Connexion
Deadline: 1st June 2020
Since it first opened in 2019, the ELEKTRA Gallery regularly hosts exhibitions. Located in the heart of the Mile-End, this new venue supports the artistic community, focusing on originality and embracing contemporary aesthetics in research and experimentation.
www.audiovisalcity.org/elektra
This is a call for projects for digital contemporary artists who wish to exhibit works between September 2020 and June 2021. The selected projects will be part of the gallery’s official program.
To submit an exhibition proposal, please send the following elements to zhamila@elektramontreal.ca:
The gallery offers professional technical assistance to set-up and has limited but high-quality equipment. Works with audio content can only be presented with headphones.
ELEKTRA pays artist fees for each selected exhibit.
The ELEKTRA Gallery is located at the Pôle de Gaspé at 5445 avenue de Gaspé #104, Montréal, QC, H2T 3B2.
The post Elektra Festival: Open Call appeared first on Audiovisualcity.
Panasonic Corporation has delivered its RAMSA Stadium Audio System, Large Screen Display System, and Camera System to the Ariake Coliseum and the adjacent outdoor tennis "Show Court" within the Ariake Tennis Park premises. These systems enhance the clarity of the announcements and help amplify the ...
#repost @lusiolights
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I want to set up an experience like this in Occidental Park in Seattle. What do you think @downtownseattle ?! ;)
#Repost @mappingprojection
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ARTCUBE // PROJECTION EXPERIENCE @cacumenfilms .
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#mapping #projectionmapping #videomapping #projection #projectionexperience #installation #artcube @millumin2 #mdcommunity
https://www.instagram.com/p/B94OFjNJGhb/?igshid=rqcjdmo7d8av
Panasonic Corporation provided its Power Assist Suits to the para powerlifting international competition, "Manchester 2020 Para Powerlifting World Cup" held from February 20 to 23, 2020 at Manchester, United Kingdom to help lighten the load of spotter/loader personnel working to support the competi...
I have been exceptionally lucky to be able to pick Overlap’s Michael Denton’s brains with all of those nitty gritty questions about their career that every visual artist wonders about. How did they get to be where they are? What was the VJ scene like in the nineties? How is their relationship with technology and whose work inspires them?
Overlap are true veterans and represent original artists on the audiovisual live performance scene, not only have they experienced more changes in performance technology than I’ve had hot dinners, they’ve been up there with some of the most popular artists of our time, performing with the likes of Chemical Brothers and have animated artwork by Damien Hirst.
You have presented your work in some of the most prestigious international galleries around the world, including the Pompidou in Paris, Tate Modern, and the Victoria and Albert Museum as well as done a VJ set with the Chemical Brothers. What is the project that you are most proud of?
Remixing and VJing The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art was a highlight.
We’re pleased with the editions on SeditionArt. They incorporate a lot of ideas from the past and are also feeding into some future shows. Musically, Greylight Green is something that works when you’re in the right mood. As these recent editions highlight, we’ve always been at the more arty end of the Vjing/music industry, and the more musical end of the art world. The music industry and the fine art worlds attribute value in such different ways. But twenty years ago, we were lucky to stumble into a certain era of EDM culture, it was like the early days of flying’s uncharted freedoms. In Turnmills nightclub in Holborn, I remember one of the guys from Reality Check, (the house VJ and AV team, for nights, including The Gallery and Trade etc), saying they showed art to thousands of clubbers every week – and they did. Hopefully for an audience the circling and repeating imagery of VJ-ing done well can create a kind of memory image burn effect – they go home with a ‘memory painting’
Fine art galleries and big projects have not necessarily been the most rewarding – the really interesting moment for us was being at clubs and festivals with a large amount of freedom, developing a style of imagery and delivery without record companies and DJ Managers controlling what we did. It was genuinely creative and new, yet fulfilling a need. This for any artist is a luxury.
Early on we’d be flown out to Creamfields in Andalucia with Microchunk, or wherever, and literally be immediately on stage with a 50k audience and the DJ, no pre planning or rehearsing, ” 5 mins guys”, maybe an artist logo at the beginning, then mix.
