Prague Quadrennial’s 36Q˚ (pronounced “threesixty”) presents the artistic and technical side of performance design concerned with creation of active, sensorial and predominantly nontangible ironments. Just like a performer, these emotionally charged environments follow a certain dramatic structure, change and evolve in time and invite our visitors to immerse themselves in a new experience.

Curated by Markéta Fantová and Jan K. Rolník
8 – 16 June
Small Sports Hall

Our global society seems to be obsessed with fast paced progress of technology and elevates rational intellectual and scientific pursuits above arts that are intuitive and visceral in their nature. And yet creative minds based in the arts are proving that the boundless imagination paired with new technological advancements often result in original and highly inspiring mind-expanding projects. Even though performance design doesn’t need to use modern technology and is often the most inspiring when it uses simple human interaction, we need to explore and experiment with wide range of possibilities new technologies have to offer. PQ Artistic Director Marketa Fantova established 36Q˚ with those thoughts in mind and with a focus on the young, emerging generation of creatives.

Blue Hour

An experimental, interactive environment that fills the entire space of the Industrial Palace Sports Arena will welcome visitors on 8 June and remain open until the end of PQ 2019. The project, based on intensive team work that brings together experienced artists with emerging designers to collaboratively create, will be led by renowned French visual new media artist Romain Tardy.  The curatorial team seeks to experiment with the shifting boundaries between the “non-material” or “virtual” and the “real” world, to explore the capacity of performance design to enlist technology in cultural production.

“As a visual artist working mostly on site-specific projects — often on a large scale, involving architecture — light has become my medium of choice. Whether it comes from a moving head or through the lens of a video projector, I realised light could create a dialogue between the tangible and the immaterial, between the permanent and the ephemeral, between past and present, or even between humans and other forms of life. Light has this capacity to reveal what is hidden, to modify our perception of reality, to create new worlds: light seems to be made of time and space. From another angle, if light is one of the conditions for life to exist on our planet, it’s also our main connection to the world through vision, and before any other sense: light is a universal connector. For Blue Hour, I tried to reverse the approach of applying light to some existing object or support: what if, for once, light could be used as a construction material? This immersive environment is conceived as an experimental playground for light: all the elements which compose the installation are actively used for lighting purposes: as a source or as a receiver. The audience is invited to become immersed in this multi-layered global light and sound installation— which works almost like a living organism, with its many different cycles and sub-cycles. Blue Hour is a show with no stage, where the visitors are also the actors: by exploring this environment, they contribute to one of those many cycles: the beauty of an ephemeral passage through light beams, changing the space just for a few seconds, following a path which couldn’t be predicted.”, Romain Tardy.

Project structure

The Blue Hour team will bring various areas of design into a dialogue through a tight collaboration. The creative team will consist of 6 working groups covering areas of Lighting Design, Video and Projection Design, Sound Design, Tactile Environment, Creative Coding, Virtual and Augmented Reality. Each creative working group will be led by an experienced designer and participants selected through an open call. The overall team will be selected based on diversity of skills, talents and interests.  This project is an opportunity for students, young designers and experienced professionals to participate in artistic process involving work with high end equipment where the new knowledge isn’t facilitated through a top down teaching or master class methodology, but where learning happens through collaboration, problem solving and daily exchange of ideas while sharing a common artistic vision.

Led by Pavla Beranova and Fereshteh Rostampour (associate workshop leader)
Ana Quintas (Brazil)
Kelly Rudolph (USA)
Tereza Bartůňková (Czech Republic)
Paula Castillo Tocornal (Chile, lives in New York)
Mejah Balams (USA)
Zuzana Bottová (Czech Republic)

Led by Robert Kaplowitz
Shlomo Benami (Netherlands)
Ondřej Mikula (Czech Republic)
Fiona Patten (Netherlands/Ireland)
Rebekka Sofie Bohse Meyer (Denmark)
Bobby McElver (USA)

Led by Romain Tardy
Cynthia-ël Hasbani (Lebanon)
Erik Bartoš (Slovakia)
Lukáš Dřevjaný (Czech Republic)
Kaiwen Fa (United States)
Johana Střížková (Czech Republic)
John Daoud (Lebanon)
Judy Suh (USA/South Korea)

Led by Tereza Stehlikova
Florence Mein (UK)
Babi Targino (Brazil)
Kerryn Wise (UK)
Billur Turan (Turkey/UK)
Kain Leo (UK)
Rachel Testard (France)
Katja Vaghi (Germany)
Nitish Jain (India/Czech Republic)
Fernanda Alpino (Brazil)
Amy Neilson Smith (England)
Mona Camille (German-Seychelloise, lives in UK)

Led by Shannon Harvey
Karim Tarakji (Czech republic)
Josef Kortan (Czech republic)
Kate Barker (UK)
James Whitaker (UK)
Klean Dalton (UK)
Aled Evans (UK)
Harrison Mead (UK)
Alex Silvester (UK)
Lewis Bailey (UK)
Kerry Butcher (UK)
Samuel Preston (UK)

Led by Paul Cegys & Joris Weijdom
Other presented VR projects
Neill O’Dwyer, VIRTUAL PLAY (Ireland)
Tanja Bastamow, THE STATE OF DARKNESS (Finland)
Michael Bruner, UPWELL (USA)
Pascal Silondi, ORGA[NI]SM (Czech republic)

Led by John Richards
Moussa Sissoko (Mali)
Emma Hildebrandt (USA)
Clémence Walle (France)
Danil Tcytkin (Czech Republic)
Polina Khatsenka (Belarus)
Jan Krombholz (Belarus)
Travis Wright (USA)
Ally Poole (UK)
Oliver Torr (Czech Republic)
Johana Ožvold (Czech Republic)
Lori Kharpoutlian (Lebanon)
Luise Ehrenwerth (Germany)
Martin Ožvold (Slovakia)

Light Spot & Sound Spot

Recognizing the importance of sustaining a platform for discussion and exchange between emerging artists, theatres, and manufacturers as well as the connection with the professional network of artists through the OISTAT Lighting and Sound Sub-commissions, PQ is excited to welcome Light Spot and Sounds Spot as a major strand of programming under the umbrella of 36Q°.

Led by Ian Garrett 

Originally established by Henk Van Der Geest and the OISTAT Lighting working group in collaboration with the Institute of Lighting Design in Prague, Light Spot provides a platform for lighting designers and technicians to meet, exchange ideas, and share in depth conversation over shared meals. 4 days of programming will include presentations, small experimental workshops, discussions, and technology demonstrations led by Ian Garreth.

Led by Joe Pino 

Led by Joe Pino and the Sound Sub-commission of OISTAT, Sound Spot provides a platform for presentations, discussions, and informal talks, as well as space for the ever popular Sound Kitchen, covering anything that is or relates to sound and composition for theatre and live performance.

Daily schedule to download.

The project is realised with kind RITCS students and teachers help:
Allard Klijnstra, Merel De Coen, Lionel De Nil, Sarah Feyen, Pieter Kint, Bert Laurijssens, Anthony Leliaert, Thomas Maes, Sinan Poffyn, Tom Reynaerts, Guust Sambaer, Dorian Stevens, Lara Van Bellingen, Casper Van Overschee, Luna Vancraeyenest,  and Sibbe Velghe.

Philippe  Digneffe, Vicky Vermoezen, Saskia Louwaard, Chris Van Goethem, Thomas Stevens, and Frits Maris.