tag:blogger.com,1999:blog-31815261718897310232024-03-13T21:17:46.729-07:00PERFORMANCE IMAGINGPaul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.comBlogger67125tag:blogger.com,1999:blog-3181526171889731023.post-73924298121215051982009-09-09T23:35:00.000-07:002009-09-09T23:42:29.484-07:00What side of the "Cage"d Fence do you Stand on? WTF or Brilliant<pre><embed src="http://www.dvblog.org/movies/02_2006/johncage1.mov" autoplay="true" height="240" width="320"></embed><br /><br /><p style="text-align: left;"><i><b>4′33″</b></i> (</p></pre><span style=";font-family:arial;font-size:100%;" >pronounced Four minutes, thirty-three seconds or, as the composer himself referred to it, Four, thirty-three[1]) is a three-movement composition[2][3] by American avant-garde composer John Cage (1912–1992). It was composed in 1952 for any instrument (or combination of instruments), and the score instructs the performer not to play the instrument during the entire duration of the piece throughout the three movements (the first being thirty seconds, the second being two minutes and twenty-three seconds, and the third being one minute and forty seconds). Although commonly perceived as "four minutes thirty-three seconds of silence",[4][5] the piece actually consists of the sounds of the environment that the listeners hear while it is performed.[6][7]</span><br /><br /><span style=";font-family:arial;font-size:100%;" >Over the years, 4′33″ became Cage's most famous and most controversial composition.[2] Conceived around 1947–1948, while the composer was working on Sonatas and Interludes,[2] 4′33″ became for Cage the epitome of his idea that any sounds constitute, or may constitute, music.[8] It was also a reflection of the influence of Zen Buddhism, which Cage studied since the late forties. In a 1982 interview, and on numerous other occasions, Cage stated that 4′33″ was, in his opinion, his most important work.[9]</span><br /><pre><br /></pre>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com13tag:blogger.com,1999:blog-3181526171889731023.post-17071238109496940872009-09-09T22:18:00.000-07:002009-09-09T22:51:02.691-07:00David Byrne Bike Cam Through Times Square, NYC. 10th July 2009<pre><embed src="http://dvblog.org/movies/07_2009/db_bike.mov" autoplay="true" height="240" width="320"></embed><br /></pre><br /><a href="http://www.davidbyrne.com/" target="_blank"><br /><br /></a><span style="font-family: arial;font-size:100%;" >David Byrne biked to Town Hall for his “How New Yorkers Ride Bikes”<br />event in 2007. The night began with the audience viewing his helmet-cam<br />footage of his journey there, and eventually he biked right up on the stage.</span>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-14712237555939223862009-09-09T15:20:00.000-07:002009-09-09T23:49:39.501-07:00Artist Guy Ben-Ner's Ikea Sitcom and the "Reality Stage"<iframe src="http://videos.nymag.com/embed/player/?content=NMZ39T4LNMWVTSYL&widget_type_cid=svp&title_height=24" allowtransparency="true" frameborder="0" height="315" scrolling="no" width="416"></iframe><br /><a href="http://nymag.com/arts/art/reviews/43567/"><br /></a><!--end paragraph--> <p><!--begin paragraph--></p><p><br /><strong>As a student, Ben-Ner moved his studio practice to his home, and many of his works, such as <em>Moby Dick</em>, feature fantasy play with his family.</strong> In an unpublished interview with artist Boaz Arad, Ben-Ner said “I had to choose between being a bad father away from home a lot, and being a good father, staying at home and making concessions. To work at home is a type of compromise.” Themes of exile--of being on an island in the home--recur in other works, including <em>Treehouse Kit</em> (2005), in which the artist uses ordinary bedroom furniture kits to build a tree and other tropical accouterments. While the artist’s family has been on view in his work for years, the 2007 video <a href="http://nymag.com/daily/entertainment/2008/02/exclusive_video_artist_guy_ben.html"><em></em></a><span style="font-style: italic;">Stealing Beauty</span> brought their domestic life into a busy IKEA showroom. In this video the Ben-Ner clan, without permission, enacts home scenes in IKEA’s domestic vignettes (showering, sleeping, and bickering). With a humorous nod to their surroundings, father and children discuss the nature of private property and service-based commercial enterprise with a Marx/Engels slant. Pointing to the surrounding showroom as legitimate shoppers pass through the frame, Ben-Ner says, “This house belongs to us. We are the only ones who have the right to use it and the right to exclude others from using it…. Private property creates borders, son.” <span style="font-size:78%;"><a href="http://artwelove.com/news/archives/2009/05/27/last-weekend-mass-moca-unveiled/">Source</a></span><br /><a href="http://nymag.com/arts/art/reviews/43567/"><span style="font-style: italic;"><blockquote>All art comes from other art, and all immigrants come from other places. What makes Ben-Ner’s art stand out is that he puts these ideas together so well, continually cannibalizing the culture and objects he encounters, trying to make these things work for his art and his family. In this way, he echoes the immigrant’s story and the artist’s quest - Jerry Saltz<br /></blockquote></span></a><br /><a href="http://nymag.com/arts/art/reviews/43567/"><span style="font-style: italic;"><blockquote></blockquote></span></a><span style="font-size:85%;"></span></p><blockquote><span style="font-size:85%;"><br /></span><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://s3.amazonaws.com/com.artwelove.asset/2393c627bfbf9918cf72b558cf16e259-l.jpg"><img style="cursor: pointer; width: 383px; height: 255px;" src="http://s3.amazonaws.com/com.artwelove.asset/2393c627bfbf9918cf72b558cf16e259-l.jpg" alt="" border="0" /></a><br /><span style="font-size:78%;">A still from Guy Ben-Ner’s "Moby Dick" (2000). ; Courtesy of MASS MoCA</span><br /><br /><br /><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/Uvj8_rlv6gI&hl=en&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/Uvj8_rlv6gI&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br /><br /><h2 style="text-align: left; vertical-align: top;" class="a">Biography </h2> <p class="normal" style="text-align: left;"> <!-- text --> The video artist Guy Ben-Ner became internationally renowned when he represented Israel at the Venice Biennale in 2005. The work he presented there, ‚Treehouse Kit’, deals with a tree made of pieces of furniture, which the artist turns into a tree of survival. It might, thus, serve the modern version of a Robinson Crusoe. Ben-Ner, who completed his art studies in New York in 2003, was the lone survivor already when he showed ‚Berkeley’s Island’ (1999) – the artist squatting, stranded next to a palm tree on a sandy island, in the middle of his kitchen. The quasi domesticated artist is reluctant to accept the roles allocated today to family members. He does the chores, but discusses his unsatisfied desires, and stresses the incongruity between the cliché-like fury of the artist or the savagery of man, and modern lifestyles. Ben-Ner uses his body in the performance videos in order to paint the self-portrait of the family man (Edelsztein). It is also the family man who tries to transmit everyday culture to his son in ‚Wild boy’ (2004), or who, in ‚Moby Dick’ (2000), converts his kitchen into a whaler, which does not hunt legendary animals, as in Herman Melville's novel, but gets to the bottom of traditional myths. Ben-Ner's filmed self-portraits show the artist after he has arrived in reality. </p><br /><span style="font-size:85%;"><br /></span></blockquote><br /><p></p>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-25522457883188275822009-08-29T13:03:00.000-07:002009-08-29T13:12:12.343-07:00Blood Work - Kate Levant<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij4e3JNTQMxVVOiAjbFhJEU1QRhTLXGTPiqaql25D1ZgrGwr3UdSNVw5dCXgBjPswgQ3NHWvth7zu_vPIUvwikUAMmqulr20RZRvg5E5l8RepMrNcFLWqJPZTkiK8gvsyFYS8VLrD4t9hF/s1600-h/PA+KAte"><img style="cursor: pointer; width: 256px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij4e3JNTQMxVVOiAjbFhJEU1QRhTLXGTPiqaql25D1ZgrGwr3UdSNVw5dCXgBjPswgQ3NHWvth7zu_vPIUvwikUAMmqulr20RZRvg5E5l8RepMrNcFLWqJPZTkiK8gvsyFYS8VLrD4t9hF/s320/PA+KAte" alt="" id="BLOGGER_PHOTO_ID_5375479335147785378" border="0" /></a><br /><div style="font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; font-size-adjust: none;font-family:Georgia,Garamond,Times;font-size:11px;" times="" new="" roman=""><div style="font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; font-size-adjust: none;font-family:Georgia,Garamond,Times;font-size:9px;" times="" new="" roman=""><span class="entry-source-title-parent" style="font-size:78%;">from <a href="http://www.google.com/reader/view/feed/http%3A%2F%2Fnymag.com%2Frss%2FArt.xml" class="entry-source-title" target="_blank">nymag.com: Art</a></span><span style="font-size:78%;"><br /><br />(Photo: Jake Chessum)</span></div> </div> <!--end image--> <p><!--begin paragraph--></p><p><span class="drop">A</span>t art school at Yale, I wanted to do a project where the Red Cross would come into the gallery space and conduct a blood drive. There’s something really amazing about the regenerative aspect of donating, and I’m interested in how such a personal thing for a donor has an immediate anonymity.</p><!--end paragraph--> <p><!--begin paragraph--></p><p>But when I talked to the Yale dean about my idea for a show, a red flag went up. Another Yale artist had recently proposed a project documenting her self-induced abortions, and maybe Yale still had some raw nerves about the media attention that got. They told me, “We just can’t do this.”