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questioning reality

As I am one week from presenting my final proposal for my live performance I am doing lots of visual research on videos and works that are similar to mine, so I can get inspired from it, have as a reference or simply know that I am going into the right way.

O my proposal I have an actor inside a flat and the audience on the streets mediated by a camera, a computer with a video-artist and a projector, representing 2 different ways of “reality” in one sense, and to be more specific, 2 different perceptions of time (considering Bergson’s book The creative mind).

This work comes from the idea os the live and mediatized performances, and how a live action after being mediatized is perceived by its audience.

On my research I found a work “O amor segundo B. Schianberg“(Love according to B. Schianberg) was presented at the ‘LIVE CINEMA’ festival which happens in Brazil, and is directed by Beto Brant. He had one actor and one video artist in one flat for a week, they had the briefing of the story,  the director placed cameras inside it, and was watching the images while editing it live. As well he asked for the video artist to have make her own images of the situation, while being inside the flat.

The director made a film from it.

The presentation at “Live cinema” was a video art made by they both.

It is amazing how it relates to my practice as I am having 2 people on a flat, the actor and the video artist, editing live images as she sees it, and projecting across the street her own interpretation of the “live” she is watching.

mixed-medias performances

“Shadow Monsters” is an installation by Philip Worthington that creates shadow puppets with a difference.
Magical monsters appear from shadows cast by the hands of participants, reacting to gestures with sound and animation. Wolf like creatures, birds and a rastafarian are among the characters that speak and squeek as imaginary mouths open and close. Shadow Monsters is an intuitive and magical experience for young and old alike to play with body posture for creating crazy narratives.
Puppeteers place their hands in front of the lightbox and make shadow creatures in the usual way. Recognising the shape of hands however, the installation then adds teeth, spikes and tongues in the gaps that are intended to form the creatures’ mouths.

It is amazing how the interaction between live and mediatize is no longer questionable, it is fact, every art form is already influenced by medias and technology in any form. It is called MIXED-MEDIAS PERFORMANCES, events that combine live and mediatized representations: live actors with film, video, or digital projections, for instance.

in the simultaneous use of the living actor and the talking picture in the theatre there lies a wholly new theatrical art, whose possibilities are as infinite as those of speech itself.

Robert Edmond Jones (1941)

SARAY

SARAY is a video installation about the memory process, the memory codes and genetic memory. It relates our ancestors and how we can feel nostalgic about a place or a moment that we never saw or lived before. Unifying my abilities as an art director, production designer and also video maker,  I’ve developed this work from a research trip to Sarajevo where my grandmother and great-grandmother were born, and linked my own past with the way our brain storage of long-term and short-term memory.

This video shows the opening night of the exhibition edited with some of the images that were at the TV’s. The exhibition was part of  Braziliality,  a non-for-profit cross-cultural project, showcasing artworks from Brazilian artists and the art from international artists inspired by Brazil, creating a 360 degrees perspective of the contemporary Brazilian art and culture influence. Our mission is to support new art particularly using technology and new talents that are inspired and related to Brazil.

video art inspiration

1973 WGBH Boston Public Television program exploring the relatively new area of video art. The program highlights several video artists exploring the video medium and pushing its boundries, with a focus on artists working with video synthesizers.
Part 5:
Peter Campus (Including what appears to be his full work entitled “Three Transitions”)





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