We ring in the New Year(2022) with a foretelling of the future—a parallel reality steeped in uncertainty and speculation. The Story of a Disaster Foretold is a premonition composed of language drawn from news headlines, oracular literature, musings, and visions blended together in three acts by Eléonore Pano-Zavaroni, Mathew Kneebone, and Susannah Wood. The artists’ collaboration is founded on a shared interest in projection, a theme central to their individual projects exhibited at Rib (Afspraak Future and Power Relations) and inspired by Lamorisse’s premonitions of dying in the Caspian Sea, several kilometers north of the actual site of his death.

The work will be voiced by Susannah Wood who is a Bay Area actor, playwright, and—in a previous life—was a radio editor and reporter for the City News Bureau in Chicago.

Contingent on California’s suspect electrical grid, The Story of a Disaster Foretold will be broadcast live from San Francisco to Rib on Ever Widening Circles, a radio program by artist Ash Kilmartin via Radio Worm. The story will be introduced with a musical prelude by the Rib Staff Band, Linus Bonduelle, and Maziar Afrassiabi.

The Story of a Disaster Foretold: 1

With another year coming to a close, Éléonore Pano-Zavaroni, Mathew Kneebone, and Susannah Wood share the second premonition of a possible year ahead. The Wind, From Where Did It Come? promises philosophical musings woven by disparate language, including psychic readings, passing conversations, dreams, literature, forecasts, and news media, collected by the artists during the year. As with the previous iteration, The Story of a Disaster Foretold, this upcoming premonition will be voiced live from San Francisco by Susannah Wood and broadcast by Radio Worm in Rotterdam. In addition, live field recordings from the French mountain resort of Flaine, where Éléonore is simultaneously opening her solo show Ante Meridiem Post Meridiem, will provide a soundscape for the piece while Linus Bonduelle and Maziar Afrassiabi perform its musical prelude.

The Wind From Where Did It Come

Éléonore Pano-Zavaroni comes back with some of the artists she invited for Afspraak Future, to reactivate the work and her platform with After Life with Friends—by Fabrice Croux, Ash Kilmartin, Fabien Renneteau, Coralie Guillaubez, Romain Bobichon, Akim Pasquet, Eléonore Pano-Zavaroni & friends—with jingles set up especially in honor of The Upcoming Apocalypse and the end of Life. Celebrating Afspraak Future!

Correspondence with Samboleap Tol # 1

Correspondence no. 2 from Samboleap Tol in Yogyakarta 
25 May 2023

[Transcript]

The temples have a dual function for me.

On the one hand, they are evidence for myself to truly understand that there were civilizations out there, who were remarkable, artistic, ingenious, and perhaps in tune with who they are.

And on the other hand, the stones themselves narrate.

Whether beyond the religious aspects, be it telling stories about Buddha or Hindu stories, I am sure that the bas reliefs also include other clues of what that civilization might've been like.

I'm not here to try and bring back the past.

I think I feel very free to remix different sets of knowledges and see what that brings to my own life.

Correspondence with Samboleap Tol #2

PZI MFA students year 1 at Rib, June 6-9, 2023. Vocal exercises.

Blue

Peter Fengler's performance took place July 1, 2023 at Rib concurrent with the exhibition opening 'The Last Terminal Part 2: The Ribbon-Cutting Approach'.

Performance by Peter Fengler

Correspondence no. 3 from Samboleap Tol in Yogyakarta
July 31, 2023

Transcript:

Coming Indonesia, everything was strange and different. 
Especially the people, I expected they were going to be disinterested. 
But it was the complete opposite. 

Once I said: "I'm interested in traditional dance or in ancient temples, Hindu-Buddhist kingdoms." 
Like, Yogyakartans were there left, right and center, saying: "Hey, this is where I'm interested in too!"
"This whole city is into this stuff!"

And just hearing that and feeling genuine interest, over and over, in my practice. 
And just in my overall interests in arts, gave me a strength and confidence I could never imagine. 

I am so grateful for Indonesia to show me a way of being an artist that is so liberating. 

I feel emancipated from expectations of what Western society wants an artist to be like. 

I'm completely independent of their thought.

Correspondence with Samboleap Tol #3

Rib Rotterdam

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