<FRANKENTACIT> TACIT GROUP 13 – 14 Nov
WELCOME TO LONDON’S INTERNATIONAL THEATRE The Coronet Theatre is a reimagined architectural and design jewel, originally built as a grand Victorian Playhouse, now a pioneering home for international, cross-disciplinary arts. Curated by Artistic Director Anda Winters, over the past decade it has become a significant cultural landmark. Known for world and UK premieres, its mission is to bring artists and art forms from around the world, championing work that would not otherwise be seen. The programme enables access for diverse audiences to world-class theatre, dance, music, film and visual arts through co-productions, commissions, and invited works. Centrally situated in London’s Notting Hill, The Coronet has two main spaces: The Auditorium and The Print Room Studio. With the additional performances and exhibitions in the bar, the atmospheric upper rooms, and basements, the whole building is a living global showcase.
Gazaebal
<FRANKENTACIT> TACIT GROUP A STATE OF THE ART CONCERT GENERATED IN REAL TIME Tacit Group’s new work, FrankenTacit, is an enigmatic collaboration with FrankenTacit, an AI entity trained in Tacit Group’s distinctive aesthetic language. Although only one human performer actually stands on stage, two AI performers are brought to life through machine learning, and merge with the human performer in real time, as if three distinct performers were creating in unison A piece in three parts, FrankenTacit begins with The Vertical, where the artist enters into dialogue with the two AI performers, transforming language into a landscape of sound. In System 04, the artist performs live coding with AI performers that have learned his artistic DNA. The final piece, 3Gamers, places the artist in a game with the two AIs. As they compete, music is generated in real time, revealing the raw dynamism of the system.
FrankenTacit
CAST & CREATIVE TEAM Directed, Performed by and Sound Design by
Gazaebal
Lighting Design
Sohnsun
AV Design
Jay Jean-Hank Ho, Yang Seonhui, Gwon O-hyeon
With the support of KOFICE (Korean Foundation for International Cultural Exchange)
Gazaebal
TACIT GROUP Formed in Seoul in 2008, Tacit Group has been translating contemporary technology into the language of performance, integrating coding, algorithms, live coding, and real-time visuals. Their work originates from the creative displacement of everyday elements – such as games and digital chats – into the realm of algorithmic art, extracting a futuristic sensibility from the fragments of the mundane. Having performed on prestigious global stages including the Museum of Contemporary Art Chicago (MCA), Lincoln Center in New York, Aarhus Festuge in Denmark, and the grand opening of the National Museum of Modern and Contemporary Art (MMCA) in Seoul, Tacit Group’s trajectory goes beyond the mere instrumentalization of technology. They construct systems as artistic organisms, defining a new syntax for media art.
Tacit Group
PRE-SHOW PRESENTATION & POST-SHOW SCREENINGS Before FrankenTacit, join us in the Print Room Studio for a short presentation introducing WeSA (We Are Sound Artists), an annual platform for experimental sound and audiovisual artists in Seoul. Starting at 7pm. After the performance, stay for screenings of two audiovisual works: The Image of Happiness: The First Scene Motoko + HA Sangcheol | 22 minutes NullPointerException WYXX | 28 minutes
NullPointerException
WESA (WE ARE SOUND ARTISTS) WeSA is a community supporting sound artists through shared knowledge, collaboration and performance opportunities. Spanning sound art, experimental music and audiovisual practice, it encourages artists to explore the boundaries between genres and media. Since its first Audiovisual and Experimental Music Festival in 2014, WeSA has developed a programme encompassing an annual international festival, an academy teaching creative coding and audiovisual tools, the Jeju Seonheul Residency, and a studio producing albums, books and digital releases. Together, these initiatives help artists develop their practice, connect with peers and build a sustainable creative community.
THE IMAGE OF HAPPINESS: THE FIRST SCENE MOTOKO + HA SANGCHEOL Korea | 2024 | 22 min | Single-channel video | Color/B&W | Short | Experimental Following the invention of 19th-century photography, the desire to capture motion - ignited by Eadweard Muybridge's The Horse in Motion (1878) - culminated in Louis Le Prince's Roundhay Garden Scene (1888). As the earliest surviving moving-image film, its brief two-second loop holds a stark historical irony: the near-immediate, tragic demise of every person captured within its frame. Images of Happiness: The First Scene (2024) investigates the mechanisms of illusion operating between moment and duration, examining the presence of death embedded within this foundational moving image. Through audio-visual experiments leveraging optical, chemical, and mechanical apparatuses, the work creates a structural bridge between contemporary images of recorded death and cinema’s primordial first scene.
Motoko + Ha Sangcheol is a Seoul-based audiovisual artist and image/sound researcher. Building on research into cinematic apparatuses, he explores sound, image, materials, and various conditions, striving to bring the cinematic apparatus into the realm of live performance in an expanded form. The mechanisms of optical, chemical, and mechanical devices serve as specific elements for this purpose, and he seeks to re-evoke their relationships and characteristics as pseudo-apparatuses from a contemporary perspective.