</p><p><br /></p><p><a href="http://www.zachfeuer.com/katelevant_2009pr.pdf">Press Release</a><br /></p><p><br /></p><p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN9D_1kTIPjINHdIbi-oqqw57XVI5Xw-46H7V_llHG5MPEsJDYKGAZBojOOmZuqYes_RNKj3_NlUNDeRYn0LQ5kM5rIrVVAS3htQcLCwb5gzSMZfIQD3ivz4cA4-bGdGy1D3u5yJQBOEZ4/s1600-h/KL-outcast-m.jpg"><img style="cursor: pointer; width: 358px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN9D_1kTIPjINHdIbi-oqqw57XVI5Xw-46H7V_llHG5MPEsJDYKGAZBojOOmZuqYes_RNKj3_NlUNDeRYn0LQ5kM5rIrVVAS3htQcLCwb5gzSMZfIQD3ivz4cA4-bGdGy1D3u5yJQBOEZ4/s400/KL-outcast-m.jpg" alt="" id="BLOGGER_PHOTO_ID_5375480334703705426" border="0" /></a></p><p><br /></p><!--end paragraph--> <p><!--begin paragraph--></p><p>I kept trying and was getting shut down over and over again. Finally, a former professor of mine e-mailed my proposal to <a href="http://www.zachfeuer.com/katelevant_2009.html">Zach Feuer</a>, who invited me to curate a summer show of my installation and work by other artists. I’ve never curated anything before, but he’s giving me a lot of freedom. It’s amazing. Then next month I go back to New Haven for another year of school.</p>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-59214837409161021782009-08-25T09:38:00.000-07:002009-08-25T09:48:01.063-07:00Marclay "Screenplay"This is one of Marclay’s visual scores, in which found materials are collated as a representation of a sound performance to be interpreted by musicians. It is Marclay’s intention that his film be viewed by performers as a score. <em>Screenplay</em> is compiled from film footage that Marclay spliced into something of a narrative. In addition, he introduced simple, colorful digital animations of lines and waveforms and big, round dots on top of some of the footage. In following series of images, for example, a conductor appears on screen. It is one of the more explicitly music-related sequences in <em>Screenplay</em>, which is more often packed with seemingly random images of buildings and under-water scenes.<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/wyjr44MM6J0&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/wyjr44MM6J0&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/_i0RW9bmRcs&hl=en&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/_i0RW9bmRcs&hl=en&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br />In this segment, a thick line traces the path of the conductor’s hand, until, over time, his face is almost entirely obscured:<p style="text-align: center;"><img src="http://disquiet.com/images/2009/2009.03/2009.03-marclay/2009.03-marclay16.jpg" border="0" height="311" hspace="10" width="392" /></p><p style="text-align: center;"></p><p style="text-align: center;"><img src="http://disquiet.com/images/2009/2009.03/2009.03-marclay/2009.03-marclay66.jpg" border="0" height="311" hspace="10" width="392" /></p> <p>Marclay’s art often has a magnetic quality, in which the world seems to conform itself to his mindset. For example, in the sequence depicted above, the actions of the conductor, which already were meant to give instruction to musicians, take on a whole new symbolic purpose. </p> <p>There is a stream-of-consciousness quality to Marclay’s <em>Screenplay</em>. For example, at one point there’s a chase scene that ends up with a door being locked, followed by a close-up of the lock, and then when the key falls out of the lock, something on the floor explodes, which leads to numerous sequences of ever more out-of-control fires, which then leads to scene after scene of water. Each of the segments of the silent, unfolding story is taken from a different pre-existing source, but through Marclay’s editing, they’re combined into something fluid and whole. As with the numerous printed scores on display, <em>Screenplay</em> is running unaccompanied by music — if Marclay uses art as score, in this setting his score is the art.</p><p><br /></p><p>Bio</p><p><strong>Christian Marclay</strong> is a New York based visual artist and composer whose innovative work explores the juxtaposition between sound recording, photography, video and film. Born in California and raised in Geneva (Switzerland), he studied sculpture at the Massachusetts College of Art in Boston and at Cooper Union in New York. As performer and sound artist Christian Marclay has been experimenting, composing and performing with phonograph records and turntables since 1979 to create his unique "theater of found sound." Marclay has collaborated with musicians such as John Zorn, Elliott Sharp, Fred Frith, Zeena Parkins, Shelley Hirsh, Christian Wolff, Butch Morris, Otomo Yoshihide, Arto Lindsay, and Sonic Youth among many others. A dadaist DJ and filmmaker his installations and video / film collages display provocative musical and visual landscapes and have been included in exhibitions at the Whitney Museum of American Art New York, Venice Biennale, Centre Pompidou Paris, Kunsthaus Zurich, San Francisco Museum of Modern Art.</p><p></p>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-66246025384217470622008-04-27T19:04:00.000-07:002008-04-27T19:06:38.822-07:00Video killed the Photographer<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/x8XluynKckE&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/x8XluynKckE&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br />Gregory Crewdson is the one that looks like a dairy cow<br /><br /><img src="file:///C:/DOCUME%7E1/Faculty/LOCALS%7E1/Temp/moz-screenshot.jpg" alt="" />Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com1tag:blogger.com,1999:blog-3181526171889731023.post-21004489790859504332008-04-17T19:36:00.000-07:002008-04-17T19:42:36.916-07:00<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYMiY9BiYgoGr2bp1zB7R7lMpYcg9tUvCKrbHfmsF85omnKfTo5VguFzQyElI4YbQzDHQ9Ajrs1IyuDkLDxhIx7ehy2URcB_IkGhOBiTaJbcgvtcywBfMq8vd8uqYIj-BMPYAWP9v93aiK/s1600-h/2420233854_8bd7a9525f_o%5B1%5D.jpg"><img style="cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYMiY9BiYgoGr2bp1zB7R7lMpYcg9tUvCKrbHfmsF85omnKfTo5VguFzQyElI4YbQzDHQ9Ajrs1IyuDkLDxhIx7ehy2URcB_IkGhOBiTaJbcgvtcywBfMq8vd8uqYIj-BMPYAWP9v93aiK/s400/2420233854_8bd7a9525f_o%5B1%5D.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5190409422532100306" /></a><br /><br /><br />The New Yorker has posted a fascinating time-lapsed <a href="http://www.newyorker.com/online/video/2008/04/21/080421_elevators">video</a> of Nicholas White, who was trapped in an elevator for forty-one hours. Mr. White stays remarkably calm during his ordeal.Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-63317865075035664052008-04-14T19:58:00.000-07:002008-04-14T21:15:48.667-07:00some Watts - some Williams- a Watts Williams Stack<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/LAe13BpReHg&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/LAe13BpReHg&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br /><<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/ga6ryqiDfzU&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/ga6ryqiDfzU&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-17427951633369868582008-04-05T16:30:00.000-07:002008-04-05T16:45:31.651-07:00Altman -- The Company : "My Funny Valentine"<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/3n37R4o1WTM&hl=en"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/3n37R4o1WTM&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-73096580288741781482008-03-31T20:59:00.000-07:002008-03-31T22:55:18.334-07:00Welcome April 1st -- Day of the Fools<object height="350" width="400"><param name="allowFullScreen" value="true"><param name="movie" value="http://www.superdeluxe.com/static/swf/share_vidplayer.swf"><param name="FlashVars" value="id=D81F2344BF5AC7BB54776C3B6772B88B0B884EA49DF0C047"><embed src="http://www.superdeluxe.com/static/swf/share_vidplayer.swf" flashvars="id=D81F2344BF5AC7BB54776C3B6772B88B0B884EA49DF0C047" type="application/x-shockwave-flash" allowfullscreen="true" height="350" width="400"></embed></object><br /><br /><embed style="width:400px; height:326px;" id="VideoPlayback" type="application/x-shockwave-flash" src="http://video.google.com/googleplayer.swf?docId=-489885651925767878&hl=en" flashvars=""> </embed>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-82708237774536773922008-03-14T09:23:00.000-07:002008-03-14T09:24:05.087-07:00Quick SurveyIf you are reading this blog, please leave a comment below (preferably your name). I just want to see how many people are actually reading.Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com6tag:blogger.com,1999:blog-3181526171889731023.post-41235114307701788862008-03-10T10:33:00.000-07:002008-03-11T05:53:03.291-07:00Rule # : Documentation is Performance<span style="font-weight: bold;">Final Class Projects<br /><br /></span>Group 1<br />_______<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbdOAkp0te_JT9wdQUFhBRZv4rKMudVighAhaS6OL_8oz7OASeaUxstJGDsoAOUHlNwaq7R64zzT3tpS6xDfM-Pq2c9sVVoPtk2ROE2SP4vaGflxSbiDZI3AF0IiATOgjYGTE7Q5EkFbY6/s1600-h/Group-1a.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbdOAkp0te_JT9wdQUFhBRZv4rKMudVighAhaS6OL_8oz7OASeaUxstJGDsoAOUHlNwaq7R64zzT3tpS6xDfM-Pq2c9sVVoPtk2ROE2SP4vaGflxSbiDZI3AF0IiATOgjYGTE7Q5EkFbY6/s400/Group-1a.jpg" alt="" id="BLOGGER_PHOTO_ID_5176464688042313762" border="0" /></a><br /><br /><br />Group 2<br />______<br /><br /><span style="color: rgb(255, 0, 0);">Poor Documentation</span><br /><br />Group 3<br />______<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVHBowEidrxt40VYM1xG6PJJipkpWxyx5LrjlB0iZ3FliuAqkvNZMw6CGCoBz7tG3GplwBil18OFsWJjCdyJOVwX4m-jrp6ShFhrDNTqQEIUAflvo480FyNNCOHAjQO2HjGu3U3Y0mSLfn/s1600-h/Group-3a.