IN SITU Book - META 2011 - 2016 - DELUXE

in situ

TRANSFORMATION

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ART

EUROPE

MANIFESTO

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in situ

META A MANIFESTO FOR EUROPEAN TRANSFORMATION THROUGH ART

in situ

THE EUROPEAN PLATFORM FOR ARTISTIC CREATION IN PUBLIC SPACE

IN SITU brings together a group of programmers who are passionate about new forms of art and public space. They have been working together since 2003 to develop joint European projects.

The platform is led by Lieux publics – national centre for creation in public space based in Marseille (FR) – and is developing through a number of projects supported by the European Commission. Its activities are: the scouting and promotion of artists, organisation of project laboratories and incubators, co-productions and promotion of emerging creations, organisation of conferences and seminars, etc.

To date, IN SITU has supported over 150 European artists. It gathers 21 partners from 14 countries from as many practical and aesthetic backgrounds which all contribute something vital to the network. Whether members come from a sprawling metropolis or a rural area, whether they are seeking to rehabilitate industrial wasteland or redesign landscapes, the goal is always to serve artists working with, in and for public space.

In 2016, IN SITU is working across two complementary projects: The META cooperation project supports the development of contemporary artistic creation that reflects the dynamics at work between art, public space and the construction of European society.

The IN SITU Platform is one of the first to have been selected by the European Commission under the Creative Europe programme, and aims to highlight and promote these emerging artists who are working outside conventional venues and contributing to the transformation of our territories.

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2003 It all started around a table somewhere in Europe. Five festival managers and artistic centre directors had the same hunch that the future of artistic creation in the public space would play out on a European scale. In five languages, they laid down the foundations of IN SITU and art in the European public space.

2016 The idea has won over support and IN SITU now boasts twentyone partners in Marseille, Graz, Glasgow, Košice, Valladolid, Sotteville-lès-Rouen, Terschelling, Neerpelt, Budapest, Prague, Copenhagen, Pristina and beyond. There are now even more people to identify artists and support them as they explore new territories, and even more colleagues with whom we can think about our continent’s issues. This is an artistic adventure, with a long history of friendship, empathy and trust.

IN SITU has used differences to successfully develop a new artistic movement by putting artistic creation at the forefront. In just under fifteen years, it has supported over one hundred and fifty artists working in, with and for the public space. As the META project comes to an end, announcing a new chapter in our story, this book is a picture overview of our journey and an invitation to move forward together as we metamorphose, share and embrace Europe.

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Birdwatching 4x4 Benjamin Vandewalle / BE /

It starts gently, as if we were just spectators, reliving our familiar

2013

landscapes with their private choreographies and day-to-day

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poetry. Then, little by little, strange things break up what was once normal. A body in front of us defies the natural order, demonstrating strength and changing our focus. Group movements provide emphasis and line up along an open perspective. A contact is subtly created, forewarning of an encounter. A mirrored city with

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bodies as substance. And an empty feeling when we tumble back to reality.

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Building Conversation Lotte van den Berg / NL /

The simple yet strict setting lays out the meeting rules, determining

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a location, posture and intention. Lotte van den Berg asks us to

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take a break and engage in conversation, whether sitting, standing, facing one another or looking up to the sky, remaining silent or talking. For one, two or three hours, participants experience a new way of talking and listening to one another, inspired by ancestral rituals from the Inuit and Maori people. This protected

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performance space focusses on dialogue and encourages us to build society through discussion, sharing and conversation.

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Deblozay Rara Woulib

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Dogs and wolves emerge from the shadows around a street

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corner. A figure moves in the distance. A voice speaks out of the

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darkness, followed by another. Are they dead or alive? These spirits from another time and place quickly form a group that starts to accelerate - a strange brass band guiding us to the city’s forgotten places. The brass instruments join in and the rhythm becomes frantic. We stroll, we run, freely abandoning ourselves

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to the trance. We stop in a secret and fantastical place where we enjoy an impromptu banquet. One last waltz and the spirits return to the shadows before disappearing. We are left orphaned, unsure whether this intense and magical night stroll was just a dream, placed in the back of our minds. This temporary “disorder” (“deblozay” in Haitian Creole) will long remain in the minds of those who took part.

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Flat

Rodrigo Pardo

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A man wakes up one morning with the feeling that his life has

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been turned upside-down. He walks around his apartment,

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which hangs vertically on the side of an apartment building. His daily life is turned sideways, becoming a meta-reality that offers a window into his private life, dreams and fantasies... or a lesson about fighting your demons while defying gravity. This man is just like us, as he dances around on the walls, almost flying around a

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space filled with images featuring both every-day reality and the dreamlike world of his thoughts. It is a journey between vertigo and hard-hitting reality, taking us deep below the surface.

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Harmonic Fields

Pierre Sauvageot - Lieux publics & Cie / FR /

Harmonic Fields features hundreds of instruments, with harmonic

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cellos, vibrating drums, bamboo whistles, propeller sirens, gyrating

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music boxes and Balinese scarecrows that tell a story through the wind. This exceptional symphonic orchestra relies on the force of the wind to produce music, using gusts from all corners of the globe. This ever-changing performance brings all the senses to life as walkers breathe in the fresh air around this wind-powered

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experiment. They are drawn in as they meander among the winddriven contraptions that inhabit the Harmonic Fields. Visitors create their own musical journey, a powerful, organic and sensory experience. This natural symphony is governed by the passing fancies of the wind. No offence to Descartes, but here people are neither master nor possessor of nature; it belongs instead to the ever-changing poetry.

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Invisible Walls Teatri ODA / XK /

Songs from afar ring out in a carefree atmosphere. Joyful and

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compelling dances move closer, plunging us into their whirlwind

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of life. We spiral forward, inching closer, until we are all together at last! The narrative jousting can begin with stories melding and crackling around. We are soon laughing and truly living. Suddenly, the stories switch from comedy to tragedy. Invisible walls subtly reappear, separate, distance, divide, imprison and poison. Our

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hearts beat faster, we hold hands, our cries of laughter die out and our emotions go into overdrive. But we know that sometimes it only takes a brave song or persistent dance to break the ice and bring back the light-hearted atmosphere.

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Promenade

STEREO Akt & Artus Company

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Everyday scenes fly by through the windows of a bus. A man

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who looks like he has just come out of prison and a woman from

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a psychiatric asylum meet, talk, leave and seem to run away.

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The screenplay of their lives unfolds in an urban landscape that becomes the backdrop of this story. But confusion settles in. Are we prisoners in this bus, spectators, or the show itself ? Where does reality begin? Where does fiction end? It is a long journey

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and we drive on unrelentingly despite the hustle and bustle of the characters in the city. This road-movie is the perfect metaphor for the journey of life. We are all anonymous passengers, whether inside or outside. After this unescapable exodus to the future, we reach the final stop and everyone gets off, ending an epic modernday story.

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Public Juke Box KriĹĄtof Kintera / CZ /

What best brings people together? Music has the unusual power

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to awaken a flood of emotions, create points in common and

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bring people together in a single, fleeting moment. This work is an urban juke-box travelling across the cities and landscapes of Europe. What if juke-boxes became a familiar fixture of the urban landscape? Would this not be the easiest way of bringing people together in public spaces? One hundred pieces, including Erik

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Satie, Beethoven, a Dada poem by Kurt Schwitters, the Sex Pistols, a speech by Vaclav Havel and pop hits create an extraordinary soundscape in a unique, subjective and poetic setting. Welcome to the musical world of KriĹĄtof Kintera whose Public Juke Box invites passers-by to share a moment of joy, memories and dancing.

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Streetwalker Gallery Ljud Group / SI /

Did you know that every city is an open-air museum? That this

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sign is the work of a little-known genius? That this crack is the

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remains of a memorable sculpture? That this graffiti is a gift from the greatest contemporary painter? Open your eyes! Dare to look around! Listen to the stories whispered by the walls and share your own! Together, let’s tell the micro-stories that make our cities what they are today‌ Using a serious yet off-the-wall approach,

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Ljud Group takes us to tour the city as if it were a museum, asking us to comment on it like experts and reinvent it as if we were children.

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Tape Riot

Asphalt Piloten / CH-DE /

Asphalt Piloten leaves its mark on the city walls, tarmac, glass

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and steel. It all starts with electronic background music. The work

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seems fleeting, yet our eyes never tire of watching the flowing lines and the gritty movements of the two dancers. Once the artist has left, the piece becomes more permanent, leaving behind graphic lines that form a new, invisible city. Tape Riot leaves a scratch upon the city, a pain-free scratch that opens our eyes to new horizons.

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Temporary Cities ZimmerFrei / IT /

Little clues, such as an encounter, a conversation, sometimes

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even a look, come together with chance finds to create a thrilling

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adventure. This sets the ball rolling, and sometimes a specific

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point of view on a place and the lives of its residents is almost unintentionally established. The aim is never to judge, but to capture the spirit of a place and its own poetry on the big screen.

From Copenhagen to Budapest, Marseille, Terschelling and

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Chalon-sur-SaĂ´ne, their stories are told and retold. These places are like islands, which, together, create a detailed map of Europe, a sort of European archipelago.

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The Fleeting City Olivier Grossetête / FR /

Olivier Grossetête is a unique artist, specialised in construction

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work of the mind. His fleeting cities are life-size cities made

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of cardboard that come to life thanks to the collective energy

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of residents. The Fleeting City seeks to break down traditional power symbols in the city, establish new codes and bring people together in an open and utopic project where they can dream up a new city. This broad European community of builders boasts

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participants aged 7 to 77, from Norwich, Graz, Glasgow, Košice, Marseille and beyond. In their simple way, they help to repair the social relationships that are crumbling in major cities. It’s another way of living together.

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The Playground Groupenfonction / FR /

This is the story of a group of people who meet up every evening

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at nightfall in what could be a children’s playground - a quiet place

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where they can give free rein to their desires. They come together to dance, sing, dream, intertwine and love one another. Their desire to be together creates a natural beat, leading to dancing and choir music. This series of embraces, songs and movements spreads the beat, awakening emotions that resonate with the audience.

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The Playground attempts to identify how individuals create a community and tries to determine each person’s private and fragile journey to understanding others. The Playground questions the role of spectators, confronting them with the responsibility of whether or not they wish to join the community.

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The Speakers Thor McIntyre-Burnie

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Speakers hanging from trees play anonymous voices as a kettle

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boils on a fire pot where we gather to keep warm. The Speakers gives

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a voice to people in the public space. During the art installation, real and sensitive dialogue is established with local residents.

Thor McIntyre-Burnie meets residents, collects their stories, worries and struggles, mixing them with others collected from social networks. It all began in Tahrir square during the Egyptian

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revolution where the virtual world reflected the real world and where the web became a key part of public space. Since then, the project has travelled from city to city, from revolution to protest, creating an enormous tapestry of words between residents from across the globe, united by the same desire for change as they fight for a better life.

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Walk With Me Strijbos & Van Rijswijk / NL /

The space is transformed via a headset, replacing the indistinct

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hum of the city, the rustle of the surrounding trees and the car

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engines rushing past with a story created by the participants themselves, an experience with a few unfinished notes. As we wander around, a musical map of the space unfolds through GPS coordinates, making us all listeners but also authors of an everchanging spatial symphony, with sounds that will remain well

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after the artists have left.

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in situ

MEMBERS

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Artopolis Association PLACCC Festival Budapest / Hungary

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La Strada Graz - Internationales Festival für Straßen und Figurentheater Graz / Austria

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Atelier 231 Centre national des arts de la rue Sotteville-lès-Rouen / France

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Les Tombées de la nuit Rennes / France

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Lieux publics Centre national de création en espace public Marseille / France

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Norfolk & Norwich Festival Norwich / United Kingdom

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Teatri ODA Pristina / Kosovo

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Scenekunst Østfold Fredrikstad / Norway

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Pilsen 2015 European Capital of Culture Plzeň / Czech Republic

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Consorzio La Venaria Reale Venaria Reale / Italy

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Čtyři dny - Four Days Prague / Czech Republic

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FAI-AR Formation supérieure d’art en espace public Marseille / France Châlon dans la rue - l’Abattoir Centre national des arts de la rue Chalon-sur-Saône / France Fundación Municipal de Cultura Ayuntamiento de Valladolid Valladolid / Spain K13 Košické kultúrne centrá Košice / Slovakia

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Bildstörung Europäisches Straßentheaterfestival - Stadt Detmold Detmold / Germany

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Terschellings Oerol Festival Terschelling / The Netherlands

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Københavns Internationale Teater Copenhagen / Denmark

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Theater op de Markt Neerpelt / Belgium

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La Paperie Centre national des arts de la rue Angers / France

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UZ Arts Glasgow / United Kingdom

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HU

Artopolis Association

PLACCC Festival

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PLACCC Festival, launched in 2008, aims to introduce art in public space and site-specific art to the Hungarian public as well as to serve as a platform for dialogue about the city we inhabit and an opportunity for interdisciplinary encounters not only between international and Hungarian artists, but also academics of related fields (such as sociology, anthropology, urbanism, architecture).