As Overlap you have experimented with the majority of the audiovisual art formats. Is there one in particular that you enjoy?
Long VJ sets are a nice journey, in medium sized venues with a few different feeds going into multiple screens and low lighting. AV sets are always a bit more stressy – as doing the visual/music/sound for maybe 40 mins, feels more contrived/pre planned and edgy. Multi screens can make things a lot more architectural/sculptural, with 3d projections on objects etc, and simpler more graphic imagery. So a mixture of graphic and more pictorial screens is a nice balance. Again we tend towards a more art bias, whereas a lot of club imagery is a fairly bombastic extension of the lighting show – think rising chevrons. Equally a very simple installation/projection on a gallery wall can be really satisfying. For AV sets, good acoustics and smaller venues suit the minimal music we make.
I’m sure you have collaborated and met with many of the world’s most famous audiovisual and new media artists on the scene. Who particularly inspires you?
Loads of things inspire me, from motorcycling to design and architecture. More recently though works/gigs by Ryoichi Kurokawa, Fuse, some of the things AntiVJ have done, Davide Quayola. Nils Frahm, Biosphere, through to more obscure music form France Jobin to gallery based artist like Mat Collishaw. But also painters like Nigel Cooke, with his circuitous multi picture planes that create a pictorial balance that your eye follows round and around – comparable to good VJ mixing. We were lucky to be part of a talented group of VJs represented by Microchunk in our VJing hey day – unique underground artists. I think we all inspired and motivated each other to push further artistically. Lady Pat and Grand Dame are two of Anna’s favourite, similarly self taught, audiovisual artists.
The art of VJing is a relatively new term for the art of live video mixing. When did you first become aware of the term and how has it changed for you over the years?
Firstly it was the definitive move away from the pop video, which had been: point camera at people singing the song, illustrate/narrative/advertise – ie. TV. So the culture of EDM remixing, had the authority to legitimize its visual equivalent and create the context for VJing. It’s a term I’m not overly fond of, but it does put you on the stage side of technician, ie you make and shape content – not to demean the amazing art, that is light mixing, house sound, etc. VJ content is a form of visual serialism, like music about patterns, removing the asymmetry of drama, its infinitely more complex in its potential multi layer/screen applications than linear media, maybe more so than music.
When I was at Chelsea art school, there was Glitch (first time around, VHS crash editing, late 80’s), video artist lecturers talked derogatorily of ‘club wallpaper’,meaning all things shallow. But I was interested in this form, that had a use and the public liked – unlike so much video art of the era.
The first time I got paid to show images in a bar – also in Holborn, was in 1985. The fee, one bottle of wine.
The first time I thought about something like VJing was as a very young kid, around the time the Beatles released The White album, in the back of my dad’s car one evening, driving along country roads in Dorset and thinking about ‘films’ that would be like the trees sliding past the windows. Non narrative loop structures – I certainly didn’t know what narrative meant at the time, but I did have this strange certainty of there being a future for this sensory/sensual idea. The first time I got paid to show images in a bar – also in Holborn, was in 1985. The fee, one bottle of wine. Then I showed an AV Album work called Open at Megatripolis, Heaven, Charing Cross around 1994. I met Anna in the late nineties we got invited to do stuff at the ICA and bars in Shoreditch etc. We formed Overlap and she learned a lot of the Adobe programmes very fast and we started to get paid to VJ, both loving the visual depth, luminosity and surprises that multilayering and keying threw up.
How would you define the difference between an AV set and a VJ set? Could you describe one of your set ups to us?
People I know who travel the world for major DJ acts are operating in a different world from small AV acts. There’s’ a big difference between doing multi screen VJing, with pre programmed triggered clips via midi, osc etc and mixing live on the fly, by feel. Ben Francis who does visuals for Calvin Harris, for example is taking code with BPM info etc, from the CDJ’s, but is also live mixing. Keeping the audio and imagery separate still seems to be an industry standard. The music driving the imagery, which makes sense in some ways, but is also strangely anachronistic. When we do an AV set we have married imagery to 8 bar loops, some elements are locked with time code if we’re using a separate music source, CDJ’s etc and some not, to make it more organic. Most AV performers drive Resolume with Ableton or code, or at least lock them. Unusually, we use Resolume a lot for sound.
