Ladies how about a little advice please in roskilde

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Making the viewer become part of the art and interact with it has almost become a narrative litlte my work now. Social media is a big part of it — how people photograph the work and davice and re-post it on Twitter or Instagram excites me. The piece is divided into parts, which are made by a team of people before the festival and then combined at the festival site. This means that spray paint has been replaced with bucket paint to make the job easier and create the graphic look. To Maser, this process enforces the sense of community he wishes his art to be at the focal point of: In the end, everything is a journey — you just have to enjoy it.

The feedback she received when performing in front of a live audience intrigued her so much it made her change her approach to artistic expression: To begin with I used rather confrontational texts written as songs, which I performed while taking on a variety of roles and identities. The departure point of my art is the creation of a mirror in which the audience may reflect their own stories. They will be placed in a room and the audience will be able to interact with them or mirror themselves in them.

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The suits will be supplemented by music as well sbout a new piece of performance made by myself. To Lxdies, Roskilde Festival is a perfect opportunity for this to happen: I believe I create something that has a wide appeal and which is perfect for Roskilde. People are more open than normal here. My art departs from interaction with the audience and I hope this will provoke some thoughts. It all depends on those who activate it. Mere end en laptop.

Advice little please roskilde about in a how Ladies

Mere end en tablet. Lights are also projections on surfaces and installations that are lit up. The lights in Art Zone have multiple functions. This double function is central to our work with lighting artists. We want to create unique and fascinating art works that should surprise and amaze you. We have found three different groups who create six individual lighting projects. It's okay to close your eyes Ladies how about a little advice please in roskilde spin around for half an hour in the middle of the crowd during a show. It's okay to stagger to the bushes to throw up and then come back and continue the conversation. The devil may care.

And I'm sure it's okay to cry because you're in love with a fox. At least that's what I tell myself as I stagger in circles around the festival's Art Zone. Then I sit down to recall what just happened. I was in the Art Zone. For many years, art has been living like a pauper at the great music festivals. It's been far too frail and acute for the spirit of rock music upon which all these festivals were once built. This has all changed now. Now, at the crest of Experience Economy and the society of cultural capital, art is required at an event like this.

It serves to broaden considerably the palette of personal enrichment opportunities available at the festival. This year, all art activities are gathered in the Art Zone - an area the size of a picturesque market square in an old city, flanked on each side by scaffold structures tall as houses and decorated with the signature candystripe lines of this year's main visual artist: Irish graffiti writer Maser who has moved on from his native Dublin streets to become a global top class street artist bringing his trademark visual identity from country to country and across the oceans.

A performance installation built to research "the sensuous" by using participants as human research objects. A considerable queue of festival people has formed outside the laboratory. They are peeking over each other's shoulders at a small, wooden table standing before the laboratory entrance. At the table, a man and a woman dressed in white are presiding over a large book. The custodians of the laboratory. In the book, people write their names with a feather pen. This is the act by which they may secure a slot for a visit to the laboratory. An evoker leads me by the hand through the drapery and into the front room.

Other human research objects line the walls, blindfolded. The room is full of strange, old-fashioned objects. It's a swirling contrast to the world outside. An evoker hands me a piece of paper. I fill it out as best I can. Then I too Ladies how about a little advice please in roskilde blindfolded and left to wait. I immediately become aware of my body and of the soundscape; the muffled flow of distant music, the breeze blowing through the drapery and the now indecipherable chatter of the outside world. Sisters Hope in the Performance Sense Laboratory. After a while, a hand removes my blindfold and leads me further into the laboratory.

I am led through a series of mysterious rooms. One has a fine tapestry and a golden mirror on the wall. A woman in a white dress is standing with her back turned towards us. Another room is criss-crossed by a web of string and there is a barometer hanging on the wall. I have been invited to stay in this room. There is a strip show going on. But it's a really weird strip show. The stripper is wearing snakeskin which covers all of her body including her face. She is a body more than a human. At the back of the room, a woman is playing an accordion. The music is eerie like a mystery never quite unfolding.

The stripper shakes off a layer of snakeskin. She throws the shedded layer at me. The stripper's movements are bold, quick and smooth, as if to say "keep your eyes on me, but come closer at your own risk". She keeps shedding clothes and new clothes keep appearing underneath. We're just three spectators, sitting by the side walls. I feel a desire to run my hands along the writhing body's skin. But I'm too afraid. Instead, I run my hands along the texture of her old skin which lies scattered around the floor by now. Finally, her last layer becomes visible. She appears to be human after all. But her face is still covered in snakeskin. Then she runs off. The musician stops playing.

The room is empty but for the accordion player staring blankly into the air. I proceed to the next one. This is where I meet the fox. The room is made of feathers. Feathers on the floor, feathers on the ceiling, feathers on the walls. The fox is crouching in the middle. It is wearing a white dress and a plastic fox mask. It stretches its hand out coyly. I crouch to face the fox. The plastic mask faces me only a breath away. Would this have been funny in another world? In another setting, I would have laughed. But it's not funny here.

This is my reality now. I believe in everything. The fox touches my shoulder with its fingertips, then withdraws. I do the same. The fox comes closer. It sniffs my neck. I sniff its neck. Am I also a fox? Then the fox puts its arm around me and embraces me. We rise and the fox lifts its mask. As I had suspected, there's a human behind it. Five seconds pass, during which I am more present in the world - whatever world this is that I am in - than I have ever been before. Then she begins to talk. Melanie Jame Wolf and Ana Berkenhoff.