Presenting site specific work is a way of making people aware of art work that overcomes the boundaries of art as they know it. Audiences has a chance to encounter new artistic experiences and at the same time, get to know another aspect of the city where they live, the urban spaces that art can also use and inhabit. A festival focusing on site-specific work opens new horizons for artists and programmers alike, as it results in engaging and meeting new audiences and also puts artistic work into a different perspective, by taking away the not only ’physically’ perceived walls around arts institutions, but also the ‘elitist’ approach often attributed to contemporary arts.

The focus of PLACCC has significantly changed through the years. We started as a ‘festival of site-specific theatre’, today we define ourselves as ‘festival of site-specific art and art in public space’. We have opened our programme selection up to other art fields and we present film, music, visual art, design, architecture, even forms on the borderline of art like urban games, thematic or virtual walks etc. On the other hand we work more and more in public space, what also caused a gradual change in our curatorial preferences: we look for projects which merge artistic aims with other (social, political, educational, urbanist) aspects.

Fanni Nànay Artistic director, PLACCC Festival / Artopolis Association, Hungary

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Field Office Budapest Invisible Playground / DE /

Invisible Playground is a Berlin-based collective of young artists,

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game designers and academics, creating Street, Audio and

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Transmedia Games. Integrating diverse influences ranging from experimental musical theatre and performance art to video games, IP develops experience formats that grant participants entry onto the invisible playgrounds they walk across every day without noticing.

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The Field Office Budapest opened at Nyugati Underpass in 2011 to create micro-utopias that amplify and remix facts and fiction, fears and fantasies surrounding the site. Working in and out of the Field Office, Invisible Playground and local codesigners investigated the area and interviewed informants. Using a special toolkit and rich experience from previous playgrounds, the Field Office transformed local intelligence into site-specific games. In a series of live events and during regular opening hours, the games were tested with and introduced to interested players.

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Reality Room 011 Group / HU /

011 Group is composed of the youngest generation of Hungarian

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theatre-makers. Their works deal with matters that are important

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to their generation (drugs, violence), while also searching for a connection with historical events and themes that affect contemporary Hungarian society, though younger generations have no direct experience of (communism, Holocaust).

They have created a site-specific theatre performance for PLACCC

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2014, in which they have tackled the lack of social responsibility in the present Hungarian society. Inspired by Syrian and Ukranian separatists, disillusioned with democracy and proclaiming the lies inherent in consumer society, a radical group creates the Independent Budapest State. The newly founded State requires the residents of Budapest to take a citizenship exam, thus the audience try out an imagined, fictional but geographically and chronologically very familiar situation: being tested on whether they can stay true to their beliefs, or they can be confused, bought out, and most importantly, can they have a say in the shaping of their own destinies.

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Hézag / Gap / Mellemrum Kitt Johnson / DK /

The Danish choreographer and dancer Kitt Johnson, artistic

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director of the X-act company and Mellemrum encounters, an

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international site-specific art programme has created a dance piece in urban spaces in collaboration with young Hungarian dancers and circus artists.

As a part of PLACCC 2015 Festival, her work has been centered on the experimentation done by Hungarian dancers participating

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in her master class about contemporary dance and movement performed in unique public spaces. Guided by Kitt, dancers had a chance to work in groups and by themselves and present the results of their master class.

The choreographies presented by Ádám Frigy, Valencia James, Flóra Sarlós, the SAPP group (Eszter Kökényesi, Gabriella Pálfi, Kata Szilágyi), Zsófia Zoletnik / Sophie and Gergely Kiss / Geret reflected on our urban life, but also on the refugees situation what was a burning issue in September 2015.

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Atelier 231

Centre National des Arts de la Rue

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Dès sa création, l’Atelier 231 à Sotteville-lès-Rouen s’est inscrit dans le développement d’expériences artistiques européennes. Le festival Viva Cité était quant à lui déjà dans cette dynamique depuis 1996 avec le festival britannique Streets of Brighton.

Nous étions aux balbutiements des échanges européens entre festivals des arts de la rue. Pour les compagnies anglaises et françaises, traverser la Manche a créé de belles opportunités de rencontre d’un autre territoire, de nouveaux publics.

Tout restait à construire, avec un désir fort d’étendre le champ de la coopération, ne pas s’en tenir aux échanges de diffusion, explorer plus loin ces passerelles du local à l’Europe et de l’Europe au local.

C’est convaincu par ces prolongements possibles que l’Atelier 231 est devenu en 2003 partenaire d’IN SITU, à l’invitation de Pierre Sauvageot, directeur de Lieux publics qui pilotait ce premier projet réunissant six partenaires de cinq pays européens autour de la création pour l’espace public.

IN SITU ouvre tout un volet de collaborations nouvelles autour de la création, de productions européennes et d’aventures écrites à plusieurs mains entre organisateurs et artistes européens. Une source intarissable d’inventivité, de réflexion et de professionnalisation pour les arts de la rue.

En 2016, alors que META s’achève après trois années foisonnantes de projets entre les membres d’IN SITU, ni la source ni les aspirations ne sont taries.

Issus de quatorze pays européens, les vingt-et-un partenaires d’IN SITU sont désormais réunis en Plateforme européenne et ont déjà imaginé la suite.

Depuis plus de dix ans, le réseau IN SITU a permis d’accompagner des projets aux approches variées, de conforter au plan européen un secteur encore jeune, mais en pleine possession de sa force d’émergence.

Anne Le Goff & Daniel Andrieu Directrice et Fondateur, Atelier 231, France

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Step by Step

Là Hors De / Na Peróne / FR-SK /

Le grand intérêt d’IN SITU est la possibilité offerte de rencontre

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entre des artistes européens qui oeuvrent dans la même direction

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artistique.

Quand Peter Kocis de la compagnie slovaque Na Peróne et Nathalie Veuillet de la compagnie lyonnaise Là Hors De se rencontrent, c’est une création hybride qu’ils nous proposent, sur près de six années d’étapes jusqu’à son aboutissement à Košice et Marseille, Capitales

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européennes en 2013.

Step by Step nous amène à réfléchir sur l’exil, la migration forcée, les réfugiés, thème prémonitoire dès 2008. Les artistes européens confrontés à l’histoire du XXème siècle, à ses violences, sont au cœur du projet co-écrit par les deux compagnies.

A l’issue d’une résidence participative à l’Atelier 231, les deux compagnies présentent Step by Step en juin 2013 sur le festival Viva Cité à Sotteville-lès-Rouen. Plusieurs dizaines d’artistes locaux partagent alors, avec les professionnels, au cœur de l’action, la profonde émotion suscitée par ce spectacle multiforme où le public devient parfois acteur.

C’est aussi cela le travail en profondeur de la stratégie IN SITUMETA, ne jamais oublier l’ancrage sur les territoires traversés.

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The Baïna Trampa Fritz Fallen Le G. BISTAKI / FR /

Fin juin 2010, une jeune compagnie toulousaine est invitée sur le

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festival Viva Cité à Sotteville-lès-Rouen pour sa première création

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Cooperatzia. Ce spectacle à géométrie variable a été inventé par Le G. Bistaki comme une forme simple et fixe, avec des évolutions vers l’installation in situ, la déambulation et le travail avec les amateurs qui deviennent acteurs de leur monde.

Le G. Bistaki revendique de travailler lentement, et sans arrêt.

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Collectivement ils remettent leurs métiers sur l’ouvrage. Ils transforment l’œuvre initiale en liens sincères avec le public et attachent une grande importance aux espaces et aux lieux où se déroule l’action de leur pièce. Cette exigence artistique et cette relation au public intéressent particulièrement le réseau IN SITU lorsque Florent Bergal, à l’invitation de l’Atelier 231, présente The Baïna Trampa Fritz Fallen lors du séminaire « Ecrire côte à côte » en février 2014 à Glasgow. Cette fois les comédiens/danseurs ont choisi de travailler avec du maïs, des pelles de déneigement, des costumes blancs.

Cette compagnie ne s’est pas retrouvée dans le projet META par hasard, les spectacles du G. Bistaki sont universels, ils enthousiasment en France, en Europe, aux USA ou encore en Argentine.

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Le Code de la Déconduite Collectif X/tnt / FR-BE /

Les projets artistiques qui intègrent une dimension européenne dans

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leur écriture trouvent avec IN SITU un terrain d’expérimentation à

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leur mesure.

C’est le cas du Code de la Déconduite, véritable guide du citoyen qui explore avec les habitants volontaires de plusieurs villes européennes ce qu’il est permis ou non de faire dans l’espace public.

Différentes étapes ont été créées à Bruxelles, Paris et Budapest en

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2014, Norwich, Marseille et Sotteville-lès-Rouen en 2015.

Epaulés par des juristes qui précisent le cadre juridique dans chaque pays, Antonia Taddei et Ludovic Nobileau du collectif X/tnt mènent depuis 2014 une série d’actions participatives hors normes dans l’espace urbain pour nourrir ce guide européen.

En octobre et novembre 2015, l’Atelier 231 a invité X/tnt à imaginer des actions de déconduite avec les sottevillais, notamment autour de la technologie numérique du QR Code et de la liberté d’expression dans l’espace public avec des élèves du Lycée Marcel Sembat et sur la liberté de voter en temps réel les usages de l’espace public, expérience démocratique #1, avec des étudiants de l’Université de Rouen et des habitants.

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L’abattoir

Centre National des Arts de la Rue Festival Chalon Dans La Rue

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L’Abattoir / Centre National des Arts de la Rue se situe naturellement au sein d’un vaste réseau : plus de 1000 compagnies françaises ou étrangères ont été présentées dans son festival depuis 1987 soit 29 éditions. Tout naturellement, s’est posée dès les années 2000, la question de sortir de ce vaste entre soi.

D’explorer d’autres façons de faire, de produire, de créer, d’explorer les enjeux qui lient l’art et l’espace public ici ou sur d’autres territoires. Avec la nécessité d’enrichir notre vision d’expériences originales, exotiques, qu’ils s’agissent de projets d’artistes, de tentatives d’écriture ou d’expérimentations en devenir.

Le réseau nous a aidé à valider des rencontres, à expertiser des propositions au regard de l’extrême diversité des formes proposées. Il nous a permis d’apprécier la complexité des rapports qu’entretiennent les individus avec leurs espaces publics, un rapport qui se trouve être réellement différent d’un pays à l’autre. La richesse venant là, de la multiplicité des attentes, des envies et des propositions, même si incompréhension et tâtonnement font partie des éléments de l’équation, et ils ne sont pas les seuls. Une équation souvent d’une résolution délicate.

Le Centre National des Arts de la Rue, pour sa part, a présenté les projets d’André Braga (2006), de Julien Travaillé (2008), de Corinne Pontier (2010), de Fabrice Guillot (2011) et d’Ali Salmi (2012). Tous ont trouvé ces rencontres d’une exaltante altérité, repartant avec plus de questions que de réponses, rien de plus normal puisqu’il en va de même pour nous.

Le festival Chalon dans la rue, dans son productif espace de dialogues et de découvertes à destination des publics comme des professionnels, journalistes ou artistes a présenté quant à lui les projets de Rodrigo Pardo (2013), LjudGroup (2012), Berlin (2010), Rode Boom (2012). En 2016, c’est le collectif ZimmerFrei qui sera convié.

Beaucoup reste à faire, les découvertes ne font que commencer, et même semé d’embuches, le parcours s’avère fécond.

Pedro Garcia Directeur, L’Abattoir / Centre National des Arts de la Rue, France

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Cathédrale d’acier Osmosis - Ali Salmi / FR /

Ali Salmi accueillant par nature et au talent reconnu, cultive le

2012

bonheur d’être cosmopolite. De pays en pays il rencontre, s’interroge,

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tisse des liens qu’il transforme par passion en passerelles. Son dernier passage en 2012 par IN SITU, Cathédrale d’acier à l’occasion d’Ecrire côte à côte à Prague, l’a conduit à Séoul et à Gunwi en Corée du Sud où il répète actuellement sa dernière création A la sueur de ma terre labellisée dans le cadre de France-Corée 2015-16.