AV shows can be done in so many ways. In the end it seems the content and the feel of what you’re doing is probably more important than how you’re doing it. How much do you want to do live – how much does the audience care how dexterous you are? DJ’s spend a lot of time dramatically illustrating that they’re turning a mixer knob, that appears to have the equivalent friction of pulling a ship back up a launching ramp, they haven’t got anything else visually to do. Where as, if you’re doing a multi 4 Bar loop AV set, five layers deep and you’re triggering them live, you’re busy with no time for the high friction mixer antics.
Recently we’ve been using performance tools like Resolume to create on as well as a performance tool. I tend to pick it up like a guitar and mess around, sometimes its a really useful ‘writing’ instrument too.
As a Barcelona resident, I can’t help but notice that you once had regular visual slots at Razzmatazz. Tell me more about that! How was the VJ scene in Barcelona back then? How is the scene in the UK these days?
This was VJ-ing with visual specialists/agency Microchunk , who were represented by William Morris, which meant we were well looked after. There was a core group of artists including Lady Pat, Mischa Ying, Ben Francis, Muthabored, Todd Graft and ourselves and we were lucky to perform and make installations everywhere from Norway’sHove festival, to Glastonbury. In Barcelona, we’d perform two nights, mainly at The Loft, Friday and Saturday from around 11pm till 6.30 in the morning, sometimes just Anna and I, but often other VJ’s. The local VJs were very gracious about us filling their slots. It was always full on at Razzmatazz, a really intense atmosphere. The club was always packed.We’re not really involved with the UK club scene at the moment, but friends who work for major acts seem to be far more controlled by a corporate plan.
You have both lived through a plethora of technological developments throughout your careers, starting with the use of VHS in your installations. What is your relationship with technology? Is it one of love and hate or it is a match made in heaven?
Anna and I are different generations – before I met Anna, I spent a lot of time blagging my way into analogue beta edit suites in Soho to make material – it was tricky, but looking back people were incredibly kind and helped me realise effecting footage shot on motorcycle trips with a clockwork Bolex. Anna and I started at the point of very low resolution VJ software – so we used hybrid mixtures of micro chapter DVD loops and Flash loops mixed with V4’s. I like the things that technology makes possible, but get frustrated with the art world tendency to think if you ‘paint ‘ with technology, that you should necessarily be using the very latest tech and trend. I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary. Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.
I enjoy mapping and responsive VR etc, but equally I like the confines of a rectangle and a painters vocabulary. Music doesn’t seem to have the same linearity, no one would think it odd playing a 1960’s Fender.
I notice that landscapes have been a recurring theme in your work, right up to your most recent project of Transitional Landscapes. What is it about landscapes as a subject that inspires you?
We all project memories and feelings onto our immediate surroundings. Landscape is a good genre to play with the relationship between still and moving imagery, the romantic v the analytical, the unveiling of narrative contrasted by the implicit ambiguities of painting (movies v fine art).
Mixing trees from around the world is strangely satisfying, they’re overlaying branches having a legitimacy. English copses with New World deserts keyed through wallpaper and fabric’s repeated motifs reference Richard Dadd’s The Fairy Feller’s Master-Stroke’s, heightened stillness, petrified trees and flattened nature, more tapestry than living environment. Then we can add other man made impositions, ghosts of utilities, power lines, imagined data paths, architectural plans, wiring diagrams and intimate blinking status LEDs. It seems to suite a first person view, apart from narrative.
What would be your advice be to young audiovisual enthusiasts who are keen to develop their careers in the industry?
Like the fine art world there are so many different strands of audiovisual arts. It will keep changing, entertainment will morph. How and what ‘artists’ do v creatives and ‘technicians’ etc is complicated. The EDM model was that music was the most important element – but now with performance more of an earner than record sales – maybe the creatives/technicians/, (not the artists) are the main act. To further confuse it all, AV is crossing over with fine art and stage design etc. So maybe listen to everyone and ignore them all.