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVHBowEidrxt40VYM1xG6PJJipkpWxyx5LrjlB0iZ3FliuAqkvNZMw6CGCoBz7tG3GplwBil18OFsWJjCdyJOVwX4m-jrp6ShFhrDNTqQEIUAflvo480FyNNCOHAjQO2HjGu3U3Y0mSLfn/s400/Group-3a.jpg" alt="" id="BLOGGER_PHOTO_ID_5176466066726815794" border="0" /></a><br /><br /><br /><br /><span style="font-weight: bold;"></span>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-1516850047981005182008-03-10T08:54:00.000-07:002008-03-10T09:04:29.409-07:00Skateboard Ballets and Indie Cult-ure<object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/mTzEp4CeWT8"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/mTzEp4CeWT8" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br /><br /><br /><span style="color: rgb(4, 91, 6);font-size:85%;" ><b>This was originally part of an art performance. That idea originated in the mind of German artist Johannes Wohnseifer. He enlisted skateboarder Mark Gonzales. Cheryl Dunn them document this performance and turned footage and interviews into a film called "Backworlds for Words." Jason Schwartzman got permission to remix the video footage and sync it to the music for a music video for his band Coconut Records. The song title is "West Coast."<br /><br />Check out some of the original footage at Dunn website in bio below (interesting hearing new soundtrack).<br /><br /><br /><br /></b></span><p> <span style="color: rgb(4, 91, 6);font-family:Arial;font-size:100%;" ><b>Johannes Wohnseifer</b> (1967- , Germany)</span><br />In 1998, he produced an exhibition at the Abteiberg Museum in Germany. He came up with the idea of exhibiting minimal artworks and having a professional skate boarder skate between them. His approach to incorporating street culture directly into artistic context has been highly successful. </p> <p> <span style="color: rgb(4, 91, 6);font-family:Arial;font-size:100%;" ><b>Mark Gonzales</b> (1969- , USA)</span><br />Most recently, Mark Gonzales was also featured in the music video, "West Coast" by Jason Schwartzman's (Rushmore's Max Fischer) band, Coconut Records. This was a skate video sequence originally filmed in 1998 at a German Museum, but was edited and synced for this music video with his permission. </p> <p> <span style="color: rgb(4, 91, 6);font-family:Arial;font-size:100%;" ><b>Cheryl Dunn</b> (1960- , USA) <a href="http://www.cheryldunn.net/films/back_worlds_for_words.html">http://www.cheryldunn.net/films/back_worlds_for_words.html</a></span><br />Her second film, Backworlds for Words (1999), is a documentation of a skateboard ballet, choreographed by artist/professional skateboarder Mark Gonzales for the Stadtisches Museum in Monchengladbach, Germany. The film includes footage of the actual performance as well as candid interviews and documentation of Gonzales performing poetry readings around Germany. </p> <p> <span style="color: rgb(4, 91, 6);font-family:Arial;font-size:100%;" ><b>Jason Schwartzman</b> (1980- , USA)</span><br />Prior to acting, he was the drummer for the band Phantom Planet (best known for their hit single "California," the theme song for The O.C.). In 2007, he created the pop/rock solo act Coconut Records. The first CD was released on iTunes on March 20, 2007. Songs include "West Coast," "Nighttiming," and "This Old Machine." </p>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com2tag:blogger.com,1999:blog-3181526171889731023.post-55872266599692705912008-02-15T20:48:00.000-08:002008-02-15T20:52:43.943-08:00Scott Kildall<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRMwTY3CZoWlLENDQburKeYjfAn8ndnmuKC3fmSclbWq3uo6q7tfALr43Oek-2D0Bn8s0fU2EJjHMOWKKuBFpDQ4fArEy7PQpYjhAn-rU-XkpcMxBP5G1DgS0oOfixBcisPdEMo80tFIqi/s1600-h/pa_energy_800.jpg"><img style="cursor: pointer; width: 419px; height: 278px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRMwTY3CZoWlLENDQburKeYjfAn8ndnmuKC3fmSclbWq3uo6q7tfALr43Oek-2D0Bn8s0fU2EJjHMOWKKuBFpDQ4fArEy7PQpYjhAn-rU-XkpcMxBP5G1DgS0oOfixBcisPdEMo80tFIqi/s320/pa_energy_800.jpg" alt="" id="BLOGGER_PHOTO_ID_5167436182702682050" border="0" /></a><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoPZD9nybvlbk362EW9ntx9xEBWyGTm3Wf3urB2OHQnEg9Dhzx5Y8wNfRJm1L42e5o5vhYj4wIgaxDOybufOPa5eFIBcEFG4U-9W0Ujj2wczI9QzcmZPQl7sR6pdUMyZ2mHEUV94Wh6DiH/s1600-h/marina_abramovic_&_ulay_410.jpg"><img style="cursor: pointer; width: 418px; height: 305px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoPZD9nybvlbk362EW9ntx9xEBWyGTm3Wf3urB2OHQnEg9Dhzx5Y8wNfRJm1L42e5o5vhYj4wIgaxDOybufOPa5eFIBcEFG4U-9W0Ujj2wczI9QzcmZPQl7sR6pdUMyZ2mHEUV94Wh6DiH/s320/marina_abramovic_&_ulay_410.jpg" alt="" id="BLOGGER_PHOTO_ID_5167436186997649362" border="0" /></a><br /><h2><a href="http://www.kildall.com/artwork/2007/paradise_ahead/paradise_ahead.html" target="_blank">Paradise ahead</a>, in which he explores the possibillities of performance art in Second Life or <a href="http://www.kildall.com/artwork/2007/uncertain_location/uncertain_location.html" target="_blank">Uncertain Location</a>, about which he writes: </h2> <p style="font-style: italic;" align="justify"> In the summer of 2006, NASA announced that the original Apollo 11 moon landing tapes were missing. The video broadcast on television was transmitted through space and then shot off a video monitor in Houston ground control. The originals were better resolution, higher contrast and crisp in detail. No one has seen then this footage. Many have asked questions about the truth of this event.</p> <span style="font-style: italic;">I have completely recreated a 1-minute segment of the original — where Neil Armstrong and Buzz Aldrin plant the American flag with the lunar lander in the background. At exhibitions, I give or sell prints from the recreated video. As the public takes home prints, I erase the corresponding frames from my own.<br /><br /></span><p align="center"><img src="http://www.beikey.net/mrs-deane/images/killdall.jpg" name="killdall" height="301" width="450" /></p> <p align="center">from uncertain location © scott kildall</p>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-37202104146107205602008-02-15T14:11:00.000-08:002008-02-15T14:18:06.794-08:00Sweded -- Gondry Revolution<span style="font-size:78%;"><object height="355" width="425"><param name="movie" value="http://www.youtube.com/v/i5Rd8x4OJoY&rel=1"><param name="wmode" value="transparent"><embed src="http://www.youtube.com/v/i5Rd8x4OJoY&rel=1" type="application/x-shockwave-flash" wmode="transparent" height="355" width="425"></embed></object><br /><br /><br /></span><ul><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=145">American Beauty.</a></span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl24_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=167"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl24_TitleLabel">Air Force One.</span></a></span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl14_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=133"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl14_TitleLabel">Alvin and the Chipmunks.</span></a></span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl21_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=131"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl21_TitleLabel">An Inconvenient Truth.</span></a></span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl26_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=43"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl26_TitleLabel">A Nightmare on Elm Street.</span></a></span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=MZ7DjfCysYo">American Pie</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=57">Apocalypse Now</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl20_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=130"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl20_TitleLabel">Around the World in 80 Days</span></a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=82">Armageddon</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=94">Back To the Future Part 2</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl20_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=52"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl20_TitleLabel">Bambi</span></a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=89">Batman Begins</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl04_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=66"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl04_TitleLabel">Be Kind Rewind</span></a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl25_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=85"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl25_TitleLabel">Big.</span></a></span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl06_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=106"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl06_TitleLabel">The Big Lebowski.</span></a></span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=74">The Birds</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=9n5WmS7eWp0">Blade Runner</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=146">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=K_Qh4Ko-308">Boogie Nights</a>.</span></li><li><span style="font-size:78%;">Boys In The Hood. <a href="http://www.youtube.com/watch?v=QTqNgJn-M4s">Official</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=84">Braveheart</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=86">The Breakfast Club</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=KT7c09kAfgw">Bridget Jones Diary</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=Z-eWw081nNg">Charlies Angels</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl07_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=91"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl07_TitleLabel">Children of Men</span></a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=sR-Se51C5ic">Cliffhanger</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=22">Contact</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=175">Crazy/Beautiful</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=pT6XYtlIGj0">Die Hard</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=87">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=bZXPpT82qtIhttp://www.youtube.com/watch?v=bZXPpT82qtI">Dirty Dancing</a>. <a href="http://www.youtube.com/watch?v=VsaqbCjnLcs">And again.