Ian Garrett

Organizers of the Prague Quadrennial announce the new title and concept for 2011

The twelfth edition of the biggest international exhibition dedicated to scenography and theatre architecture Prague Quadrennial (PQ) will take place in June 2011, however, organizers are already busy preparing it. The PQ 2011 wants to introduce a large number of performance disciplines from theatre and visual arts to even larger audience than in 2007 when almost 30.000 visitors and 5.000 active participants visited the PQ 07.

After more than 40 years of existence, the Prague Quadrennial International Exhibition of Scenography and Theatre Architecture is changing its name to the Prague Quadrennial of Performance Design and Space, with the goal of breaking down the often imaginary differences between the performance fields. “In the next edition we want to include a wider range of disciplines and genres connected to performance design and to observe current trends in contemporary performance,” explains Sodja Lotker, Artistic Director of the PQ. This is also the reason for widening the international team of curators and commissioners for each section and project. Boris Kudlička, Slovak stage designer, was appointed the General Commissioner of the PQ.

The Prague Quadrennial will be traditionally divided in three main sections: the Section of Countries and Regions, the Architecture Section and the Student Section. “In these days we officially call for countries from all over the world to take part in all three sections and we announce the deadline for applications – 30th June 2009,” says Pavla Petrová, the Director of the PQ and the Arts and Theatre Institute. The event is focused on professionals and general public.

The Prague Quadrennial is announced by the Ministry of Culture of the Czech Republic and it appoints the Arts and Theatre Institute to be the organizer. More information can be found at www.pq.cz.

The Prague Quadrennial of Performance Design and Space is the largest event of its kind in the world – presenting contemporary work in a variety of performance design disciplines and genres – costume, stage, light, sound design, and theatre architecture for dance, opera, drama, site specific, multi-media performances, and performance art, etc. Every four years, since it’s establishing in 1967, the Prague Quadrennial has presented work from more than seventy countries, from five continents, in individual countries’ expositions in three competitive sections. The Golden Triga is awarded for the best exposition as well as gold medals.

The largest part of the PQ 2011 will be again the Section of Countries and Regions that represents works from all performance design disciplines in each country and region in the past six years. The organizers hope that the national curators will have a strong concept that will introduce unique and specific contemporary trends in a given country or region. Works can be presented in a group exhibition, a monographic exhibition of a single artist or an exposition/installation that it itself is performance space. Organizers hope to strengthen presentation in all scenographic disciplines at the PQ 2011 and relations among them. Fifty-one countries from five continents took part in this section in 2007.

Like in the previous years, vast space will be dedicated to students of art schools in the so-called Student Section. After great success of the last edition of the PQ, the project Scenofest will strengthen the educational aspect again. It is a common project of the Prague Quadrennial and the International Organization of Scenographers, Theatre Architects and Technicians (OISTAT). The program of Scenofest will consist of workshops, lectures, performances etc. The great interest from the students in the PQ 07 demonstrates the importance of the event; 2.200 students of theatre and art schools took part in it.

The Architecture Section will deal with the question “What is a theatre now?”. The section aims to strengthen a dialogue among theatre architecture, stage design and contemporary theatre. It is conceived as a gathering ground for stage designers and other theatremakers with creators of theatre space. The section will focus on all types of theatre space: constructed (built), performed (improvised) and imagined (unbuilt) in the 21st century.

Although the exhibition takes place in 2011, the deadline of the applications for the countries and regions which are interested in participating in the PQ 2011 is 30th June 2009. Each country participating in the PQ must appoint its own curator who sends the obligatory application for the individual sections and coordinates the representation of their country in the PQ. Further artistic and organizational conditions of participation in the PQ are stated in the Statute and Concept and can be found at www.pq.cz.

Other programs that will address the international public will accompany three exhibition sections of the Prague Quadrennial. Programs are designed to create a platform for creative exchange between the theatre professionals, students and public. A successful program in the streets of Prague will be repeated, as well as the program PQ for Children.

The PQ 2011 is prepared by an international team of professionals. Dorita Hannah, an architect and stage designer from New Zealand was appointed a Commissioner of the Architecture Section. A leading British sound designer Steven Brown became a curator of sound design. Simona Rybáková, Czech costume designer and the winner of the Golden Triga in 1999, is a curator of a costume project Extreme Materials. American lighting designer Cindy Limauro will lead Scenofest. A German director and theatre researcher Thea Brejzek was appointed the curator of theory. A Czech stage designer and director Tomáš Žižka is in charge of a project focused on African theatre. An interactive installation/performance called Intersection will be an important part of the PQ 2011 with many international partners. The whole event will be accompanied by a rich program composed of lectures, presentations, discussions, costume shows, meetings and theatre performances.