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Déjà avec Cathédrale d’acier, il croisait la réalité du monde industriel et proposait une symphonie de corps machine/humain qui s’écrit à travers les jeux d’une grue nacelle autonome et de son accastillage, de poutrelles d’acier, d’écran métallique, de deux danseurs, un circassien et de deux témoins du réel.

Entre documentaire, fiction et réel spectaculaire, des chantiers navals d’Ulsan déjà la Corée du Sud, de Gadani (Pakistan) aux derniers hauts fourneaux lorrains de Florange-Hayange et Uckanges, Cathédrale d’acier était une traversée sensible du corps à l’œuvre.

Invitation à un aller-retour des récits de gestes et de matières de ce monde au travail.

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A quoi rêve Peter ?

Un essai sur le vertige Deuxième Groupe d’Intervention / FR /

Ema Drouin à fleur de peau en proposant A quoi rêve Peter ?

2014

questionne nos sociétés sur cette génération qui fabrique notre

/

devenir. Visiblement pour Ema les regards se détournent, l’avenir est délaissé et les préoccupations liées à cette génération qui porte notre devenir ne sont pas d’actualité. Alors son Peter, toujours et encore, tourne le dos à l’acte de grandir et s’envole vers des aventures inédites et intenses au pays de l’imaginaire.

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Les garçons d’aujourd’hui sont-ils tentés par l’évasion plutôt que par la réalité ? Qu’est-ce que cela dit de notre société contemporaine ?

Comment la voient-ils ? La rêvent-ils ? Quelles sont leurs utopies, leurs regrets, leurs fantasmes, leurs peurs ? S’y sentent-ils accueillis ou oubliés ? De quelle couleur est le pays de jamais jamais ?

Rouge-jeux vidéo en ligne ? Bleu-joints, drogues faciles à la sortie du lycée ? Jaune-violences en réunions ? Vert-balades à risque sur les toits ? Par delà, la question posée est celle du suicide, virtuel, réel. À quoi rêve Peter ? Un essai sur le vertige est une création pour l’espace public qui interroge tous les Européens sur notre capacité collective à générer du possible, de l’espoir chez les jeunes générations.

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IT

Consorzio La Venaria Reale

01

Quando nel 2007 la Reggia di Venaria Reale ha riaperto al pubblico i propri spazi si è posta il problema di come consentire una fruizione migliore ai moltissimi visitatori. Si è perciò sperimentata una programmazione di attività che parlasse un linguaggio artistico per i contemporanei e che recepisse le nuove tendenze artistiche degli spettacoli in luogo pubblico. È così diventato un approdo naturale l’adesione nel 2011 al progetto META IN SITU. Abbiamo partecipato e condiviso le scelte con tutti i nostri partner e garantito la circuitazione di performance e spettacoli sostenuti da META. Ogni anno, nell’ambito della programmazione generale, due o più giornate sono state dedicate specificatamente all’idea di valorizzare gli spazi della Reggia con spettacoli sostenuti da META. Spettacoli che rispondessero al concetto che lo spazio pubblico non va inteso solo come contenitore ma protagonista esso stesso. Dove gli artisti siano capaci di recepire dentro la propria creazione le suggestioni e le emozioni che gli spazi, quegli spazi, offrono ed evocano.

Tre sono state le produzioni che abbiamo sostenuto: Panta Rei con la compagnia Arearea di Marta Bevilacqua che ha coniugato il concetto filosofico di Eraclito con l’ambiente, i giardini e l’acqua; Glocary di Simona Da Pozzo dove l’interazione con il pubblico comprende sia lo spazio che la parola; Juliet’ Vertigo con la compagnia Blucinque di Caterina Mochi Sismondi, sul concetto di vertigine che riguarda non solo l’altezza fisica ma soprattutto quella interiore. La Reggia di Venaria, luogo magico e spettacolare, si è così inserita nel flusso di produzioni e proposte artistiche che guarda oltre gli schemi consueti e ne sperimenta le possibilità.

Mirco Repetto Direttore artistico, Consorzio Venaria Reale, Italy

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02

When the Reggia of Venaria Reale reopened its doors to the public, in 2007, it had to address the question of how to improve the fruition for its huge audience. It was therefore tested a more contemporary language during the artistic season, so that it could acknowledge the new trends of art and performances in public space.

That’s the reason the participation in the META-IN SITU project, in 2011, became the ideal landing of this path. We partook and shared all the decision with our partners and we ensured the circulation of shows and performances supported by META. Every year, in the general events’ programme, two or more dates were specifically devoted to the promotion of Reggia’s locations through performances and exhibitions supported by META. All these performances had to deal with the idea of public space intended as the main character, not simply as a beautiful frame. We asked all the artists involved to absorb in their creations every suggestion or emotion that those places could offer and evoke.

We supported three works during their production processes: Panta Rei by Marta Bevilacqua’s company Arearea, that combines philosophical ideas from Eraclito with environment, gardens and water; Glocary by Simona Da Pozzo, a performance where interacting with audience concerns both space and speech; Juliet’ Vertigo by Caterina Mochi Sismondi‘s company Blucinque, about the idea of vertigo not only as a physical height, but also as a spiritual attitude. The Reggia of Venaria Reale, a magical and magnificent place, has thus became a part of that stream of artistic productions and projects, which is able to look beyond usual models, experimenting new possibilities.

Mirco Repetto Artistic Director, Consorzio Venaria Reale, Italy

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Panta Rei

For an urban phylosophy Compagnia Arearea / IT /

Panta rei, in Greek everything flows, is Heraclitus’ famous and

2012

controversial aphorism which expresses the sense of the doctrine

/

of evolution.

Let’s start from here, from this simple and profound inspiration to continue our search to unify philosophy, dance and urban space.

Panta Rei is the first stage of a project that intends to place in space and in the time of art philosophers and their ideas.

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It is our task to find a suitable setting to represent in a concrete form and realism the philosophical thought.

Heraclitus’ ideal setting was a river whose waters flow incessantly.

Facing the passing of time two dancers, in the current of the river experience the change in their bodies and go back to nature to understand to create and disappear.

You cannot step twice into the same river, nor is it possible to touch a mortal substance twice and find it the same, but thanks to the swiftness and speed of change it scatters and assembles again, to and from.

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CZ

Čtyři dny Four Days

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Our start with the network came buy an accident as many good things in our lives. I met the final day of IETM meeting in 2009 co-founder of the IN SITU network – Mr. Jean Sebastien Steil – and he informed me about IN SITU and asked me if such platform would be interesting for our festival. My answer was YES. Reason was quite simple: new people, similar aim, and good energy of Jean Sebastien Steil.

Czech country is a small country, more known for its winter sports winners than for „summer“ live art. Therefore, our association worked with the main goal – to open the door for unknown but original and innovative Czech artists. So thanks to IN SITU we have followed our aim and long term dream.

We learnt a lot! Such disproportion we have not expected at all. You can easily see existing „Berliner wall“ between human beings on one and the other side. IN SITU is a good school for diplomacy, for informal meetings, for friendships. Each new person, city, countryside enriches you in good and bad sense. So be part is pleasure and stress in one :-) Pavel Štorek & Markéta Černá Directors, Čtyři dny - Four Days, Czech Republic

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Cros-sing Time Stage Code / CZ /

Stage Code work with a quite open concept and invite in each city

2013

local choirs to perform. Their work is in between community art

/

and site-specific work. The music for the walks is based on the repertoire and style of the choirs. Together with them Stage Code arrange thematic situations on site, combining singing with simple elements of performance, elements of flash-mob, movement and use of props. They create playful and slightly bizarre situations,

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exploring the border between realism and fiction. They not only confront and mingle the voices of several generations but also play with their different worlds, tastes and fantasies.

Stage Code play freely with associations on their lifestyles, opinions and behaviour. The situations on site often play with the fact, that youth and adults have not only different music taste but also use public space differently.

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Public Juke Box KriĹĄtof Kintera / CZ /

What best brings people together? Music has the unusual power

2014

to awaken a flood of emotions, create points in common and

/

bring people together in a single, fleeting moment. This work is an urban juke-box travelling across the cities and landscapes of Europe. What if juke-boxes became a familiar fixture of the urban landscape? Would this not be the easiest way of bringing people together in public spaces? One hundred pieces, including Erik

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Satie, Beethoven, a Dada poem by Kurt Schwitters, the Sex Pistols, a speech by Vaclav Havel and pop hits create an extraordinary soundscape in a unique, subjective and poetic setting. Welcome to the musical world of KriĹĄtof Kintera whose Public Juke Box invites passers-by to share a moment of joy, memories and dancing.

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DE

Bildstรถrung

Straร entheaterFestival Detmold

01

The City of Detmold with its festival for performing arts in public space ‚Bildstörung‘ joined IN SITU Platform project in November 2014.

We appreciate to be partner in IN SITU network to share ideas about public space as an open space for new identities, to participate in knowledge about creation in public space among artists, programmers and experienced colleagues from all over Europe as well as to develop the potentials and transformative power of arts in public space together.

Though our collaboration with IN SITU is fresh and only one year old we already value high the opportunity to take part in a theoretical and practical discourse and discussions about the challenges of arts in public space in relation to urban diversity and new technologies, the senses of places and audience development.

The participation in IN SITU leads KulturTeam of the City of Detmold after 24 years of experience in programming and organizing a street theatre festival in the local reality of a medium-sized town in a rural area to a European level.

The continuous movement of the perspective towards artistic creations in public space in exchange with the IN SITU tribe brings the fruitful outcomes from the European platform directly to the collaborating artists and audiences in Germany.

Sabine Kuhfuss

Reinhold Seeg

Artistic Directors, Bildstörung - European Street Theatre Festival City of Detmold, Germany

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BE

Provinciaal Domein Dommelhof

Theater op de Markt

01

From its foundation in 1988 Theater op de

Vanaf het ontstaan van Theater op de

Markt (TodM) has been an international

Markt (TodM) in 1988 had het festival al

festival. Inspired by the flourishing street

internationale ambities. In de beginperiode

theatre scene in France, TodM programmed

werd de mosterd vooral bij de zuiderburen

from the start large scale street productions.

gehaald, waar ‘straattheater’ al veel meer

Since 2006 the festival has been firmly

ingeburgerd was. In 2006 kozen we resoluut

committed to operate in an international

voor

context by entering the IN SITU network,

werking via de toetreding tot het IN SITU

and by starting international collaborations

netwerk. In die periode startte TodM

and co-productions. By means of the

internationale

promotion of our artists in this international

en coproducties. Via de promotie van onze

network, TodM increasingly operated as

kunstenaars

an ambassador for Flemish performing

netwerk, kon TodM steeds meer optreden

arts (in public space). On the one hand

als

we distributed our artistic productions

podiumkunsten (in de publieke ruimte). We

in Europe, on the other hand we invited

brachten niet alleen onze kunstenaars naar

European artists in our festival. Thus TodM

Europa, Europese artiesten werden ook naar

has always been an inspiring presentation

ons festival gehaald. Op die manier werd

and celebration of both European diversity

zowel de Europese verscheidenheid als de

and solidarity.

verbondenheid getoond en gevierd. Voor

een

uitgebreidere

internationale

samenwerkingsverbanden binnen

ambassadeur

dit van

internationale de

Vlaamse

TodM bleek dit een bijzonder inspirerende ervaring.

Gert Nulens General Director, Dommelhof, Belgium

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C.a.p.e.

CREW

/ BE /

The experimental company CREW pioneered immersion-based

2011

performances and was the first to combine 360° Omni Directional

/

Video with a Head Mounted Display and a tracking system. These performances are anchored in the physical: by moving, walking and running the ‘immersant’ experiences the virtual world from within hiw own body. With the support EDM/UHasselt a new configuration was developed (C.a.p.e. - Computer Assisted

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Personal Environment) which is a lightweight version using prerecorded material for fifteen minutes ‘immersive’ walks.. With the support of the IN SITU partners C.a.p.e. KIT was made and was presented together with C.a.p.e. Brussels and C.a.p.e. Tohoku in various settings all over Europe. In the past five years CREW has immersed thousands of people.

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Land’s End BERLIN / BE /

Land’s End is a site-specific performance about country’s borders

2011

and the absurdity of systems. A murder case on trial. Part 1:

/

seven installations forming pieces of the jigsaw puzzle. Part 2: a confrontation between culprits, lawyers and investigators.