Find out more about Overlap on their artist page
The post Overlap Interview appeared first on Audiovisualcity.
Born in the heart of the VJ boom in the 90s, after their own artistic experimentation, and Michael’s first ever (what we would call now) VJ gig in 1985, Michael Denton and Anna McCrickard formed Overlap in 1998. They are based in Hastings in the UK. Unlike some VJs, who purely focus on the visual side of the art form, Overlap are a an AV collaborative duo in the purest sense of the concept, who also produce minimalist music in parallel with their exploration of both moving and still image. They’ve also performed at many a festival, forming part of a collective of VJs represented by Microchunk.
Their work takes the form of live audiovisual performances, exhibitions, transitional paintings, installations, VJ sets and even prints, and takes on audiovisual culture from a fine art perspective, which makes their work both fascinating and unique in a wide variety of different contexts.
Overlap started VJ-ing and performing AV sets as regular guests of resident VJs Reality Check at Turnmill’s club (The Gallery, London Calling) in 1998, guesting with Reality Check at The Chemical Brothers’ headline set at Turnmill’s Millenium gig in London’s Docklands. The next decade saw Overlap’s visuals splashed across screens at major international festivals including Creamfields, Andalucia, Electric Picnic Ireland, Glastonbury’s Glade stage, Pete Tong’s Wonderland in Ibiza and Glastonbury’s Glade, as part of the Microchunk visuals boutique. They created visuals for for the Industrial Resolution installation at the first Manchester International Festival: performed live on the largest indoor screen in Europe, accompanying the world’s leading DJs including Carl Cox, Fatboy Slim, Laurent Garnier, Layo, Pete Tong and Sasha. Overlap also played regular VJ slots at Razzmatazz (Loft), Barcelona and Pete Tong’s Wonderland, Eden, Ibiza (Deadmau5, Groove Armada). Overlap were commissioned by Microchunk to animate Damien Hirst artwork for Pete Tong’s Ushuaia at Le Grand Bazaar, Ibiza in 2013.
Overlap also work with the Noise of Art collective as resident VJ-s and moving image artists. Their fine art single screen video works have been screened at the ICA, BFI and Tate Modern. Recent projects include:- a celebration of 100 Years of Electronic Music at the National Portrait Gallery London; Forest Tree limited edition for Sedition Art; audiovisual “painting” installations for the National Trust’s Fenton House and Calke Abbey; opening the Arquiteturas Film Festival in Lisbon with their Places that Dance AV set; short films “Returning” and “Switch” awarded special mentions at the Avanca and EMAF film festivals; an audiovisual performance in the British Ambassador’s Residence in Beijing. Recent art screenings/performances of their works have included Aquatint at Riders on the Mall/ROM, MUSZI, Budapest and Digital Graffiti, Florida, Forest Tree at STRP Biennale at Strijp S in Eindhoven and Cloud Edged at Light Fantastic, House of Nobleman, Frieze.
Perhaps one of the most poignant aspects of their audiovisual artwork is its accessibility and ability to be embraced and engaging in such an extensive mixture of spaces, including performances and installations everywhere from music festivals (Creamfields, Splice festival, Madatac, Fiber, Generate, Big Chill, STRP Biennale); and night clubs (Razzamatazz, Barcelona, Wonderland – Eden, Ibiza), to prestigious galleries (Tate Modern, Pompidou, National Portrait Gallery, the Victoria and Albert Museum), as well as being featured in some important publications on VJ culture, such as Audio – Visual Art and VJ Culture (2006) They even remixed and VJed The Beatles Magical Mystery Tour film for its cinema première at the South Bank with Noise of Art at London’s BFI.
Their working process involves adding and removing layers, degrees of opportunism and systematised chance, creating generative combinations ranging from slow transitional paintings, to fast flowing AV performances.
Their most recent work includes Transitional Landscape, designed for exhibition and art installation, ‘Rooms’, which explores the relationship between indoors and outdoors, combining and fusing luscious wallpaper motifs with beautiful organic landscape scenes. It juxtaposes man-made life with that of the wonders of the natural world.
