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PRE-.
is a collective exhibition conceived as a prelude to solo projects that each artist will develop throughout 2012 at homesession. The project formalizes a point of progress, a state prior to the individual proposal, and is intended as a study of possibilities. The format of the exhibition facilitates a dialogue between projects, while simultaneously broadening perspectives and creating autonomous spaces.
A performance with film centred on Antigone’s death, the end of the classic tragedy first written by Sophocles in the fifth Century BC, followed by countless subsequent versions.
Tai Shani presents a fractured Science Fiction adaptation of the play that ends where it begins and takes place in the impossible, expanded time of Antigone’s self-annihilation, proposing Antigone both as true a character within the play and as a self-aware meta-character which deconstructs itself.
Caught in kaleidoscopic temporality and the cinematic interiors of her tragedy, Antigone’s constructed identity dissolves through encounters with different versions of herself from various historical adaptations (Jean Cocteau, Sophocles, Jean Anouilh, and Schlöndorff). In this adaptation, the narrative is told entirely through Antigone’s subjectivity with all the other protagonists, such as her unburied brother Polyneices, appearing as anthropomorphic manifestations of abstract notions (time, love etc.).
Combining film through which Antigone’s memory is replayed, and live performance. The heroine is delivered into the real, suspended in time, a space that is activated by Antigone’s actions where she remains forever held in the moment of her destruction.
This production incorporates an original score by David J. Smith.
A performance with film centred on Antigone’s death, the end of the classic tragedy first written by Sophocles in the fifth Century BC, followed by countless subsequent versions.
Tai Shani presents a fractured Science Fiction adaptation of the play that ends where it begins and takes place in the impossible, expanded time of Antigone’s self-annihilation, proposing Antigone both as true a character within the play and as a self-aware meta-character which deconstructs itself.
Caught in kaleidoscopic temporality and the cinematic interiors of her tragedy, Antigone’s constructed identity dissolves through encounters with different versions of herself from various historical adaptations (Jean Cocteau, Sophocles, Jean Anouilh, and Schlöndorff). In this adaptation, the narrative is told entirely through Antigone’s subjectivity with all the other protagonists, such as her unburied brother Polyneices, appearing as anthropomorphic manifestations of abstract notions (time, love etc.).
Combining film through which Antigone’s memory is replayed, and live performance. The heroine is delivered into the real, suspended in time, a space that is activated by Antigone’s actions where she remains forever held in the moment of her destruction.
This production incorporates an original score by David J. Smith.
A performance with film centred on Antigone’s death, the end of the classic tragedy first written by Sophocles in the fifth Century BC, followed by countless subsequent versions.
Tai Shani presents a fractured Science Fiction adaptation of the play that ends where it begins and takes place in the impossible, expanded time of Antigone’s self-annihilation, proposing Antigone both as true a character within the play and as a self-aware meta-character which deconstructs itself.
Caught in kaleidoscopic temporality and the cinematic interiors of her tragedy, Antigone’s constructed identity dissolves through encounters with different versions of herself from various historical adaptations (Jean Cocteau, Sophocles, Jean Anouilh, and Schlöndorff). In this adaptation, the narrative is told entirely through Antigone’s subjectivity with all the other protagonists, such as her unburied brother Polyneices, appearing as anthropomorphic manifestations of abstract notions (time, love etc.).
Combining film through which Antigone’s memory is replayed, and live performance. The heroine is delivered into the real, suspended in time, a space that is activated by Antigone’s actions where she remains forever held in the moment of her destruction.
This production incorporates an original score by David J. Smith.
"The inhabitant of the floor above" is a project that intends to explore, through the use of the narrative techniques of literature and theater, how the narrative process is used by contemporary artists. Eight artists have created texts of fiction in response to the curatorial proposal. The texts collected in this publication will become, thanks to their common thread, a script for a performative event during which they will be interpreted by the authors with the audience.
"El habitante del piso de arriba" es un proyecto que intenta explorar, a través de técnicas narrativas de la literatura y del teatro, cómo artistas contemporáneos utilizan el proceso narrativo. Ocho artistas han creado ficciones para dar respuesta a la propuesta curatorial. Los textos recopilados en esa publicación, gracias a su nexo común, se convertirán en un guion para un evento performativo durante el cual serán interpretados por los autores con el público.
A performance with film centred on Antigone’s death, the end of the classic tragedy first written by Sophocles in the fifth Century BC, followed by countless subsequent versions.
Tai Shani presents a fractured Science Fiction adaptation of the play that ends where it begins and takes place in the impossible, expanded time of Antigone’s self-annihilation, proposing Antigone both as true a character within the play and as a self-aware meta-character which deconstructs itself.
Caught in kaleidoscopic temporality and the cinematic interiors of her tragedy, Antigone’s constructed identity dissolves through encounters with different versions of herself from various historical adaptations (Jean Cocteau, Sophocles, Jean Anouilh, and Schlöndorff). In this adaptation, the narrative is told entirely through Antigone’s subjectivity with all the other protagonists, such as her unburied brother Polyneices, appearing as anthropomorphic manifestations of abstract notions (time, love etc.).
Combining film through which Antigone’s memory is replayed, and live performance. The heroine is delivered into the real, suspended in time, a space that is activated by Antigone’s actions where she remains forever held in the moment of her destruction.
This production incorporates an original score by David J. Smith.
A performance with film centred on Antigone’s death, the end of the classic tragedy first written by Sophocles in the fifth Century BC, followed by countless subsequent versions.
Tai Shani presents a fractured Science Fiction adaptation of the play that ends where it begins and takes place in the impossible, expanded time of Antigone’s self-annihilation, proposing Antigone both as true a character within the play and as a self-aware meta-character which deconstructs itself.
Caught in kaleidoscopic temporality and the cinematic interiors of her tragedy, Antigone’s constructed identity dissolves through encounters with different versions of herself from various historical adaptations (Jean Cocteau, Sophocles, Jean Anouilh, and Schlöndorff). In this adaptation, the narrative is told entirely through Antigone’s subjectivity with all the other protagonists, such as her unburied brother Polyneices, appearing as anthropomorphic manifestations of abstract notions (time, love etc.).
Combining film through which Antigone’s memory is replayed, and live performance. The heroine is delivered into the real, suspended in time, a space that is activated by Antigone’s actions where she remains forever held in the moment of her destruction.
This production incorporates an original score by David J. Smith.
A performance with film centred on Antigone’s death, the end of the classic tragedy first written by Sophocles in the fifth Century BC, followed by countless subsequent versions.
Tai Shani presents a fractured Science Fiction adaptation of the play that ends where it begins and takes place in the impossible, expanded time of Antigone’s self-annihilation, proposing Antigone both as true a character within the play and as a self-aware meta-character which deconstructs itself.
Caught in kaleidoscopic temporality and the cinematic interiors of her tragedy, Antigone’s constructed identity dissolves through encounters with different versions of herself from various historical adaptations (Jean Cocteau, Sophocles, Jean Anouilh, and Schlöndorff). In this adaptation, the narrative is told entirely through Antigone’s subjectivity with all the other protagonists, such as her unburied brother Polyneices, appearing as anthropomorphic manifestations of abstract notions (time, love etc.).
Combining film through which Antigone’s memory is replayed, and live performance. The heroine is delivered into the real, suspended in time, a space that is activated by Antigone’s actions where she remains forever held in the moment of her destruction.
This production incorporates an original score by David J. Smith.