During the residency at Q-O2 Pom Bouvier b. and Marjolijn Dijkman will further develop their collaborative live performance ‘Electrify Everything’ (worktitle). This performance is a continuation of their collaboration for the production of the film 'Depth of Discharge' (2021).
Electrify Everything (worktitle)
Experiments and Observations on Electricity
Concept: Marjolijn Dijkman and Pom Bouvier-b.
Sound: Pom Bouvier b.
Visuals (graphics and film): Marjolijn Dijkman
Text fragments: Jean Katambayi Mukendi
The immersive live performance ‘Electrify Everything’ translates the seductive and captivating magic of demonstrations of the eighteenth-century Enlightenment into an immersive exploration of the origins of the units and language used to measure electricity. The field of electricity has been developed, manipulated, and named for three centuries to control and apply it. The history of electricity is particularly European and male-dominated in practice as well as in theory – all the globally used standardized units of electricity have been named after white male inventors.
‘Electrify Everything’ invites the audience to reflect on the structuring power of electricity and its relation to resources and exploitation. Pom Bouvier-b. and Marjolijn Dijkman both use an experimental technique that brings the organicity back into a phenomenon that by nature, through the displacement of elementary particles of matter, is dynamic and living.
Pom Bouvier b. is developing experimental musical tools to play live with electric currents. She will create a sound composition using the electric charge of specific objects and devices as a medium, playing on the variations of magnetic fields. This experimental approach will result in an open musical form that interacts and reveals the permanent and infinitely small interactions that constitute our world.
The visual contributions by Marjolijn Dijkman are produced with a high-voltage electro-photography technique in which the artist uses a discharge plate made of conductive glass with a tin coating, the same material used in touch screens. By making visible microscopic electrical interactions, electricity becomes an actor, adopting an almost animistic character.
The Congolese artist Jean Katambayi Mukendi has been invited to write fragments of text for the performance based on the language of electricity. The units of electricity create different chapters that explore the history and the current state of energy production in an associative and poetic interpretation of electric terminology. Trained as an electrician, Jean’s entire artistic practice is imbued with his fascination for mathematics, engineering, geometry, and technology. His works are part of a search for solutions to social problems in current Congolese society, as well as to the country’s depletion of its enormous energetic resources.
Pom Bouvier b.
As a musical artist, pom bouvier b. imagines singular sound spaces where intimate and common perceptions are solicited. Her proposals are physical and mental experiences that seek out the invisible and undefined territories of the entrances, the fragility, the permanent collapse, the annihilation of duration. Associate artist at the GMEM-cncm-Marseille since 2015, she has responded to several commissions for mixed electroacoustic pieces that question the modalities of writing and the relationship to space. She has collaborated with choreographers, performers and other artists and collectives on projects where experience is claimed as a form of writing and elaboration. For several years she has been exploring, in solo or duo, the experimental and improvised scene. https://pombouvierb.blogspot.com/
Marjolijn Dijkman (she/her, 1978, NL) is an artist and co-founder of Enough Room for Space, based in Brussels in Belgium. Her practice is research-based and multi-disciplinary including film, photography, sculpture and installation and focuses on the points where culture intersects with other fields of enquiry. The works themselves can be seen as a form of speculative-fiction; partly based on facts and research but often brought into the realm of the imagination. Solo shows include: Shifting Axis, Edith Russ Haus, Oldenburg, DE (2021); Electrify Everything, NOME, Berlin, DE (2021); Cincinnati Contemporary Art Center (CAC), US (2020); Club Solo, NL (2020); HIAP, FI (2019); OSL Contemporary, NO (2019); NOME, DE (2018); Munch Museum, NO (2018); Fig. 2 at Institute of Contemporary Art (ICA), UK (2015); West Space, AU (2015); IKON Gallery & Spike Island, UK (2011); Berkeley Art Museum, US (2008). Group shows include: Charging Myths, Z33, Hasselt, BE (2022); Emotions are Oceans, CCA RADIUS, Delft, NL (2022); AQUARIA, MAAT, Lisbon, PT (2021); Spoiled Waters Spilled, Les Parallèles du Sud, Manifesta 13, Marseille, FR (2020); 4th Screen City Biennale, NO (2019); 6th Lubumbashi Biennale, DRC (2019); 9th Contour Biennale, BE (2019); 1st Fiskars Biennale, FI (2019); Tendencies ’19, BE (2019); ARTEFACT 2019, BE (2019); 21st Biennale of Sydney, AU (2018); Performatik Biennale 2017, BE (2017); 11th Shanghai Biennale, CN (2016); 4th Marrakech Biennale, MO (2012); 7th Mercosul Biennale, BR (2009); 8th Sharjah Biennale, UAE (2007).
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