom (D), B. Ashra (D), Alice Masprone and Bianca Januzzi (IT/D), Eva Foerster (D), Jules Buchholtz(D), Andreas Kothe (D), Bernhard Winkler (D), Gry Bagøien (DK/D), Jacob Kirkegaard (DK/D)

UK

Francesca Cho (KR/UK), Ailie Rutherford (UK), Natalie Bikoro (UK), Samantha Sweeting (UK), Ian Stephen (UK), Peter Urpeth (UK), Muriel Macleod (UK), Alex Patience (UK), Paul Jamrozy and Cunnington (PL/UK), Dave Lando (UK), Rupert Cheek (UK), Aaron McCloskey and Dan Gorman (UK), Zsuzsanna Gyetvai (Hun/UK), Rebecca Marshall and Nichola Bruce (UK), Jennifer Williams and James Iremonger (UK), Kimbal Bumstead (UK), Marcin Warnke (PL/UK), Kate Moyse (UK), Chien-Ni Hung (TW/UK), David Ferrando (ES/UK), Robb Mitchell (UK), Ana Godinho de Matos (PT/UK), Caitlin Tebbit (UK)

other European Countries

Paulina Plizga - France/Poland, Blaise Merino - France, Christina Georgiou - Cyprus, Gina Landor - Bosnia-Herzegovina/USA, Sanja Miljevic - Norway, Rita Rodriguez-Garcia - Spain, Iv Toshain - Austria/Bulgaria, Charlotte Merino – France, Stathis Tsemberlidis – Greece, Andrea Pagnes, Verena Stenke - Italy

Asia

Katsunobu Yaguchi - Japan, Chanh Hong – France/ Vietnam

transitstation Copenhagen 2010

Exhibition as Event

Action in Art in Action in Art in Action in Art

transitstation Host City Partner, Mikkel Bogh, Kunstakademiets Billedkunstskoler,

Kongens Nytorv 1, 1050 Kobenhavn K

A 24-hour non-stop action weekend will take place at the Royal Danish Academy of Fine Arts, Festsalen. 60 Artists of different nationalities and with various cultural backgrounds will visit Copenhagen and meet their 22 Danish Artist Colleagues to present their work and to engage in the programme of non-stop art in action in art.

Saturday 17 April 12 pm until midnight

Sunday 18 April, 12 pm until midnight,

Monday 19 April transitstation EduAction Day 4 – 9 pm

Interviews, Artists talks and discussions, practical workshops, artist food

Event strategies: „mixed-interdisciplinary event“, international and expanding cultural event on tour through European countries with contemporary, Experimental music, Classical music, Sound Installation, Fashion, Poetry, Dance and Theatre, Film and Projection, Performance Art, Interactive Live Art, Live Music and Projection

The idea of event is based on the interactive presence of the spectator. The artwork exists and unfolds in real time with an understanding for a three-dimensional and separate object, in this case, a scaffolding structure. The nature of scaffolding is transitive; it will always exist with the implications of its 'temporary' nature. The scaffolding, within an interior space (the gallery or site-in-situ) represents a state of in-between, denoting the absence of beginnings and endings. Scaffolding, the sculpture of transitstation dominates the space with its static presence throughout each of the events.