Wednesday, January 28, 2009
The artwork is interactive. Steinkamp builds her pieces in relation to their site's architecture, and sets the projectors at a low level so the viewer's shadow disrupts the imagery, provoking a playful point of immersion.
Loom consisted of two overlapping video projections; one contained a horizontal pattern, while the other vertical. When combined, the two created a weave. Because there were two projections at angles, the viewer created two shadows that disrupted the projection; one shadow revealed the vertical lines while the other was filled with horizontal lines. The image formed a cube that matched the perspective of the space, which was a deep tunnel. The lines warped with a water like pattern.
Tuesday, January 27, 2009
Tuesday, January 13, 2009
SocioPatterns.org aims to shed light on patterns in social dynamics and coordinated human activity. We do so by reporting on experiments, data analyses and visualisations designed and conducted by ourselves as well as carried out by other groups.
SocioPatterns.org focuses on exposing patterns. We are specifically interested in experiments that gather data, and visualizations that present the data in novel and insightful ways.
Monday, January 12, 2009
Sunday, January 11, 2009
The OpenEnded Group is three digital artists — Marc Downie, Shelley Eshkar, and Paul Kaiser — who create works for stage, screen, gallery, page, and public space.
Kaiser and Eshkar have collaborated on numerous projects since the mid-1990s. Interested from the start in creating a new kind of 3D space that did not aspire to photorealism, we thought instead about drawing. Soon we formulated the notions of drawing as performance and hand-drawn space, which we then applied to motion-captured performance in a series of collaborations with choreographers. Of these, perhaps the best known are BIPED, with Merce Cunningham, and Ghostcatching, with Bill T. Jones.
Watch videos like 'Verge (Complete)' (Verge uses volumetric light to explore the idea of “blind 3D” in which black zones of the image may be read as voids or as dark solids) and clips 'Movement Principles' of Robert Wilson's instructions on how to move your body on stage
Saturday, January 3, 2009
eva and franco mattes have a new show in Mumbai, India, opening Saturday the 3rd, it's called "Traveling by telephone".
Eva and Franco Mattes are known as the Bonnie and Clyde of contemporary art.
John Walter labels his film Theater Of War “a documentary about art and politics,” which is the kind of blatant provocation meant to pay homage to the film’s ostensible subject, Bertolt Brecht. In 2006, Walter was allowed to film the rehearsals for George C. Wolfe’s Central Park production of Brecht’s anti-war play Mother Courage And Her Children, starring Meryl Streep, Kevin Kline, and Austin Pendleton, with a Tony Kushner translation and songs by Jeanine Tesori. Walter was also granted extended time with Streep, who allowed a rare and reluctant glimpse at her process in deference to Brecht, an artist who favored exposing his own artifice. Walter intersperses his coverage of the Mother Courage production with biographical sketches and analysis of Brecht—much of it provided by post-modern novelist Jay Cantor. At one point, Walter shoots some stock footage of Cantor working at his computer, then cuts to a shot of what Cantor is writing: a few idle lines about how much he hates pretending to work for the sake of a movie.
Though Theater Of War is informative—both about Brecht and about the effort it takes to mount a big New York production—Walter overreaches in trying to connect Brecht’s anti-war sentiment with contemporary protest movements, and doesn’t do more than dabble with the themes of truth and representation in documentary filmmaking. There’s an interesting section about how in Brecht’s 1947 appearance before HUAC, he used his own theatrical techniques to throw Congress off the scent of his Marxist leanings; for the most part though, Walter is unable to make the intersection between art and politics in Brecht’s work really come to life. The problem is built into the documentary’s design. While Theater Of War contains a few direct, empathetic moments—like Kushner describing how Mother Courage changed his life when he read it in college, or Streep explaining that she sees her role in theatrical revivals to be “the voice of dead people”—Walter would rather we care about the ideas this film raises, not the people we meet. Which is very Brechtian, to be sure, but not always so engaging