Land’s End revolves around a murder case in a small Belgian community. After a few months the investigators gather enough contradictory statements to catch the culprits, a Belgian woman

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and a French hired assassin. The run-up to the trial is fraught with instances of differing international legal procedures. The only possible place for a confrontation between the two culprits is in a farm right on the French-Belgian border.

At the beginning the spectators walk in between seven installations that show possible ways to murder someone, in the second part they witness the confrontation between the assassin and the ordering party. The collaboration with IN SITU network made it possible for BERLIN to, for the very first time, create a site-specific performance.

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Terminator Trilogie FC BERGMAN / BE /

FC Bergman, a young Antwerp company, developed a theatrical

2012

language, which apart from being anarchistic and slightly chaotic,

/

is essentially visual and poetic. In their shows the floundering, ever-striving human being has often taken centre stage. In 2012 FC Bergman presented Terminator Trilogie on a barren piece of land in various, spectacular locations in Belgium and the Netherlands, thanks to IN SITU. It is a wordless monologue, a silent spectacle in

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the open air, set at the first glimmer of the twenty-first century, a century when the options for a happy life are there for the taking.

The headlines in Theaterkrant read: “The theatre of the young wonder boys from Antwerp, FC Bergman, is magnificent. The plain of Terschellinger beach, which stretches almost interminably into the distance, is crucially important. From the grandstand you look out over the beach and see all sorts of things hundreds of metres away: a bench, a trampoline, a piano, a table football table, chairs and so on (‌) The show has no script and very little music. The vastness of the space and the silence contribute to the sheer poetic intensity of the cinematic images.“

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FR

FAI-AR

Formation supérieure d’art en espace public

01

FAI-AR joined IN SITU in 2014 after

La FAI-AR a rejoint IN SITU en 2014 après

collaborating with its members on several

plusieurs collaborations avec ses membres

occasions (Oerol, Lieux publics, La Paperie,

(Oerol, Lieux publics, la Paperie, etc.).

etc.). FAI-AR offers unique training for

Formation unique d’auteurs de l’espace

those working in the public space, paving

public, la FAI-AR prépare le positionnement

the way for European and international

européen

recognition for emerging artists. But Europe

émergents. Mais l’Europe n’est pas qu’un

is not just a mass market for distribution.

vaste marché de diffusion. Une question

A deeper and more political question is

plus profonde s’y joue, politique celle-là :

at stake, concerning access to culture,

l’accès à la culture, la liberté d’expression

freedom of expression and the promotion

et la valorisation des espaces communs

of shared spaces. At a time where people

sont, à l’heure des tentations de repli, de

are tempted to withdraw into themselves,

la responsabilité de tous et en particulier

these issues concern everyone, particularly

des artistes. Au sein d’IN SITU, la FAI-AR

artists. FAI-AR works with IN SITU to

accompagne

support future artists working in the public

de l’espace public à assumer leur rôle

space, encouraging them to be trailblazers

d’éclaireurs dans une Europe en quête de

as Europe seeks to find its bearings once

nouveaux repères.

et

international

ainsi

les

more.

Jean-Sébastien Steil Director, FAI-AR, Formation supérieure d’art en espace public, France

futurs

d’artistes

artistes / 161 /

DK

Københavns Internationale teater

01

As members of IN SITU since 2009, we have had the privilege of collaborating with like-minded European partners, but also with partners with very different experiences and realities. We are all working to infuse public space with art and thus set the agenda for reinstating public space as a place for debate, urban change, multi-disciplinary experiments as well as enchantment and surprise.

We work towards a new discourse for our European urban future where art has a role. In a time characterized by ideological battles, often fought in our public spaces, it is important to use these places as catalysts for soft encounters and meaningful exchanges. By engaging partners from all over Europe, IN SITU ensures the dissemination and the impact of these initiatives.

In Copenhagen, IN SITU artists have helped us reach new audiences and transform our city through performances, actions, talks, installations, media, etc.

Dries Verhoeven’s Ceci n’est pas… made 50.000 people stop in the middle of the street to discuss and immerse themselves in a contemporary work of art and dialogue. Lieux publics’ Harmonic Fields gave crowds of people the feeling of having entered an enchanted space. Emke Idema´s Rule™ challenged the Copenhageners on their attitudes towards immigrants.

ZimmerFrei´s The Hill made average Copenhageners the stars of a local documentary film.

And Danish IN SITU artists such as Kitt Johnson, Asbjørn Skou, Bureau Detours and Fix & Foxy have been given an international network through which they can present and develop their work on a European scale.

Trevor Davies & Katrien Verwilt Directors, Københavns Internationale Teater, Denmark

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Dominoes Station House Opera

/ UK /

Thousands of breezeblocks create a moving sculpture running

2011

across the city like a line of Dominoes. In Copenhagen, 7000 blocks

/

drew a 3 km route through the city with the building blocks our cities are built of. This day the city belonged to art. Traffic was stopped, and people got together in the streets. 200 people as volunteers who built the installation, and 25.000 more protecting the fragile line and finally watching, running and experiencing the

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slowly falling cascade of blocks through both well-known and hidden parts of the city.

The dominoes linked diverse communities in a physical and symbolic chain of cause and effect. Dominoes is a performative installation, allowing art to escape the gallery, engage the public, and transform an idea so simple and playful into a major, social and contemporary artistic action.

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Aeropolis Plastique Fantastique

/ DE /

The architects Plastique Fantastique create beautiful inflatable

2013

plastic constructions acting as temporary sculptural interventions

/

in cities dominated by permanence. With their pop-up Aeropolis community centre, they breathe new life into the city and make the invisible visible. The installation changes shape and squeezes into environments and buildings, juxta-positioning our perceptions and relationships with these spaces.

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The 100 m2 transparent bubble was inflated in 13 locations throughout Copenhagen, appearing silently each morning. It hosted urban activities such as yoga by the lake, star gazing in a park, silent disco at a noisy intersection, performances, martial arts, sound/light installations, poetry, etc. - all curated by local community centres, bringing activities to new, inspiring and scenographic surroundings.

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12

Kitt Johnson and 12 performers

/ DK /

In collaboration with Kitt Johnson, 12 young performers created a

2015

choreographic epos for and with Refshaleøen, the former shipyard

/

island in Copenhagen with wild landscapes and an imposing panorama. Kitt Johnson is an iconic choreographer and performer with an acute sensitivity in relating to site-specific situations with her poignant and personal performative approach. The performers were selected after a masterclass on Refshaleøen in 2014, and their

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research was the starting point for the group work in 2015.

The post-industrial island was staged for a performative walk with pop-up tableaux, guiding the audience to hidden, obscure and surprising places, drawing us into a world without sense of time or place. The performers appeared as fragile, individual bodies in the monumental landscape, but finally emerging as a group with the strength this embodies.

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FR

La Paperie

Centre National des Arts de la Rue

01

In the spirit of the Fribourg Declaration

Dans l’esprit des Droits culturels de la

on Cultural Rights, La Paperie uses this

déclaration de Fribourg, La Paperie, au travers

project to promote innovative actions

de son projet, promeut des actions et formes

and art forms to bring together guest and

innovantes qui permettent la rencontre

commissioned artists and people living

entre des artistes invités, missionnés et les

across the entire region.

personnes vivant sur l’ensemble du territoire

La Paperie supports special requests and long-term

immersive

and

contextual

régional.

Commandes

spécifiques,

immersives

et

démarches

de

creative initiatives, helping renew artistic

création

genres and languages, inspiring dreams and

portées sur des périodes longues, La Paperie

contextuelles

contributing to the quest for new social

contribue au renouvellement des genres et

cohesion.

des langages artistiques, interpelle et donne à rêver, participe à la recherche d’une cohésion sociale à réinventer. / 181 /

Eric Aubry Director, La Paperie, France

KHOR II TAAT

/ NL /

Gert-Jan Stam est un metteur en scène néerlandais. Breg Horemans

2015

est architecte belge. Grâce à une approche multidisciplinaire TAAT

/

explore la tension entre la performance et le « potentiel narratif » de l’espace. Le projet de TAAT montre une forte implication sociale et souligne le processus, le do-it-yourself, la propriété et la co-création.

KHOR II relie l’architecture avec le théâtre, l’art et le développement social.

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KHOR II crée une prise de conscience de la nécessité d’une architecture identifiée et engagée au centre de la ville, à travers lequel les gens peuvent se rencontrer dans « l’espace réel » et « le temps réel » afin d’échanger et de partager leurs idées, leurs expériences et leurs opinions.

KHOR II utilise une approche ludique, théâtrale pour permettre aux gens de voir autrement le lieu où ils vivent et les gens avec qui ils partagent ce lieu.

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07

Tape Riot

Asphalt Piloten / CH-DE /

Asphalt Piloten leaves its mark on the city walls, tarmac, glass

2012

and steel. It all starts with electronic background music. The work

/

seems fleeting, yet our eyes never tire of watching the flowing lines and the gritty movements of the two dancers. Once the artist has left, the piece becomes more permanent, leaving behind graphic lines that form a new, invisible city. Tape Riot leaves a scratch upon the city, a pain-free scratch that opens our eyes to new horizons.

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08

AT

La Strada Graz

01

La Strada is an invitation to see the world

La Strada ist eine Einladung, die Welt

through different eyes. Graz and some

mit anderen Augen zu sehen. Graz und

neighbouring towns turn into a stage for

umliegende

street and puppet theatre, new circus

für Straßen- und Figurentheater, Neuen

and community art. Artists and audience

Zirkus und Community Art. Künstler und

alike explore urban changes and cross

Publikum spüren urbane Veränderung auf,

borders. As a founding member and co-

überschreiten Grenzen. Das internationale

organiser of IN SITU, the international

Festival hat als Gründungsmitglied und

festival has already realised around 100

Koorganisator von IN SITU bereits rund 100

international coproductions, with 16 of

internationale

them involving the regional art scene. In

davon 16 unter Einbindung der regionalen

the wake of the festival in Graz, a “Creation

Szene. Im Umfeld des Festivals in Graz hat

Center” became established, increasingly

sich ein „Creation Center“ etabliert, das

making its mark as a production factor of

sich

contemporary artistic forms of expression.

künstlerisch zeitgemäßer Ausdrucksformen

It locates temporarily to places where

einen Namen macht. Es verortet sich

it senses a demand for development; in

temporär dort, wo es Entwicklungsbedarf

emerging spaces like Graz Reininghaus

auslotet; an „Emerging Spaces“ wie Graz

where, together with its neighbours, some

Reininghaus,

projects have already been developed and

Nachbarschaft

implemented.

entwickelt und umgesetzt wurden.

Städte

Werner Schrempf

zur

Koproduktionen

zunehmend

Director, Festival La Strada Graz, Austria

werden

wo

als

realisiert,

Produktionsfaktor

gemeinsam

bereits

Bühne

einige

mit

der

Projekte

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Fitting Willi Dorner

/ AT /

Mit seinen choreografischen Arbeiten zum Verhältnis Körper und

2012

Stadtraum war Willi Dorner bereits weltweit im künstlerischen

/

sowie urbanen Kontext zu erleben. Zwischen Performance und Installation führt sein Projekt Fitting diese Auseinandersetzung vor

dem

Hintergrund

zunehmender

Einschränkungen

und

Veränderungen in Städten fort: Wie macht man Stadträume erfahrbar? Wie reagieren Bewohner auf Veränderungen? Inwiefern / 194 /

lassen sich diese Transformationen beeinflussen? Fitting greift performativ in die Stadtlandschaft ein, dockt an sie an und baut sich ein.

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03

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Das Dorf

Theater T‘eig / AT /

Theater t‘eig versetzt Berge und das „schönste Blumendorf

2014

Europas“ in die Stadt. Mit 14 Darstellern zwischen acht und 74

/

Jahren bespielt es sowohl das preisgekrönte Weißenbach/Haus als auch die – maßstabsgetreu in die Baulandwiese des zukünftigen Stadtteils Reininghaus Graz transformiert – Grundrissskizze des Originaldorfes. Das Publikum taucht dabei auf unterschiedlichste Weise in die Dimensionen des Dorflebens ein, bewegt sich zwischen

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installativen Stationen, Diavorträgen und Bildern. Mutiert dabei zum

Dorfbewohner

und

bewältigt

Herausforderungen

des

Zusammenlebens.

