Alejandro G., A Shared Silence, 2013, Digital Video, 5:58 Final Project, ARTV-320 Film + Video Art, Spring 2013
“A man looks directly at the camera and proceeds to apply another reality to his face, revealing a desert landscape. Using greenscreen compositing techniques, this video depicts the performative action of applying a mask and then removing it laboriously and thoroughly—the mask being a projection, desire, memory and/or psychological state.” — Alejandro G.
appropriated footage
Music (in order)
The Books – Group Autogenics I
Bibio – Mr. & Mrs. Compost
Lymbyc Systym – Truth Skull
Videos (in order)
http://www.archive.org/details/national_drinking_game_psa
vimeo.com/6298950
vimeo.com/3025221
vimeo.com/1091832
vimeo.com/338591
http://www.archive.org/details/goldilocks_and_the_three_bears
Wild Wild Waves – expression
Definition : live electronic band from Lyon (France) with double bass, vibraphone, electronically modified drums and machines.
Vocation : to paint some sound pictures with hybrid frequencies and textures. To make people dance.
This video was filmed basing on the theme of rotation and perpetual movement, by using numerous techniques such as timelapse, hyperlapse and infinite zoom. This psychedelic music video shows the will of the director to stay in the pre-digital era with an craft preparation : from the cutting to the drawings, through subjects filmed on a green screen.
Director : Thomas Blanchard
Lighting Technician : Maud Regnault
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wildwildwaves.fr/
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thomas-blanchard.com
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archipelmusic.com/
‘Silence’ is the first single by Wild Wild Waves, available now on Archipel.
Announcing the upcoming debut album to be released in 2016.
Produced by Wild Wild Waves & Benoît Bel
Track mixed by Benoît Bel & Wild Wild Waves
Music and vocals by Wild Wild Waves
Directed, filmed and edited by Thomas Blanchard
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iTunes here: http://goo.gl/O4rEGj
Amazon here: http://goo.gl/vE8IwV
Bandcamp here: http://goo.gl/5Qf0oO
Deezer here: http://goo.gl/EfyBga
Spotify here: http://goo.gl/NoLIuu
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Wild Wild Waves Official Site: wildwildwaves.fr/
Facebook: facebook.com/wildwildwaves/
Twitter: @wildwildwaves
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-FUBIZ-
fubiz.net/en/tv/wild-wild-waves-silence/
-JOURNAL DU DESIGN-
journal-du-design.fr/art/clip-wild-wild-waves-silence-par-thomas-blanchard-67149/
-LES INROCKUPTIBLES-
lesinrocks.com/lesinrockslab/news/2015/12/7-clips-ont-marque-semaine/
Working in film until the early 1970s, Peer Bode was first exposed to electronics by his father Harold Bode, a developer of the first modular audio synthesizer. He worked as program coordinator for the Experimental Television Center in Owego, New York, collaborating with resident artist/engineers in constructing prototype imaging tools, thus continuing his commitment to “tool expansion” and “personal studio making.” Recognizing the limits imposed by designers of industrial and consumer technology, Bode sought to externalize the “hidden coding and control structures” of the video signal. His videotapes investigate the semiotics and phenomenology of the medium, specifically through the synthesis of audio and video signals.
Lady Lazarus, a film spoken by Sylvia Plath – Sandra Lahire
A short video of a recent trip to The Dream House in NYC. The Dream House is a light and sound experience originally conceived in the ’60’s by La Monte Young. This installations has been in most of major cities around the world at one time or another. It’s now at 275 Church Street (between Franklin St & White St.) in New York City, and has been at this location since 1993. At any rate, it is historically a very important work and an amazing experience.
Sound Sculptor Trimpin visits the School of Art & Design at the University of Michigan. Here he is performing on a cello rigged with six infrared sensors connected to two different set of record players. The bow is laid with a reflector which triggers the sensors.
Museum Hosts ’24 Hour Psycho’ — Literally
February 29, 200412:00 AM ET
Heard on All Things Considered
SUSAN STONE
Douglas Gordon’s ’24 Hour Psycho’ Freezes actress Janet Leigh in Psycho, the Hitchcock classic.
Susan Stone
For 24 hours straight, Washington’s Hirshhorn Museum screened Scottish artist Douglas Gordon’s video and installation work 24 Hour Psycho. The project slows Hitchcock’s classic 1960 film down to a glacial pace, stretching what was originally a 109-minute movie into a day-long art event.
Gordon, whose other work includes duelling projections of the “You talkin’ to me?” segment of Taxi Driver and a series of self-portrait still photographs, was on hand for the marathon projection. The event, part of the first North American survey of the Scottish artist’s work, drew the curious and the dedicated alike — some for a few minutes, and some for far longer.
