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Home DIGITALIVE20

BACK ONL(Y)NE. Myriam Bleau & LaTurbo Avedon

Myriam Bleau and LaTurbo Avedon at DIGITALIVE20 with Eternity Be Kind, with a creative gaze on online fruition

Arshake by Arshake
19/11/2020
in DIGITALIVE20, focus
BACK ONL(Y)NE. Myriam Bleau & LaTurbo Avedon

On 2 October, for Digitalive. Romaeuropa festival 2020, we witnessed a unique virtual performance created by two artists: Canadian composer, digital artist and performer Myriam Bleau and performer, curator and, above all,  avatar LaTurbo Avedon.

Together they created Eternity Be Kind, a performance lasting twenty minutes that can only be hosted in a digital space as it is composed exclusively of “files” and developed in the style of a video game. Each visitor can enjoy the work exclusively online, from their own device.  After an iconographic intro with picture cards and symbols, LaTurbo Avedon dances in the digital space at the rhythm of the notes composed by Bleau.

What you see on the screen is a concert inspired by  K-pop stars on stage and with choreography. The staging is controversial, initially the mood is different; music moves between bass, glitch and high pitched voice while the artist dances in Tik Tok style. The avatar splits into three perfect clones dancing in sync. It is here that the question of “non-physical” identity and distance from the real-life spectators emerges; it also opens up scenarios about the possibilities offered by the “byte” in the social media era, on the multiplicity or absence of authors and, therefore, on the authorship of the artwork, which is a recurring theme in the poetics of La Turbo Avedon.

Later, another paradox surfaces: on stage only the screen and artist remain, pseudo sunsets and sunrises outline another time and the space is transformed with scenic elements such as the stage, the Americans and the spotlights disappearing. The set is broken, giving way to a never-ending darkness, an infinite algorithm where the artist oscillates in his body consisting of pixels. The body hovers in the air, lighting up and darkening like the moon, first in light and then in shadow, creating a truly mystical atmosphere. Light, liberation, ascension.

Eternity Be Kind appears like an initiation rite taking place inside a night club, the elaboration of a dense energy mass, which does not disappear, but frees itself or, perhaps, purifies itself in the screen light. The work reveals itself as a metaphoric journey from surface to ether, from popular or populist to the profound, to the light – a strange journey for a Second life avatar.

Background interpretation and symbolism aside, the artistic duo is not simply staging a pop star’s digital concert but rather raising questions about the future of personal and musical representation, artistic performance and its deferred accessibility.

The work in question is the result of research that moves between different areas of existence: from material existence which, although impalpable in its digital form, is nevertheless tangible, structured and made of objects, to esoteric existence, from which we draw the search for allegory, myth and symbols that help us to better know ourselves as human beings.

Domiziana Febbi

images: (cover 1-4) Myriam Bleau and LaTurbo Avedon, «Eternity Be Kind»,photo: Ella Rinaldo (2-3) BACK ONL(Y)NE. Myriam Bleau and LaTurbo Avedon, «Eternity Be Kind», still from video (Flavia Costanzi, Francesco Pacifici, Francesca Paganelli)

This article is part of the special section that Arshake dedicates to BACKSTAGE / ONSTAGE, a project that has brought a group of students from the Rome Fine Arts Academy behind the scenes of Digitalive for three consecutive years (2018 – 2019 – 2020). Digitalive is a format curated by Federica Patti dedicated to algorithmic art, continuing the interest in digital arts that the Romaeuropa Festival has developed for several years, from a time when this aspect was less popular. The memory of works and artists who took part have been gathered over the years through the articles, capturing key moments of the ‘vitality’ of the performances, but also of their protagonists. The 2020 Festival takes place during a historical moment characterised by a pandemic, so the online presence has become particularly important. For this event, students have created a special BACKONL(Y)NE edition. Texts, photographs and videos recount the works, but also their online life and all the spaces and moments of ‘collective isolation’ that gather users in front of a screen. All this becomes part of an archive that examines in depth and freezes in time the artists’ performative work which, in the context of Digitalive, has been “consumed” in time-based form. BACKSTAGE / ONSTAGE.Credits 2020: Texts: Chiara Amici, Domiziana Febbi; Video: Flavia Costanzi, Francesco Pacifici, Francesca Paganelli (Rome Fine Arts Academy).
Tags: arsBACK/ONL(Y)NEBACKSTAGE / ONSTAGEChiara AmiciDigitalive20Domiziana FebbiFlavia CostanziFrancesca PaganelliFrancesco PacificiLaTurbo AvedonMyriam Bleauonline
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