weS.A.N.K (Speculative Architectures of Neganthroposcenic Kronotopias)

2016 – 2018

weS.A.N.K. Research Group

With Emmanuelle Chiappone-Piriou

In 2016 Roumagnac invited the curator and historian of architecture Emmanuelle Chiappone-Piriou to set together a research group, within Roumagnac’s doctoral artistic research Neganthroposcenic Chronotopias, Deep Stage and Hyperdramatic Theatre, on the pondering of the futurity of the relationship between theatre and architecture from a time ecology perspective. The collaborative process over the course of two years has been aiming at carrying out the implementation of ‘architectural prototypes of future stages/theatres’ based on Roumagnac’s specific research focus about the urgently needed mutation of scenic thinking and theatrical production of imaginaries in response to the contemporary planetary techno-conditioned climatic challenges.

The research process is situated within the double cross-fertilizing context of artistic research and interdisciplinary domain of investigation. It intends to cultivate potentials, design imaginaries and produce aesthetic prototypes across encounters with fields such as performing and visual arts, architecture theory, artistic research, new media studies, performance studies, contemporary philosophy, future studies and ethics in the context of the current planetary ecological turmoil. The aim of the research team is to foster new plateaus for exploration and experimentation on stage and architecture, entangled with ecology and futurity.

Pondering how the speculative concepts of deep stage and hyperdrama could operate and manifest in the future engaging within the larger cultural context, Roumagnac and Chiappone-Piriou have been hypothesizing on a scenic paradigm shift intertwined with architecture contemporary moves. After performing in May 2017, in the Research Pavilion in the context of the 57th Venice Biennale, a first manifesto-prologue – titled “Considerings” (link below) and based on those primary hypotheses – the two co-researchers have decided to open up the process and to gather collaborators. Hence, they sent this first performed text as a call for collaborating with different artists and researchers from diverse fields such as acting, choreography, scenography, e-literature and architecture.

The reached-out fellows are then invited to get together on the occasion of three weS.A.N.K. collaborative sessions in autumn in Tokyo, in winter in Helsinki, and in spring in Barcelona. During each session, one or several “prototypes of future stage” will be designed and implemented.

Each session weS.A.N.K will be looking at the project from a specific angle:

weS.A.N.K. [TOKYO] will be looking at the holographic,computational and artificially intelligent architecture of the deep stage (or: how to address scenically the big data?)

weS.A.N.K. [HELSINKI] will be looking at the post-nature climates and hyperdramatic architecture of the deep stage (or: how to address scenically climate change(s)?)

weS.A.N.K. [BARCELONA] will be looking at the inter-planetary and beyond-ness of the deep (alien) stage (or: how to address scenically the more-than-earthly future?)

Finally, in November 2018, the sum of the produced prototypes will be reunited and staged in Helsinki under the title weS.A.N.K. [STAGED]. This outcome of the research group will be presented publicly and also be examined as Roumagnac’s second doctoral artistic part.

weS.A.N.K. _01: Prologue [Considerings]  : 12.5.2017 @Research Pavilion Venice +++

weS.A.N.K. _02: weS.A.N.K.[TOKYO]  : 16 – 18.11.2017 @Tokyo Arts and Space +++

weS.A.N.K. _03: weS.A.N.K.[HELSINKI]  : 1 – 4.02.2018 @ETLAB Helsinki

EMMANUELLE CHIAPPONE-PIRIOU is an architect and independent curator, based in Paris. She is a PhD candidate at the ATTP, Technische Universität Wien (Austria) and a member of the CIVA Foundation Contemporary Culture & City scientific council. Her work interrogates architecture “at the edge of everything else” and her research and projects are thus situated at the intersection of architecture with other disciplinary fields, amongst which art and computation. Recent projects include research collaborations with artists and architects, amongst which [we]S.A.N.K. led by Vincent Roumagnac; exhibitions (Maître Coeur, Florian Sumi), essays and lectures. In 2017, she has joined AREA Institute as Content Director, to develop a curatorial program devoted to the mutations of architecture in relation to data and robotics, and has been an invited critic at the Plateforme de la création architecturale at the Cité de l’Architecture (Paris). From 2011 to 2016, she was Program curator at the Frac Centre (Orléans, France). She supervised the inaugural curatorial program for the Frac new building and was Assistant curator of the 9th edition of ArchiLab Naturalizing Architecture (2013). She curated Relief(s) (2015) and The City as a Vision (2014), as well as the program of cultural and educational events. She previously collaborated to numerous exhibitions, at the Centre Pompidou and Centre Pompidou-Metz (2009–10), then at OMA/AMO. She has written extensively for exhibition catalogues (Frank Gehry, Centre Pompidou collection, etc.). Emmanuelle holds and Architecture Diploma from ENSAP La Villette (Paris, 2008) and graduated in History of Architecture at Paris 1 University (2010).