NPR’s Susan Stone visited the museum at several points during the movie — including its pivotal shower scene.
Jillian McDonald is a Canadian artist who lives in Brooklyn and dreams of the North.
Solo shows and projects include the Esker Foundation in Calgary, Air Circulation and Moti Hasson in New York, The San Francisco Arts Commission Gallery, Centre Clark in Montréal, and Hallwalls in Buffalo. Her work was featured in group exhibitions and festivals at The Chelsea Museum and The Whitney Museum’s Artport in New York, The Edith Russ Haus for Media Art in Germany, The International Biennial of Contemporary Art in Venezuela, The Sundance Film Festival in Utah, La Biennale de Montréal, and the Centre d’Art Contemporain de Basse-Normandie in France.
She was featured in a 2013 radio documentary by Paul Kennedy on CBC’s IDEAS, and reviewed in The New York Times, Art Papers, The Globe and Mail, The Toronto Star, Border Crossings, and Canadian Art. Critical discussion appears in books including The Transatlantic Zombie (2015), by Sarah Juliet Lauro and Deconstructing Brad Pitt (2014), edited by Christopher Schaberg.
McDonald has received grants and commissions from The New York Foundation for the Arts, The Canada Council for the Arts, Turbulence, The Verizon Foundation, The New York State Council on the Arts, The Experimental Television Center, and Pace University. In 2012 she received the Glenfiddich Canadian Art Prize, and she has attended residencies at The Headlands Center for the Arts in California, Lilith Performance Studio in Sweden, The Lower Manhattan Cultural Council’s Workspace in New York, and Banff Centre for the Arts in Alberta. In 2016 she is in residence at the Lower Manhattan Cultural Council’s Process Space on Governor’s Island, NYC; the Klondike Institue of Arts and Culture in Dawson City, The Yukon; and at Plug In ICA’s Summer Institute in Winnipeg, Manitoba.
Yinka Shonibare MBE was born in 1962 in London and moved to Lagos, Nigeria at the age of three. He returned to London to study Fine Art, first at Byam School of Art (now Central Saint Martins College) and then at Goldsmiths College, where he received his MFA.
Shonibare’s work explores issues of race and class through the media of painting, sculpture, photography and film. Shonibare questions the meaning of cultural and national definitions. His trademark material is the brightly coloured ‘African’ batik fabric he buys in London. This type of fabric was inspired by Indonesian design, mass-produced by the Dutch and eventually sold to the colonies in West Africa. In the 1960s the material became a new sign of African identity and independence.
Shonibare was a Turner prize nominee in 2004, and was also awarded the decoration of Member of the ‘Most Excellent Order of the British Empire’ or MBE, a title he has added to his professional name. Shonibare was notably commissioned by Okwui Enwezor at Documenta 11, Kassel, in 2002 to create his most recognised work ‘Gallantry and Criminal Conversation’ that launched him on to an international stage. He has exhibited at the Venice Biennale and internationally at leading museums. In September 2008, his major mid-career survey commenced at the MCA Sydney and then toured to the Brooklyn Museum, New York and the Museum of African Art at the Smithsonian Institution, Washington DC. He was elected as a Royal Academician by the Royal Academy, London in 2013.
Shonibare’s work, ‘Nelson’s Ship in a Bottle’ was the 2010 Fourth Plinth Commission, and was displayed in Trafalgar Square, London, until January 2012. It was the first commission by a black British artist and was part of a national fundraising campaign organized by the Art Fund and the National Maritime Museum, who have now successfully acquired the sculpture for permanent display outside the museum’s new entrance in Greenwich Park, London.
In 2012, the Royal Opera House, London, commissioned ‘Globe Head Ballerina’ (2012) to be displayed on the exterior of the Royal Opera House, overlooking Russell Street in Covent Garden. The life-sized ballerina encased within a giant ‘snow globe’ spins slowly as if caught mid-dance, the piece appears to encapsulate a moment of performance as if stolen from the stage of the Royal Opera House.
In 2014, Doughty Hanson & Co Real Estate and Terrace Hill, commissioned ‘Wind Sculpture’ and it is installed in Howick Place, London. Measuring 6 metres by 3 metres, it explores the notion of harnessing movement through the idea of capturing and freezing a volume of wind in a moment in time.
Shonibare’s works are included in prominent collections internationally, including the Tate Collection, London; Victoria and Albert Museum, London; National Museum of African Art, Smithsonian Institute, Washington, D.C; Museum of Modern Art, New York; National Gallery of Canada, Ottawa; Moderna Museet, Stockholm; National Gallery of Modern Art in Rome and VandenBroek Foundation, The Netherlands.