Find out more about their work here:
Website | Seditionart | Bandcamp | Vimeo
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#repost @studio_phormatik
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We took a city icon, a vintage Ikarus bus, and positioned it on a prominent spot in Sofia. A 360° projection mapping installation created a unique spectacle for thousands of spectators.
#projectionmapping #publicart #installationart #lightart #3dmapping #immersiveart #lightinstallation #artandtechnology #3dmappingshow #modernart #abstractart #visualart #digitalart #outdoorinspiration #ikarus #millumin #gsgdaily #instaart #everyday #art_daily #sofia #phormatik #jokermedia #24_7production (at Sofia, Bulgaria)
https://www.instagram.com/p/B9nCn3BpmaJ/?igshid=1dm81kq4c3o4a
Next edition expected September.
Light Move Festival is now in its 10th year in Łódź, Poland. It started back in 2010 with the idea of changing the way the city of Łódź is viewed, but painting its buildings with colourful light. Now it is a well-developed festival of light putting Poland on the map, which includes installations, projections, spatial light shows, 2D/3D mapping, and conferences.
Light.Move.Festival. combines sound, color, light and movement. In 9th edition in 2019 it developed into an international, anticipated event with a recognizable brand promoting Łódź as an innovative, multicultural, friendly and open city. Its ever-growing popularity contributes to the formation of a positive image of the city and gives reason to visit Łódź in late autumn, outside the tourist season. In 2019 alone, the festival gathered 850,000 guests, and all its previous editions – over 4 million!
On Instagram, #lightmovefestival, has an impressive rate of publication, where you can really see the success of the festival and its colourful installations and 3D mapping of buildings.
For more information:
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STRP 2020 WILL CONTINUE ONLINE!
A dialogue about the role of human beings in relation to all forms of life on earth and beyond is more relevant than ever because of what is happening in the world right now due to the COVID-19 pandemic.
The festival will continue online while also working on rescheduling the rest of the STRP Festival 2020 program later this year.
Join the dialogue! With STRP Scenario #6 a possible future will be explored where humans are not superior to plants, animals, rivers, microbes and other intelligence. The live stream on 2 April starts at 20.00h.
Live radio: STRP x JaJaJaNeeNeeNee
In collaboration with JaJaJaNeeNeeNee, STRP is organizing an intense listening night with music and performances.
From 2 to 5 April we STRP will publish two essays every day, written by eight writers and philosophers who reflect on new scenarios for the Post-Anthropocene in relation to our current corona crisis.
The writers of the STRP Corona Essays are: philosopher and writer of Dark Ecology Timothy Morton, designer Pupul Bisht, philosopher Pius Mosima, curator of the Van Abbemuseum Yolande Zola Zoli van der Heide & ‘climate justice creative’ and media consultant Suzanne Dhaliwal, archaeologist and ‘Dr. Space Junk’ Alice Gorman, Marshmallow Laser Feast designer Ersin Han Ersin and writers of Radical Botany Antonia Szabrezi & Natania Meeker.
STRP book club: Donna Haraway’s ‘Staying with the Trouble’
The STRP reading group will come together online on April 23rd to discuss Donna Haraway’s ‘Staying with the Trouble, Making Kin in the Chthulucene’. Sign up before April 6 and read along with us.
Assignment for pupils and students
For all young people and students who were planning to visit STRP Festival in Eindhoven next week: STRP has not forgotten you!
The festival will be launching a hands-on assignment next week for secondary education pupils and MBO students. Pupils and students can independently complete these assignments at home. Teachers will be offered the tools to brief the assignment and to reflect on it afterwards. Make sure you are registered for the STRP Education Newsletter if you want to receive these assignments.
STRP Festival
DOMUSDELA
Eindhoven, The Netherlands
info@strp.nl
LINK BOX
Facebook / Twitter / Instagram / Vimeo
The post STRP Festival: Online appeared first on Audiovisualcity.
