EMA to bring virtual reality installation to London’s Barbican

RESIDENCY AT BARBICAN’S STATION TO STATION JULY 5TH – 7TH

OPEN CALL FOR SUBMISSIONS ON THE THEME “SACRED OBJECTS FROM SUBURBAN HOMES”

“a technological prophet in her own time” NY Times

“a musical tour de force” Sunday Times

“glitch-tastic American singer EMA continues her dystopian scoping, bringing an immersive “living room” set to Barbican” Time Out

“…an ability to exert control over their art, and a refusal to be silenced” Pitchfork

Since releasing the critically-acclaimed and eerily prescient album The Future’s Void in April last year, EMA has expanded her vision across a variety of mediums. She created a multimedia collection and series of politically-charged singles on NewHive, and scored an upcoming horror film starring Chloe Sevigny.

Following a year of international touring and an appearance on the Late Show with David Letterman, Anderson has returned to her roots with a series of non-traditional performances. Earlier this year at MoMA PS1 in New York, she worked with collaborator Zach Krausnick to create I Wanna Destroy, the first instance of “live VR” – improvised virtual reality.

Using a Microsoft Kinect to track her movements in real time, Anderson performed a new song cycle while audience members explored a bespoke virtual environment and her avatar morphed between a blonde replicant and a reptilian known as “SnakeMan”.

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In May, Anderson was invited to participate and perform at the New Museum as part of Deep Lab, a cyber feminist collective tackling issues of privacy and surveillance. She presented Does It Still Feel Weird If I Just Use My Hands?, in which audience members were asked to draw on one another.

In a recent profile on artist Ryan Trecartin, the New Yorker described him as a “bridge” person, or “someone who grew up before the revolution in digital technology, whose effects are now second nature to the generation that was born into it.” Anderson considers herself part of this group: kids who remember life before cell phones and big internet, but have grown along with technology and now embrace aspects of it in their work. Despite working with hyper-modern issues of tech and connectivity, Anderson’s work retains an emotional resonance and a human touch. Her virtual reality work has been described as “DIY” and “anti-capitalist”.

For her upcoming performance at the Barbican, Anderson and Krausnick will be in residence at the Barbican Station to Station from July 5th-7th, and will be incorporating submissions from an open call for “Sacred Objects from Suburban Homes”.

According to Anderson, “suburban” is a state of mind rather than a geography, and “sacred objects” can be practical or decorative, old or new, prominently displayed or hidden away. Examples may include a TV remote, a decorative ashtray, Grandma’s place settings, a new tech gadget or a school football trophy.

Submit your own “sacred objects” on NewHive with the tag #sacredobjects or via email: [email protected]

Selected objects will be rendered in 3D and included in an immersive performance taking place on July 7th at Barbican. Anderson and Krausnick are also encouraging Barbican visitors to bring in physical objects during their residency July 5-7 to be included in the installation.

NEW HIVE SACRED CALL: http://newhive.com/ema/sacred-call

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