</a></span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=42">Easy Rider</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=78">Edward Scissorhands</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl27_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=40"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl27_TitleLabel">Exorcist</span></a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=93">Face Off</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl11_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=124"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl11_TitleLabel">The Fast and the Furious: Tokyo Drift</span></a></span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=QxRNlf0QARg">Fight Club</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=121">Forest Gump</a>. <a href="http://www.youtube.com/watch?v=oDs2B5KWf0U">And again</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl14_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=160"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl14_TitleLabel">The Forty Year Old Virgin</span></a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=95">Freaky Friday</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.dailymotion.com/relevance/search/sweded/video/x48led_office-sweded-6-full-metal-jacket_shortfilms">Full Metal Jacket</a>.<br /></span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=RpNCL0Tifbo">Ghost</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=24">Ghostbusters</a>. <a href="http://www.youtube.com/watch?v=DJLXjlsKCVc">Official</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=xn_Y4SkwVtc">Goldfinger</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl02_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=25"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl02_TitleLabel">Goodfellas</span></a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl25_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=156"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl25_TitleLabel">Gone with the Wind</span></a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=174">Groundhog Day</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl11_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=126"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl11_TitleLabel">Harry Potter and The Goblet of Fire</span></a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=_S_0-kldlhg">Home Alone</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=TUhySHAGkK0">Hook</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=gUa4rtMm59I">Indiana Jones</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=UODs7cGt3V4">Jaws</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=169">Jurassic Park</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=99">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=153">The Karate Kid</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=112">And again</a>. <a href="http://www.youtube.com/watch?v=YsNmzjF1Hp8">And again</a>. <a href="http://www.youtube.com/watch?v=pY7TbKVOIgU">And again.</a></span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=UjNovjuxs4Y">Kill Bill</a>. <a href="http://www.youtube.com/watch?v=WOEfo3pCdk4">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=117">King Kong</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl19_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=168"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl19_TitleLabel">koyaanisqatsi</span></a></span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=165">Labyrinth</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=103">Lars and The Real Girl</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl04_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=132"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl04_TitleLabel">The Last Samurai.</span></a></span></li><li><span style="font-size:78%;"><a href="http://video.google.com.au/url?docid=-4848576306084729007&esrc=sr40&ev=v&len=108&q=sweded&srcurl=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DvLZlidlxr1E&vidurl=%2Fvideoplay%3Fdocid%3D-4848576306084729007%26q%3Dsweded%26total%3D118%26start%3D30%26num%3D10%26so%3D0%26type%3Dsearch%26plindex%3D9&usg=AL29H221IIC5-uijPBCND73WzeCI6ys5Nw">Lethal Weapon</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=70">Lolita</a>.</span></li><li><span style="font-size:78%;">Lord Of The Rings. <a href="http://www.youtube.com/watch?v=AtSYLGXnnE8">Part 1</a> & <a href="http://www.youtube.com/watch?v=Zd8DwFqoLdY">Part 2</a>. <a href="http://www.youtube.com/watch?v=FRhU22dEfGg">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=vXzj--TIoDA">The Matrix</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=96">And again</a>. <a href="http://www.dailymotion.com/relevance/search/sweded/video/x48ly2_office-sweded-4-matrix_shortfilms">And again</a>.<br /></span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=83">My Fair Lady</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl29_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=49"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl29_TitleLabel">Predator</span></a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=OwBTZPYSwxE">Pretty Woman</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=97">The Princess Bride</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=61">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=x_7pp7ybFzs">Psycho</a>. <a href="http://www.youtube.com/watch?v=b0FEyIq2Vbc">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=46">Purple Rain</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=128">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=143">Pulp Fiction</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=56">And again</a>. <a href="http://www.youtube.com/watch?v=bzvLcLZ8umM">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=dA5czfynzos">Rambo</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=GmAZwdOOLYY">Repo Man</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=3afLgPjh2tk">Reservoir Dogs</a>.</span></li><li><span style="font-size:78%;">Robocop. <a href="http://www.youtube.com/watch?v=9ZM5ZD0t1sg">Official</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=k2kjj_FaAFM">Rocky</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=136">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=26">Run Lola Run</a>.</span></li><li><span style="font-size:78%;">Rush Hour 2. <a href="http://www.youtube.com/watch?v=VDmBcSJKyz4">Official</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl21_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=105"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl21_TitleLabel">Say Anything</span></a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=1i4W_XhHc40">Scarface</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=PuY5dTGB0Fo">The Science of Sleep</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=I1RxzvD0ofs">Scream</a>. <a href="http://www.dailymotion.com/relevance/search/sweded/video/x48mjr_office-sweded-1-scream_shortfilms">And again</a>.<br /></span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl18_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=166"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl18_TitleLabel">Shaun of the Dead</span></a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=I2unsGNFdts">The Shining</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=114">And again</a>. <a href="http://www.youtube.com/watch?v=I2unsGNFdts">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=48">Sideways</a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl02_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=77"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl02_TitleLabel">Silence of the Lambs</span></a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl18_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=39"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl18_TitleLabel">The Sound of Music</span></a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=158">Speed</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=71">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=54">Star Wars</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=88">Star Wars Episode IV</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=v6g0zJVO8qA">Taxi Driver</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=108">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=152">The Thing</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=0dCuynrRZTM">Titanic</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=65">And again</a>.</span></li><li><span style="font-size:78%;"><a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=122">Top Gun</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=162">And again.</a></span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=2_UJa7gsaxY">Total Recall</a>.</span></li><li><span style="font-size:78%;"><a href="http://www.youtube.com/watch?v=P-PnEX8CAcw">Twister</a>. <a href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=63">And again.</a></span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl28_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=102"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl28_TitleLabel">Waterworld</span></a>.