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Wael Shawky
curated by Carolyn Christov-Bakargiev and Marcella Beccaria
On view from November 3, 2016 – February 5, 2017
Inauguration: November 2, 2016
The retrospective of Wael Shawky (Alexandria, Egypt, 1971), held at the Castello di Rivoli, presents a series of film works, sculptures, and new wooden high-reliefs inspired by the Crusades and narrated from an Arab rather than a European point of view.
The artist transforms the space of the Manica Lunga, whose walls have been painted blue, into a spectacular stage design. The exhibition itinerary starts with the new wooden reliefs, and then unfolds across a construction inside of which Cabaret Crusades: The Horror Show File (2010) is screened, to continue with a garden with twenty-six sculptures on display. Another construction that calls to mind a minaret hosts Cabaret Crusades: The Path to Cairo (2012). The exhibition continues with a series of photographs of marionettes and ends with the third video in the trilogy, The Secrets of Karbala (2015). “Visitors – writes Marcella Beccaria – are swept off into the distant past, the echoes of which are nonetheless recognizable in our unstable present of Middle Eastern wars and new uncertainties.”
Inspired by Medieval Islamic sources like Usama Ibn Munqidh and Ibn al-Qalànisi—as well as The Crusades through Arab Eyes (1983) by the Lebanese historian Amin Maalouf—Cabaret Crusades lingers upon the history of the Church’s military campaigns in the Holy Land. The artist begins his story with the first Crusades, from 1096 to 1099, staged in the first chapter of the Cabaret Crusades: The Horror Show File. It then continues with the history of the events between the First and Second Crusade, covering the years between 1099 and 1145, represented in Cabaret Crusades: The Path to Cairo. These works bypass the more traditional notions regarding the clash of civilizations between the Western world and Islamic cultures. The use of marionettes instead of real actors allows the trilogy to be magical in tone and seemingly different from the violent and macabre subject described. Shawky used antique marionettes of the eighteenth century from the Lupi Collection in Turin for the first film and custom-made ceramic ones for the second work.
The Secrets of Karbala is the final chapter in the trilogy and uses glass marionettes from Murano. These glass marionettes blend human and non-human animal traits and the memory of ancient African masks. The work also mentions the Battle of Kerbela (680), the main and tragic event that ultimately led to the division between Shiites and Sunnis even today. The story ends with the capture of Constantinople by the Crusaders in 1204.
The trilogy treats the issue of history and human events overwhelmed by ambition and rivalry, by betrayal and violence.C
This is a stage design for Malyalam Star Nite Show as per the Event Manager's Concept. Made in Maya & Photoshop for Texturing.
Stage design for Fall Focus sermon series at Garden Way Church. Set and poster design by Kelly Baum and Kris Carter.
Photos by David Sharp
'07 Stage design of our yearly "VBS" style kids program called PowerQuest.
This was put together by our Kids production team.
Kids went wild.
Morton Feldman: composer
Joan La Barbara: singer
Martin Bauer: director
Minou Maguna/Benton-C Bainbridge: video and stage design
stage design
Bregenz - Vorarlberg - Austria
Festspiele
Bodensee - Lake Constance
35mm filmphotography
Nikon FE2
Nikkor 105mm f/2.5 ais
Kodak
digitized with X-T2
Photographer Karen Stuke created a beautiful opera house stage design now on display in the “Berlin Through My Lens” Exhibition. Throughout the city, residents have been discussing the subject of the public financing Berlin opera houses. She used a red Kolo Havana photo box for the model base of a proposed opera house to be built in the working class district of Berlin-Wedding. Her model includes a well-designed floor plan, lights and a background displaying her unique pinhole photographs.
Karen’s passion for opera and theater started at a young age, leading her to become an influential stage and theater photographer. She believes that theater is an art form and her cause is to keep the play alive long after the curtain falls. She developed the idea of a camera obscura theater photograph, combining multiple exposures into one single photograph, to capture the essence of the play.
Karen’s work is on display at Monochrom, Ackerstrasse 23-26, one of five fine retailers participating in the three-week walking tour celebrating Berlin’s creative community.
For more on this project: koloist.com/index.php/2009/11/23/karen-stuke-s-opera-stag...
Homer Flynn
Moleshow Stage Design Original Art
11 x 17 inches
1982
Pen and ink on vellum
Designed by Hardy Fox
Visuals and stage design by DEFRAME Collective, at Mammoth techno stage, Source on Ice 2011
pictures and cropping/color correction by Leon Lubberdink and Jessica Dreu
Photographer Karen Stuke created a beautiful opera house stage design now on display in the “Berlin Through My Lens” Exhibition. Throughout the city, residents have been discussing the subject of the public financing Berlin opera houses. She used a red Kolo Havana photo box for the model base of a proposed opera house to be built in the working class district of Berlin-Wedding. Her model includes a well-designed floor plan, lights and a background displaying her unique pinhole photographs.
