2018 Space Residency

We are thrilled to announce this year’s Artist Residents!

Since 2013, Boca del Lupo’s Space Residency Program has provided up to two weeks of free space, equipment, and mentorship support for the development of a new work from a variety of artistic disciplines created by both emerging and established artists. The Program has an open intake process with an annual call for submissions, and selections are made by Boca del Lupo Artistic Director, Sherry J. Yoon.

This year’s selected Space Residencies include:

photo credit Dave Mott appearing in photo Donna SoaresRate of Loss ~ Internal/External Worlds
Mind of a Snail — Chloé Ziner, Jessica Gabriel

Mind of a Snail shadow puppetry duo Chloé and Jessica have been developing a multilayered style of visual storytelling, using overhead projectors as their main source of light. During their Space Residency with Boca, they will explore deeper technical aspects of integrating live video feed with overhead projection puppetry, which will inform a larger collaboration they are doing with Up In The Air Theatre called Rate of Loss, premiering at the Cultch in the fall of 2018.

Their core focus will be on designing a “Table-Top” desk setup that will be used by the main actor in the show.  On the desk they will create small models/dioramas of a post-apocalyptic world that serve as both internal and external environmental features in the show. In Rate of Loss, the relationship between humans trapped inside a compound and the wild natural world outside the compound is accentuated with projection puppetry. Chloé and Jessica are interested in giving focus to the spaces where these edges blur, and they are designing a world that is stark, claustrophobic, mysterious, gritty, slap-stick, futuristic high-tech/low-tech all steeped in the knowledge of our imminent extinction. (Photo of Donna Soares by Dave Mott).

Tender EngineTender Engine 2 Photo Credit Rafal Chaz-core
Alexa Mardon, Erika Mitsuhashi, Brynn McNab, Zahra Shahab and Elissa Hanson

Tender Engine is a work-in-progress collaboration which began on January 2, 2018, between Erika Mitsuhashi, Alexa Mardon, Brynn McNab, and Uxie the Recurrent Neural Network. Uxie is an algorithm trained on a dataset they have gathered in since the beginning of this year: language from their conversations, writing, rehearsals, and the place we are. The weather, the news, and our personal histories have taught Uxie how to speak, and we are learning how to listen. (Photo by Rafal Chaz-core).

The Centurions Project
Sally Stubbs and Lynna Goldhar Smith 
With youth performers Chantal Dobles Gering, Anthony Goncharov, Finnegan Howes, Syrah Khan, and adult/professional Dawn Milman

The Centurions Project will bring the play Centurions by Sally Stubbs to life in a community-engaged collaborative process involving youth and professional mentors. The project is inspired by and builds on the innovative initiative associated with community-based productions of Jordan Tanahill’s script Concord Floral.

Centurions is an un-sanitized exploration of complex human issues related to our escalating entanglement with technology, friendship, love, sexual violence, and silence. According to Statistics Canada, the population most affected by these issues are children and young people, but we don’t hear from them. We hear from adults. We hear from experts.  A critical component of The Centurions Project is the prompting of discussion around these issues and the young artists involved will have much to say.

Good Things To Do_Photo credit Christine Quintana 2Good Things to Do
Christine Quintana and Molly MacKinnon

Somewhere between awake and asleep, you are summoned to receive a special message from a witty and wistful old friend. They take you on a solitary journey in a performance for one, in the hopes of reconnecting with you. But not much time remains before morning – and your friend has an important message to share.

Good Things To Do is an immersive performance experience for an audience of 4 to 12, which is experienced individually. Using a blend of live and recorded sound, a dreamy and private physical environment, and an unexpected use of technology, participants are invited to centre themselves within a dreamscape in which they possess extraordinary powers. Good Things To Do is a meditation on goodness, generosity, and the struggle to stay soft in a world that asks us to be hard. Christine and Molly aim to offer participants a performance experience that is restorative and contemplative.  (Photo by Christine Quintana).

Sanctuary2 Photo Credit Jess Amy SheadSanctuary
Ulla Laidlaw & Sasha Singer­ Wilson

Sanctuary can be defined as a sacred space where the profane has been pushed out.  But in a time of climate change with no morsel of earth safe from the effects of carbon emissions, the sanctuary has become an extinct and impossible construction. Sanctuary is an immersive experience for small audiences. It offers a place for contemplating the death and disappearance of the sanctuary in a time of climate change.  Ulla and Sasha are developing the piece through a process that combines research, interviews, and experimentation with small audiences. (Photo by Amy Jess Shead).

Photo credit June FukumuraVivarium III
June Fukumura, Keely O’Brien, Cindy Mochizuki

Are we becoming more intimate with our screens than with real people? Maybe.

