A longing for surrendering, is an immersive multimedia installation that explores embodied ecological thought and the intra-relationality between human and more-than-human ecosystems. Within a postnatural premonitory ‘cave of desires’, this installation charts inaccurate, disorientating and fractal narrative(s) reflecting upon the relation between the ’working body’, coral reefs and systemic (natural) anxiety. A longing for surrendering poetically translates natural phenomena and interdependent ecosystems into an otherworldly and bodily environment, while proposing a luscious multi-sensorial (re)discovery of polyphonic sound/land/scapes. The work is assembled toward shape-shifting and intimate encounterings, in which fragility, speculation and touch are welcome. The audience is encouraged to explore the installation and through touching, to be ‘in touch’.

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CREDITS
Credits

Installation - Pedro Matias
Soundscape composition & Trans-media translation - Tatiana Rosa
Sound design - Tatiana Rosa
Sculptural seat - Arthur Guilleminot
Scenography - Mathilde Renault & Pedro Matias
Lights - Tatiana Rosa & Pedro Matias
Video Concept, direction, cinematography & editing - Pedro Matias
3D modelization & animation - Paula Garcia Sans
Assistant - Arthur Guilleminot
Curator - Dr. Heidi Brunnschweiler

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With the support of:

Das Leben am Haverkamp at Stille Veerkade 19, Mondriaan Fonds, Stroom Den Haag and Stichting Stokroos.

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Presented at Galerie für Gegenwartskunst | E-WERK, Freiburg, DE.

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It is inviting despite its emptiness...
...warm wind blowing...
...wind chimes sounding through the space.
 
Colors and textures dance and dabble the space.
 
A glistening and smokey cloud hangs above our heads.

Immerse yourself in this barren landscape,
they’re images of our past world.
 
***
 
Inspired by an article by Katerina Sidorova, Lullaby for a Slow Apocalypse questions the lore, literature, and eyes through which we predict the end of the world. What if the current depiction of our end as a singular event, fiery and full of violence is wrong? What if the apocalypse is not a singular dramatic event but rather a glacial paced change? What if we reframe the apocalypse from the matriarchal perspective? What if it's soft, warm, gentle? Yes it can still be scary but we can be comforted on the journey.

What we need is a Lullaby for the Slow Apocalypse.

Installation by Show Pony Tatiana Rosa, Simon van Steenis

Source video material:
The Rodina, Giulia Principe, Hogwash, Paul Heyduck, Moa Holgersson
Music by Show Pony & No Compliments
Performed by Show Pony, No Compliments

Poster design and logo: Lisa de Jong
Photography: Thilo Seidel

With the support of:
Amsterdam Fund for the Arts (AFK)
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Presented at:

Moving Arts Center Amsterdam, Amsterdam, NL

Symbiotic Encounters - Treehouse NDSM, Amsterdam, NL

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HUM (an/other) is an immersive participatory installation expanding listening through touch and artificial intelligence. A machine learning system reacting to visitors processes the artist's voice.

Visitors are invited to place a custom made tactile transducer on their  own bodies, merging themselves with a hybrid organism. HUM (an/other) is presented in collaboration with Das Leben van Haverkamp.

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CREDITS
Concept and direction: Angelo Custódio
Live electronics and programming: Tatiana Rosa
Image direction and editing: Pedro Matias
Text and voice: Angelo Custódio
Technical support: Michele Abolaffio
Wearable design and development: Arthur Guilleminot

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With the support of:

Das Leben am Haverkamp at Stille Veerkade 19, Mondriaan Fonds, Stroom Den Haag and Stichting Stokroos.

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Presented at Proximity Music: Sensing After Thought as part of Rewire Festival 2022.

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The Butterfly Effect is an installation that connects with all our senses to make intimate acquaintance with an entity from outer space: a 4.5 billion-year-old fragment of rock, to be precise. It was traveling through the universe when it hit our atmosphere, became a shooting star, and fell to earth as a meteorite. The installation thus provides a physical encounter with geography that is many light years removed from human life.

A variety of techniques are used to translate the various forms of scientific analysis applied to meteorites into sensory experiences, with light, sound, smell and video revealing all that’s going on beneath the surface of the rock. The viewer becomes a co-traveler on this meteorite’s cosmic journey.

The accompanying website provides further information about the making of the installation, with scientific data becoming sensory human experiences.