#repost @d_johns_
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Recent R&D tests with Array experimenting with reflections. Enjoying a foray into the use of singular colour. #visualart #minimalism #lightdesign #installationart #reflection #darrenjohnston #mrlupin #millumin . New Array work coming soon ! Array research with @mrlupin
https://www.instagram.com/p/B9YpJQnplb9/?igshid=df12dizyuxr6
Barcelona, March 4-7 2020
MUTEK Barcelona marks 11 clicks around the sun on March 4-7, 2020, with 4 days and nights of live electronic music, audiovisual performances, professional activities and more.
After a decade of explorations and discoveries, the festival is preparing for a new era as a platform for dissemination and innovation in digital creativity with activities that will be developed throughout the year.
Maintaining the global commitment of the MUTEK international network to promote and create synergies with projects focused on diversity, gender equality and empowerment in the creative industry, in 2020, MUTEK.ES puts special emphasis on fostering spaces for artistic and professional formation, through different seminars and artistic residencies that will have their point of exhibition within the frame of the festival in March.
Characterized by its exceptional presentation standards and a curatorial approach that draws equally from international and national talent, always aiming to deliver revelation and discovery to our audiences, MUTEK Barcelona continues to operate in a human-scale, community-minded context.
Mutek ES
Barcelona, Spain
LINK BOX
Facebook / Twitter / Instagram / Vimeo
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London, 2 – 4 April 2020
RE-TEXTURED is a multi-venue, multi-sensory festival for London and the UK.
The festival explores the relationship between experimental electronic music, modernist and industrial architecture and light and visual art, and is brought to you by the team behind Krankbrother.
Krankbrother Director Danny Clancy says: “RE-TEXTURED at Tobacco Dock is our most ambitious show to date. It’s one of the few buildings in London that allows us to fulfill our ambitions across light, sound and visual art, it’s unique structures, rooms and history have inspired us to push the edge a little more.”
RE – TEXTURED
London, Various locations
info@re-textured.com
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Fujisawa Sustainable Smart Town (FSST) in Fujisawa City, Kanagawa Prefecture, Japan has turned a lot of heads since it opened in November 2014 as one of the few smart cities in the world. Now that it is 5 years old, how has FSST grown over the years? To answer that properly, it was best to visit t...
Eufònic is a sound, visual and digital-performing arts festival held in Sant Carles de la Ràpita about an hour South of Barcelona. As an extension of this annual festival, Eufònic Urbà, provides a city-based version of the festival, which sees exhibitions and installations at the Arts Santa Mònica, right in the very heart of Barcelona. Eufònic experiences can be found in, and not limited to; museum spaces, sound actions, activities for the family audience, and concerts in unique spaces.
This year, we will have the pleasure to explore the urban festival for an entire month – leaving us with no excuse for not absorbing some audiovisual culture this winter. From February 1 to 29, 2020, we can expect to enjoy artistic presentations, audiovisual performances and experimental proposals some of which have already been presented at the summer version of the festival on the mediterranean coast, as well as some new exclusive features, as well as presentation of the creative residences.
The festival is organised in two different phases.
The most punctual of the two being 7th–8th February with more one-off performances and timed events, such as AV performances and project presentations, with artists such as NSDOS, Sam Aaron, Balfa, Clara Brea, dvdv, William Luke Valerio, Jordi Salvadó and Tim Cowlishaw & Jakub Fiala.
“where the human presence is diluted in the responsibility of being cause or effect”
The longer duration part of the festival offerings involves Tonalitats afectives (Affective Tones in Catalan), an exhibition on the 2nd floor of Arts Santa Mònica, on Las Ramblas. It can be visited for a month (until February 29) and entrance is completely free. It focuses on the visions of six artists linked to the liquid gesture, the indeterminate process and involuntary creative will as tools of work and processes of reflection. Amongst the huge variety of installations, you will be able to find everything from changes in subject matter, algorithmic creations, and neobiological worlds, creating a discourse about a variety of scientific observations, such as memory of space and context, and objectivity and physicality.
Work includes projects by artists such as Navid Navab and Michael Montanaro, Kathy Hinde, Óscar de la Fuente, Sofia Crespo, Marc Vilanova and Raquel Meyers).
