Automate self-playing installation by Norway artists…poetic, humorous, strong. (I have to find details in my suitcase!)
It was the first room in the basement, the objects seemed to be recup from a beach and were making sounds when activated. they were moving on rails, there were 2 projectors on frontal, and one retro-projecting + 4 strong side diagonal lights which were performing as much as the objects.
Projection of submarine, water,… can’t say exactly. At time, projections were made to fit exactly the objects, inhabiting them. I dived into another world.
MIRAGE at Nuit Blanche in Toronto last week-end, presented by Abilities Arts Festival. We got 545 people through the black space and more than 1000 in the white space.
2 great reviews: NOW magazine: ‘…sensational…spectacular movement performance, accompanied by compelling electronic music. 45 minutes of jaw-dropping beauty. For free. A perfect example of why Nuit Blanche rocks.’ by Susan G.Cole
BLOGTO: ‘ My favorite for the night….intense and unforgettable. Personal, immediate, complex: it was the only Nuit Blanche installation I would have paid money to see.’ by Matthew Harris.
some photos of the preparation
This video is the first ‘camera/tripod’ duet improv that
James Cunningham did.
Visits to artists encouraged me to formulate better and further the concept of VIRTUAL FOUNTAINS and what networked performance means. It also showed me that if the project is based on contribution and collaboration, it needed to be done in stages.
So Scotia and I made an installation performance at Tembi contemporary Gallery, followed by an artist talk and few days later I gave a workshop (next post).
The installation performance was closely connected to the gallery’s two ponds. Beautiful art space! Plastic bags full of water hung over the ponds (people use them here for drinking). Two of them contained a goldfish. There were 2 simultaneous projections on the walls behind the ponds:
– video of village people, grouped by age, drinking, mixed with images of waterfalls (from plenty to scarcity), ending on an image of drought
– animated loop of Scotia and I drinking from plastic bottles, using internet platform Upstage, with participation of Marlena Corcoran as a remote performer in Munich, performing/responding to me in real time. When the water diminished in the other projection, a wall of plastic bottles gradually covered the frame.
A soundtrack built up, consisting of a common ‘choosing’ rhyme (‘I love him, I love him not’ in 3 languages: Bahasa Indonesian, English and French) layered in crescendo and gave rhythm to Scotia for developing a movement variation inspired by water usage and then, piercing the bags (with same idea of plucking petals from a daisy) creating waterfalls from each into the ponds. This continued until only the bags with the fish remained.
At this point, 2 fish appeared on UpStage saying ‘I love the world, I love it not’ and developed a short ‘on-line performance’. Scotia released the fish into the ponds and piled up all plastic bags.
The cartoonesque fish on UpStage then introduced my artist talk about VIRTUAL FOUNTAINS. – photos by Elly Mangunsong –
Yes, got my both knees fixed (torn menisci), and I am on the road again!
I am following Bonemap process to make their new work COVE at KickArts/COCA in Cairns.
I wanted to learn more about Isadora software for which one of the collaborators (Jason Holdsworth) programmed a patch for particles (using Freeframe + a library he found online with Star Trek particles!!!) and in exchange I am documenting. Interesting work, but as usually with projections on black scrims, a nightmare to document! The audient (only 1 person can enter the cove at a time) dives the screen, interacting at several levels: with the projected visuals initiated by Russell Milledge, the surround sound by Steven Campbell and with Rebecca Youdell the performer who takes people on a memory/dream-like journey. To be experienced more than talked about! Below, a making of/behind the scene video.
I also went to a dance meeting organised by Arts Nexus about a Dance strategy developed for Far North Queensland: interesting to see the diversity of people and cultures, always same question about how to connect with the art world and generate audience interest while so remote from capital cities.
I gave 2 presentations of my work to students from James Cook University and listen to a group of them pitching their project.
This robot has been made by Gerald Thompson in the context of the Quartet Project initiated and directed by Margie Medlin. Here performer/choreographer Bianca (from Perth) is meeting the robot in a duet, as she is going to work with the platform later next year.
Few pix of plenary session on the lawn next to The Drill Hall. Beautiful place next to the marina. Bert Bonkers projected on lots of surfaces around The Drill with his speakers in backpack and portable projector in hands, with addition of a device allowing him to change the shape of the frame and fit immediately the projection to the space.