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04

05

06

Hello and Goodbye KUNSTLABOR von uniT / AT /

Menschen kommen an und gehen weg. Das ist im Grazer Stadtteil

2015

Liebenau nicht anders als sonst wo in der Welt. Wer fortgeht, trifft

/

Entscheidungen: aus Thailand in die Slowakei, von Marrakesch nach Marseille, von Trofaiach nach Liebenau – nachher ist vieles nicht mehr, wie es vorher war. Das KUNSTLABOR von uniT Graz hat zwei Jahre lang europaweit Menschen befragt, die umgezogen, aus- oder eingewandert oder noch am Weg sind. In einer Tour durch

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den Bezirk werden die Besucher mit ihren Fragen, Erfahrungen, Beweggründen und Geschichten konfrontiert. Es ist ein RealityCheck, der die Schicksalsfragen anderer für den eigenen Weg relevant werden lässt und die Frage aufwirft: Wie hätte man selbst entschieden?

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FR

Lieux publics

Centre national de crĂŠation en espace public

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De l’Europe comme un terrain de jeu artistique Si loin, si proches, les pays européens doivent faire face à des questions communes de plus en plus délicates : un modèle social à réinventer, une démocratie à revitaliser, l’accueil de refugiés fuyant les horreurs de la guerre ou de la misère, un environnement fragile à préserver, un espace public à retricoter…

Pour les artistes européens, ce sont autant de sujets d’inspiration, de nouveaux formats à inventer, de nouvelles relations à explorer avec les publics et les habitants : un courant européen de la création artistique en espace public se structure autour d’IN SITU. Sur notre territoire, nous pouvons en mesurer deux effets majeurs. Les artistes européens y présentent leurs œuvres aux publics et habitants. En 2013, une dizaine de créations de grande envergure ont fait partie du programme de la Capitale européenne de la culture. Chaque année, Lieux publics peut proposer entre dix et vingt créations, abouties ou en cours, au public de la métropole Marseille-Provence.

L’autre effet, moins visible, n’en est pas moins important : de nombreux artistes marseillais sont invités dans les grands festivals du continent, croisent leurs pairs, développent avec eux de nouvelles collaborations.

Lieux publics a initié ce regroupement et le pilote depuis maintenant près de quinze ans.

Malgré les difficultés qui assaillent artistes et festivals, malgré les nuages qui flottent sur l’Europe, cette approche européenne apparaît chaque année plus riche, plus créative, plus artistique.

Pierre Sauvageot Directeur, Lieux publics, France

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Le mois du chrysanthème Compagnie Tandaim, Alexandra Tobelaim / FR /

Des morts qui reviennent nous parler d’une douleur intime. Ils

2012

arrivent au son d’une valse et repartiront après une dernière danse.

2016

Des histoires du passé qui doivent être racontées resurgissent,

/

murmurées au creux de l’oreille. On s’approche pour les entendre et partager une drôle d’intimité, sur une tombe en morceau de gazon, point de passage organique entre les vivants et les morts. Ici, la tombe est verdoyante, le mort est volubile, les mots sourdent avec

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une vitalité jaillissante. Une dernière promenade, puis le contact se rompt, le défunt retourne à l’autre monde. Délicate invitation à écouter ce que les morts ont à nous dire, Douleur exquise de Sophie Calle trouve ici une forme scénique saisissante, ouverte à tous, heureuse réconciliation entre la cité et ses morts.

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Stars on stairs

Compagnie Migrateurs Transatlantique / FR /

Jany Jérémie est fascinée par les escaliers. Image emblématique

2013

du cabaret, la descente d’escalier est un classique du genre. Le

/

potentiel scénique de certains, comme celui de la gare Saint-Charles à Marseille, à l’instar d’un Cuirassé Potemkine, a inspiré à la chorégraphe un défi chorégraphique, jeu infini de mouvements des corps dans cet espace instable. Démultipliant les croisements, les duos mêlés font émerger une œuvre plurielle. Cette « embrouille

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chorégraphique » métamorphose littéralement le grand escalier, lui redonnant pour un temps sa spectaculaire monumentalité. En journée, il se transforme à nouveau en scène pour les amateurs composant à leur tour leur descente fantaisiste, une minute de gloire pour chacun. L’ensemble constitue un diptyque urbain d’où surgit la danse, foisonnante et multiple, extraordinairement sensible.

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Le Code de la Déconduite X/tnt / FR /

X/tnt – eX théâtre national terroriste – ne plaisante pas avec

2015

l’espace public, il travaille à sa réinvention, et crée pour cela une

2016

méthodologie : le Code de la Déconduite. Si l’art a longtemps

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été subversif, signe des temps, le duo d’artistes, Antonia Taddei et Ludovic Nobileau, convoque le droit et les juristes : le monde contemporain semble perdre le contrôle de la démocratie, l’X/tnt propose de reprendre le contrôle, et déjà la connaissance du droit, qui

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charpente notre société. Ils organisent des actions border line, aux limites du droit, sous la forme d’opérations commandos impliquant les habitants, citoyens réinvestis d’une mission de réappropriation de l’espace public. Leur approche ludique et joyeuse, permet de rêver que nous sommes responsables ! Capables d’agir sur le monde ! Il est même prévu d’ouvrir des Auto-écoles de Déconduite. Un guide essentiel pour citoyens en action.

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UK

Norfolk & Norwich Festival

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Being part of IN SITU has been an exciting and incredibly inspiring journey for me as an artistic director and has brought a whole range of exciting artists to our audience here at Norfolk & Norwich Festival. The passion of the festival directors to explore artistic questions first and foremost is the absolute key to IN SITU’s continued success. There is the sense that we never stand still and the artistic directors, the artists we choose and the work which is created is always new, fresh and cutting edge. And at the same time the work has broad appeal for a large audience. There is always the sense with an IN SITU project that as an artistic director I can expect the unexpected and this is the same for our audience. When we announced, for example, The People’s Tower our audience did not quite know what would take place but it became one of the biggest hits we have had in recent years. In the same vein Ljud Group’s Streetwalker Gallery and CAPE have both been hits for smaller more curious audiences. After four years in IN SITU we are looking forward to working much more closely on more projects in the future, bringing a whole new group of European artists to the UK. William Galinsky Director, Norfolk & Norwich Festival, The United Kingdom

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NO

Scenekunst Ă˜stfold

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Scenekunst Ă˜stfold joined IN SITU in 2014, allowing us to benefit from years of accumulated experience. The network has been a tremendous source of inspiration, providing access to a wide variety of innovative artists and practices. These include creative, interdisciplinary methods of occupation, diverse programming models and philosophies, and challenging conceptions about the role of artists in the public realm.

The probing, intellectual exchange among members forms a dynamic core from which all other activities emerge. The artistic hot-houses enable us to invite artists into a unique forum, exchanging and nurturing germinal ideas in a rigorous creative climate. Visiting the other festivals open windows toward new possibilities, encouraging us to experiment with our own strategies and local partnerships. For our audiences, the benefits take the form of unforgettable experiences that play upon their expectations and offer new perspectives of place and perception.

Our membership in IN SITU provides us privileged access to an array of European practices. These are transmogrified into unique manifestations, adapting themselves to local contexts within the region of Ă˜stfold, be they town centers, post-industrial environments, or the natural landscape. Whether inspiring local artists, engaging local audiences, or expanding our own creative toolbox, the network has become a well from which we draw the waters of transformation.

James Moore Curator and Producer, Scenekunst Ă˜stfold, Norway

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Cooperatzia (The Trail) G. Bistaki / FR /

The French collective G. Bistaki is a choreographic and investigative

2010

circus whose work adapts itself uniquely to the physical and

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social features of the space it occupies. Exploring the triangular relationship of body-object-space, their work takes the form of mobile, site-sensitive adventures. In the case of Cooperatzia, terracotta roof tiles, women’s handbags, and military trench coats were the point of departure for their playful experimentation. In

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2014 Scenekunst Østfold invited G. Bistaki to occupy Verket, a decommissioned paper factory complex in the town of Moss. This resulted in a marvelous performance-installation stretching over 1.5 km, employing local amateurs in a series of living tableaux, and transforming the ruins of the familiar into a place of wonder.

In 2015 Scenekunst Østfold produced an intervention comprising excerpts during the European Heritage Awards at Oslo City Hall.

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Saturn III Karl Van Welden

/ BE /

In 2015 Scenekunst Ă˜stfold invited Karl Van Welden to stage his

2013

performance installation Saturn III atop Overkongen, the highest

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point of Fredriksten Fortress in Halden, along the border with Sweden.

Saturn III investigates themes of distance, intimacy, infinity and control by placing the spectator into a precarious relationship to the surrounding landscape. A ring of eight monolithically shaped

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observation posts overlook a 360° panorama. Visitors occupy the posts one at a time, hearing a soundtrack through headphones, zooming in on isolated performers in the landscape through binoculars or telescope.

Perceptions of time, distance, and scale become estranged as secretive, mythological relationships unfold through a distant gaze, and the sense of one’s surroundings is transformed.

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The BaĂŻna Trampa Fritz Fallen G. Bistaki / FR /

Due to the tremendous success of Cooperatzia (The Trail),

2015

Scenekunst Ă˜stfold invited G. Bistaki to return to Verket Moss in

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2015 with The BaĂŻna Trampa Fritz Fallen. This time the arsenal of their absurd and delightful choreographies comprised several tons of genetically modified corn, snow shovels, and white dress suits. A new route through the former paper factory was charted, enabling a different reading of the terrain as they danced a series of surreal

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tangos through the post-industrial landscape, and demonstrating how artists and sites can inform and define one another through their encounters. Workshops with local amateurs contributed once again to their participation in animated tableaux amid largescale, performative installations through which the audience were guided in procession.

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XK

Teatri ODA

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Teatri ODA exists and works in a very

Teatri ODA ekziston e vepron në një ambient

difficult environment, not only political

të vështirë jo vetëm shoqëror e politik por

and social but also cultural, since its

edhe kulturor qysh prej themelimit, tash

existence, 13 years ago. Believing that has

e 13 vjet. Duke besuar se ka shumëçka të

a lot valuable to share with the rest of

vlefshme për të shkëmbyer me pjesë tjetër

Europe, 7 years ago Teatri ODA entered

të Evropës, para 7 vjetësh Teatri ODA hyri në

in a partnership with 17 other European

partneritet me 17 partnerë tjerë evropianë

partners in the frame of IN SITU network.

në kuadër të rrjetit IN SITU. Duke qenë se arti

Being that art in public space is not

në hapësirë publike nuk është i zhvilluar në

developed in Kosovo and Balkans, this

Kosovë e Ballkan, ky partneritet u bë jetësor

partnership became vital for the work of

për punën e ODA-së dhe jetën artistike e

ODA but also for the artistic and cultural

kulturore në vend. Gjatë kësaj kohe janë

life in the country. During these times

ndërmarrë projekte artistike të dedikuara

there has been artistic projects dedicated

për hapësirë publike që janë zhvilluar në

for public space that have been developed

partneritet brenda rrjetit, duke pasur artistë

in partnership within the network, having

nga Evropa në rezidencë në Teatrin ODA në

artists from Europe in residence in Teatri

Prishtinë dhe gjithashtu duke punuar ngushtë

ODA in Prishtina, but also working closely

me artistë nga Kosova, duke prezantuar e

with artists from Kosovo, presenting and

promovuar ata në Evropë. Këto punë i kanë

promoting their work in Europe. This work

dhënë një kuptim shumë më të madh punës

has given much greater sense to the work

së ODA-së por edhe skenave kulturore në

of ODA, but also to the cultural scenes in

Kosovë e Evropë.

Kosovo and Europe.

Florent Mehmeti Director, Teatri ODA, Kosovo

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Invisible Walls

Muret E Padukshme Teatri ODA / XK /

Një përvojë teatrore e veçantë e gëzimit dhe hidhërimit që ndodh

2013

mes mureve të padukshme. Një pasaportë ju lëshohet për të pasur

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qasje në këtë udhëtim të krijuar nga jeta e vërtetë e Kosovës. Muret e padukshme është në rrëfim i veçantë i njerëzve të ngujuar, në izolim, të rrethuar me mure të padukshme. Rrëfimet e treguara nga kohët e luftës në Kosovë janë pjesë e përvojës jetësore të aktorëve dhe miqve e familjeve të tyre. Publikut i jepet një pasaportë që i shpie

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ata në një udhëtim prekës dhe intim ku zbulohet izolimi dhe shtypja fizike e psikologjike, pamundësia për të shijuar të drejta bazike njerëzore si dhe gëzime të lirive të vogla. Një produksion vërtetë ndërkombëtar zhvilluar nga Teatri ODA me artistë nga Mbretëria e Bashkuar, Franca e Austria. U dha premierë shumë suksesshëm në Festivalin Oerol në Holandë dhe u shfaq edhe vende tjera përfshirë Edinburgh Fringe Festival.