A Slovak stage designer Boris Kudlička is the General Commissioner for the Prague Quadrennial 2011. Kudlička works mainly for opera, ballet and film. He has collaborated with many leading scenes in Europe and the USA and important directors and conductors like Mariusz Trelinski, Roman Polanski, Keith Warner, Dale Duising, Kent Nagano or Placido Domingo. Boris Kudlička has taken part in three editions of the PQ and he won the Golden Medal for the best use of theatre technology in 2007. He also received Dosky 2003 award, Norwid Award (Polish Theatre Institute), the Award of the Minister of Culture of Poland Gloria Artis.

The core of the PQ management is Pavla Petrová – Director, Sodja Zupanc Lotker – Artistic Director, Daniela Pařízková – Deputy Director and Petr Prokop as Head Manager. 

The place and date of the PQ 2011 will be announced during 2009 because the left wing of the Industrial Palace that hosted the PQ in previous years was destroyed by fire in October 2008.

Detailed information including a concept, status and archive of past editions of the Prague Quadrennial since 1967 are available at www.pq.cz

LDI Show is Going Green in 2009

With a goal of saving 190 trees in 2009, LDI is focused on eliminating unnecessary paper usage and encouraging exhibitors to do the same. The steps the trade show is taking to accomplish this include a two phase process. First, the show is slowly phasing out the use of paper VIP invitations to the show floor in favor of electronic invites for exhibitor prospects or clients. “This year, we want to encourage you to use the handy and effective online guest electronic guest pass invite,” says group show director Sharon Morabito. “This will be available to all exhibiting companies in June, and full details will be sent to every exhibiting company.”

via LDI Show is Going Green in 2009.

Museum 2.0

From Nina Simon at Museum 2.0

This is the reason that many museums and cultural organizations decided they needed websites in the late 1990s and early 2000s. We recognized that people were increasingly turning to the Web as a source of information–for content knowledge but also for trip planning. I believe that the primary reason most museums started their websites is about planning visits. Marketing departments realized that a large percentage of people were using online search engines to find interesting things to do, and they wanted to be there.

Now, things are changing again. Whereas the Web of the 2000s was dominated by search, we are entering a time when more and more people are using social media as their gateway to the Web. Ask a college student what her homepage is, and you are likely to see Facebook, not Google, pop up on her screen. The worldwide market reach of social networks and other “member community sites” (as Nielsen research deems them) is growing rapidly, and it seems likely that Facebook and other social networking sites will continue to attract older, more mainstream audiences.

This means that more and more people are “entering” the Web via social context. Last week, Susie Wilkening wrote a blog post expressing that Facebook has replaced her newspaper as the go-to place for relevant news in her life. It’s not hard to imagine a near future where Facebook (and sites like it) also replace a lot of the ways we use atomized search. This already happens for me with professional research. When I’m looking for a resource on something, my first stop is Twitter, where I can send my research question to my professional network. Then I use Google to track down the references they mention. People often ask me how I find out about interesting projects going on at different museums. I’m not constantly googling “visitor co-created exhibits” and searching blind. I find out about these things in my social networks–via blogs, professional communities, Twitter, and socially-selected content feeds, which contextualize and direct me towards information of interest.

About Nina:

And what about me? I do consulting work and research for a variety of museums (and I’m available!). Previously, I curated The Tech Virtual Test Zone at The Tech Museum, designed virtual experiences with the Electric Sheep Company, and worked as the Experience Development Specialist at the International Spy Museum in Washington, D.C. I live in beautiful Santa Cruz, CA, pursuing museum (and virtual) experience design from the mountains. If you would like to discuss opportunities for collaboration, consulting, or wild projects, contact me.

via Museum 2.0.

Ten Things Theaters Need to Do Right Now to Save Themselves – Theater – The Stranger, Seattle’s Only Newspaper

1.Enough with the goddamned Shakespeare already.

2.Tell us something we don’t know. 

3.Produce dirty, fast, and often.

4.Get them young.

5.Offer child care. 

6.Fight for real estate. 

7.Build bars. 

8.Boors’ night out. 

9.Expect poverty. 

10.Drop out of graduate school. 

via Ten Things Theaters Need to Do Right Now to Save Themselves – Theater – The Stranger, Seattle’s Only Newspaper.

