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Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
我的藝術創作-裝置'繪畫'設計.My art work'painting'Installation art & create
Cocoon (pregnant ) --Art of the device of festival of Hakkas' lights
width="100cm" height="200cm"
作者：黃冠騰
創作理念：每一個新生兒的誕生都是從母親的肚子裡〈子宮〉開始孕育生命；這孕育生命的溫床包含了母親所有的愛，小心翼翼的哺育其小生命，那份愛是偉大且無私的。世上每種生命都有它延續生命的自然法則，不管是動物、植物、昆蟲….等，不論它們是行有性生殖或無性生殖等，為了適應生態每種生物必有他繁衍後代的方式與能力；好比在繭中的幼蟲，沒人知道它是雄性或雌性，當它破繭而出時，沒人知道它日後會變成如此美麗的蝴蝶，這就是生命的可貴與奧妙。
所以當每一個新生命的來臨時，同時也帶給另一個希望的開始。
燈光以藍色冷光及米色光，暗示安祥'寧靜'純潔'呵護迎接新生命的到來。
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Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Illutron summer camp 2011 - the laser guide to our barge, bridging sluseholmen and teglholmen. (Benjamin Weber).
In this project I decided to make the room, which was asymmetrical due to the door on the left, into completely balanced space. By using threads and duct tape I created a textured rectangle, so that the door becomes abstracted and you don’t perceive it as a door anymore. I mirrored the same textured rectangle on the opposite side to achieve “complete” balance.
The arrangement of matter, its behaviour, addition to or subtraction from it, its shape and difference in position, and its rearrangement create chaos in the normal activity of the human brain. Apparently, all of this is without a reason, but the following can be experienced from this:
- A temporary feeling of stillness (or a partial feeling of emptiness)
- A strong reaction of the inquisitive cells
- A realization of meaninglessness.
Wise men say:
"Be empty if you want to be full".
Does he know about the distance between existence and annihilation, or the difference between what is visible and what is not?
.
.
#nothing_is_real
Installation art
At the Taragaon Museum, Kathmandu, Nepal
July 26 - August 03, 2019
#KIAR
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Taken at Suspended Forest, an art installation of discarded Christmas trees by Michael Neff at the Knockdown Center.
Damien Hirst
Bad Environment for White Monochrome Paintings (1993)
Steel, glass, acrylic on canvas, plastic containers for food and water, sarchophaga and musca domestica
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Thesethose
2 LCD screens, 2 DVD Players, electronics circuits, electric motors, PVC pipes, electric blowers, plastic bags and other materials
2011
Artist Statement:
My work is an intersection of artistic and technological experimentation that takes form in different types of media. My formal interest in movement, materials, language and imagination is coupled with an intuitive way of inventing intricate systems that can lead to the production of drawings, animations, videos, digitally modified photographs and organic machines with traces of human/animal behavior.
My process consists of the appropriation of my everyday visual life images, such as antique teapots, clouds in the sky or anything I associate with conceivable language patterns. If the project leads to the construction of a machine, I capture images with a video camera, and create or record movements. During the editing process, I transform movements into gestures and give my voice to the objects, which in turn constructs an invented dialect.
When I first received photographs and information about the gallery space I was going to occupy, what captured my attention was the three windows in it. Therefore, I decided to work with my own studio windows, located in Rio de Janeiro. I made animated videos of them “talking,” and planned to use them in the exhibition space. But it wasn’t until my arrival at the Mattress Factory that I invented the organism for Thesethose.
The animated videos are shown on LCDs connected to devices controlled by the animation’s movements on the screen. Light sensors attached to the screens perceive the images’ stimuli and make the body of the work react to them. The whole operation is analogical, which means that every little event is subject to possible imprecision and random malfunctions, leading to unpredictable reactions. That is one of the reasons I often refer to my pieces as organic machines.
The works are not interactive in a physical sense, so the viewer is disturbed by their indiscriminate behavior and can initially feel like an intruder in a world where things happen even if the viewer is not watching. By psychologically entering the piece, the viewer tries to decipher its irregular movements, in an attempt to make sense of its complexity and precariousness.
Bio: Mariana Manhães was born in Rio de Janeiro in 1977 where she is currently pursuing a Masters in Communication and Culture at the Federal University of Rio de Janeiro. Her work is an intersection of artistic and technological experimentation that takes form in different types of media. She invents intricate systems that can lead to the production of drawings, animations, videos, digitally modified photographs and organic machines that respond to each other, mimicking human or animal behavior. She has exhibited her work throughout South America and Europe. See her blog tracking her development and creation of her installation for the Mattress Factory:
Thesethose
2 LCD screens, 2 DVD Players, electronics circuits, electric motors, PVC pipes, electric blowers, plastic bags and other materials
2011
Artist Statement:
My work is an intersection of artistic and technological experimentation that takes form in different types of media. My formal interest in movement, materials, language and imagination is coupled with an intuitive way of inventing intricate systems that can lead to the production of drawings, animations, videos, digitally modified photographs and organic machines with traces of human/animal behavior.
My process consists of the appropriation of my everyday visual life images, such as antique teapots, clouds in the sky or anything I associate with conceivable language patterns. If the project leads to the construction of a machine, I capture images with a video camera, and create or record movements. During the editing process, I transform movements into gestures and give my voice to the objects, which in turn constructs an invented dialect.