“Ishte diçka që s’e kemi përjetuar më parë” Koha Ditore

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Invisible Walls Teatri ODA / XK /

Songs from afar ring out in a carefree atmosphere. Joyful and

2013

compelling dances move closer, plunging us into their whirlwind

/

of life. We spiral forward, inching closer, until we are all together at last! The narrative jousting can begin with stories melding and crackling around. We are soon laughing and truly living. Suddenly, the stories switch from comedy to tragedy. Invisible Walls subtly reappear, separate, distance, divide, imprison and poison. Our

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hearts beat faster, we hold hands, our cries of laughter die out and our emotions go into overdrive. But we know that sometimes it only takes a brave song or persistent dance to break the ice and bring back the light-hearted atmosphere.

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The Speakers

Folësit/Altoparlantët Thor McIntyre-Burnie (Aswarm) / UK /

Për t’i dhënë zë të pathënave.

2012

Proces i angazhimit dhe instalacion fizik në të njëjtën kohë.

/

Popullon një hapësirë publike dhe përkohësisht e transformon atë në një lloj larve mes njerëzve dhe hapësirës, të vërtetë dhe digjitale, të kaluarës dhe të tashmes. lokale dhe globale. Inspiruar nga roli i Twitter-it në lëvizjet revolucionare, kjo punë artistike fokusohet rreth fjalëve të njerëzve që mbrojnë të drejtën e tyre të ‘flasin hapur’

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si dhe eksploron ‘koreografinë e mbledhisë’ në epokën digjitale.

The Speakers ofron një mekanizëm për njerëzit që të eksplorojnë realitetin publik të paprekshëm të mediave sociale në një ambient të prekshëm e të vërtetë me kontekst lokal.

Duke shkruar mbi materialin arkivor të mbledhur për kohë të gjatë, e prezantuar në Festivalin HAPU në Prishtinë para hyrjes së Qeverisë, kjo punë artistike ka përmbledhur përmbajtje të njerëzve të Kosovës që mbrojnë lirinë e shprehjes dhe lirinë e lëvizjes.

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The Speakers Thor McIntyre-Burnie

/ UK /

Speakers hanging from trees play anonymous voices as a kettle

2012

boils on a fire pot where we gather to keep warm. The Speakers gives

/

a voice to people in the public space. During the art installation, real and sensitive dialogue is established with local residents.

Thor McIntyre-Burnie meets residents, collects their stories, worries and struggles, mixing them with others collected from social networks. It all began in Tahrir square during the Egyptian

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revolution where the virtual world reflected the real world and where the web became a key part of public space. Since then, the project has travelled from city to city, from revolution to protest, creating an enormous tapestry of words between residents from across the globe, united by the same desire for change as they fight for a better life.

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Katedralja E Çeliktë Osmosis - Ali Salmi / FR /

Duke përshkuar realitetin e botës industriale, është shkruar një

2012

simfoni e trupit makinal / njerëzor përmes një krani dhe litarëve të

/

çeliktë, një pylli me shtylla të çelikta, dy kërcimtarëve, një drejtues makine dhe dy dëshmitarë të gjallë të industrisë së çeliktë. Një ftesë për t’iu kthyer rrëfimeve të gjesteve e materialeve nga kjo botë në botën e çelikut. Një kërkim i ndjeshëm i kërcimit brenda bërthamës së realiteti dhe humanizmit në lëvizje dhe në punë!

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Kjo shfaqje është prezantuar në Festivalin HAPU në Prishtinë në shtator 2015, me një dedikim e përkushtim njerëzve që kanë punuar dhe punojnë punë të rëndë në Kosovë, për heroizmin e tyre në histori dhe në të tashmen! «... Ne jemi prekur drejtpërdrejt nga ky gjest vëllazëror i artistëve ndaj punëtorëve. «I heqim kapelën» këtij baleti të punës së rëndë.»

Cathrin Elss-Seringhaus - Pfaelzischer-Merkur in 02/06/2014

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NL

Terschellings Oerol Festival

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Oerol strives for continuous development

Oerol wil ontwikkeling en vernieuwing

and

bridges

bieden. Daarom bouwen we bruggen met

with new partners, new small and large

partners zodat er kleine en grootse nieuwe

location-based

innovation.

By

building

arise

producties op locatie blijven ontstaan en

as well as talents manage to connect

production

nationale en internationale talenten hun

with an audience. IN SITU is the most

weg naar het publiek blijven vinden. IN SITU

important

network

is het belangrijkste Europees festivalnetwerk

Oerol is participating in. This network –

waarin Oerol participeert. Dit netwerk –

supported with the European Committee –

ondersteund vanuit de Europese Commissie

stimulates the development of new forms

- stimuleert de ontwikkeling van nieuwe

of theatre and art in public space. Oerol is

vormen van theater en kunst in de

one of its nine key members, which has in

openbare ruimte. Oerol is één van de negen

total twenty-one partners, from fourteen

kernpartners van het netwerk, dat totaal

countries,

European

deriving

can

festival

to

eenentwintig partners uit veertien landen

production centres. Within this network,

telt, van festivals tot productiekernen. Oerol

from 2011 Oerol introduced e.g. Judith

introduceerde hier vanaf 2013 o.a. Judith

Hofland,

Strijbos

Hofland, Boukje Schweigman, Strijbos en

en van Rijswijk, Johannes Bellinkx en

van Rijswijk, Johannes Bellinkx en Collectief

Collectief Walden. Oerol has coproduced

Walden en co-produceerde of presenteerde

and presented tens of European projects

tientallen Europese projecten in het Oerol

within the yearly festival program.

programma.

Boukje

from

festivals

Schweigman,

Kees Lesuis Artistic Director, Oerol Terschellings Festival, The Netherlands

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Erf

Schweigman&

/ NL /

A monumental ode to the human condition: Erf is a grand location

2015

performance on the edge of the open field and the dark forest,

/

where past and present meet. Light shimmers and intangible far away comes dangerously close. Live vocals and percussion reinforce the penetrating crafted choreography of movements.

The eternal cycle of birth-life-death is palpable in a hallucinatory ritual. In every new version of Erf, Schweigman& insists on

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working with local people, originating from the area; she poetically explores what is handed over from generation to generation on this specific place: the country as a silent witness of the people passing by. Erf is different on each new location: touring this show exposes human life pattern in Europe in a special way. ÂŤThat I exist, is due to the confluence of all the lives of my ancestors. That makes my life quite by accident and a miracle once. I am a small but significant element in a larger whole.Âť Boukje Schweigman

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Like Me Judith Hofland

/ NL /

Judith Hofland uses the phenomenon of a walk as an artistic

2013

starting point. Like Me is part of the IN SITU series “Walk in

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Progress”, containing various ‘walks’ produced by and to see at festivals of IN SITU members. Like Me explores the dematerialized world of social networks. The viewer is invited to enter a social network, guided by a virtual character. On one point to another of the city, the connection is established between the network

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members, by a set of questions and answers from a distance and then closer and closer ... What ideal image of ourselves are we trying to convey through social networks? What happens to our first impression when we meet someone in real life after meeting them online, how does this transition from image to reality? In what way differs the situation in various countries?

Judith Hofland creates site specific theatre experiences analyzing social mechanisms at work in contemporary society. She weaves an individual link with viewers connected to them through headphones. She uses new technology in unconventional ways to challenge her audience to reflect on the behaviors and uses they convey.

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Verenigde Planeten: Saturn I - Landscape Karl van Welden / NL /

How does ‘little mankind’ relate to the immensity of the universe?

2011

With the planets in our solar system as an anchor point, Van

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Welden seeks visual answers to this key question. SATURN is a series of performance installations, focusing on themes such as distance, intimacy, infinity, control and power in relation to the contemporary landscape.

On Oerol 2011 the first part arose, SATURN I - landscape, on

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the imaging power of the natural landscape. Each of the eight monolithic observation points offering a panoptic view of our world from a high point in the landscape. Binoculars guides the eye of each individual to isolated figures in the distance, which penetrate this world through small actions. While looking, an in-depth perception of the landscape is created, as a mediator between human scale and their cosmic dimensions. Together with SATURN II - cityscape, an installation for urban landscapes, it lead towards SATURN III - townscape, which highlights a rural environment. This third part travels within the European partners of IN SITU.

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FR

Les TombĂŠes de la nuit

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C’est en 2011 que Les Tombées de la Nuit rejoint IN SITU, sur invitation de Lieux publics.

Une place se libère au départ de Pronomade(s) et le caractère singulier du « festival » rennais semble entrer en complémentarité avec les différentes identités des membres du réseau.

Le projet des Tombées de la Nuit tient une place particulière dans le paysage français, il ne s’agit ni d’un festival arts de la rue ni d’un centre national, mais d’un événement hybride aux multiples facettes qui tente d’apporter une autre approche, un regard décalé à travers la défense de nouvelles esthétiques hors des schémas habituels des arts de la rue en France. À l’époque Les Tombées de la Nuit s’inscrivent tout particulièrement dans une démarche d’accompagnement de projets artistiques traitant du son dans l’espace public (deux des trois projets proposés en sont l’illustration). Les choix ne se font pas par opportunisme mais plutôt dans la volonté de faire un bout de chemin ensemble, sur le long terme, se donnant le temps de l’expérimentation.

L’investissement des Tombées de Nuit dans le programme META fut l’occasion d’exprimer cette démarche, en donnant l’opportunité à de jeunes artistes de se confronter à la diversité du réseau européen qu’est IN SITU, de se frotter à d’autres esthétiques, et par là même de nourrir le réseau avec des propositions loin d’être évidentes.

De 2011 à 2016, Les Tombées de la Nuit auront proposé trois projets en phase avec ce qui fait son identité à savoir questionner la ville, la place de ses habitants, acteurs ou spectateurs, révéler des espaces non dédiés à la représentation et les rendre au collectif : The Playground, Habitant(s) et Architectural SonarWorks ; trois projets et trois artistes (Arnaud Pirault, Benoît Gasnier et Cédric Brandilly) que nous continuons fidèlement à soutenir.

Claude Guinard Directeur, Les Tombées de la Nuit, France

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Habitant(s) Théâtre à l’Envers

/ FR /

Habitant(s), spectacle pour un paysage, prolonge la recherche

2013

et le travail scénographique de théâtre à l’Envers sur une série

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d’authentiques aventures artistiques bâties avec des groupes amateurs sur un territoire spécifique. Benoît Gasnier propose aux imaginants (spectateurs) et aux habitants (qui sont les acteurs principaux, réunis en ateliers de travail, puis rejoints par d’autres groupes en fin de cycle) de bâtir un espace de contemplation. Dans

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cette nouvelle expérience, il s’agit de se poser face à l’immensité d’un paysage. Ce spectacle est un poème non-narratif en mouvement, où les corps viennent peu à peu habiter l’espace, révélant ou laissant voir des détails du paysage. Une expérience esthétique, aussi, de soi face à la contemplation de son environnement immédiat.

Benoît Gasnier créé de fascinantes interventions de l’intime et de la proximité qui bouleversent durablement la place du spectateur, les codes et les espaces de la représentation et de la narration.

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Architectural SonarWorks

Cédric Brandilly et Romain Dubois / FR /

Cédric Brandilly et Romain Dubois transposent l’architecture

2014

de la ville en musique et détournent les modes traditionnels de

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modèlisation du territoire en combinant algorithmes et données géomatiques dans le but de créer une nouvelle cartographie sonore, sensible, un nouveau langage. À partir des données cartographiques de différentes villes (Québec, New-York, Cape Town, Venise, Rennes…), après avoir saisi l’altitude du terrain et la hauteur des

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bâtiments, les variations du relief prennent la forme d’un graphique puis se transforment en partition (la courbe représentant les variations de hauteur de la ville ressemble à une piste de variations musicales). Le but ultime est de créer un méta langage qui pourrait être assimilé au fil de l’écoute par l’auditeur qui devient finalement capable de reconnaître la partition de la ville. Le rendu sonore choisi est le piano, pour sa dimension universelle ; de longues variations en boucles qui ne sont pas sans rappeler Philip Glass.

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The Playground Groupenfonction / FR /

This is the story of a group of people who meet up every evening

2012

at nightfall in what could be a children’s playground - a quiet place

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where they can give free rein to their desires. They come together to dance, sing, dream, intertwine and love one another. Their desire to be together creates a natural beat, leading to dancing and choir music. This series of embraces, songs and movements spreads the beat, awakening emotions that resonate with the audience.

