In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

Every day all social media ask us to provide a lot of input, also private information. And we give it. We give everything. Simply because we want to use these services to be able to share, tag and follow online. Like our friends. We loose most of our rights on this information – many times without knowing it. Let alone that we’re beware of the potential abuse.

In Social Fiction the personification of social media extorts information and even physical appearances from the performers and the audience. People are followed and scanned. Text messages get published and fall apart: seemingly meaningless, but forever saved and traceable. All the collected and constructed elements in the show are three dimensionally composed with our Potator tools in a motion capture installation. Social Fiction is a sequence of acts and actions filled with funky music and a unique solo on recorder. It results in a grand finale that breaks the boundaries between theatre, cinema and videogames.

After Social Fiction 1, where PIPS:lab explored the boundaries of online privacy, they now have entered the virtual space even further.

We are increasingly forced to relate to pre-programmed computer programs. Who does not follow, does not count.

In Shadows in the Cloud the performers and audience are jointly dominated by a social operating system, called Terence. He promises us everything we ever dreamt of. We just have to follow his exact instructions. The fearless cybernauts of PIPS:lab will test this new operating system on you, so eventually we can all escape from daily reality through a galactic gateway.

In Social Fiction PIPS:lab uses a motion capture system in combination with the self-invented Potator tools. These make it possible to paint in 3D with peels of reality. With the triptych Social Fiction PIPS:lab contributes in its own way to the digital reali-Zeitgeist.

“…I believe the show is much like a ballet, where the dance is the intricate and subtle

interactions between humans and technology.” [getdown.ca 20/11/2014]

“Imaginative, interactive, clever sci-fi from Amsterdam.” [YP Live Nationwide 21/11/2014]

“In the end, all the parts came together in an interesting blend of digital animation, performance art and music. To explain the process would be to spoil the fun, so I will only say that this show must be seen to be believed.” [getdown.ca 20/11/2014]

“An intriguing set blends pop art and the wonders of modern technology, while plenty of electronic music interludes force you to consider your own place in the digital realm.” [YP Live Nationwide 21/11/2014]

Here and now

Altered realities and digital representations can no longer be ignored in our daily lives. Started in the entertainment industries, virtual (and augmented) reality tools are now even used in life saving applications such as medical research. Documentaries and discussions about ‘real and not real ', privacy and the always-on society where the here and now no longer exists, are frequently in the news media. Almost every news platform has its own technology and media section nowadays. Dave Eggers wrote The Circle and recently HER was released, a film in which a person enters into a relationship with his ideal partner: its own customized operating system. And by the revelations about the NSA suddenly the whole world knew that secrets or confidentiality do not exist in the digital world.

With Social Fiction PIPS:lab contributes in it’s own way to the digital reali-Zeitgeist. They use the latest technology in combination with their own developed tools and software. As a theatre and arts collective, PIPS:lab sees it as its task to take the live audience to other dimensions and make them experience how we can design our own future.

Social Fiction 1 was created in 2013 and performed at Theaterfestival De Parade. Social Fiction 2 will première February 27, 2015 at Frascati Amsterdam. As Social Fiction is rather a process than a clearly defined production. We do previews, in-between performances, and blending shows in between the hard numbers. Not afraid to loose count. Are you?

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

The Haunted House is dark. The Haunted House is a confrontation with yourself. Much more can not be said without spoiling it. We can only warn. A visit to the Haunted House is an intelligent, psychological anxiety experience…

If you are not afraid of a life changing experience …

If you dare to lose complete control …

If you have the courage to get lost in your inner-self…

Some of our clients over the last years are: IDFA documentary festival, TEDx Amsterdam, United Nations (OHCHR), NEXT13 Berlin, Rabobank Amsterdam, NGO Wereldouders...

Please contact us to find out about the possibilities. We also do tailor-made specials for openings, etc. Check out the Specials in the menu.