Winner of the Filmfund DocLab Interactive Grant 2022

CREDITS

Mathilde Renault - Concept, AV Artist

Bernard Foing - Senior scientist ESA ESTEC European Space Research & Technology Center

Frank Bloem - Perfumer

Lefki Mevissen - Programmer

Tatiana Rosa - Sound designer

Daniel Nunes - Web developer

Rita Fiahlo - UX-UI designer

Produced with the support of:

Stimulering Fonds NL, Nederlands Film Fonds, Amsterdam Fonds voor de Kunst.

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Presented at De BrakkGrond as part of IDFA DocLab.

As a reaction to the current macro-politics of post-colonial society and the technocracy in place, this project departures from the feeling of displacement. Aligned with eco-feminist ecological thought, the urgency of this project lays upon repurpose tools from within digital culture and the technologies at hand to comprehend and be in favour of a vulnerable environment, while facilitating ecological and body awareness within an artistic research framework. 

(e)motional charting is a research upon multimedia cinematic landscapes, both digital and physical. Departing from sculptural ecosystems (e)motional charting repurpose mapping to prompt new augmented (immersive) realities to facilitate spaces for speculation .

CREDITS

Concept & direction: Pedro Matias

Camera: Mathilde Renault

Microscopic camera: Pedro Matias

Trans-media translation: Tatiana Rosa

Sound composition: Tatiana Rosa

3D scanning/Modelization/Photogrammetry: Paula Garcia Sans 

Space: Splendor Amsterdam

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Produced with the support of:

Mondriaan Fonds

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(e)motional charting - Prelude, is a first iteration of an essayistic documentary research on mapping (micro) bodily-landscapes as subjectivities, in search for regenerative eco-systems. It proposes a future world where you are invited ‘to look around, inhale all the way, expand and contract rhythmically until becoming a soft, sweaty rock, insides out, flirting face off in the flowering coloured lights’. By combining imageries through the poetics of the cinematic gaze, textuality and sound, this trans-material and trans-physical work hopes to trigger a psychosomatic experience based, with different dynamics of desire.

This multi-screen composition is scored in an iterative circling as a methodology for displacement. Combined with an almost forensic mapping of matter, (e)motional charting soundscape is translated from the ecosystem’s data, rendered by colour temperature, position and opacity, and engages with more-than-human intra-action (s) through generating sound.

CREDITS

Concept & direction: Pedro Matias

Co-direction, camera: Mathilde Renault

Trans-media translation: Tatiana Rosa

Sound composition: Tatiana Rosa

Microscopic camera: Pedro Matias

Editing: Mathilde Renault & Pedro Matias

Text & subtitles: Pedro Matias

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Produced with the support of:

Mondriaan Fonds

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Presented at:

Plan-B Art Festival, Borgarnes, IS

ADAF official Selection -  17th Athens Digital Arts Festival, Athens, GR

HEK Basel, Basel, CH

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Click here for the online version.

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In the age of A.I. with communicating internet bots, algorithms leading our search engines and heavily influencing our access to information and world’s view, is a performer still an essential part of the performance?

No-One Show is partly a 360° film, and partly a live performance. The film is a completely immersive experience, viewed through VR headset and headphones. After that there is a live interactive part performed with the same actor, who urges the audience to take off their VR headset and headphones and, through various activities with each other, make people connect on a basic level.

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CREDITS:

Audio, sound design, video programming: Tatiana Rosa

Composition, text, performance: Jerzy Bielski

Director of photography, light design, film post-production: Thomas Brand

Costume: Karolina Maksimowicz

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Produced with the support of:

Silbersee, Gaudeamus, Stimuleringsfonds Creatieve Industrie, Prins Bernhard Cultuurfonds, NORMA fonds

Presented at:

Gaudeamus Muziekweek 2020, Utrecht, NL

Warsaw Autumn 2021, Warsaw, PL

O. Festival 2021, Rotterdam, NL

Splendor, Amsterdam, NL

Intro in Situ, Maastricht, NL

Prozess - IGNM, Bern, CH

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Click here to watch the 360° trailer.
 

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Humor Vítreo is an audiovisual performance based on the work Strata from Deanna Sirlin.

Taking the 22 stained glass panels made by Deanna Sirlin specifically for the gallery building, Tatiana Rosa created a software that translates the visual content of these stained glass panels to electronic sounds. This translation happens throughout the performance while the musicians interpret and react to this translation with their instruments.

In the end a 23rd digital panel is generated by using the same platform, this time to translate the sound of the one-hour performance to a visual representation.

