iBall

© Pierre Planchenault

iBall

Art is often unconsciously prescient.

iBall, initially presented in 2015 in Strasbourg (then in Jan 2016 in Bordeaux and in July 2016 in Oita, Japan) unwittingly prefigured what has come to be in 2020.

It was during the confinement from March to May 2020 that Steven Cohen wished to re-examine his performative act through the prism of the state of health emergency. In this context where distancing and social impediments, constraints of movement, restrictions of relationships, confinement and distanced hyper-communication make the law, the creative act, the arts and culture have become symbols of survival and resistance. However, the appropriation of art by the public has become a worrying problem. It now seems necessary to reinvent the means of transmission, communication and exchange.

© Pierre Planchenault

Art is often unconsciously prescient.

iBall, initially presented in 2015 in Strasbourg (then in Jan 2016 in Bordeaux and in July 2016 in Oita, Japan) unwittingly prefigured what has come to be in 2020.

It was during the confinement from March to May 2020 that Steven Cohen wished to re-examine his performative act through the prism of the state of health emergency. In this context where distancing and social impediments, constraints of movement, restrictions of relationships, confinement and distanced hyper-communication make the law, the creative act, the arts and culture have become symbols of survival and resistance. However, the appropriation of art by the public has become a worrying problem. It now seems necessary to reinvent the means of transmission, communication and exchange.

iBall

iBall is a work about performativity and presence, about being looked at and about supporting that gaze, about interacting and transacting, about being isolated and staying connected … none of which is easily accomplished.

iBall speaks about the commodification and consumption of art and performance… and about the means and modes of communication those open us to. There is no cost for the artworks received, but in a sense, they take place through the form of a transaction. In exchange for making themselves open, available and conspicuous- for taking a position, the spectator participant is rewarded with personalized art… in digital or in physical form.

Both the artist and the spectator/participant (because this is a performance which challenges the notion of the audience as passive and the performer as all-powerful) are clearly apparent and have agreed to open themselves to being observed. Visibility comes with risk and reward.

The artist is confined in a perspex sphere, visible but isolated physically, open to visual communication. The audience is not closely seated, but standing apart and occasionally ambient, moving in a pre-organized manner.

The artist interacts with the audience on a one-to-one basis. An exchange is made. The nature of the exchange is selected by the audience member.

iBall is a work about performativity and presence, about being looked at and about supporting that gaze, about interacting and transacting, about being isolated and staying connected … none of which is easily accomplished.

iBall speaks about the commodification and consumption of art and performance … and about the means and modes of communication those open us to. There is no cost for the artworks received, but in a sense, they take place through the form of a transaction. In exchange for making themselves open, available and conspicuous- for taking a position, the spectator participant is rewarded with personalized art … in digital or in physical form.

Both the artist and the spectator/participant (because this is a performance which challenges the notion of the audience as passive and the performer as all-powerful) are clearly apparent and have agreed to open themselves to being observed. Visibility comes with risk and reward.

The artist is confined in a perspex sphere, visible but isolated physically, open to visual communication. The audience is not closely seated, but standing apart and occasionally ambient, moving in a pre-organized manner.

 

The artist interacts with the audience on a one-to-one basis. An exchange is made. The nature of the exchange is selected by the audience member.

© Pierre Planchenault

Choreography, scenography, costumes and interpretation: Steven Cohen
Technical management: Yvan Labasse
Stage management: Samuel Mateu

Production: Cie Steven Cohen

Résidence at l’Atelier des Marches (Bordeaux) – summer 2020.

STEVEN COHEN COMPANY
24 rue Succursale | 33000 Bordeaux | France

Samuel Mateu
Production | +33(0)6.27.72.32.88
production[@]steven-cohen.com

The Steven Cohen Company is supported
by Drac Nouvelle-Aquitaine and by Conseil Départemental de la Gironde.