Since 1991 British artist Vicki Bennett has been working across the field of audio-visual collage, and is recognised as an influential and pioneering figure in the still growing area of sampling, appropriation and cutting up of found footage and archives. Working under the name People Like Us, Vicki specialises in the manipulation and reworking of original sources from both the experimental and popular worlds of music, film and radio. People Like Us believe in open access to archives for creative use. In 2006 she was the first artist to be given unrestricted access to the entire BBC Archive. People Like Us have previously shown work at Tate Modern, The Barbican, Centro de Cultura Digital, Sydney Opera House, Royal Albert Hall, Pompidou Centre, Maxxi and Sonar, and performed radio sessions for John Peel and Mixing It. The ongoing sound art radio show ‘DO or DIY’ on WFMU has had over a million “listen again” downloads. since 2003. The People Like Us back catalogue is available for free download hosted by UbuWeb.
Dir: Johan Grimonprez
Country: Belgium/Germany/Netherlands
Year: 2009
Duration: 80mins
Official Selection: Sundance
Official Selection: Berlin
Official Selection: IDFA
Johan Grimonprez’s Double Take looks at events around Alfred Hitchcock’s 1962 classic The Birds. Hitchcock, famous for cameos in his own works and his pranks, is rumoured to have come second in a Hitchcock look-a-like contest.
Obsessed with the double throughout his work, Hitch met his doppelganger (or was it his future self?) on the set of The Birds, and as Hitchcock or possibly a skilled impersonator states: “if you ever meet your doppelganger, you’re supposed to kill him, or he’s supposed to kill you.”
While Alfred Hitchcock’s presence defines this wonderful movie, the film also examines the very nature of filmmaking and television, Cold War politics, coffee adverts and the early years of the space race.
A more than worthy successor to Grimonprez’s Dial H-I-S-T-O-R-Y, Double Take shifts from documentary to essay to speculation, capturing the essential stylistic pleasures of Hitchcock’s works: the MacGuffin, mistaken identity, and the chase. Absolutely essential viewing.
“Double Take”
written and directed by Johan Grimonprez
© Zapomatik, 2009
MR. HITCHCOCK WOULD LIKE TO SAY A FEW WORDS TO YOU
HITCHCOCK:
How do you do? My name is Alfred Hitchcock and I would like to tell you about my forthcoming lecture. It is about the birds and their age-long relationship with man.
SENATOR LYNDON B. JOHNSON (voice):
There is something new in the heavens. Something that has never been there before.
REPORTER DOUGLAS EDWARDS, CBS NEWS (voice):
Until two days ago, that sound had never been heard on this earth.
REPORTER DOUGLAS EDWARDS, CBS NEWS (voice):
Suddenly it has become as much part of 20th century life as the whirr of your vacuum cleaner.
REPORTER DOUGLAS EDWARDS, CBS NEWS (voice):
It’s a report from man’s farthest frontier: the radio signal transmitted by the Soviet’s Sputnik, the first man made satellite as it passed over New York earlier today.
RUSSIAN VOICE:
(translated from Russian)
A new moon born of our earth: Sputnik!
THE KITCHEN DEBATE #2
NIXON:
There are some instances where you may be ahead of us, for example in the development of your rockets for the investigation of outer space. There may be some instances, for example color television, where we are ahead of you.
COMMERCIAL (voice):
And here it is! Seven function remote controlled color television. So beautiful it enhances any décor!
NIXON:
But in order for both of us… , for both of us to benefit… , for both of us to benefit….(laughs). You see, you never concede anything!
KHRUSHCHEV:
(addresses Nixon in Russian; taken over by translator)
TRANSLATOR (voice):
In what are they ahead of us? Wrong! Wrong!
REPORTER WALTER CRONKITE, CBS NEWS:
The competition for leadership in space, the race run by rockets, where is the finish line? Do we end up in a nuclear war? Or do we try to live with the constant fear of one?
KHRUSHCHEV:
(addresses Nixon in Russian; taken over by translator)
TRANSLATOR (voice):
I share the enthusiasm of Soviet engineers about the cleverness of the American people, but we too, as you know, don’t kill flies with our nostrils. For forty-two years we’ve gone ahead and when we shall overtake you at the crossroads we shall wave at you.
U.S. SENATOR LYNDON B. JOHNSON (voice):
It took the Soviets four years to catch up with the atomic bomb. It took the Soviets nine months to catch up with the hydrogen bomb. And now, tonight, the communists have established a foothold in outer space.