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CREDITS:

Tatiana Rosa: Programming, Visuals, Flute, Electronics

André Lourenço: Electric Bass, Electronics

António José Bexiga: Guitar, Electronics

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Produced with the support of:

Fundo Financeiro Extraordinário/Apoio à Comunidade Artística Centro de Arte e Cultura - Fundação Eugénio de Almeida

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Presented at: Fundação Eugénio de Almeida,

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This one-woman show tells the story of desires for revenge, justice and how to be a good person. Eva Layla goes into battle with her wolf like a modern little red riding hood. In the fairy tale, the hunter kills the wolf, but what does Eva Layla do?

// Wraak is als een woud en in een woud verdwaal je makkelijk… //

// Als je wraak neemt win je dan de geschiedenis of wis je je geschiedenis? //

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CREDITS:

Concept, script en spel door Eva Layla Schipper

in de regie van Stephanie van Batum

met een tekstuele bijdrage van Bart van den Donker

en muziek van Tatiana Rosa en Yann Fraussurier

PR beelden gemaakt door Cripta Scheepers

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Presented at: Amsterdam Fringe Festival.

Subjectivities undergo processes of in/stability with the norm body, the norm movement, the norm behaviour, the norm morals (…). A process continuously reinforced by the surveillance of the gaze. QueerAble in/stabilities is a performative encounter in which other embodiments are transformed into sound through a wireless electroacoustic interface assembled to the body.

Resonance becomes agency when the movement of a marginalised embodiment is translated into sound. Through amplification of a metal acoustic resonator, and its live electronic manipulation, the work engages continuous flows of resonance. Biometric data gives the interface another dimension by altering the produced sound in relation to the proximity of other bodies.

The uttered composition of several sonic textural layers, results from the dialogic relation between embodiment, space, voice and other bodies

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CREDITS:

Live-electronic sound manipulation and interface development: Tatiana Rosa

Performance: Angelo Custodio

Technical support and interface development: Michele Abolaffio

Design development and wearables: Arthur Guilleminot

Produced with the support of:

Mondriaan Fonds, The Other Abilities

QueerAble In/stabilities @ Hackers & Designers

Sonic Iteration of QueerAble In/stabilities

Lurings is a hybrid installation weaving through the forms of movement, puppetry, choreographic objects, and live electronics. With the accentuated need to connect within the imposed limitations of today’s world, this installation offers a way of distance participation.

A series of composed objects are suspended with strings in space and interact with an object on the floor creating a 3rd affect. Every movement of the string produces pre-curated electronic sounds. These objects are activated from the other end of the string from a distance by the audience, creating a rhythmic play on sensorial qualities with visuals and sounds.

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CREDITS:
Interface development and sound design: Tatiana Rosa
Concept, object design and direction: Keerthi Basavarajaiah
Advice : Halbe Kuipers

Produced with the support of:

LTK4, SNDO (School for New Dance Development)

Presented at:
LTK4 - Schausammlung 2020 Internationale Klangbasierte Künste

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Embodying RIB is a series of open-studio presentations that explores the acoustic possibilities of the Rib building.
Taking as a starting point the aerodynamic connection between the Dutch fluyt, a17th-century cargo ship, and the flute, the potential flute acoustic of the Rib building was explored by amplifying and manipulating the wind frequencies in and around the building itself and bridging these elements with the sound world of the Rotterdam harbour.
In this journey Tatiana explores the sound sources offered by Rib by means of recording and transforming the soundscape of the building itself and its surrounding space as well as explores how to produce new sounds with what the building has to offer.
Having in mind the geographical context of the space, great part of this research connects with the sound of the wind and how that can be transposed to breath, pipes and flutes.
This performance focuses on Rib’s intrinsic and extrinsic qualities as an instrument in itself and the relationship established between the space and a human body.

Produced with the support of:
RIB, Mondriaan Fonds, Creative Industries Fund NL and VSBfonds

Promises is an invitation to take a closer look at promises as game-changers in our individual and collective takes on life.
Also, it offers a different perspective to the usual meaning of the word, or so to say, an extended one
promise as the intertwining of faith and desire, a formula
[promise = desire + faith)]
we use to cope with things we can the fully grass.
This performance involves interactions between performers and projections presenting other nuances of the performers, other promises,
other characters and their probable intersection and juxtaposition.
Their blurry physical and discursive realities
/ break /
and reconstruct constantly,
emerging and shifting in a quest for apparent stability.

In collaboration with:

Marko Ivic

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Produced with the support of:

MISO Music Portugal