COMING SOON: voidspace live Festival

Interactive arts zine voidspace has gathered an eclectic group of artists playing in the liminal space of grassroots interactive acts in London on Sunday June 9th.

With the help of Theatre Deli, the fest will feature work from Jury Games, participatory Shakespeare from Emily Carding (The Locksmith’s Dream), opera, games, collaborative storytelling and more.

We checked in with Katy Naylor, Artistic Director of voidspace live about the sold out seven-hour long festival for which tickets cost £45, with all activities at 107 Leadenhall Street. The good news: there’s a waiting list. (Follow voidspace on Instagram: @voidspacezine)

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NO PROSCENIUM: Tell us a little bit about the festival and its focus. How do immersive experiences fit in?

Katy Naylor: The festival is dedicated to interactive arts of all kinds. It brings together artists in the literary, gaming, theatre, music and dance worlds who all use interactivity in their work. Interactive/ immersive experiences is right at home here.

NP: Is there a theme that was set, or has emerged, for this edition’s programming?

KN: The rather obvious theme is interactivity. Every part of the festival, from linear performances to durational pieces, film and audio work, and exhibits, will invite interaction in some way.

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The festival has been a great opportunity for artists to show us the interactive experiences they are proudest of, to showcase great grassroots work or to experiment with something new. I’ve been pleased by how much new work has been created especially for the festival.

NP: Tell us a bit about the artists who are involved.

KN: We’ve got a fantastic range of artists on board. We have some familiar names like Chloe Mashiter, Jury Games and interactive opera with Leo Doulton and CN Lester, along with fresh offerings from artists such as dance tech pioneers Unwired Dance, and interactive music creators Muze Collective. We even have some immersive Shakespeare, with Emily Carding’s Richard III that draws the audience in through gentle interaction.

I’m also really excited about being able to present workshops from interactive poet Mark Ward and gaming guru Nick Murray, and exhibit film and audio work from Gemma Brockis, Silvia Mercurali and Protein dance.

NP: How do you approach programming the festival?

KN: The most important thing was to me was to break the silos that often end up constraining creators in this space: between dance, theatre, interactive literature and games. I want to highlight that while all of these types of work come from different corners of the arts world, with their unique backgrounds and perspectives, they share a core of interactivity that draws in the audience in a deeply engaging way.

NP: What’s your best case for why someone who is on the fence about all this immersive stuff should attend this event as opposed to binge watching whatever series dropped this week?

KN: This is a chance to be in on the ground floor of something truly special, that’s never been done before. I’ve been bowled over by the enthusiasm and support from the community, and the sheer breadth and range of pieces means there will be something for everyone. It’s a great chance to try something new, and be in on the ground floor of something truly different.

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