</span></li><li><span style="font-size:78%;"><a id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl15_FilmLink" href="http://beta.filmmakingfrenzy.com/sites/filmfrenzy_beta/ViewFilm.aspx?FilmId=47"><span id="ctl00_cphContent_FfFilmPreViewBlock_GenericGroup1_FfFilmPreviewBlock1_DataList1_ctl15_TitleLabel">When A Stranger Calls.</span></a></span></li></ul>via http://snacked.blogspot.comPaul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-67520001201183437732008-02-10T14:04:00.000-08:002008-02-15T07:03:12.503-08:001927: Between the Devil and the Deep Blue Sea<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM5gG1VT3BfPRoHFW3t9ho_LYLPA68SssvO3Pc-7JknjXQiS3pqnaJ3fYFEg82YKdu20g5gVVNN7MfsPzAoRwGvmTYmXrgDK4AIkgab_dGtYZ3ChMnSa5fNdGOuAzlKtdg7l3ubczESCkM/s1600-h/Picture+1.png"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM5gG1VT3BfPRoHFW3t9ho_LYLPA68SssvO3Pc-7JknjXQiS3pqnaJ3fYFEg82YKdu20g5gVVNN7MfsPzAoRwGvmTYmXrgDK4AIkgab_dGtYZ3ChMnSa5fNdGOuAzlKtdg7l3ubczESCkM/s400/Picture+1.png" alt="" id="BLOGGER_PHOTO_ID_5165482264640777746" border="0" /></a><br /><span class="eventSummary"><br /><br />Created by the new British theater company 1927, <i>Between the Devil and the Deep Blue Sea</i> combines live music, performance and storytelling with films and animations. Using the aesthetic of silent film, a series of comic vignettes unfold in which the performers interact with the animations.</span><br /><br /><br /><a href="http://www.19-27.co.uk/">1927</a><br /><br /><br />The dark whimsy presented in these ten vignettes is fun for the whole family.<br /><br />Reviewed by Ellen Wernecke<br /><br />A cursory description of "Between the Devil and the Deep Blue Sea" would only pigeonhole it as the ur-Fringe show: A combination of hand-drawn animation, silent-movie acting and live vaudeville piano, invoking fairy tales and Satan, it seems (on paper) like the kind of show destined to stay on the edges of popular theatre, despite its award as the Best of Edinburgh at last year's Edinburgh Fringe Festival. But no one who caught "Between the Devil..." at its short stay at PS122 would have described it as morbid or Gothic; even though it occasionally touches those poles, this deeply weird show was far more funny than creepy.<br /><br />The show, created by the performance group 1927 (actresses Suzanne Andrade and Esme Appleton are seen on stage, with Lillian Henley at the piano, and filmmaker and co-director Paul Barritt behind the scenes), consists of 10 "terrible tales" told through film and live acting, often simultaneously. The stories aren't related, although two of them are narrated by very similar pairs of creepy sisters. Some deal directly with death, as in the opening vignette, "The Nine Lives of Choo Choo le Chat," which depicts how each of the nine lives of an unlucky cat ended. Others apply the show's magical-realist logic to subjects like door-to-door salesmen ("Sinking Suburbia") and the allure of the deep fryer ("Home Sweet Home").<br /><br />These vignettes feel (and thanks to Henley's accompaniment, sound) like a series of lost shorts unearthed from a five-cent carnival booth. Andrade and Appleton have the faces and mannerisms of silent-movie actresses, and perform with impeccable timing to the films shown behind (and around) them. But the night's funniest gag was the kidnapping of an audience member to pose as "Grandma," who is dressed up by the actresses and then taken behind the screen as the film shows the tortures two sisters enact on her. Even without that participatory interlude, "Between the Devil..." is a lively and inventive little show which, pending 1927's world tour, will hopefully gain a larger audience than Fringe-goers.<br /><br /><br /><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxVHdlRGY_wrm4tbjiOVpXUCmmWY7DvEBRPypOOCYm5h3t9uBTFTStm1-54_1fIYs6AeOhzYfW8vZhOjwro' class='b-hbp-video b-uploaded' frameborder='0'></iframe>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-8893099763182612142008-02-08T10:01:00.000-08:002008-02-08T10:07:29.111-08:00Improv Everywhere<object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/jwMj3PJDxuo&rel=1"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/jwMj3PJDxuo&rel=1" type="application/x-shockwave-flash" wmode="transparent" width="425" height="355"></embed></object><br /><br /></p> <blockquote>On a cold Saturday in New York City, the world’s largest train station came to a sudden halt. Over 200 Improv Everywhere Agents froze in place at the exact same second for five minutes in the Main Concourse of Grand Central Station. Over 500,000 people rush through Grand Central every day, but today, things slowed down just a bit as commuters and tourists alike stopped to notice what was happening around them. </blockquote><br /><br /><a href="www.improveverywhere.com/ - 41k "></a>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-39172140595802292512007-12-14T11:28:00.001-08:002007-12-14T11:28:49.390-08:0012/17 Final PerformancesMonday Performance Exam Schedule<br /><br />Room 305<br /><br />9-11:30 AM Group 3 (Pugh, Contreras, Coleman) -- Performance Starting Time 10:15 AM<br /><br />11 - 1:30 Group 2 (Pellegrini, Meyer, Germanotta, Craddock) Performance Starting Time 12:15 PM<br /><br />1-3:30 Group 1(Harvey, Merola, Parker, Bell) Performance Starting Time 2:15 PM<br /><br />These time periods are for setup, event, critique, and cleanup. After each performance the room must be returned to its original condition by the performance group.<br /><br />The class will meet as an entire group only for the three events and critiques. During the breaks, groups (you will not be allowed in the room) should feel free to roam campus -- go eat-- go home-- do whatever they would like but must be outside the classroom door ten minutes prior to each of the three performance starting times. If you are late, you will not be allowed into the classroom and your grade will suffer.<br /><br />Please come prepared for your performance -- projectors, cameras, mics, cleaning supplies (bags, broom, dust pan, etc.), props, stands, lights, etc. . The success of the event is up to the group.<br /><br />break a leg-- just not minePaul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-74030943668028801082007-11-26T06:45:00.000-08:002007-11-26T06:49:18.640-08:00Final Exam - December 17th, 9-3PMHere is the date and time...more details to come.Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-47743112732378689542007-11-12T16:40:00.000-08:002009-09-09T15:52:03.833-07:00Sharon Hayes<span style="font-weight: bold;">In the Near Future</span><br />stages a set of anachronistic and speculative<br />actions in an ongoing investigation into the figure of the protester. Once a day, from November 1 to November 9th, 2005, Sharon Hayes stood on the street with a sign at nine different locations throughout New York City. Audience was invited to come and document these actions.<span><span><br /></span></span><img src="http://www.shaze.info/assets/stills_itnf/itnf_ny_1.jpg" height="274" width="400" /><br /><p><span style="color: rgb(255, 153, 102);font-size:85%;" ><strong><span style="font-family:Arial,Helvetica,sans-serif;"><strong><a href="http://www.shaze.info/thenearfuturepics.html"><strong><br /></strong></a></strong></span></strong></span></p><p><span style="color: rgb(255, 153, 102);font-size:85%;" ><strong><span style="font-family:Arial,Helvetica,sans-serif;"><strong><a href="http://www.shaze.info/thenearfuturepics.html"><strong> </strong></a><strong><a href="http://www.shaze.info/#">more pictures</a></strong></strong></span></strong></span></p> <p><span style="color: rgb(255, 153, 102);font-size:85%;" ><strong><span style="font-family:Arial,Helvetica,sans-serif;"><strong><a href="http://www.shaze.info/itnfviennapics.html"><strong><br /></strong></a></strong></span></strong></span></p><img src="http://www.shaze.info/assets/stills_itnf/itnf_gen_1.jpg" height="262" width="400" /><br /><span><span><span style="font-weight: bold;">Symbionese Liberation Army (SLA) Screeds #13, 16, 20 & 29</span><br /><br /></span></span><span style=";font-family:Arial,Helvetica,sans-serif;font-size:78%;" ><span style="font-size:100%;"><a href="%3Cobject%20width=%22425%22%20height=%22344%22%3E%3Cparam%20name=%22movie%22%20value=%22http://www.youtube.com/v/Uvj8_rlv6gI&hl=en&fs=1&%22%3E%3C/param%3E%3Cparam%20name=%22allowFullScreen%22%20value=%22true%22%3E%3C/param%3E%3Cparam%20name=%22allowscriptaccess%22%20value=%22always%22%3E%3C/param%3E%3Cembed%20src=%22http://www.youtube.com/v/Uvj8_rlv6gI&hl=en&fs=1&%22%20type=%22application/x-shockwave-flash%22%20allowscriptaccess=%22always%22%20allowfullscreen=%22true%22%20width=%22425%22%20height=%22344%22%3E%3C/embed%3E%3C/object%3E" target="_blank">play video</a><br /><br /></span></span><img src="file:///Users/zygote65/Library/Caches/TemporaryItems/moz-screenshot-1.jpg" alt="" /><img src="file:///Users/zygote65/Library/Caches/TemporaryItems/moz-screenshot-2.jpg" alt="" /><img src="file:///Users/zygote65/Library/Caches/TemporaryItems/moz-screenshot-3.jpg" alt="" /><img src="file:///Users/zygote65/Library/Caches/TemporaryItems/moz-screenshot-4.jpg" alt="" /><br /><img src="http://www.shaze.info/assets/stills_sla/sla1.jpg" height="300" width="400" /><br /><p align="justify">On February 4, 1974, Patty Hearst was kidnapped from her apartment in Berkeley, California by a radical political organization called the Symbionese Liberation Army (SLA). From February to April, 1974, the SLA and Patty Hearst made four audio tapes in which she addresses her parents on the subject of her kidnapping, the SLA's ransom (that the Hearst family feed all the poor people in California) and the family and the FBI's actions during the ordeal. In