Peter Greenaway came to GOMA cinematheque in the context of the Brisbane Festival. It was an entire event with a lead up with projections of early short movies and some long feature films (see previous post ‘Water Wrackets’). I was happy to watch the 2 hour-film condensed version of Tulse Luper before the actual VJ performance. I walked out feeling that it would be greater to see this dense layered work on DVDs or/and as a television series with possibilities of pausing and digesting the material in our own rhythm! As the visual quality was as sophisticated (worked with his collaborator Istvan Horkay) as the narrative. Then, I saw the VJ performance, pretty wild, fast paced and very loud, with 3-screen projections on either side of the huge hall. Recognising the material seen previously, I was wondering how it felt for people who didn’t…. Is impact of speed and volume greater than the content? I was attracted by the LED screen at the end of the hall, featuring the titles of each chapter/suitcase but also interfacing with the outside night lights of Brisbane shining through it! Greenaway started the performance with a 10-minute talk which is resumed in this interview.
“Cinema is dead since 1983 with the invention of the remote control” says Greenaway. I would say maybe for the linear narrative cinema (although Tulse Luper has a narrative and linearity)? As for me there is an entire form which had developed since the 1920’s with Russian constructivism, non-narrative cinema using the power of the frame, endless possibilities of analogies underlined by visual and rhythmical compositions and 1983 was also the year of Koyaanisqatsi by Reggio, opening technical possibilities (new lenses and various speed: timelapse and very slow motion) but above all allowing audience feeling and perception to interpret this apology of humankind without words! Yes, the remote control gave access to skip, surf, jump cuts but the frame of the screen is mostly thought still as bi-dimensional while I am very interested to know more about its mobility and tri-dimentionality, ackowledging the “immersion” given by the depth of field of the projection… pondering, pondering….. I’d like to know more about interesting VJ artists, who use interfaces to layer contents in a meaningful way vs gimmickry! Do you have links, info, suggestions?
‘The Fall’ video by Nikki Heywood and Heidrun Lohr had both strong and clear content and aesthetic, underlining the kinaesthetic feel of the fall. (courtesy to Heidrun Lohr for the 3 last photos in this gallery). I still keep images in mind of the floor/screen moving and blurring at the same time with this impression of giving way under the feet, as well as the screen (later in the piece) being the surface/membrane between the indoor and outdoor worlds. I also liked the screen work R.U.N. shown at the end of the symposium by Paul Gazolla, playing on visual illusion of the body being suspended somehow in time or space with camera taking only 1 or few frames per second, while audiowise we were going through the physical breathe of the run!
2 screens were positioned in a right angle on the second day screening evening. It was used twice: for Sam James’ and Gretel Taylor’s works. Sam uses 2 images side by side in each screen which makes it 4 frames within the space, where performers are jumping from real to 3D sets through editing transitions, which I liked, allowing each frame to rotate and made me think about a Rubik’s cube, like the screen surface hides other facets… I was wondering why the work wasn’t presented for 4 screens? with a possibility for audience to maybe enter a space or walk around it?
After listening to the paper of Physical TV, promising an interesting interaction and use of Second Life (SL=3d world on internet) with real space and dancers, I was disappointed for several reasons. First, to see that SL was just used as a set (projected behind the dancers, like in ancient theater painted flat backdrop but, yes, changing thanks to the animation), second that there wasn’t possibility for audience to be online, third the use of narrative as a need for linking real to virtual (in the tradition of Disney cartoon!). On the other side, I was impressed by the programming of the SL avatars’ gestures, obviously they had a bigger range of movements than usual avatars, mirroring the movements of the real dancers. But I couldn’t stop wondering for which purpose? I will write more about SL in further posts in the Networked Performance section of the blog, as I am interested to see how platforms on internet can be used for active performance.
Maybe I missed a possibility of extending the dialogue/questioning during SEAM about the interests people have in using virtual world(s), mixing real and virtual bodies. What can be the interactions of these bodies as performers but also with proximal and online audience? What is the leap in screendance between 1 screen, multiscreens, screens creating fixed/movable spaces acknowledging depth of the projections? How do content and form(s) interact, grow together or not?