Touring Works Information: The Victory Project
The Victory Project deals directly and personally with the in/visibility of the female body. The work references da Vinci’s sketches of flying machines, current medical prosthesis technology, and collecting oral histories of original Rosie Riveters, Hiroshima Maidens and Women’s Army Corp Members.
The Victory Project is a flexible installation and shifts dependent upon the site in which it inhabits. There are two formats we generally tour with:
1. a six-member cast production which inhabits larger site-specific locations (ex. an 11,000 sq ft abandoned airport, an industrial bridge over a freeway and river in Cleveland, etc) and
2. a more intimate gallery duet with sonic objects and video (generally inhabiting gallery, performance spaces and warehouses between 1,000-4,000 sq ft.) We have worked with presenters to perform the version, which fits best into their space and enlivens community and audiences in the way they prefer (site-specific non-ticketed events, ticketed intimate performances, etc.)
In addition to the performances, we have offered master classes and/or lectures in collaborative performance generation, the intersection between performer, object, and sound, the intersection of new and analog technologies in performance making, and community co-research and art making through community engagement.
We travel with most of our sound equipment and props. We ask presenters to provide us with a lighting set up: lighting for four stations the smallest being 8ft X 8ft and the largest being 30ft X 30ft, two projectors and a sound amplification system for the full cast production and three projectors, basic lighting set up for one station, and an amplification system for the duet production.
Description of the duet cast performance of Victory Project:
The duet version of Victory Project is a 50 minute long production involving three duets with performer/choreographer/designer, Erica Mott and performer/composer, Ryan Ingebritsen. These duets have been staged in galleries, performance spaces and warehouses of between 1,000 to 4,000 sq ft in size and involve a seated audience. Additionally, each duet is supplemented by video artist, John Boesche’s interactive video landscape creating interactive worlds and contained screens in the space and on the performing objects and bodies.
The three duets include War Desk, a piece referencing the journey of female engagement with war from Rosie Riveters and Hiroshima Maidens (1940’s) through the Cold War (1950’s early 1960’s). Mott creates the sound score in interaction with Ingebristen by performing on and with a mic’d desk. Each contact between body and object conjures a complex soundscape of found footage from WWII archives, 1950’s beauty commercials and war speeches.
The second duet involves interactive soundscape based upon 1950-1970’s game shows and referencing the fuel crisis in the US from those various time periods.
The third duet involves a series of Theremins attached by Ingebristen to Mott’s body as she works with a three-legged object extending from her body. The sound and movement are in conversation with Boesche’s images of failed flying machines.