the last tape, Hearst renames herself Tania and announces that she is joining the SLA in their struggle. From June 2001 to January 2002, Sharon Hayes performed a respeaking of each of the four audio tapes. In each instance, Hayes partially memorized the transcript of the audio tape and spoke the text in front of an audience to whom she gave a transcript of the text. She asked them to correct her when she was wrong and to feed her a line when she needed it. </p> <p align="justify"><span style=";font-family:Arial,Helvetica,sans-serif;font-size:78%;" ><br /></span></p> <p align="justify"><span><span><span style="font-style: italic;">Born in 1970, Sharon Hayes gained her MFA from the Interdisciplinary Studio at UCLA’s Department of Art (2003). Part anthropological fieldworker, part dramaturge, New York based Sharon Hayes’ artistic role is to orchestrate and document collective activity in the public domain. Her video, performance and installation projects have engaged individual and group perceptions of political events and ideologies, employing conceptual and methodological approaches borrowed from artistic and academic practices such as theater, film, anthropology, linguistics, and journalism. Hayes’ work has been shown at P.S. 1 Museum of Contemporary Art, Andrew Kreps Gallery, Parlour Projects, Dance Theater Workshop, and at the New </span></span></span><span style="font-style: italic;">Museum of Contemporary Art. She has also shown in galleries, exhibition or performance spaces in Bogotá, Berlin, Copenhagen, Malmö, Vienna and Zagreb. Hayes was a 1999 MacDowell Colony Fellow; received a New York Foundation for the Arts Fellowship (1999); and she was a participant in the Whitney’s Independent Study Program (1999-2000).</span><br /></p><span><span> <br /> <br /><br /></span></span>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-1731754703351630192007-10-31T10:42:00.001-07:002007-10-31T10:43:58.156-07:00Virtual PerformanceMTV Europe Awards marked the first live performance of Gorillaz, using the Musion Eyeliner System to beam three-dimensional holographic style performing cartoon characters on stage. Their appearance at the MTV Awards 2005 in Lisbon was billed as the 'world's first 3D hologram performance' and was one of the highlights. <p>As the world's most successful "virtual band", the human artists behind Gorillaz traditionally appear at live gigs as silhouettes on a giant screen combined with images of their cartoon alter egos.</p> Gorillaz has also announced plans to collaborate once again with Passion Pictures to produce a full live holographic tour for 2007-2008, or perhaps, a better description is that there may be several tours, since the members can be duplicated at will.<br /><a href="http://www.eyeliner3d.com/downloads/lisbongorillazmtv.mpg"><br />Video</a>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-2309496849139650012007-10-31T10:34:00.000-07:002007-10-31T10:37:42.809-07:00Merging Myths<h2 class="article_title">Merging Myths and the Everyday - “Fiction for the Real” </h2> <div class="excerpt"><p><br />"Fiction for the Real" Exhibition</p> </div> <div id="references"><div class="tabevent"><a href="http://www.tokyoartbeat.com/event/2007/5249"></a> <p>at <strong>The National Museum of Modern Art, Tokyo</strong><br />in the Nihonbashi, Kudanshita area<br />This event has ended<span></span><span></span></p></div><!-- tabevent --> <!-- related posts go here --> </div><!-- references --> <div class="articlebar"><span class="meta"></span>In Reviews by Rachel Carvosso 2007-04-27 <span class="actions"><a href="mailto:?subject=TABlog:%20Merging%20Myths%20and%20the%20Everyday%20-%20%E2%80%9CFiction%20for%20the%20Real%E2%80%9D&body=Merging%20Myths%20and%20the%20Everyday%20-%20%E2%80%9CFiction%20for%20the%20Real%E2%80%9D%0D%0Ahttp://www.tokyoartbeat.com/tablog/entries.en/2007/04/merging_myths_and_the_everyday.html" id="email"></a></span></div><br /><p><span></span><span></span></p> <div style="width: 518px;" class="arc90_imgcaption vanilla" id="arc90_imcaption2"><img alt="Chiharu Shioda, 'Bathroom' (1999)" src="http://www.tokyoartbeat.com/tablog/images/Fiction2_Shiota_Shiharu.jpg" class="arc90_imgcaptionIMG" title="Collection of the National Museum of Modern Art, Tokyo." width="518" /><p style="width: 518px;" class="arc90_imgcaptionALT"><span class="arc90_imgcaptionALT">Chiharu Shioda, 'Bathroom' (1999)</span><span></span></p><p style="width: 518px;" class="arc90_imgcaptionTXT">Collection of the National Museum of Modern Art, Tokyo.<span></span></p></div> <span></span><span></span> <p>This eerie atmosphere is also present in Chiharu Shiota’s video piece <i>Bathroom</i>, a looped DVD shown on a TV set placed at the far end of a narrow white room. The minimal echoes of this work’s ambient sounds seep into the other gallery spaces, giving you an impression of the work even before seeing it. The first image is of a claustrophobically narrow bathroom with a women sitting in the bath, except that the bath is filled with something black and her face is obscured. As the video progresses various close-up black and white shots show her ‘washing’. The textures of the black material in the bath seem watery, half way between the textures of ink and mud. Sinister like the popular Japanese horror movies of recent years, the drama in this work builds slowly but without any final resolution. Where Yanagi’s females seem collectively bored, this woman’s emotion is understated and in its subtlety conveys a real sense of desperation. Shiota makes space for the imagination to make its own associations and conclusions. <span></span><span></span></p> <div style="width: 518px;" class="arc90_imgcaption vanilla" id="arc90_imcaption3"><br /></div><p>Calle creates written and photographic narratives through her fictional diaries. They retain a suggestion of archetypes – animals, spirits, women are all visible in the the pieces but they ultimately remain stoically undefinable and visceral. Calle’s photo diaries are limited to two dimensions and therefore lack the immediacy of Ikemura’s work but their content still retains the power to seduce the viewer into a false sense of intimacy. <span></span><span></span></p> <div style="width: 518px;" class="arc90_imgcaption vanilla" id="arc90_imcaption4"><img alt="Sophie Calle, 'Letter B from ''B, C, W'' ' [part] (1998)" src="http://www.tokyoartbeat.com/tablog/images/Fiction4_Sophie_Calle.jpg" class="arc90_imgcaptionIMG" title="Collection of the National Museum of Modern Art, Tokyo." width="518" /><p style="width: 518px;" class="arc90_imgcaptionALT"><span class="arc90_imgcaptionALT">Sophie Calle, 'Letter B from ''B, C, W'' ' [part] (1998)</span><span></span></p><p style="width: 518px;" class="arc90_imgcaptionTXT">Collection of the National Museum of Modern Art, Tokyo.<span></span></p></div> <span></span><span></span> <p>In this exhibition, you find yourself forming a voyeuristic relationship to a fictional narrative, but by presenting us with this tendency through her fictional diaries, Calle highlights the fact that we behave this way more often that we at first realize. We ourselves become the protagonists of an ongoing ‘diary’ and act out our own roles.<span></span><span></span></p> The text presented at the entrance to this show suggests that the fictions represented “…tell you stories quietly or eloquently, to stimulate your ability to feel the real.” I came away from this exhibition unsure of whether I had felt the ‘real’ through these works or whether they perhaps came closer to showing the fictional nature of reality. The real that we experience is in part the fiction of our own consciousness in which stories, myths, everyday and fantastical elements merge into an indivisible whole. All four artists present us with intriguing worlds into which we can choose to enter and suspend our sense of reality. However as in any fictional world, once you leave there is no guarantee that things in the ‘real’ world will still look the same.Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com1tag:blogger.com,1999:blog-3181526171889731023.post-83230506130911986842007-10-31T10:01:00.001-07:002007-10-31T10:01:39.904-07:00Sophe Calle<span class="label"><span style="color:#000000;">Sophe Calle</span></span><br /><span class="fnt0">images: <a href="http://nachtergael.ifrance.com/gbworkssc.htm">http://nachtergael.ifrance.com/gbworkssc.htm</a><br /><br /><br />“For ‘The Hotel,’ I spent one year to find the hotel, I spent three months going through the text and writing it, I spent three months going through the photographs, and I spent one day deciding it would be this size and this frame . . . it’s the last thought in the process.”<br /><br />—Sophie Calle<br /><br />French conceptual artist Sophie Calle redefines through personal investigation the terms and parameters of subject and object, public and private. In her projects, Calle immerses herself in examinations of voyeurism and identity. Often playing roles or adopting guises, she recasts her own identity to reconstruct or document strangers' lives, examining the relationship between the artist and the objects of her investigations.<br /><br /><br /><br /><br /><br />Article:<br /> <br /><br />'The worse the break-up, the better the art'<br /><br />Amelia Gentleman talks to Sophie Calle, France's most famous conceptual artist, about the upsides of misery, the pull of the bizarre and the joy of being in a Paul Auster novel<br /><br />Monday December 13, 2004<br />The Guardian<br /><br /> Sophie Calle<br />Misery guts... Sophie Calle, in front of a retrospective exhibition of her work. Photo: AFP/Getty<br /><br />Sophie Calle views the suffering that comes with the end of a relationship with uncontained glee. From a creative point of view, the worse the break-up, the better the art: even as she is experiencing pain, the artist in her is starting to calculate how best she can exploit it.