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#repost @francesco_luxvision
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#videomapping #digitalart #projectionmapping #vj
#motiongraphics #millumin #backtothefuture
#art #visual #artwork #graphic #doc #aftereffects
#immersive #mapping3d #motiondesign
#qraphicdesign #videomapping3d #element3d #eventi
#eventinapoli #eventicampania #newmedia #installation #installationart #animation #proloco #prolocoditalia
https://www.instagram.com/p/B78RvRcJDnH/?igshid=1iivgy49cc1a5
#Repost @maelpinard
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Projection Mapping Workshop - Ecole de Design Nantes Atlantique - MO3
#millumin #millumin2 #teaching #videomapping #installation #motiondesign #motiongraphics #vjing #ecolededesignnantesatlantique
https://www.instagram.com/p/B78RkQAKeFg/?igshid=14pf9azbejd77
The island of Miyakojima is located some 300 km southwest of Okinawa, which puts it exactly halfway between Okinawa and Taiwan. Given its remote location, Miyakojima relies on fossil fuels from off the island for about 97% of its energy needs. Because of the precarious situation, a plan was concoct...
Quebec, February 5-9 2020
Mois Multi 2020 is an archipelago of artists who express themselves madly, humanly, in a gigantic and dazzling spasm of life.
In a nutshell, the 2020 programs revolves around things that collapse. A subject of undoubted importance in the current times which affects us in the private and political life. The spark for this edition came, among other things, from the APA office, which approached us almost a year ago to talk about collapse. A joyful bonfire was born from this desire.
This is an edition generated by an unstoppable youth that also leaves space to a wise and proud guard. It’s young, casual, punk and contemporary. Festival curator, Emile Beauchemin aims to program a diversity of humans, approaches, subjects and ways to approach this world that we are constantly trying to understand and reconstruct.
Mois Multi is a project created by Recto Verso whose mission is to support and promote the research, creation and dissemination of multidisciplinary and electronic arts.
In every edition, MM programs aim to bridge the gap between artworks and public, offering an unique and accessible experience of the art and the world.
Mois Multi
650, côte d’Abraham
Quebec, Canada
LINK BOX
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We couldn’t miss this retrospective exhibition about the father of Video Art and one of the main references in the history of art for Audiovisual experimentation.
More than 200 artworks ranging from TV screens, to robots, video walls and immersive installations. A must-go event meticulously curated by the Tate to give insight into the work of this game-changing artist and researcher.
The first thing that strikes in Paik’s work is his playfulness. No matter what device he uses, the outcome is always lighthearted and pervaded by a witty sense of humor.
His personal relationship with technology has always featured curiosity and optimism. In TV Garden he creates a surreal immersive environment where TV screens and plants aesthetically coexist harmoniously, although weirdly.
His attitude shows a deep connection with Buddhist philosophy. TV Buddha clearly states this. With Buddha watching the TV and watching himself at the same time, he helps us to realise that our body merges with the nature in the same way it merges with technology. One is all and all is one.
Paik embraces chaos and technology all together in his Zen driven artistic experimentation. In his Robots, wires, pins, knobs, every component is well exposed in his fascinating ironic mess. Paik’s playful approach intends to humanize technology bringing it closer to the people, easier to grasp and easier to intervene.
Paik manipulates analog technology not only for aesthetic purposes but also as a political act. His anarchist artistic experimentation counteracts the consumerism driven by the mass manipulation through the TV.
Audiovisual City top picks of Paik’s expo are undoubtedly the two spectacularly immersive installations: Video Wall and Sistine Chapel.
Video Wall is a mesmerizing live collage of multiple video feeds. It strongly communicates the instability of perception and lack of focus in the mass media world.
Our eyes restlessly bounce within the video space from one feed to the other. Only after thorough observation we realize each image is linked up with its surrounding revealing the artistic and rhythmic pattern of the artwork. Only going through these steps we manage to embrace the multiple inputs as one video totem.
The Sistine Chapel is a stunningly sumptuous Audiovisual feast. It’s a large-scale installation made by 40 video projectors exhibited in plain sight in the centre of the room as if they were musical instruments.
