Eric Joris

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Eric Joris is a Belgian multidisciplinary artist and theatre director. In 1991 he founded CREW Eric Joris.

Eric Joris studied at the Royal Academy of Fine Arts (Antwerp); the Brussels RITS Institute for Media and Film; languages, art history and economy at Sorbonne, (Paris); Cambridge University (United Kingdom); Heidelberg (Collegium Palatinum); and Tokyo (ETP fundings by European Government).

Joris is a multimedia artist with an initial education in filmmaking, covering many areas such as industrial design, graphic design, comics, visual arts, installation art, and performance art. Under his direction CREW Eric Joris tries to make performances combining live art and digital media.

He develops methods for connecting state-of-the-art technology with artistic forms, often exploring and questioning the human senses, particularly our perception of sound, movement and space. His company CREW Eric Joris generates live-art projects that can be described as immersive theatre.

The works of Joris are frequently co-produced and/or sponsored by institutes for technology, such as Fraunhofer Society and Max Planck Society.

CREW Eric Joris participated in the program 2020 3D Media, which has the backing of the European Commission. CREW is also artistic partner in the EU-funded multidisciplinary research consortium Dreamspace, which develops tools that enable creative professionals to combine live performances, video and computer generated imagery in real time.

Joris has received prizes and fellowships from the French and Flemish government, as well as from foundations.

Joris is a mentor of the Forecast Platform 2015–2016, an international platform that promotes emerging talents.

• Collateral Rooms, 2016
• C.a.p.e. Drop_Dog , 2016
• Absence, 2015 (Eric Joris and Peter Verhelst), production by CREW Eric Joris and NTGent
• EXPLORER/Prometheus Unchained, 2015 (Eric Joris and Urland), production by CREW Eric Joris and Productiehuis Rotterdam
• C.a.p.e. Anima, 2014 (creation by CREW and Anima Eterna Brugge), conducted by Jos van Immerseel, commissioned by Concertgebouw Brugge
• Centrifuga, 2013
• C.a.p.e. Vooruit/STAM, 2013
• aXes, 2013
• C.a.p.e. KIT, 2013 (Eric Joris and Chantalla Pleiter)
• C.a.p.e. Tohoku, 2012
• NoHorizon, 2012
• C.a.p.e. Pierrefonds, 2010
• BOLSCAN, 2010
• Line-Up, 2009
• EUX, 2009
• W(Double U), 2008
• O_Rex,1.3., 2008
• U_Ranging Standstill, 2006
• Crash, 2004
• Philoctetes, 2002
• Icarus, 2001
• N.M., 2001
• Kammerspiel, 1999
• Kaufhaus Inferno, 1999

• Feherova, Daria (17 November 2007). "How to be in, not out" (PDF). Spielart. Mobile Lab for Theatre Art.
• Nelson, Robin. "CREW's Terra Nova: experiencing modes of immersion in actual-virtual space" (PDF). Brunel University London. Retrieved 24 July 2015.
• The Foundry (30 June 2015). "Report on DREAMSPACE workshop" (PDF). Retrieved 24 July 2015.
• Bouko, Catherine (May 2014). "Interactivity and immersion in a media-based performance" (PDF). Participations: Journal of Audience & Reception Studies. 11 (4). Archived from the original (PDF) on 29 August 2017. Retrieved 28 July 2015.
• Bekaert, Philippe; Vanhoutte, Kurt; Joris, Eric (26 April 2007). Immersive image technology as a strategy of performativity. 23rd Spring Conference on Computer Graphics. ACM. doi:10.1145/2614348.2614352.
• Decock, Jan; Van Looy, Jan; Bleumers, Lizzy; Bekaert, Philippe. The Pleasure of Being (There?). An Explorative Study into the Effects of Presence and Identification on the Enjoyment of an Interactive Theatrical Performance using Omni- Directional Video (PDF). ISPR 2011. The International Society for Presence Research. Archived from the original (PDF) on 24 July 2015. Retrieved 28 July 2015.
• "Eric Joris — V2_Institute for the Unstable Media". V2.nl. 15 April 2009. Retrieved 24 July 2015.
• Nordhjem, Barbara (January 2013). "Penetrating Deeper Into the Temporal Lobe" (PDF). Barbara Nordhjem. Archived from the original (PDF) on 24 July 2015. Retrieved 24 July 2015.
• Bailey, Pippa (17 November 2007). "O. Rex: review" (PDF). Spielart.
• Nechvatal, Joseph (1999). Immersive Ideals / Critical Distances: A Study of the Affinity Between Artistic Ideologies Based in Virtual Reality and Previous Immersive Idioms (PDF) (Ph.D.). University of Wales College. Retrieved 24 July 2015.
• "Crew: Immersive Media" (PDF). SIGN+. October 2012. Archived from the original (PDF) on 24 July 2015. Retrieved 24 July 2015.
• "Crew" (PDF). Flanders Art Institute. May 2015. Archived from the original (PDF) on 24 July 2015. Retrieved 24 July 2015.

• Official website
• CREW's channel on Vimeo
• www.dreamspaceproject.eu
• www.forecast-platform.com