<br /><br />Her new book, Exquisite Pain, is the product of a period of intense grief she experienced 20 years ago - so bad that she packed up everything associated with the relationship and its end, and left it untouched in a box until she felt strong enough to deal with it.<br /><br /><br />The book, composed of photographs, reproduced love letters, air tickets and passages from remembered conversations, takes the reader through the 92 days leading up to her abandonment, and the three months of recovery that followed. Calle had won a young artist's travel grant in 1984 and chose to take a train from Paris to Japan, leaving her boyfriend behind. They made complicated arrangements to meet in India at the end of the trip, but he called her in a hotel room in Delhi to tell her that he had fallen in love with someone else.<br /><br />Her method of getting over the shock consists of recounting her misery to everyone she meets - 99 times, with gradually diminishing emotion - and asking them to describe the worst moment of their lives in return. She taped every word of these gloomy, shared outpourings with friends and strangers, collecting 99 stories of powerful grief - the woman who is told she will give birth to a stillborn child, the boy who hears his father has died. For the Paris exhibition on which the book is based, she had the texts embroidered on to large wall hangings, which were placed next to her photographs and her assorted bits of break-up memorabilia (images of the clothes she was wearing on that day, the red telephone he called her on to say she was no longer the one).<br /><br />Calle is France's most famous conceptual artist, who has been teasing her admirers with stylised portraits of her own life and images of the lives of strangers for the past 25 years. Her work had been greeted by French critics with irritation and enthusiasm in equal measure, until last year when she became a member of the nation's art establishment with a large retrospective at the Pompidou Centre.<br /><br />She would be horrified at any suggestion that there is a self-help element to her work, and yet the way the narrative becomes less hysterical and more detached as the weeks pass is a soothing demonstration of how misery fades.<br /><br />The stories of other people's distress are captivating - beautifully and movingly written - and they save the project from being merely contrived and pretentious, or an exercise in self-indulgence.<br /><br />"Anybody who stopped to ask me why I was crying, I would tell them," she says. "My friends were all asking about the exotic trip that I had been on, but all I wanted to talk about was the end of my relationship. Sometimes I would be crying alone in a bar and someone would ask me what was wrong, and I'd explain to them, and I'd get talking.<br /><br />"At the time, I took on this project more for therapeutic than for artistic reasons. I can't remember whether I was planning to use it all later on as material - I think I must have been because I conducted the process seriously and with rigour. I knew the project would stop when I got bored with talking about my pain or when I became disgusted and ashamed of the way that my banal love affair was nothing compared to the stories of greater unhappiness they were telling me."<br /><br />With the benefit of 20 years' hindsight, Calle now dismisses the break-up itself as "banal". "It seemed at the time that it was the worst moment of my life - now it seems ridiculous," she says. "Maybe, as my friends point out, I was not suffering that much because I was still able to take a picture of the room - with the telephone and the bed - where it happened."<br /><br />After three months, she was so sick of the sound of her own voice and the tedious details of her story that the incident was packed away and left to gestate. "I look back on it now and I realise that I didn't suffer that much. In a way I feel I was really lucky, when you see how some people carry their sorrow. In the end it was an excellent deal: three months of mourning, one exhibition and one book ..." she says, with only a trace of irony; Calle has an openly cynical approach to her own emotions.<br /><br />In her studio, housed in a converted steel factory in the south of Paris, Calle has many more grey plastic boxes stacked up against the wall, and each is full of material for a future project. She is a hoarder, and has decorated her workspace with a menagerie of stuffed animals - flamingoes frozen with their wings expanded, dusty owls, monkeys climbing by the windows, snakes, bison, and a huge tiger given to her recently by a taxidermist friend who stuffed it shortly after its death in a French circus; another friend gave her the necklace of huge glass baubles which hangs around its neck. There is a plastic roasted chicken resting on piles of books on the table and a collage of gravestones on the wall outside the kitchen window. But mostly what she hoards are extracts from her life or snatches of other people's existences.<br /><br />Her most famous works consist of re-creating moments from other lives. She used to follow people around Paris, secretly taking photographs of them. Once, she followed a man to Venice, found out which hotel he was staying at and tracked him, disguised in a blonde wig, for the two-week duration of his trip, taking photographs and notes. Later she got a job as a chambermaid in a Venice hotel and took pictures of the guests' messy rooms, examining the contents of their suitcases. Calle's experiences working in Pigalle strip bars also became part of her work - she says she accepted a job as a stripper to test her own feminist principles, and she collected pictures for a series called Striptease.<br /><br />Another time, she got hold of a lost address book and called everyone inside, asking them to describe the book's owner and then published their answers every day for a month in the leftwing newspaper Libération - to the horror of her victim, who tried to get what he hoped would be revenge by persuading the paper to publish a nude picture of her. She was simply delighted by his response.<br /><br />Calle's notoriety was such that in 1992 Paul Auster, who had read about her projects, "stole" her character and incorporated it wholesale into his novel Leviathan. Auster's Maris "was an artist but the work she did had nothing to do with creating objects commonly defined as art. Some people called her a photographer, others referred to her as a conceptualist, still others considered her a writer, but ... in the end I don't think she could be pigeonholed in any way. Her work was too nutty for that, too idiosyncratic, too personal to be thought of as belonging to any particular medium or discipline ... [Her] activity didn't stem from a desire to make art so much as from a need to indulge her obsessions, to live her life precisely as she wanted to live it."<br /><br />Calle was thrilled by his decision to appropriate her for his book, and she in turn appropriated some of the extra details Auster had invented for Maris and incorporated them into her own life; the collaboration became another of Calle's projects.<br /><br />More recently, the mysterious disappearance of a museum guard, who was last seen running barefoot away from her burning Paris apartment, became the subject of another project (A Woman Vanishes, 2003). After reading in Le Monde that the missing woman, Benedicte Vincens, was a fan of her work, Calle got permission from her mother to take photographs of the charred remains of the burnt-out flat, which she exhibited alongside her text recounting the strange story. Vincens has never reappeared and her body has not been found, but the exhibit received enthusiastic reviews.<br /><br />Two years ago, Calle lay all night in a bed she had taken to the top of the Eiffel Tower (open for a night-time cultural festival) and invited passers-by to tell her stories to keep her awake. Beds appear frequently in Calle's work, prompting easy comparisons with Tracey Emin, but Calle, at 51, is a generation older than Emin, and points out that she has been doing this for much longer. Aside from their willingness to exploit their own emotions in their art, the two have little in common.<br /><br />The daughter of a Parisian art-collecting doctor and a literary journalist, Calle never went to art school and only began working as an artist to counter growing feelings of boredom and aimlessness in her mid-20s. The medium was selected, she admits, to impress her father, who was keen on conceptual art. "I did this to seduce my father. He was seduced," she says. Her father remains immensely supportive of her work.<br /><br />Calle admits that she is given to introspection when unhappy. Grief is inevitably a better subject than joy, she argues. "When I'm happy I don't photograph the moment to share with people on the wall of a museum. It doesn't translate so well. Do people like hearing someone's story about how happy they are? Not usually," she says. "I was happy with someone for seven years recently and all my friends were very worried about what I was going to produce in this pink period. I did produce a lot but mainly it wasn't about me; I didn't feel like I needed to use my feelings."