This baroque multi-projection is a pioneering experiment of video mapping. As it’s really hard to focus on the single video feeds, the viewer is lead to appreciate the overall immersive AVscape created by this chaotically symphonic orchestra.
Artistic expression and technological experimentation bound together and filled with Nam June Paik’s refined sense of humor. Art that speaks to everyone that has ears and eyes for it!
The post Exploring the art of the VJ pioneer: Nam June Paik @Tate Modern appeared first on Audiovisualcity.
#repost @geraldinekwikmusic
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Ready for a new mapping light show with my new original music written for the Church in Lievin playing this night to Sunday night !!!
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Visual Artists : Susie-lou CHETCUTI, Patrick GRANDI, Jules HUVIG @juleshuvig/, Lucille JEANNIN, Loan LE HOANG, Simon LEBON, Hamza MRABET, Aurélien WOJTKO @_aurelien.w/
Music & Sound Design : Geraldine Kwik
Technique & Lights : Aurélien WOJTKO
Place : Église Saint-Amé - LIEVIN - FRANCE .
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#church #lightshow #lightart #light #lightinstallation #videomapping #loomprod #originalsountrack #musicforpaintings #mapping #composer #frenchcomposer #musicscore #ambient #composingmusic #sound #sounddesign #art #visual #millumin #madmapper #motiondesign #aftereffects #design #architecturalmapping #projectionmapping #movingimage #digitalartist #night
https://www.instagram.com/p/B7ba5jWppcU/?igshid=84b7s5bq9hzr
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#repost @modulight_
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Immersive installation for Maze of Decision.
The maze designed to give an experience of making decision in the maze of life. Each room has a situation and each door has different option to find the way out.
Because every decision will bring a new story.
#amazeofdecision #youDecide #modulight #artwork #artinspiration #visualart #millumin #lightinstallation #humanexperience #artinstallation
https://www.instagram.com/p/B7bb2SyJfdr/?igshid=1p0dl3hl50ism
Tokyo, Japan - Panasonic Corporation and Panasonic System Solutions Japan Co., Ltd. (hereafter collectively referred to as "Panasonic"), Tokyo Electric Power Company, and Tepco Town Planning Co., Ltd. (hereafter collectively referred to as "Toden PG") have joined hands ...
Melbourne, Australia: 7 January 2020 – Mediaproxy, the leading provider of software-based IP broadcast solutions, has appointed Bright Installation Oy as its representative in Finland. The distribution and integration company will initially focus on the Australian manufacturer’s compliance and monitoring systems, including the LogServer IP logger, monitor and analyzer. Bright Installation is a standalone company ...
The post Bright Installation takes on Mediaproxy products in Finland appeared first on NAB Show News | 2020 NAB Show Media Partner and Producer of NAB Show LIVE.
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Press Conference News Videos Photos Related Links 日本語リリース|Japanese Panasonic Booth: LVCC Center Hall #12908 / Sands Expo #42711, Jan 7-10, 2020 https://www.panasonic.com/ces Join us with #PanasonicCES #CES2020 Press Conference CES 2020 Panasonic Press Conferenc...
Japan is one of the largest consumers of energy in the world, but, as a country, it does not even supply 10% of the energy it needs. Because Japan must rely on imports from overseas for most of its energy resources, improving the nation's energy self-sufficiency is an important theme. Within that ...
#repost @ex_lumina
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Second #ledlight #artinstallation for @festilumi #bonifacio, featuring #3deffect on both #light and #audio in St Dominique street, making the festival entrance a real #immersiveart #audiovisual #experience. Made with love on @touchdesigner, @millumin2 and @mad_mapper, driving #sound and #lightcreation using only #video files.
#lightsculpture #ledartist #immersiveexperience #lightart #lightartist #lightfestival #street #animation #festilumi #visualart #installationart #millumin #madmapper #madlight #leddisplay (at Bonifacio)
https://www.instagram.com/p/B5Hw6zHpAGg/?igshid=dnhjri1dco8n
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