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The Playground attempts to identify how individuals create a community and tries to determine each person’s private and fragile journey to understanding others. The Playground questions the role of spectators, confronting them with the responsibility of whether or not they wish to join the community.

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UK

UZ Arts

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UZ Arts creates, commissions and presents art in all art forms, through residencies, co-production, presenting and sometimes touring work.

The process of creating and developing the IN SITU network has been fundamental to our work. IN SITU has provided a platform to support our ambition to work in public space, across borders and across art-forms.

The essence of IN SITU is in the landscape and the people who inhabit it.

Since 2003 we have followed artists as they explore site sensitive art and performance and publically engaged practice and the digital world as the new public space.

The common thread is to support the relationship between art, artists and audiences and celebrate our diverse cultures and shared vision. The result has been an extraordinary portfolio of innovative and challenging work that UZ has presented at Big in Falkirk, Glasgow’s Merchant City Festival, in towns and villages across Scotland and most recently at the first Galsohans Festival (2015) in Greenock. Meanwhile Scottish artists and performers have been invited to present work across Europe.

The collaborative nature of IN SITU is often reflected in the practise of the artists we support. Seeing artists from different cultures and art forms coming together to find, share and articulate a vision is incredibly rewarding. At the IN SITU funded Europeans Abroad programme UZ organise at Suramedura in Sri Lanka artists are encouraged to radically explore their own practice and cultural identity and bring the work they created back to Scotland and Europe. Dries Verhoeven’s extraordinary Life Streaming linked audiences across Europe through the internet with actors in Sri Lanka. Frank Bölter’s paper boat sailed the Indian Ocean and found its way to Glasgows River Clyde for the Finale of Galoshans.

Neil Butler Artistic Director, UZ Arts, The United Kingdom

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Wynden Tree Oceanallover / UK /

Wynden was part of POLLEN an evolving project initiated by

Scotland

Oceanallover and commissioned by UZ to open the new Helix

2013

Park in Falkirk, Scotland. It drew inspiration from the forms of

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pollen grains and their epic journey from flower to flower across landscapes, continents and oceans.

The Wynden tree leaves and fruit were designed and decorated with the participation of over 100 people from the Falkirk community.

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Branches of the tree were pulled upright using ropes twisted and plied together through workshops in Falkirk and district. The ropes contained drawings and maps representing lines of desire for the workshop participants.

The epic performances included Oceanallover company members, physical theatre students and a 60s+ dance collective. Costume are key - used as a medium allowing a wide range of people to gain access to work that otherwise might be too intimidating or apparently obscure.

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Dot To Dot Maria McCavana / UK /

Maria McCavana works internationally from her base in Glasgow

Scotland

creating site-sensitive work often inspired by collaboration with

2013

the public. Dot to Dot brings together four elements that have been

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initiated as a consequence of residency visits in four European cities where members of the IN SITU network are settled: Falkirk in Scotland, Graz in Austria, Terschelling in the Netherlands and Marseille in France. Each element of work has been generated by

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speaking to people who are part of the community of that city, asking them to tell their memories related to a particular place or route. From these particular memories, secrets, and personal experiences of places, Maria McCavana created art work which becomes itself a catalyst for creating a new set of memories; My Beloved, Tent, Beach shoe-boxes and 262 Pieces of Marseille. The work is evocative and playful provoking the public to interpret and re-interpret the installations from their own memories and experience.

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Professor Hildeberg’s Famous Hibernating Antarctic Zoo Mischief La-Bas / UK /

This was a theatrical experience created across art forms and based

Scotland

on the concept that Professor Hans Hildeberg had discovered

2012

a variety of previously unseen Antarctic creatures. His assistant

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realised the potential to transport the creatures during their hibernating state in ‘Thermostatic Vivariums’ (fridges), to exhibit them then return them home before reawakening.

The audience enjoyed a film before undertaking an induction

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procedure. They were then free to examine the creatures. Zoo guides informed and explained at every stage.

The ‘Zoo’ is an example of a collaborative approach to theatrical experiences. Sculptural taxidermy artists Dirk Claesen and Hedwig Snoeckx, along with collaborating artist Kurt Demey, were commissioned to create the exhibits at their ‘animal factory’ in Hasselt, Belgium. Austrian installation and conceptual artists Anita Fuchs and Resa Pernthaller created the artwork for the perimeter fence.

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in situ

META CREATIONS 2011-2016

Metamorphosis Olivier Grossetête, The Fleeting City – France / ZimmerFrei, Temporary Cities – Italy Shared cities Willi Dorner, Every-one – Austria / Schweigman&, Erf/Son of the soil – The Netherlands / Rara Woulib, Bizangos – France / Karl Van Welden, Mars II – Belgium / Emke Idema, Rule – The Netherlands / X/tnt, The Dedriving Code – France / 011 Group, Reality Room – Hungary / Claire Croizé, Primitive – Belgium / Krištof Kintera, Public Juke Box – Czech Republic / Strijbos & Van Rijswijk, Walk With Me – The Netherlands / TAAT, KHOR – The Netherlands, Belgium / Theater T‘eig, Das Dorf – Austria / Zweintopf, CCC – closed circuit circus – Austria / Alex Rigg, Wynden – The United Kingdom / Benjamin Vandewalle, Birdwatching 4x4 – Belgium / Dries Verhoeven, Fare Thee Well – The Netherlands / Lotte van den Berg, Building Conversation – The Netherlands / Là Hors de - Na Peróne, Step by Step – France / StereoAkt - Artus Company, Promenade – Hungary / Pierre Sauvageot Lieux publics & Cie, Igor hagard/Igor off the rails – France / Rara Woulib, Deblozay – France / Rodrigo Pardo, Flat – Argentine, Belgium / Sumit Sarkar, Buzzbeak – The United Kingdom / Zweite Liga für Kunst und Kultur, Chronicle of events passing by – Austria / Baro D‘evel, Mazùt – France, Spain / Dramagraz, God is German – Austria / FC Bergman, Terminator Trilogy – Belgium / Ljud Group, Streetwalker Gallery – Slovenia / Mischief La-Bas, The Zoo – The United Kingdom / Thor McIntyre-Burnie, The Speakers – The United Kingdom / Berlin, Land‘s end – Belgium / Invisible Playground, Field Office – Germany, Hungary, Czech Republic / Teatri ODA, Invisible Walls, Kosovo

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Walk in progress Judith Hofland, Like Me – The Netherlands / HOPPart, Scale 1:5 – Hungary / Asphalt Piloten, Tape Riot – Germany, Switzerland / UniT, Hello & Goodbye – Austria / CREW, C.A.P.E – Belgium / Association -able, L’Agence touriste – France / Stage Code, Cros-sing – Czech Republic / Maria McCavana, Dot to Dot – The United Kingdom Embracing Europe Karl Van Welden, Saturn – Belgium / Pierre Sauvageot - Lieux publics & Cie, Harmonic Fields – France / Station House Opera, Dominoes – The United Kingdom / Le G.Bistaki, Cooperatzia – France / Le G.Bistaki, The Baïna Trampa Fritz Fallen – France Side by Side artists 2014 Eleonora Ariolfo, blucinQue – Italy / Kenny Bean – The United Kingdom / Cédric Brandilly – France / Florent Bergal, G. Bistaki – France / Lirak Çelaj – Kosovo / Mattieu Delaunay, atelier de papier – France / Ema Drouin, Deuxième groupe / 316 /

d’intervention – France / José Luis Gutiérrez – Spain / Breg Horemans, TAAT – The Netherlands, Belgium / Anastasia Isachsen – Norway / Kitt Johnson – Denmark / Michael Keegan-Dolan, Fabulous Beast Dance Theater – Ireland / Krištof Kintera – Czech Republic / Ludovic Nobileau, X/tnt – France / Thomas Sobotka, Theater T’eig – Austria / Dávid Tarcali, Studio Nomad – Hungary / Rob van Rijswijk, Strijbos & van Rijswijk – The Netherlands Side by Side artists 2012 Martin Boross, Stereo Akt – Hungary / Marco Canevacci, Plastique fantastique – Germany, Italy / Andy Cooper – The United Kingdom / Simona Da Pozzo – Italy / Benoît Gasnier, Théâtre à l’envers – France / Sean Patten, Gob squad – Germany, The United Kingdom / Eva & Gerhard Pichler, Zweintopf – Austria / Brilant Pireva –

Kosovo / Alex Rigg, Oceanallover – The United Kingdom / Ali Salmi, Osmosis Cie – France / Boujke Schweigman, Schweigman& – The Netherlands / Ján Šimko – Slovakia / Asbjørn Skou – Denmark / Alexandra Tobelaim, Cie Tandaim – France / Benjamin Vandewalle – Belgium / Chema Vicente Treviño – Spain / Maresa von Stockert, Tilted – The United Kingdom Side by Side artists 2011 Anna Anderreg - Asphalt Piloten – Germany, Switzerland / Marta Bevilacqua, Arearea – Italy / Teun Castelein – The Netherlands / Lirak Çelaj – Kosovo / Ondřej Cihlář, Vosto5 – Czech Republic / Willi Dorner, Cie Willi Dorner – Austria / Félix Fradejas Herrera – Spain / Fabrice Guillot, Cie Retouramont – France / Jany Jérémie, Cie Migrateurs Transatlantique – France / Emoke Kiss-Végh, Tamás Ördög – Hungary / Jeppe Kristensen – Denmark / Thor McIntyre-Burnie – The United Kingdom / Luc Perrot, Les cercles de la Litote – France / Arnaut Pirault, Groupenfonction – France / Rachid Regragui – Morocco / Sumit Sarkar – The United Kingdom / Thomas Verstraeten, FC Bergman – Belgium / Jozef Vlk, Debris Company – Slovakia Europeans abroad in Sri Lanka, Kosovo, Haiti Henri Jesionka – Austria / John Beedell and Phil Haynes – The United Kingdom / Christian Eisenberger – Austria / Adrian Schvarzstein – Spain / Eva and Gehrard Pichler – Austria / Kit Mead – The United Kingdom / Thor McIntyre Burnie – The United Kingdom / Elisabeth Wildling – Austria / Franck Bölter – Germany / Kitt Johnson – Denmark / Alex Rigg – United-Kingdom / John Rogers – Ireland / Juri Cainero – Switzerland / Samson Ogiamien and Stefanie Öttl – Austria / Martin Janiček – Czech Republic / Matteo Lanfranchi – Italy / Stephen Hurrel – The United Kingdom / Florent Mehmeti and Lirak Çelaj, Teatri ODA – Kosovo / Judith Hofland – The Netherlands / UniT – Austria

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Credits Birdwatching 4x4 (p. 6 - 9) 1-2-5-6 © Vincent Lucas, Marseille, 2014 3-4-7 © Diewke, Terschelling, 2013

Invisible Walls (p. 26 - 29) 1-2-3-4-5-6-7 © Michiel Landeweerd, Terchelling, 2013

Building Conversation (p. 10 - 13) 1-2 © Marion Ribon, Marseille, 2015 5 © Dominika Tihanyi, Budapest, 2014 3-4-6 © Saris & den Engelsman, Terschelling, 2014

Promenade (p. 30 - 33) 1-3-4 © Máté Bartha, Budapest, 2013 2-5 © Geert Snoeijer, Terschelling, 2015

Deblozay (p. 14 - 17) 2 © Gilles Clément, Aubagne, 2013 1-3-5 © Bushido, Marseille, 2013 4-6 © Nikola Milatovic, Graz, 2013 / 318 /

Flat (p. 18 - 21) 1 © Adrien Bargin, Marseille, 2015 2-3 © Nicolas Joubard, Rennes, 2014 4 © Andrea Dudla, New York, 2012 5 © Fanny Girod, Marseille, 2015 6 © Vincent Lucas, Marseille, 2013 Harmonic Fields (p. 22 - 25) 1-3-6 © Vincent Lucas, Marseille, 2013 2-5-9 © Thomas Seest, Copenhagen, 2011 4-7-8 © La Strada, Graz, 2012