The Image of Happiness: The First Scene
NULLPOINTER EXCEPTION WYXX Single-channel Audiovisual Work | 28 min Null signifies the absence of data. This work deliberately contains no semantic information. In programming, a NullPointerException occurs when a program attempts to access a null reference. Likewise, NullPointerException is the error that arises when one attempts to extract meaning from this work.
NullPointerException
NullPointerException
WYXX produces works based on units, rules, and logic. The form of the world is similar to a complex system, and humans in it are as if they are lost in chaos. He establishes units, rules, and logic in this chaos. Through the process of creation and development derived from their relationships, he presents the aesthetics of structure and a new direction. WYXX is based in Seoul and produces works using various media such as sound, media, algorithms, and images. Starting in 2019, he has participated in performances and exhibitions such as <WeSA Festival>, <PRECTXED>, <ELEKTRA Festival> and <Digital Narcosis>. And has continued engaging in various activities such as producing and releasing albums.
FrankenTacit
FRANKENTACIT: A PERFORMER IN MY OWN IMAGE What happens when the performer you’ve made in your own image starts to surprise you? In this director’s note for FrankenTacit, director and performer Gazaebal reflects on giving two AIs different sides of his personality. He traces how an experiment in getting exactly what he wanted turned into a question of how much control he was willing to give up. Tacit Group’s works are conceived and created by Tacit Group. But bringing them to the stage required other performers. Those performers rarely did exactly what I wanted them to do. No matter how many times we rehearsed and revised, something never felt quite right. No matter how clearly I explained what I wanted, each performer understood it differently and responded in their own way. I wanted to eliminate that variable. Then AI came along. What if I could create a performer who was a copy of me? I divided two different sides of myself between two AIs and trained them accordingly. One was given the warped, impatient side of me; the other, the side that accepts and waits. I thought that performers carrying these two faces of mine would understand exactly what I wanted.
Gazaebal
But the more we trained, the stranger things became. I found myself constantly trying to control the two AIs. Whenever the warped, impatient one behaved in ways I hadn’t expected, I tried to correct it, turning it into a more obedient and capable performer. I had deliberately put my own warped side into it — and then, when it behaved that way, I tried to fix it. I was doing exactly what I had done with human performers. Frankenstein is not the name of the monster, but of the man who created it. And in that story, it was the creator who first abandoned what he had made and ran away. FrankenTacit began as an attempt to create a performer in my own image. But it seems to be turning into a process of learning to accept that creation as a performer in its own right, different from me. As I continue with this performance, I don’t know whether I will eventually let go of my desire to make everything move according to my will, or whether I will keep insisting that they do better. One consolation is that, at least, I haven’t run away yet.
FrankenTacit
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Tiger is Coming: Tacit Group
Un/Readable Sound
DET NORSKE TEATRET
SKODESPELET
(THE PLAY)
BY JON FOSSE The UK premiere of a darkly comic new work from the Nobel Prize-winning playwright 26 – 29 Nov
THE CORONET THEATRE JAZZ FESTIVAL 2026
Fri 11 Dec
SPIRITS AND HEALERS An intimate evening of jazz inspired by the paintings of Malangatana Sat 12 Dec
MODES AND MYSTICS A vibrant evening of Arabic musical traditions and contemporary jazz
THE CORONET THEATRE TEAM Artistic Director & CEO Anda Winters
Box Office Assistant Ivana Dieli
Audience Experience Manager Giudi Di Gesaro
Duty Managers Francesca Battinieri, Annabelle Gardner, Joanna Papanastassiou, Aylin Rodoplu, Hazel Townsend
Company & Production Coordinator Emma Smith Consultant Producer Hetty Shand Finance Manager Andrew Michel Technical Manager Louis Williams Marketing Manager (Freelance) Elliot Hall Poetry Coordinator Marion Manning PR Consultant Sharon Kean Producer Daphne Seale Producing & Marketing Assistant Esme Bishop Theatre Administrator / PA to the Artistic Director Vihaan Chandy
Front of House Staff Matilda Badziak, Samya Bose-Rosling, Theo Chen, Stephanie Christodoulidou, Merilee EttiaRussell, Cheryl Fairon, Katrina Foster, Trey Francis, Thea Gavanski, Alessandra Gonnella, Li Ikoku-Smith, Dane Kostic, Emma Laird-Craig, Maria Lisberg-Jonasson, Andreane Rellou, Robert Veng, Kajsa WibergNorquist, Min-Jee Kim, Lorraine Bucknall, Jamie Hope Trustees Linda Bernhardt, Mike Fisher, Mimi Gilligan, Jane Quinn, Anda Winters, Bill Winters (Chair) Thank you to our patrons for their generous support: Honorary Trustee Mimi Gilligan Cupola Mike Fisher and T. S. Eliot Foundation Club Room Tom and Maarit Glocer, Julia and Scott Rochester, and Jane Quinn
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