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EntrAxis coordinates DigiLabAir, a Creative Europe-funded project that promotes inclusion, participation, and reflection through performance art and live art co-creation processes in a hybrid model (digital and live). The partnership involves six European cultural associations offering residences to 15 artists working on topics of the Sustainable Development Goals Agenda of the United Nations.

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Vicky Maier & Steef Kersbergen, Waiting With The Waters, DigiLabAir 2023
Priiya Prethora, Your Wounds Bleed Me, DigiLabAir 2023
Petra Kuppers & Kym McDaniel, Becoming Fossil, DigiLabAir 2023

 Priiya Prethora                                                                                                                    Petra Kuppers & Kym McDaniel                                                                                                     Steef Kersbergen & Vicky Maier

Digital Lab Artist-in-Residences (DigiLabAir) is a Creative Europe-funded project that promotes inclusion, participation, and reflection through performance art and live art co-creation processes for new forms of creativity, artistic production, and audience engagement, realising an innovative model in hybrid (digital and live). The partnership involves six European cultural associations with strong territorial knowledge and anchoring in participatory co-creation processes to foster the development of a continuously growing audience. The project focuses on innovation, digitalisation and audience development through the organisation of five Digital Artist-in Residences led by project partners on social issues framed in the SDG Agenda. A key feature of the project is the implementation of PAV Performance Art Video, a digital platform operating with a video-on-demand strategy: video performance artworks produced during the digital artist-in-residences are disseminated online, promoting artists’ visibility and providing financial sustenance. DigiLabAiR aims to build an innovative, sustainable model using digital technology to support performance art and live art to respond creatively to the present crises. 

The resulting films will be showcased in a public exhibition at the Venice International Performance Art Week on December 15-17, 2023. They become part of the online platform PAV Performance Art Video to be launched on that occasion with the aim to generate further revenue for the artists through an ongoing video-on-demand availability.


EntrAxis e.V. (Germany)

On climate emergency, environment and political landscapes

Curated and mentored by Verena Stenke (VestAndPage)

With Petra Kuppers & Kym McDaniel (DE/US), Vicky Maier & Steef Kersbergen (DE/NL), Priiya Prethora (DE/IN)

Studio Contemporaneo (Venice)
On migratory flux, forced displacement, sense of belonging, community and home

Curated and mentored by Andrea Pagnes (VestAndPage)

With Nicola Fornoni (IT), Matilde Sambo (IT), Sabrina Bellenzier (IT/GE)


European Cultural Centre (Amsterdam)

On social inclusion and minorities

Curated and mentored by Anja Förschner

With Chantal Spapens (NL), Kirsten Heshusius (NL), Kat Noli (NL)

G.A.P. Gathering Around Performance (Athens)

On urban spaces, technological innovation and augmented realities

Curated and mentored by Francesco Kiais

With Virginia Mastrogiannaki (GR), Yannis Pappas (GR/DE), Despina Zacharoupoulou (GR/UK)

G12 HUB (Belgrade)

On feminism, queer theory and LGBTQI+ issues

Curated and mentored by Marta Jovanovic

With Kata Rankovic (RS), Sara Kostic (RS), Aleks Zain (RS)

PAV Performance Art Video (Milan)

Video-on-demand platform for performance-based video art.

DigiLabAiR is co-funded by the Creative Europe Program

EN Co-funded by the EU_BLACK.jpg


Curatorial text by Verena Stenke (VestAndPage)


The waters that we comprise are never neutral; their flows are directed by intensities of power and empowerment. Currents of water are also currents of toxicity, queerness, coloniality, sexual difference, global capitalism, imagination, desire, and multispecies community.  – Astrida Neimanis


In 1946, Elyne Mitchell pointed out that exploitative practices such as large-scale agriculture and colonisation have contributed to an endemic disconnect between humans and the planet. Today, at the peak of the Anthropocene, ecosystem distress and climate chaos have intensified the desolation people experience in response to environmental phenomena. Invasive human interventions aggravate pressure on the mesh of the natural world, non-humans and people, bringing forth an irremediable loss of home environments and causing existential angst and disorientation. Timothy Morton calls the climate crisis and humanity "hyperobjects", massively distributed in time and space. Human-made materials and artificial stuff –so-called anthropogenic mass– now outweigh living things on Earth. The future fossil is the plastiglomerate, a rock made of natural debris held together by plastic – a potential Anthropocene marker horizon on the geologic record. Our three DigiLabAir online digital artist-in-residency sessions took place in the to-be globally hottest year on record, precipitating the increase in extreme weather phenomena worldwide. As climate-forced migration presses the ever-tightening borders of Europe and the Global North, we recognise the connections between severe weather events, climate crisis and global inequities. In this era of ecological panic and scientifically measurable risk (Beck), DigiLabAir: ON CLIMATE EMERGENCY calls artists to apply the lens of queer ecology and conjure a multiplication of differences at as many levels and scales as possible. To shatter the treacherous reductionism of rigid binaries, art acts as the mnemonic of the potential, catalyst of the manifest, and shrine to the residual. All art is ecological (Morton 2021), and Performance art centres on the body and the embodied. Adrianna Rich understands the body as "a congeries of the personal and the political; of the material and the semiotic. It is biological and cultural, and it is never only one thing, in only one place, or only 'itself'." (Neimanis 2017, 29). Earth emotions can have adaptive functions when they lead people to seek comfort collectively, and so do we as the three film works of our residency resonate with care and grief through the intrinsic mesh of connectedness.


Ecological imaginations and chemical affinities are at the core of Becoming Fossil, where Petra Kuppers, Kym McDaniel and their collaborators invite us to journey through the strata of Deep Time. Bodies are the ambient of prehistoric subterranean transcorporeality and interstellar effect. The movement is simultaneously in differing bodies, the elements of the paleo-abode and the viewers'/listeners' minds. Threaded onto the here-and-now only by Petra's voice, we experience "stories of embodied indebtedness, where past and future bodies swim through our own." (Neimanis 2017, 4). 


In Your Wounds Bleed Me, Priiya Prethora takes us in a posthuman becoming on a walk along the moist grounds of the mountain ranges of the Himalayas and the Alps. Connecting homes across the nomadic landscapes of borrowed belonging, in this tactile and sonic diary, they sing their mourning for glaciers. Tracing wounded paths, they hum to the ancient frozen imprints disappearing into the memory of algal blooms sprouting in the warm seas.


Waiting With The Waters by Vicky Maier and Steef Kersbergen affront solastalgia –a place-based anguish, the homesickness we feel in rather than for our home. By dissecting the generational narrative characterised by denial, they share tales told to a child in the most human-altered habitats on the planet. They plunge into the gaps of a map that condenses around a territory claimed back by the sea it once was extracted from. They respond with a psychogeographic approach to grounds doomed to drown, their subaqueous orientations turning into a dance with the white flag of surrender.


All of them are with, in and of the lands and show the dances we dance and songs we sing while we lose the ground under our feet and turn our back to the wave coming in.

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