Vivarium III is an immersive theatrical experience that explores the questions:”Can a group of people enter the theatre as strangers and leave feeling connected? Perhaps as acquaintances? Friends? Maybe even lovers?”

June and Keely’s collaborations are created under the umbrella, Popcorn Galaxies. Their work explores the complexities of human connection and digital intimacy through multi-media technology, various social media platforms, and immersive ‘ice breakers’. Through these mediums, they attempt to cultivate trust between strangers and examine the quality of intimacy between the performer and the audience and between audience members both online and IRL. (Photo by June Fukumura).

Breathe Water
Scheherazaad Cooper and Chengxin Wei

Breathe Water is a movement exploration of traditional performance vocabulary’s inscription on the body. A distillation of the training principles of classical Chinese and classical Indian dance, the work explores breath as movement impulse and water as a medium through which the control required for both traditions can be palpably shared with spectators. An attempt to demystify the ‘spectacle’ of both performance styles, Breathe Water peels back the layers of exoticism to reveal two bodies that change as they move and are changed by how they move.

Milton Lim and Patrick Blenkarn

culturecapital is a playable trading card game that creates figures of arts festivals, organizations, companies, and collectives. The active agents of Vancouver’s culture sectors are the tools of the game. The game will showcase game mechanics resulting in and arising from resource management, risk assessment, as well as external factors during the process of bartering cards. Using public funding figures, operating budgets, and knowledge of cultural festivities, the possibility of creating a system to problematize these numbers and their expanded relationships is at the core of culturecapital. This workshop will focus on research, play-testing to make a prototype version of the game, and preliminary audiovisual media design. Miltonlim.com (Photo credit: Milton Lim) 

Geologic FormationsGeologic Formations Framing Fascism 1 Photo Credit Veronique West.

mia susan amir, Arash Khakpour, Alex Lazaridis Ferguson, Mischa Shadloo, Veronique West, Julia Siedlanowska

The words fascia and fascism share an etymological root, the Latin word, fasces, which means, “bundle.”

Geologic Formations is an immersive performance combining movement, projection, soundscapes, an interactive set, and experiments with the audience. Rooted in part in personal narrative, this work explores the links between the experience of fibromyalgia – a chronic illness impacting the (myo)fascia – and the intergenerational impacts of war, attempted genocide, and geographic displacement – specifically the 1942-43 liquidation of the Białystock Ghetto, Poland. Simultaneously a response to the contemporary refugee crisis and global rise of fascism, Geologic Formations is an attempt to understand how socio-political events haunt the individual and collective body; to decode what shapes our perceptions; to face the limits and possibilities of empathy.

They will use this residency to hone the immersive/interactive element of this work with a focus on user journey design and engage in further development of our set and scenography. (photo credit: Veronique West)

High Z9 DVT Light Path Prototype photo credit David Bengali
Naïma Kristel Phillips, Lara Arielle Phillips, David Bengali, Keith Davis, Fatma Sarah Elkashef

High Z is an immersive installation based on the 2011 Nobel Prize-winning discovery of the accelerating expansion of the universe. The installation will tour planetariums but the experience itself will be intimate, and will connect small audiences to the world of astronomy and telescope observation, juxtaposing its everyday minutia with the vastness of our universe. Our creative team is made up of theatre artists and astrophysicists investigating the abilities of art, science, and technology to inform, inspire, and transform human interactions.

Our residency will focus on the creation and exploration of the audience’s initial encounter with the installation, a telescope workstation prototype in particular, and on developing the character of a guide from interviews, research, and improvisation.

Gathering together. Exploring in the dark. Hearing stories. Admiring the sky. Sharing a night of observation. (Photo Credit: David Bengali)

Valley photo credit Pierre GauthierValley
Jeanette Kotowich, Charles Koroneho, Sammy Chien, Jonathan Kim, Wayne Lavallee, and Viper Central

Created by Métis artist Jeanette Kotowich, Valley is deeply tied to kisiskâciwan, the “fast flowing” landscape of Saskatchewan. A creative returning to land, body, and identity; this multilayered and innovative dance work unfolds out of the robust and undulating land of Jeanette’s grandmothers’ mothers, and great-great grandfathers. Encompassed by the Kah-tep-was valley, Cree for “river that calls”, the vast prairie and gently rolling landscape has echoed its lasting impression and whispered a language of inspiration.

The residency will focus on research and development of audio/visual media for performance integration, through collaboration with design artists and cultural ambassadors.  www.movementhealing.ca (Photo Credit: Pierre Gauthier)




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