Ballettikka Internettikka Insecttikka
by Igor Štromajer and Brane Zorman
C3K44XE, Hamburg, Amsterdam, 29 May 2010
Ballettikka Internettikka Insecttikka, 29 May 2010
(C3K44XE, Amsterdam, Hamburg)
Saturday, 29 May 2010 at 22:00 (Amsterdam/Berlin/Paris Local Time)
Netherlands Media Art Institute, Amsterdam
Live Internet Broadcast
– authors and performers: Igor Štromajer & Brane Zorman
– theoretical adviser: Bojana Kunst
– live sound (manipulated and performed) by MC Brane Vs BeitThron
– live video edited by Igor Štromajer
Co-produced by the Netherlands Media Art Institute (Nederlands Instituut Voor Mediakunst), Amsterdam (www.nimk.nl), Intima Virtual Base – Institute for Contemporary Arts (www.intima.org) and Cona Institute, Ljubljana, Slovenia (www.cona.si), May 2010.
Ballettikka Internettikka is a series of tactical art projects which began in 2001. It explores wireless Internet ballet performances combined with guerrilla tactics and mobile live Internet broadcasting strategies. After invading the Bolshoi Theatre in Moscow (2002), La Scala in Milan (2004), the National Theatre in Belgrade (2005), Volksbühne in Berlin (2006), the City Hall and Lippo Centre in Hong Kong (2007), a construction site in Seoul (2008), the Norwegian island Svalbard in the Arctic Ocean (2008), the Japanese island Minami Torishima in the Pacific Ocean (2009) and other institutions, places and their concepts. Štromajer and Zorman are now preparing a new Internet ballet – Ballettikka Internettikka Insecttikka, performing and broadcasting live from the coded location C3K44XE in Hamburg. The live event will be broadcast to the public at the Netherlands Media Art Institute, Amsterdam, and on the Internet at:
In the Port of Hamburg, at the micro location C3K44XE, Stromajer and Zorman will release two micro robotic bugs: two artificial autonomous robotic toy insects (based on the HexBug Alpha and HexBug Bravo platforms), equipped with mechanical and electronic sensors and with two wireless waterproof night vision micro spy-cameras, let loose to commit a parallel suicide (the third, invisible micro robotic bug, equipped with the same camera, will observe the situation from a distance).
Both of the robotic bugs are programmed only to commit suicide – at the same time (with up to +/- 5 seconds time tolerance) – but not how to do it. Their intelligent decision-making electronic system will allow them to select the method of their simultaneous death.
Visitors of the Performmikka Internettikka event in Amsterdam and visitors on-line will be able to monitor the robotic bugs’ path to death, and their final decision.
How will the robotic insects decide? Autonomously or politically?
29 May 2010
doors open 20:00, program begins 20:30
Entrance 5,- (students 3,50)
Please make reservations
An evening with internet/teleperformances by Annie Abrahams, Christophe Bruno, Constant Dullaart, Igor Stromajer and Brane Zorman, focused on the relations between contemporary performance practice and the internet.
With performances by:
Annie Abrahams, Huis Clos : No Exit – On Translation (20:00)
Christophe Bruno, Human Browser
Constant Dullaart, Arranged online moments
Igor Stromajer & Brane Zorman, Ballettikka Internettikka Insecttikka (22:00)
Performmikka Internettikka focuses on recent new possibilities surrounding tele- or internet performance. With the increased speed of internet connections in recent years and the omnipresence of the net, it has not only provided these media artists with inspiration, but also with a platform and a medium. In their work the participating artists respond in various ways to the technical possibilities and limitations of the internet, and to the implications the medium has for content. How does a simultaneous and collective performance being carried out at different places around the world look? What does the delay and distance contribute to the chances and limitations? How does an audience deal with viewing a live ‘event’ with illegal recorded images that are being made at that moment somewhere else in the world? In addition, the artists respond with irony to the Internet as a source of entertainment, and as a capitalist instrument. In short, what does the internet contribute to contemporary performance art practice in terms of inspiration, mediation and as a platform?