Diana Lindhardt "Foxwoman, if you're reading this, will you go on a date with me? I am sitting on the floor like a kid in a sandbox with feathers all over me. She thinks I said she is beautiful. She is, of course, but I wouldn't say something as banal as that. The moment has blown away. The feathers settle, except a few which seem to keep hovering above the floor. One small white feather is sticking to my right shoe. That was how I fell in love with a fox. I got trapped between two worlds. The fox did not exist in the world I had returned to, but something in me couldn't understand.

I could also not escape a feeling that the performance had struck me emotionally mainly because I had been sexually attracted to the woman wearing a fox mask. Would I have come just as close to a fox with a male body? If yes, that would have spoken of an even greater achievement by the performer. Diana Lindhardt Uncovering The Inner Workings of a Performance Sense Laboratory "I was interested in what the idea of an 'animal meeting' meant - outside or alongside language. How trust and instinct and play operate from a sensuous position", Melanie Jame Wolf politely explains.

She is the founder of Savage Amusement ; one of the four performance groups that make up the Performance Sense Laboratory - the one responsible for the feathery fox room. Melanie says her desire to experiment with "animals as humans as animals" in her performances originates from her long-lasting love for Richard Scarry's books. Who can forget the scene where the fox convinces the prince to tame it and they become irrevocably connected? I had lived this act of taming. Had I tamed the fox? Had the fox tamed me? Whatever it was, the fox was in my heart now. Just like the little prince, I had gone to another planet, never to return.

The fox in The Little Prince emphasizes the responsibility you gain towards one that you have tamed. Melanie also speaks of responsibility: They allow such a tender vulnerablity in the way they enter and engage with the work and as a performer and an artist that is such a huge responsibility. The sensuous mode of perception is central in most of performance curator Gry Worre Hallberg's work. She is a highly active Copenhagen-based performance artist, experimenting with the sensuous as a member of performance groups Fiction Pimps and Sisters Hope.

She is also currently involved in the Dome of Visions project, and at last year's Roskilde Festival, she was one of the creators of the grand performance installation known as The Velvet State. Gry reveals her plan for this year's performance scene: This is important to me. And the change came immediately, as soon as I stepped into the building. In the Performance Sense Laboratory, I sensed, details were important. Most communication happened kinetically, through touch or gesture, and you had to listen carefully to each word when someone spoke. This was all in stark contrast to the festival.

I personally feel a desire to enter such a space. Also, I believe it accentuates the magic already present in the festival.

Most of Gry's work is based on the anthropological theory of liminality. In short, this theory states that in order for a major change to happen to a person, she must first enter a liminal state, which is a state of detachment from one's normal course of life. It is a state of darkness where the past and the future become obscured. To enter a liminal state, one must work to leave behind one's normal preconceptions. This usually requires a preparatory state known as the pre-liminal. In the case of the Performance Sense Laboratory, pre-liminal activities include the queueing, the writing of names with feather pens in the large book, the filling out of the questionnaire and the blindfolded waiting in the reception room.

One of the Evokers. Diana Lindhardt "These things signify that you're making an effort. They believe they can just show up and have some great experience handed to them. But honestly I don't think that's when the deepest spaces open up. Art can open far deeper spaces but it requires our own investment. Otherwise it doesn't move anything in us. The laboratory is not only a site for conducting experiments on participants. It is also a curatorial experiment in itself. The curatorial novelty of the Performance Sense Laboratory lies in the construction of an immersive performance installation which, while being a work of its own, serves as a common framework for several individual performance groups.

Gry is very happy with this novel approach. Which room opens you, which room sets you free, that depends who you are. In that way, it was a purely affective or sensuous mode of collaboration and it was interesting to tune into what that meant and how that could work. It all comes across as one narrative. Diana Lindhardt I shall remain curious about the results of the experiments in this laboratory, but I am sure they will be ardently put to use by Gry Worre Hallberg in her ever expanding work with Sisters Hope, the performance group developing the school of the sensuous society. The sensuous society is beginning to happen in our reality. It is itself part of a greater artwork - the Art Zone - home to all of the festival's art activities.

A supreme gesamtkunstwerk containing pieces and events in the realms of visual art, performance, architecture, installation, gaming, food and journalism. We had to give people a 'whoa' feeling before they even enter. We've likened it to Coney Island or St. Places where you walk in and feel really small and awed. I do see his point. Maser's enormous brightly coloured blocks certainly catch the eye. And the tall scaffold structures make the place seem like a surreal castle, or a mirage in the summer heat. In one wing of this dream castle, a game is played in a dark room, staged by Die Gute Fabrik. The players hold on to coloured lights hanging from the ceiling.

The colours change and the players must swing between each other and grab on to new lights.

In another adice, on a stage facing outward from the Art Zone, the journalist collective Zetland is hosting artist talks and events starring some of the festival's music artists. It was designed to address one of the core components of the festival: The stage is very open, integrating smoothly into the liytle to the front hiw well as the back but still maintaining a clear distinction from the world around it. This abour between designers and journalists is advife succesful one. The lively Zetland journalists and their short and pleasant events seem completely at home on this stage.

The stage for journalism at the festival. The white crown on top signifies that something is happening on the stage. When the stage closes, the crown is folded in "We would like to facilitate meetings and to challenge the way people meet. Part of this challenge consists of a couple of innocent-looking chair arrangements in another part of the Art Zone. They look like they can be swiftly rearranged but actually they are immovable. You have to work hard to sit the way you want. Interaction is the holy grail here.

What a chance, what a privilege for these artists to make art of interaction! Back in Copenhagen, people do their own interacting and artists make exhibitions. If an artist tries to make interactive art there, he's lucky to have visitors. And the interaction will often be forced 'Look, I'm interacting with some art!

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