Questioning narratives and expectations, with subtle deceptions to divert attention. We value doubt as a place of potential, and carefully inject it where the logic of systems may consolidate patterns and inhibit critical thought. We challenge givens, inviting to think (through), to listen (with) and to create one's momentary truths, impermanent shifts of perception to stimulate assertiveness and to share vulnerability.
The value of Doubting:
How we see things, from which perspective? Who is the protagonist which ears we borrow?
(the person, the object hearing the person, the floor hearing the events). By creating gaps, voids, or misunderstanding, the work challenges which assumptions, stories we tell, fictions that make this creation possible.
Through a multiplicity of audio inputs/outputs and tasks that engage the performers in a dialogue between the movement of their body and that of their thought, they perpetually reassess and negotiate, approximating impossibilities and temporary internal conflicts.
Based on the practice of feedback loops of ATE the work addresses vulnerability through dialogue across mediums, stimulating doubt and assertiveness through communication and miscommunication to practice change and instability through creation and imagination.
The use of Technology:
The performers use a microphones, headphones, wireless speakers, to play with fluctuations of attention and slight deceptions. GSR sensors, used to code and transliterate data into sound feed directly back into the performance, affecting its evolution by the physiological changes in the performers. Technology in this work is not a special effect, nor a mere trick. It is an imaginative tool that can help us see things that are not there.
The role of the audience:
Audience experiences the work with earphones. These provide a 3D sound experience given by binaural recordings, which make them feel as if they are there ‘where things are happening’. Public is not given answers or delivered lessons but been provoked, posed questions or opened up to possibilities together, yet in the intimacy of their personal journey.
I look rewind my eyes to what I don't see The more I look The less I don't see The faster this shade lightens
• Italian / Finnish dancer and maker. Irina Baldini trained at Florence Dance Center and earned a 1st class Hons. degree from Laban Centre for Movement and Dance, London UK. She worked with various choreographers (Yvonne Rainer, Xavier Leroy, Mårten Spangberg, Simone Forti, Mike Kelley, Pablo Bronstein, Susan Sentler) at venues such as the Hayward Gallery, The White Cube, Institute of Contemporary Art, Raven Row Gallery, Tate Britain, and as independent artist at Queens Museum, La Biennale di Venezia; Theater aan het Spui, OGR Torino, Florence Dance Festival. She is author of the book Low Content, 2018, a collection of reflections around the notion of change through the sense of performance and Kelder, 2020, a photo-book rooted in the idea of in-betweenness and metamorphing.
• In 2013, invited to Amsterdam by vereniging EHBK, she worked between the Netherlands and other countries establishing her bridge of network. Irina founded the 4bid gallery in OT301 with three other artists, a place of experimentation and site for the development of temporary cultures across countries. She also initiated artistic exchanges such as Highs & Lows which is still ongoing. Recipient of the Lisa Ullman Traveling Scholarship Fund in 2012 she traveled to NYC with working partner Masako Matsushita to be Artist in Residency at Residency Unlimited, Brooklyn.
• In 2015 she launched B.base a project involving artists and intellectuals dealing with the subject of the body across different mediums. Her encounter with the OT301 has been decisive for her practice: she runs performance events there, which invite the public and fellow artists to encounter research and provide a platform for feedback. Parallel to this, her research, productions, touring and teaching, Irina Baldini maintains a regular practice of artistic exchange with other artists from different fields of practice.
• Next to the current production of Without Quite Knowing presented ad Fringe Festival Amsterdam, Irina is currently pursuing a Master’s in Theatre Practices at ArtEZ, NL, while teaching/working in cyanotype, traditional and experimental printmaking and bookbinding techniques, strong of her conservation & restoration studies completed in her home-town, Florence. She curates exhibitions and visual/performative events in a and out of her 4bid Gallery.
Choreography, Sound, Design
Performers / provocateurs: Artemise Ploegaerts, Elisa Vassena, Marco
Voice: Andrew Demetriou, Takashi Iwaoka, Charlie Prince, Artemise Ploegaerts, Irina Baldini.
4bid Gallery – developing temporary cultures