<br /><br />But spontaneous unhappiness is hard to come by, and when it does Calle seizes on it with delight, prodding it and examining it, until suddenly it evaporates and she can't re-create the sensation. "I had a project that I wanted to do when I split up with the last man that I was with, but the pain went before I had time to put together the idea. In a way it was very frustrating - there just wasn't enough pain and I couldn't continue to do the work once it was gone. It would have been too superficial. I had even started to film myself, but I had to abandon it because suddenly I felt fine again. That time I dealt with the break-up in the most normal way, the way that other people do: I met someone else."</span>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-46172629672949624362007-10-31T09:51:00.000-07:002007-10-31T09:53:14.790-07:00Joan Jonas<img style="width: 382px; height: 646px;" alt="JONAS-INTRO.jpg" src="http://blog.vcu.edu/pbthulin/JONAS-INTRO.jpg" /><br /><br /><strong>JJ: "<em>Organic Honey was the name I gave to my alter ego. I found video very magical, and I imagined myself an electronic sorceress conjuring the lines.</em>"</strong><br /><br /><a href="http://www.findarticles.com/p/articles/mi_m1248/is_n7_v83/ai_17309694/pg_6">INTERVIEW</a><br /><br /><a href="http://muse.jhu.edu.proxy.library.vcu.edu/journals/performing_arts_journal/v026/26.3jonas.html">IMAGES</a><br /><br /><strong><em>"Like many members of her influential generation, Joan Jonas stopped making sense in the late 1960's, replacing narrative continuity with a fragmented multimedia performance style that incorporates drawing, sculpture and video; emphasizes everyday objects and gestures; and often uses amateur dancers and musicians. Such strategies personify the art of the early 1970's, with its love of process, heightened banality and accident. To these Ms. Jonas has always added interests of her own: folk tales and songs, shamanistic ritual and mythic beings, favored props and, sometimes, one of several soulful white dogs she has owned. A result is an air of unabashed lyricism, a wildness that is less artistic device than elemental condition, basic to life since the beginning of human consciousness."</em></strong><br />By ROBERTA SMITH<br />NYT <a href="http://query.nytimes.com/gst/fullpage.html?res=990DE2DF143EF930A35751C1A96F958260">REVIEW</a><br /><br /><br /><a href="http://www.jstor.org.proxy.library.vcu.edu/view/00125962/ap040016/04a00060/0?currentResult=00125962%2bap040016%2b04a00060%2b0%2cFF03&searchUrl=http%3A%2F%2Fwww.jstor.org%2Fsearch%2FBasicResults%3Fhp%3D25%26si%3D1%26Query%3Dorganic%2Bhoney%2Bjoan%2Bjonas">Organic Honey Performance Script</a><br /><br />Born in 1936 in New York City, Joan Jonas is a pioneer of video and performance art and one of the most important female artists to emerge in the late 1960's and early 1970's.<br /><br />She began her career in New York City as a sculptor. By 1968 she moved into what was then leading edge territory: mixing performance with props and mediated images, situated outside in natural and/or industrial environments. In her early works, such as Wind (1968), Jonas filmed performers stiffly passing through the field of view against a wind that lent the choreography a psychological mystiquue. Songdelay (1973), filmed with both telephoto and wide angle lenses (which produce opposing extremes in depth of field) drew on Jonas' travels in Japan, where she saw groups of Noh performers clapping wood blocks and making angular movements.<br /><br />Jonas’ video performances between 1972 and 1976 pared the cast to one actor, the artist herself performing in her New York loft as Organic Honey, her seminal alter-ego invented as an “electronic erotic seductress,�? whose doll-like visage seen reflected bits on camera explored the fragmented female image and women’s shifting roles. Drawings, costumes, masks, and interactions with the recorded image were effects that optically related to a doubling of perception and meaning. For Jonas, in Organic Honey and earlier performances, the mirror became a symbol of (self-) portraiture, representation, the body, and real vs. imaginary, while also sometimes adding an element of danger and a connection to the audience that was integral to the work.<br /><br />In 1976 with The Juniper Tree, Jonas arrived at a narrative structure from diverse literary sources, such as fairy tales, mythology, poetry, and folk songs, formalizing a highly complex, nonlinear method of presentation. Using a colorful theatrical set and recorded sound, The Juniper Tree retold a Grimm Brothers tale of an archetypal evil step mother and her family. In the 1990s, Jonas’ My New Theater series moved away from a dependence on her physical presence. The three pieces investigated, in sequence: a Cape Breton dancer and his local culture; a dog jumping through a hoop while Jonas draws a landscape; and finally, using stones, costumes, memory-laden objects, and her dog, a video about the act of performing.<br /><br />In her installation/performance commissioned for Documenta 11, Lines in the Sand (2002), Jonas investigated themes of the self and the body in a performance installation based on the writer H.D.’s (Hilda Doolittle) epic poem “Helen in Egypt�? (1951-55), which reworks the myth of Helen of Troy. Jonas sited many of her early performances at The Kitchen, including Funnel (1972) and the screening of Vertical Roll (1972).<br /><br />In The Shape, The Scent, The Feel of Things, produced by The Renaissance Society in 2004, Jonas draws on Aby Warburg's study of Hopi imagery. Jonas sees something of a parallel between herself and Warburg who compared diverse geographical and chronological cultures through an analysis of abstract imagery taken from their various artifacts. Drawing on sources ranging from Noh to Nordic theater, from the Brothers Grimm to Homer, Jonas' extrapolates the magic of universal narratives from the most quotidian of circumstances so that she, as well as we, may become the heroes and heroines, victims and villains of the myth of self and origin.<br /><br />Jonas’ works were first performed in the 1960s and 70s for some of the most influential artists of her generation, including Richard Serra, Robert Smithson, Dan Graham and Laurie Anderson. While she is widely known in Europe, her groundbreaking performances are lesser known in the United States, where as critic Douglas Crimp wrote of her work in 1983, “the rupture that is effected in modernist practices has subsequently been repressed, smoothed over.�? Yet, in restaging early and recent works, Jonas continues to find new layers of meanings in themes and questions of gender and identity that have fueled her art for over thirty years.<br /><br />Jonas' projects and experiments provided the foundation on which much video performance art would be based. Her influences also extended to conceptual art, theatre performance and other visual media. In 1994, Jonas was honored with a major retrospective at the Stedelijk Museum in Amsterdam in which she transformed several of her performance works into installations for the museum. In 2003 she had solo exhibitions at Rosamund Felsen in Los Angeles and the Pat Hearn Gallery in New York City.<br />In 2005 she was a professor of visual arts at the Massachusetts Institute of Technology (MIT).<br />Her works include: Organic Honey’s Visual Telepathy (1972), The Juniper Tree (1976), Volcano Saga (1985), Revolted by the Thought of Known Places… (1992), Woman in the Well (1996/2000), her portable My New Theater series (1997-1999), Lines in the Sand (2002), and The Shape, The Scent, The Feel of Things (2004).Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0tag:blogger.com,1999:blog-3181526171889731023.post-2047095321049719032007-10-31T09:44:00.000-07:002007-10-31T09:49:29.472-07:00Kate Gilmore<img alt="GILMORE.gif" src="http://blog.vcu.edu/pbthulin/GILMORE.gif" height="47" width="404" /><br /><img alt="Gilmore2.jpg" src="http://blog.vcu.edu/pbthulin/Gilmore2.jpg" height="379" width="450" /><br /><br />In her video performances, Kate Gilmore creates uncomfortable situations for herself and the viewer. These are real predicaments—sometimes painful and even potentially dangerous—but ones that she has created for herself. Gilmore’s video works force you to squirm in a strange empathetic reaction to her predicaments. Included in this exhibition will be two new works: “Main Squeeze�? and “Anything....�? “Main Squeeze�? is a two-channel video, showing the artist both coming and going as she attempts to pull herself through an ever-smaller tunnel. Her feminine, turquoise satin top becomes caught on screws and she appears to suffer bouts of claustrophobia before she finally reaches the end of the tunnel. In “Anything...�? Gilmore sets up a particularly resonant scenario for the viewer. Filmed from above, she appears to reach toward you, attempting to reach ever higher, as she builds a precarious assemblage of tables, chairs, and stools, strung together with a delicate pink twine, upon which to climb. “Her carefully constructed performances belie the impression of futility and hopelessness one might take away from her work. Rather, her meticulous control of both sets and costumes hints at the elaborate farce the artist is trying to create in her humorous video performances.�? (Katharine C. Ebner, 2005)<br /><br /><a href="http://www.pierogi2000.com/flatfile/gilmorek.html">http://www.pierogi2000.com/flatfile/gilmorek.html</a><br /><a href="http://www.realartways.org/archive/openCall/StepUp/Gilmore.pdf"><br />www.realartways.org/archive/openCall/StepUp/Gilmore.pdf</a><br /><br /><a href="http://www.saatchi-gallery.co.uk/blogon/2006/11/kate_gilmore_in_conversation_w_1.php#more">http://www.saatchi-gallery.co.uk/blogon/2006/11/kate_gilmore_in_conversation_w_1.php#more</a><br /><br /><a href="http://www.perpetualartmachine.com/index.php?option=com_gallery2&Itemid=50&g2_view=core.ShowItem&g2_itemId=13134"><br /></a>Paul Thulin-Jimenezhttp://www.blogger.com/profile/13711705662673657851noreply@blogger.com0