Info :
info@zapomatik.com
johangrimonprez.be
doubletakefilm.com
zapomatik.com
Category
Film & Animation
License
Standard YouTube License
The World of Perception, 2010
digital c-print, 97-7/8 x 77-3/4 inches (framed)
The World of Perception, 2010 – detail
digital c-print, 97-7/8 x 77-3/4 inches (framed)
every… Nicholas Nixon’s Brown Sisters, 2004
digital C-print, 43-1/4 x 52-1/8 inches (framed)
Idris Khan transforms the conceptual art of appropriation into an elegant and substantial meditation on the act of creativity. Appropriating icons of literature, music, and art, Khan methodically layers his material, whether it is Beethoven’s symphony, Milton’s Paradise Lost, or Bernd and Hilla Becher’s stylized sculpture of water towers. The process allows the artist to tease out certain areas adjusting the source material so that the soul of the piece is manifested in Khan’s accreted interpretation. For example, in Struggling to Hear… After Ludwig van Beethoven Sonatas, 2005, Beethoven’s entire series of sonatas becomes a dense wall of near blackness; a virtual illustration of the composer’s deafness.
Khan’s work tests our experience of these other art forms; words and music are experienced sequentially, however the artist compresses time visually. Photographic iconography such as Bernd and Hilla Becher’s water tower series—a body of work based on the inherent nature of recurring form—layer upon one another and ultimately create a ghostly animation describing the ‘essence’ of the form rather than each individual tower.
every…William Turner postcard from Tate Britain, 2004
47-1/2 x 62-1/4 inches (framed)
every… Bernd and Hilla Becher Prison Type Gasholder, 2004
80 x 65 inches
Born in Birmingham in 1978, Khan lives and works in London. Solo exhibitions of his work have been mounted at the Gothenburg Konsthall, Sweden (2011), the Museum of Contemporary Canadian Art (2009), and K20, Düsseldorf (2008). His work has been exhibited at Forum d’art Contemporain, Luxembourg (2008), the Victoria and Albert Museum, London (2006), the San Francisco Museum of Modern Art (2006), and the Helsinki Kunsthalle (2005). His work is included in the collections of the National Gallery of Art, Washington, D.C., the San Francisco Museum of Modern Art, Centre Pompidou, Paris, and the Solomon R. Guggenheim Museum, New York City, among others. Most recently, Khan was commissioned to design a permanent public monument for the new Memorial Park in Abu Dhabi. The sculpture will be unveiled in late November 2016.
Caravaggio… The final years, 2006. 101” x 68”
Pop Art: A Brief History
In the years following World War II, the United States enjoyed an unprecedented period of economic and political growth. Many middle class Americans moved to the suburbs, spurred by the availability of inexpensive, mass-produced homes. Elvis Presley led the emergence of rock and roll, Marilyn Monroe was a reigning film star, and television replaced radio as the dominant media outlet.
Yet by the late 1950s and early 1960s, a “cultural revolution” was underway, led by activists, thinkers, and artists who sought to rethink and even overturn what was, in their eyes, a stifling social order ruled by conformity. The Vietnam War incited mass protests, the Civil Rights Movement sought equality for African Americans, and the women’s liberation movement gained momentum.
Jasper Johns; Three Flags, 1958. Encaustic on Canvas, 30 7/8 x 45 1/2 x 5 inches
Takashi Murakami
Inspired by the Everyday
It was in this climate of turbulence, experimentation, and consumerism that a new generation of artists emerged in Britain and America in the mid- to late-1950s. Pop artists began to look for inspiration in the world around them, representing—and, at times, making art directly from—everyday items, consumer goods, and mass media. They did this in a straightforward manner, using bold swaths of primary colors, often straight from the can or tube of paint. They adopted commercial methods like silkscreening, or produced multiples of works, downplaying the artist’s hand and subverting the idea of originality—in marked contrast with the highly expressive, large-scaled abstract works of the Abstract Expressionists, whose work had dominated postwar American art. Pop artists favored realism, everyday (and even mundane) imagery, and heavy doses of irony and wit.
Andy Warhol: Campbell’s Soup Cans and Other Works
Yet Pop artists like Andy Warhol and Roy Lichtenstein were very aware of the past. They sought to connect fine art traditions with pop culture elements from television, advertisements, films, and cartoons. At the same time, their work challenged traditional boundaries between media, combining painted gestures with photography and printmaking; combining handmade and readymade or mass-produced elements; and combining objects, images, and sometimes text to make new meanings.
Roy Lichtenstein leaves it up to the viewers to decide what has just transpired in his 1964 painting of a tense phone call titled Ohhh … Alright ...
Roy Lichtenstein
Yayoi Kusama
Yayoi Kusama
Kurt Schwitters
Max Ernst
Raoul Hausmann
Hannah Höch
Man Ray
George Grosz
André Breton – Egg in the church or The Snake
Salvador Dali – The Persistence of Memory
Salvador Dali
René Magritte – Time Transfixed, 1938
Dorothea Tanning – Eine Kleine Nachtmusik, 1943
Tommy Ingberg – Future
Daniel Forero
Photography & Intermedia 