This project benefits from financial support by the French Ministry of Culture and Communication (aide à la maquette du DICRéAM (09)), by the Région Languedoc Roussillon (aide à la création multimédia), and from a residency at the CNES La Chartreuse, Villeneuve lez Avignion.
The project is supported by le manège.mons/CECN, HTTP Londres, Kawenga territoires numériques (Montpellier), ConnaiSciences (Montpellier) and Nu2s (Barcelone) - International Laboratory “Interactive digital media on stage” - 17-25 Nov. 2008 - L’animal a l’esquena, Celra.
Technological partner : Théâtre Paris-Villette / x-réseau.

Training for a Better World will benefit from a residency at the domaine d'O en 2011.

Diaporama of other photos on Flickr


6 - 10 December 2010 Workshop Huis Clos / No Exit - Training for a better world
L'école nationale supérieure d’art Villa Arson, Nice. Invited by Christian Vialard.
With Amira Brachia, Margaux Daubin, Mathilde Fernandez, Sharon Jones and Simon Nicolas.

9 December Participation via internet by some students of ENSA Bourges.

Le Workshop is part of the process of preparing a performance in the CRAC, Sète, Autumn 2011.

"didn't know that collaboration via the internet can be so fragile"

Dispositif : Six persons perform, each with a portable webcam station a performance protocol. The images and sounds of their webcams are brought together in one video projection. From their isolated positions, scattered in space, they share a space of expression and responsibility, a playground, a laboratory.

The existence of the performer in two separate spaces (the physical and the image space) put him/her in a double bind situation, which will let appear the noise gesture, the sound of loneliness and leads us to an aesthetic of attention.


Preparation and Protocole 1 and 2 .pdf (FR)
Protocole 3 .pdf (FR)
Protocole made by the students .pd. (FR)

Huis Clos / No Exit - Training for a Better World is part of the Huis Clos / No Exit artistic research project by Annie Abrahams

Shifts, interruptions, cuts, flux variations, temporary vacuums and coding errors in and between the images, are the aesthetic materials of the performance that will translate our vulnerability in our attempts to communicate in a cyberized environment.