Karen’s passion for opera and theater started at a young age, leading her to become an influential stage and theater photographer. She believes that theater is an art form and her cause is to keep the play alive long after the curtain falls. She developed the idea of a camera obscura theater photograph, combining multiple exposures into one single photograph, to capture the essence of the play.
Karen’s work is on display at Monochrom, Ackerstrasse 23-26, one of five fine retailers participating in the three-week walking tour celebrating Berlin’s creative community.
For more on this project: koloist.com/index.php/2009/11/23/karen-stuke-s-opera-stag...
IUGTE Conference "Theatre Between Tradition and Contemporaneity" - annual international multidisciplinary conference researching the Bridge between Tradition and Contemporaneity in performing arts - Theatre - Dance - Music - Visual & Multimedia Art - Arts administration - Stage Design & Technology.
Marius Manole – STEVE
Antoaneta Cojocaru – HELEN
Bogdan Dumitrescu – JERKS
Mihai Cuciumeanu – EMERSON
Iulian Postelnicu – PECA
Rodica Ioana Ionescu - STAMOS
Stage design: Mihai Pacurar
Video: Ioan Cocan
DJ Yann LeBlay
Choreography: Ramona Barbulescu
Theatre director: Carmen Lidia Vidu
“I Hate Helen is not a play! But it surely is something that announces the art form of the next decades. So why don’t you take a look?” Cristina Rusiecki
For how long can you really feel you are not alone?
What about your love life?
And when does the hatred begin?
“I Hate Helen is not a play, or to put it in a better way, it is not only a play. It is more like a movie, a Cartoon Networkly cartoon, a music; it sweats urban legend (snuff is just an example) it is underground and anti-underground at the same time and it is a savoury parody.
These elements, if considered separately, are successful, but if considered together, plus the actors’ performance, they are simply unheard-of and I must say very joyful. It a mixture of multimedia, a chaos finally aligned by the thread of the parody created by the media discourse.” (Sonia Lodi )
Client: Alda events / Armin van Buuren
Stage Design: 250K
Visuals & Operating: Eyesupply.tv
Pictures: Eyesupply.tv
Customized Flexible LED Video Curtain Screen
Pitch: 50mm
size: 4m x7.2m
Protection level: IP65
pixels: RGB 5050 SMD LED
Taken by: Fisher Dakota
contact info: yuchao622@hotmail.com
All rights reserved.
Model of the stage design for Leoš Janáček's Jenůfa at Malmö Opera House
In the workshop of Leslie Travers
The Pullens Estate was developed by builder James Pullen from 1886.
The estate originally comprised of 684 dwellings in 12 blocks, with 4 yards containing 106 workshops. The estate suffered bomb-damage during the Blitz, with the remaining buildings protected from demolition in the 80s due to protests by the Residents' Association and squatters.
Stage design, costume, interactive media design, and print design for the Steinfuß Theatre. The play staged the critical text “Geschichte meiner Einschätzung am Anfang des Dritten Jahrtausends” by German musician and poet PeterLicht. The concept is about three different boxes, through which the audience moves from scenery to scenery. We set up a pool made of styrodur, a cardboard structure, and a site fence with woven paper strips. Then there was a video projection and a remote controlled moon.
With Aline Otte, Yakub Yayla, Bianca Barabas, Duy An Tran, and others.
Director: Adelheid Schulz
17.-24.5. 2012, Stuttgart
This is a detail of the ooutdoor stage in Lucena. It was designed by Bill Harkin. Bill is a serious name in stage design. He designed the famous set for the Rolling Stones (the one with the big lips and the tongue)and has gone on tour with a great many bands. His current project is to design a virtual sky in London's Millenium Dome with his son. He's also hilarious.
Stage design, costume, interactive media design, and print design for the Steinfuß Theatre. The play staged the critical text “Geschichte meiner Einschätzung am Anfang des Dritten Jahrtausends” by German musician and poet PeterLicht. The concept is about three different boxes, through which the audience moves from scenery to scenery. We set up a pool made of styrodur, a cardboard structure, and a site fence with woven paper strips. Then there was a video projection and a remote controlled moon.
With Aline Otte, Yakub Yayla, Bianca Barabas, Duy An Tran, and others.
Director: Adelheid Schulz
17.-24.5. 2012, Stuttgart