When I first received photographs and information about the gallery space I was going to occupy, what captured my attention was the three windows in it. Therefore, I decided to work with my own studio windows, located in Rio de Janeiro. I made animated videos of them “talking,” and planned to use them in the exhibition space. But it wasn’t until my arrival at the Mattress Factory that I invented the organism for Thesethose.
The animated videos are shown on LCDs connected to devices controlled by the animation’s movements on the screen. Light sensors attached to the screens perceive the images’ stimuli and make the body of the work react to them. The whole operation is analogical, which means that every little event is subject to possible imprecision and random malfunctions, leading to unpredictable reactions. That is one of the reasons I often refer to my pieces as organic machines.
The works are not interactive in a physical sense, so the viewer is disturbed by their indiscriminate behavior and can initially feel like an intruder in a world where things happen even if the viewer is not watching. By psychologically entering the piece, the viewer tries to decipher its irregular movements, in an attempt to make sense of its complexity and precariousness.
Bio: Mariana Manhães was born in Rio de Janeiro in 1977 where she is currently pursuing a Masters in Communication and Culture at the Federal University of Rio de Janeiro. Her work is an intersection of artistic and technological experimentation that takes form in different types of media. She invents intricate systems that can lead to the production of drawings, animations, videos, digitally modified photographs and organic machines that respond to each other, mimicking human or animal behavior. She has exhibited her work throughout South America and Europe. See her blog tracking her development and creation of her installation for the Mattress Factory:
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Installation Art
"To Play Upon a Constant Note: Memory, Sustained and Unwavering"
Global Citizenship Conference; The Faces of Genocide
April 12, 2018 — at West Valley College
Cement, barbed wire, found objects
***********************
To play upon a constant note: memory, sustained and unwavering
Gathering images of victims of genocide for research I found myself paralyzed with the constant question of what exactly would allow one to survive another day, both mentally and emotionally, in such a cruel and horrific situation. These men, women and children, who stare from behind, but beyond cement pylons laced with barbed wire and rebar, stripped of all intimate and worldly possessions, and denied worth and dignity, on what and where did they find an unflinching strength and will to live? Orphaned children who today squat beside rows of mothers and fathers and older siblings slaughtered during the night, children who barely understand the concept of life and death, on what will they base a future? In such extreme inhumanity on what does one’s will to live, love and survive find its sustenance?
Could I make this question one with which I could become more intimate? I asked myself if fate were to have placed me in history or present as a victim of genocide on what would I feed my will to survive, and my strength to resist despair and defeat. Memories … precious, sweet, simple … of things common and every day, these would be the fire of mind and soul. Perhaps the memory of serving a well-prepared meal, a reread and well-worn book, a child’s favorite toy, a comfy pair of shoes, music … the beach … little mementos and dog-eared photos, perhaps these intimate memories fueled those who suffered and yet survived for one more day. Memories escaping beyond the hardened pylons and suffocating lacework of wire and rebar …
Jeanne Watson
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond
Morakot "Emerald" (2007)
อภิชาติพงศ์ วีระเศรษฐกุล (Apichatpong Weerasethakul)
Single channel video installation (11 minutes)
Apichatpong Weerasethakul (Thai: อภิชาติพงศ์ วีระเศรษฐกุล), born July 16, 1970 in Bangkok, Thailand) is a Thai independent film director, screenwriter, and film producer. His feature films include Tropical Malady, which won a jury prize at the 2004 Cannes Film Festival, Blissfully Yours, which won the top prize in the Un Certain Regard program at the 2003 Cannes Film Festival, and Syndromes and a Century, which premiered at the 63rd Venice Film Festival and was the first Thai film to be entered in competition there.
Working outside the strict confines of the Thai film studio system, Apichatpong Weerasethakul has directed several features and dozens of short films. Themes reflected in his films (frequently discussed in interviews) include dreams, nature, sexuality (including his own homosexuality), and Western perceptions of Thailand and Asia, and his films display a preference for unconventional narrative structures (like placing titles/credits at the middle of a film) and for working with non-actors. Cinephiles affectionately refer to him as "Joe" (a nickname that he, like many with similarly long Thai names, has adopted out of convenience).
Apichatpong Weerasethakul chose to show the Single Channel Film/Installation piece Morakot (Emerald, 2007), in response to the theme of Wonder in the Biennale. The ‘Emerald’ is a disused hotel in Bangkok, which opened its doors in the 1980s when Thailand was going through social change and an accelerated economy. Things changed with the Asian economic crisis in the late 1990s. As he was researching rooms for another shoot, the experience of being in the now empty spaces, with motes lingering in the air made an impact, perhaps like a star first bursting into life then later slowly disappearing. He returned to the hotel a year later, re-engaging with this experience together with his actors as they recounted their own memories and dreams to make Morakot.
More information on universes-in-universe.org/eng/magazine/articles/2008/apic...
I've been making this web installation for a semi-secret event involving lots of friends. It was partially inspired by pictures I saw of an amazing packing tape installation in Berlin by a design collective called Numen, and by the work of a Japanese artist named Chiharu Shiota, but also it's been a chance for me to try out a new medium and play with a warehouse space that is absolutely huge.
Vessel for Haiti II: an interactive, community-engaged performance Co-conceived by Catherine Tutter and Anna Wexler. Featured performers: Margaret Bellafiore James Ellis Coleman Burns Maxey Cathy McLaurin Mari Novotny-Jones Joanne Rice Catherine Tutter Jane Wang Anna Wexler.
At Mobius, 11/06/10.
Photo: ©Bob Raymond