YUXIANG
H E
04/10/2019
ROBERTINA ŠEBJANIČ
Deep blue
Posted on March 18, 2014 by roro
Deep blue
deep blue jellyfish deep blue jellyfish, drawing by Cansu Çakar
The sea exists within contradictory concepts in human culture; powerful but serene, beautiful but terrifying. While it is the gentle background of our lives in Izmir, it is the foreground of DEEP BLUE.
What started as individualized sets of knowledge from artists and scientists became an active ground for debates, experiments and research trips. The point of departure was to explore the sea using all five senses. After six weeks of collaborative research, the team found entirely new ways of engaging with the Izmir bay. The resulting installation of synthesized experiences includes a special edition of salted chocolate, article about jellyfish (Aurelia Aurita), coastal area photography, visual records of seismic and sonic maps, and microscopic and underwater recordings.
11/10/2019
"This city was not real, but created by my photography"
MIYAKO ISHIUCHI
My photography series has a social message, and I know that they seem to be archive files. But I insist that photos are not records but creations. The location in the photo does not exist. This is the town I created through photography. How photos are displayed will vary depending on when and where you view them. Looking at them now, I got a whole new perspective. They are all photographed, not photographed at the same time. All these small photos are my life itself and evidence of my life.
Everyone thinks this little girl is me; I am shooting myself. For the past 36 years, she must have been an old lady.
Miyako's work is often considered to be persevering and ruthless. She seems to have nothing to do with the recording process, but is interested in capturing the passage of time and the experience of photography. The same is true for her handling images in the darkroom. For Miyako, this work is an indispensable part of the photo, and it has more meaning than simply making high quality photos. In Yokosuka Story, she often exposes photographic paper for a long time, sometimes for up to 30 minutes, turning the sky that usually looks white into a dark gray granular gray. Such a long exposure time can also be seen as related to the fact that she wishes to transfer all of the memory of the captured photo to each image.
20/10/2019
Immersive experience
Immersion is the illusion that the viewer can forget the real world by immersing, immersing, and emotionally communicating through the senses of sight, hearing, touch, and smell.
KOBOLD
KOBOLD is an immersive virtual reality experience that blurs the boundaries between movies and games. It tells the story of the protagonist, Caspar, who goes deep into the dark world to find his mother. The audience needs to bring VR glasses together with Little Casper to complete the trip. Dark journey.
The work was nominated for the best interactive narrative experience at the festival, directed by Ioulia Isserlis and Maximilian Sacker.
http://calendar.raindancefestival.org/films/kobold-vr-expeirence
Strange Days: Memories of the Future
Edlis Neeson, “Strange Days,” brings together some of the most compelling video artists and filmmakers who have exhibited in museums over the past decade. All of these artists have changed the way we think about images and memories, reshaping their personal experiences and visions, and guessing about the future. ”
27/10/2019
Dystopian Dream
Dystopian Dream review – climbing the walls with Nitin Sawhney
The themes of mortality and loss in Nitin Sawhney’s 2015 album Dystopian Dream, inspired by the death of his father, would seem ripe to be expanded theatrically. The dancers charged with doing it, choreographic duo Sébastien Ramirez and Honji Wang, come out of the French B-boy scene. They’ve worked with Madonna, no less, and their last piece performed in London saw them dancing on bungee wires to impressive effect. Add to that live vocals from Eva Stone, a singer of fragile power; a cool set, with a long white stairway to heaven and a giant slope the dancers slide down; plus atmospheric projections and aerial wires, and expectations are high. But it turns out none of these elements is strong enough to carry the show.
Sawhney’s soundtrack of pained but pretty melodies over electro-chill loops conjures up a lonely corner of the early hours, with lyrical nods to demons, sorrow and fear. It offers moods rather than stories, which Ramirez and Wang struggle to amplify – perhaps there’s not enough to be scratched at under the surface.
Ramirez appears first as a masked figure of death (with said mask very stylishly designed by Hussein Chalayan), literally climbing the walls. Wang arrives moving in a scuttling, cartoonish, stop-motion language. Some of the opening choreography reeks of jittery anxiety, stilted staccato giving way to push-pull slurps of motion between their magnetised bodies. But the intensity wanes. Singer Stone is effectively sewn into the choreography, Wang finds some interesting flamenco-like physicalities and Ramirez swings from wires and tangles with Nick Hillel’s projections, clinging on as the floor cracks beneath his feet or drowning in a gush of oily black liquid. It’s clever, but ultimately such gimmicks become distracting.
Dystopian Dream is a diverting watch but the choreography feels disappointingly small for the immensity of the subject. It’s a production that is somehow light in its darkness, skirting over emotions but never sinking a knife into their heart.