Big Orange Recycled Rabbits

The Big Rabbits are made from recycled plastic bottles. After the installation is finished, the prolific and cutting-edge art studio destroys the installation and recycles it into a new animal and another project.

The Big Rabbits recycled art Installation from Cracking Art Group in Italy has been turning heads across Europe. The recycled orange rabbits have been on display in Portofino, Milan, Prague, Paris, Brussels and San Remo.

“The rabbit is the symbol of reproduction and proliferation. A positive message in this time of confusion,” explains Renzo Nucara from the Cracking Art Group. “We made a “Big Rabbit” because, in accordance with our work, the animal becomes the witness of the change of nature and her balance.”

via Big Orange Recycled Rabbits.

Actually, It is Easy Being Green: Apollo Design Technology

From Live Design Online

We asked readers what they’re doing to be green, whether in design, manufacturing, or just life in general.

Here’s what Monty McWilliams at Apollo Design Technology had to say:

“Apollo has obviously gone green in a big way by switching our gobo production process from chemical etching to clean laser technology. Please click this link to view our video on our going green. We are also transitioning into recycled or recyclable packaging for all our gobo products.” 

And Blair Parkin, managing director at Visual Acuity, notes:

“As lead technology consultant on the planetarium, visualization studio, and other technology heavy areas of the new California Academy of Sciences, the world’s largest green building, we have developed new design approaches. These in turn have driven equipment manufacturers to develop their technology with a much greater focus on sustainability.

At the Academy the entire building was designed to LEED platinum status which was a major innovation. The client team are passionate about climate change and biodiversity given the nature of their institution. As such the design team elected to take the sustainable design criteria further than would have been needed to achieve LEED status. The application of LEED principles beyond scoring the necessary points led to a major shift in traditional technology design practice. This, in turn, led to new design processes being evaluated and a number of new technologies applied in a public space that had not been used before. One example would be the wide use of special LED lights developed by Philips. Another example would be the creation by Visual Acuity of a heat and power ‘budget’ for the AV/media/technology systems which was used for planning and vendor selection. In short, it would be fair to state that this project has entirely changed the way Visual Acuity and all the other members of the design team plan, design and build projects.”

via Actually, It is Easy Being Green: Apollo Design Technology.

Theatre and the Environment « Mo`olelo Blog

Theatre and the Environment Panel
(And an excerpt of a work in progress)
Martin E. Segal Theatre Center
The CUNY Graduate Center,
365 Fifth Avenue
New York, NY 10016-4309
April 23rd, 2009, 6:30 pm

Join us on the evening after Earth Day to explore what theatre artists and production staff are doing to meet the extraordinary challenges of climate change. At a time when local, state and federal governments are setting goals for reductions in carbon emissions, holding public meetings to solicit public recommendations for adapting to rising sea levels; when businesses are beginning to talk about renewable energy, closed-loop waste streams, and innovative mobility systems; what are we doing in the theatre?

This event will explore theatre and the environment from two perspectives: the process of making theatre, and the theatre we make.  On the process side, we will explore building performance and renewable energy, facilities management, closed loop set design and construction and intelligent recycling. On the content side we will see an excerpt of a new play by Shelia Callaghan. Directed by Daniella Topol, we will learn from her how this multimedia theatre piece about water has been shaped through her consultations with scientists at the Department of Environmental Conservation. We will also reflect on Bill McKibben’s lament that the theatre lags behind other art forms in grasping – and mining – the full artistic potential of this issue

via Theatre and the Environment « Mo`olelo Blog.

APInews: Panel: Art + Land Reclamation, Urban Ecology

The role that art, architecture and design play in land reclamation and urban ecology is topic of an upcoming panel at Parsons the New School for Design in N.Y.C. The panel, set for April 10, 2009, will discuss transdisciplinary fieldwork in art, landscape architecture and industrial reclamation, focusing on the field methods of Land Arts of the American West at Texas Tech and the Incubo Atacama Lab in Chile. Land Arts, directed by Chris Taylor, is a field program that investigates the intersection of geomorphology and human construction beginning with the land and extending through the complex social and ecological processes that produce contemporary landscapes. The Incubo Atacama Lab project began when the curatorial exchange organization Incubo invited Taylor to bring the working methods of Land Arts to Chile. Taylor will participate along with Incubo artists and more.

via APInews: Panel: Art + Land Reclamation, Urban Ecology .