Public Juke Box (p. 34 - 37) 1-5 © Krištof Kintera, Terschelling, 2015 2-3-4 © Krištof Kintera, Bratislava, 2014 Steetwalker Gallery (p. 38 - 41) 1-5 © Vincent Lucas, Marseille, 2013 2-4 © Katarina Zalar, Graz, 2012 3 © Nikita Sedorenko, Marseille, 2013 Tape Riot (p. 42 - 45) 1-2-5 © Maja Nydal Eriksen, Copenhagen, 2015 4-7 © Vincent Lucas, Marseille, 2014 3-6-8 © Vincent Van Hecken, Sottevillelès-Rouen, 2012 Temporary Cities (p. 46 - 49) 1-3-4-5-7 © ZimmerFrei, Budapest, 2012 2-6 © Thomas Seest, Copenhagen, 2011 8 © Vincent Lucas, Marseille, 2013

The Fleeting City (p. 50 - 53) 1-8-9 © Chris Taylor, Norwich, 2014 2 © Vincent Lucas, Aubagne, 2011 3-4-5-7 © Vincent Lucas, Marseille, 2013 6 © Nikola Milatovic, Graz, 2014 The Playground (p. 54 - 57) 1-3-5 © Nicolas Joubard, Rennes, 2012 2-4-6-7-8 © Maja Nydal Eriksen, Copenhagen, 2015 The Speakers (p. 58 - 61) 1 © Thor McIntyre-Burnie, Budapest, 2012 2-5 © Thor McIntyre-Burnie, Glasgow, 2012 3-6-7 © Marion Ribon, Marseille 2015 4 © Thor McIntyre-Burnie, Flakirk, 2013 Walk With Me (p. 62 - 65) 1-3-4 © Marion Ribon, Marseille, 2015 2-6-7 © Saris & den Engelsman, Terschelling, 2014 5 © Diewke, Terschelling, 2014 Photo Artopolis (page 72) 1 / © Christian Anderegg , Budapest, 2013

Field Office Budapest (p. 74 - 77) 1-2-3-4-5 / © Emese Kelle, Budapest, 2011 Reality Room (p.78 - 81) 1-2-3-4-5 / © Horváth Győző, Budapest, 2014 Hézag / Gap / Mellemrum (p.82 - 85) 1-2-3-4-5-6 / © Rick Zsófia, Budapest, 2015 Photo Atelier 231 ( page 88) 1 / Immeubles architecture Marcel Lods © Laurent Ducros - Ville de Sottevillelès-Rouen, Sotteville-lès-Rouen, 2015 Step by Step (p. 90 - 93) 1 / © Lahorde, Kosice, 2010 2 / © Lahorde, Kosice, 2013 3-4 / © Caroline Lelong - Atelier 231, Sotteville-lès-Rouen, 2013 5 / © Lahorde, Aubagne, 2012

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The Baïna Trampa Fritz Fallen (p. 94 - 97) 1-2 / © Loran Chourrau - Le Petit Cowboy, Toulouse, 2015 3-5-7 / © Caroline Lelong, - Atelier 231, Sotteville-lès-Rouen, 2014 4-6 / © Erik Damiano - Le Petit Cowboy, Toulouse, 2015 Le Code de la Déconduite (p. 98 - 101) 1-3-4-6-7 / © Guillaume Patard-Legendre - Atelier 231, Sotteville-lès-Rouen, 2015 2-5-8 / © Sylvain Marchand - Atelier 231, Sotteville-lès-Rouen, 2015 / 320 /

Photo l’Abattoir (page 104) 1 / Kolektif Alambik © Michel Wiart, Chalon-sur-Saône, 2014 Cathédrale d’acier (p. 106 - 109) 1-2-3-4-5-6 / © Michel Wiart, Chalonsur-Saône, 2013 A quoi rêve Peter ? (p. 110 - 113) 1-2-3-4-5-6-7 / © Michel Wiart, Chalonsur-Saône, 2014

Photos La Venaria (pages 116 and 118) 1-2 / © Consorzio La Venaria Reale, Venaria Reale, 2007 Panta Rei (p. 120 - 123) 1 / © Matteo Trevisan, Venaria Reale, 2012 2 / © Alessandro Rizzi, Cividale del Friuli, 2012 3 / © Fausto Bonvini, Reggia di Venaria, 2012 4-5 / © Consorzio La Venaria Reale, Venaria Reale, 2012 Photo Čtyři dny (page 126) 1/ © Markéta Černá, Prague, 2016 Cros-sing time (p. 128 - 131) 1 / © Stage code, Dunbar, 2014 2 / © Stage code, Prague, 2014 3 / © Stage code, Falkirk, 2013 4 / © Stage code, Marseille, 2014 5 / © Peer Reede, West Terschelling, 2015 6 / © Stage code, Košice, 2015 Public Juke Box (p. 132 - 135) 1-5 © Krištof Kintera, Terschelling, 2015 2-3-4 © Krištof Kintera, Bratislava, 2014

Photo Straßentheater Detmold (page 138) 1 / © Henning Welslau, Detmold, 2009

Dominoes (p. 164 - 167) 1-2-3-4-5 / © Thomas Seest, Copenhagen, 2013

Photo Theater op de Markt (page 142) 1 / © Jan Castermans, Hasselt, 2012

Aeropolis (p. 168 - 171) 1-3-4-5 / © Marco Canevacci, Copenhagen, 2013 2 / © Thomas Seest, Copenhagen, 2013 6 / © Thomas Seest, Copenhagen, 2013

C.a.p.e. (p. 144 - 147) 1-4-6-7 / © Robin Reynders, Hasselt, 2016 2 / © Eric Joris, Marseille, 2014 3 / © Eric Joris, Prague, 2014 5 / © Eric Joris, Košice, 2013

12 (p. 172 - 175) 1-2-3-4-5 / © Maja Nydal Eriksen, Copenhagen, 2015

Land’s End (p. 148 - 151) 1-2-3-4-5 / © BERLIN, Zwevegem, 2011

Photo la Paperie (page 178) 1 / © Eric Aubry, Angers, 2015

Terminator Trilogie (p. 152 - 155) 1-2-3-4-5 © Sofie Silbermann, Antwerpen, 2012

TAAT (p. 180 - 183) 1-2-3-4-5-6-7 / © Eric Aubry, Angers, 2015

Photo FAI-AR (page 158) 1/ © Jean-Sébastien Steil, Marseille, 2013 Projet de l’artiste JR à l’initiative de la Friche la Belle de Mai dans le cadre de Marseille Provence 2013 - Capitale Européenne de la Culture

Tape Riot (p. 184 - 187) 1-2-5 © Maja Nydal Eriksen, Copenhagen, 2015 4-7 © Vincent Lucas, Marseille, 2014 3-6-8 © Vincent Van Hecken, Sottevillelès-Rouen, 2012

Photo KIT (page 162) 1/ © BERLIN, Copenhagen, 2009

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Photo La Strada Graz (page 190) 1 / © La Strada 2013 - Nikola Milatovic, Graz, 2013

Stars on stairs (p. 212 - 215) 1-2-3-4-5-6-7 / © Vincent Lucas, Marseille, 2013

Fitting (p. 192 - 195) 1-2-3-4-5-6 / © La Strada 2013 - Nikola Milatovic, Graz, 2013

Code de la Déconduite (p. 216 - 219) 1 / © dcod.eu, Marseille, 2015 2-3-6 / © Bertrand Saugier, Norwitch, 2015 4 / © Marion Ribon, Marseille, 2015 5 / © Bertrand Saugier, Sotteville-lèsRouen, 2015

Das Dorf (p. 196 - 199) 2-4 / © La Strada 2014 - Heldentheater, Graz, 2014 1-3-5-6 / © La Strada 2014 - Nikola Milatovic, Graz, 2014 / 322 /

Hello and Goodbye (p. 200 - 203) 2-6 / © La Strada 2014 / Foto Hauer, Graz, 2015 1-3-4-5 / © La Strada 2014 / Nikola Milatovic, Graz, 2015 Photo Lieux publics (page 206) 1/ © Adrien Bargin, Marseille, 2015 Le mois du Chrysanthème (p. 208 - 211) 1-2-3-4-5 / © Vincent Lucas, Marseille, 2012

Photo N&N Festival (page 222) 1 / © Gemma Layton, Norwich, 2015 Photo Scenekunst Østfold (page 226) 1 / © Moss kommune, Moss, 2015 Cooperazia (The Trail) (p. 228 -231) 1-5 / © James Moore, Oslo, 2015 2-3-4-6-7 / © Espen Schei, Moss, 2014 Saturn III (p. 232 - 235) 1-3 / © Karl Van Welden (photo M de Vrieze), Halden, 2013 2-4-6 / © Karl Van Welden, Halden, 2013 5 / © Klaus Jäger, Halden, 2013

The Baïna Trampa Fritz Fallen (p. 236 - 239) 1-2-3-4-5 / © Erik(sen), Moss, 2015

Katedralja E Çeliktë (p. 260 - 263) 1-2-3-4-5-6 / © Meddy Huduti, Pristina, 2015

Photo Teatri ODA (page 242) 1 / © Meddy Huduti, Pristina, 2015

Photo Oerol (page 266) 1 / © Elspeth Diederix, Terschelling, 2015

Invisible Walls (p. 244 - 247) 1-2 / © Meddy Huduti, Pristina, 2015 3-4 / © Henry Jesionka, Terschelling, 2013 5 / © Florent Mehmeti, Gjilan, 2013

Erf (p. 268 - 271) 1-2-4 / © Saris & den Engelsman, Terschelling, 2015 3-5 / © Anke Teunissen, Terschelling, 2015

Invisible Walls (English version) (p.248 - 251) 1-2-3-4-5-6-7 © Michiel Landeweerd, Terchelling, 2013

Like Me (p. 272 - 275) 1-3-4 / © Saris & den Engelsman, Terschelling, 2013 2-5 / © Geert Snoeijer, Terschelling, 2013

The Speakers (p. 252 - 255) 1-2-3-4-5 / © Thor McIntyre-Burnie, 2015

Saturn I - Landscape (p. 276 - 279) 1-4 / © Saris & den Engelsman, Terschelling, 2011 5 / © Anke Teunissen, Terschelling, 2011

The Speakers (English version) (p. 256 - 259) 1 © Thor McIntyre-Burnie, Budapest, 2012 2-5 © Thor McIntyre-Burnie, Glasgow, 2012 3-6-7 © Marion Ribon, Marseille 2015 4 © Thor McIntyre-Burnie, Flakirk, 2013

Photo Tombées de la Nuit (page 282) 1 / Mr Kropps, l’Utopie en marche - Cie Gravitation © Nicolas Joubard, Rennes, 2015

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Habitant(s) (p. 284 - 287) 1-2-3-4-5 / © Nicolas Joubard, Laillé, 2014 Architectural SonarWorks (p. 288 - 291) 1 / © Cédric Brandilly, Cape Town, 2014 2 / © Cédric Brandilly, Québec, 2014 3 / © Cédric Brandilly, Paris, 2014 4 / © Cédric Brandilly, Venise, 2014 5 / © Cédric Brandilly, Moscow, 2014

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The Playground (p. 292 - 295) 1-3-5 © Nicolas Joubard, Rennes, 2012 2-4-6-7-8 © Maja Nydal Eriksen, Copenhagen, 2015 Photo UZ Arts (page 298) 1/ © Neil Butler, Galoshans Festival - The River Clyde Greenock Scotland, 2015 Wynden Tree (p. 300 - 303) 1-3 / © Hartley, Environmental Arts Dumfires, 2015 2/ © Hartley, Botanics Glasgow, 2013 4-5 / © McAteer, Home Falkirk, 2014 Dot To Dot (p. 304 - 307) 1-3-4 / © McAteer, Helix Scotland, 2013 2-5 / © Neil Butler, Marseille, 2014

Professor Hildeberg’s Famous Hibernating Antarctic Zoo (p. 308 - 311) 1 / © Blackwood, Graz, 2012 2 / © Blackwood, Preston, 2012 3-5 / © Mischief, Glasgow, 2012 4 / © Blackwood, Hasselt, 2012 6 / © Blackwood, Glasgow, 2012

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Lieux publics coordinates IN SITU, the European platform for artistic creation in public space. The projects META (2011-2016) and IN SITU Platform (2014-2017) are funded by the European Commission (DGEAC Culture Programme and Creative Europe).

Publishing director - Pierre Sauvageot Texts - Nadia Aguir, Ariane Bieou, Camille Fourès, Quentin Guisgand, Jasmine Lebert, Lénaïc Jaguin Translations - Connected Languages, Marseille Photographs (blue cars) - Adrien Bargin Graphic design - Stéphan Muntaner Printing - www.blurb.com

February 2016

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META 2011-2016 has been funded with support from the European Commission (DGEAC – Culture programme) This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

www.in-situ.info