Berlin, Germany based Chiharu Shiota is a Japanese performance and installation artist best known for creating room-filling, monumental yet delicate, poetic environments. She weaves human-size webs from thread, turning entire galleries into labyrinthine environments and often enclosing personal objects or even herself.
Central to the artist’s work are the themes of remembrance and oblivion, dreaming and sleeping, traces of the past and childhood, and dealing with anxieties. Shiota finds diverse visual expressions for these subject matters, the most celebrated being impenetrable installations made of thread which often enclose various household and everyday, personal objects: a burnt-out piano, a wedding dress or a lady’s mackintosh.
Chicago based artist Nick Cave is widely acclaimed for his exuberant “Soundsuits”—wearable sculptural forms based on the human body, intricately composed out of a vibrant assortment of second-hand materials.
Simultaneously sculptures, costumes, and musical instruments, the Soundsuits are meant for motion. Cave and other dancers wear them, transforming them into transfixing blurs of color and sound for performances and video works. Contemplated on mannequins, the Soundsuits seem to embody the full range of human emotions. Some, covered with a pelt of dyed twigs with baskets for heads, resonate sadness; others, composed of a crazy array of colorful blankets or thrift-store tchotchkes, burst with joy and humor.
Finnish artist Antti Laitinen’s works begin with a plan, but the final pieces are usually the result of circumstances and outcomes beyond his control. Laitinen, who has a background in photography and multimedia art, primarily stages performances that he then documents or records. Many of his projects involve open-ended, experimental, or durational activities; previous undertakings have included a photographic series produced while Laitinen lived in a forest without clothes, food, or water; rowing across bodies of water in various self-fashioned vessels; and drawings made by pressing his sweaty body on a surface. Disparate as his works are, they explore recurring themes of chance, endurance, communion with nature, absurd humor, and the passage of time.
Many of Laitinen’s works deal directly with fundamental issues of Finnish identity and cultural imagery – they are pictures of masculinity set in a context of nature and culture. And yet, Laitinen is not just a humorist playing around with cultural meanings – his work attests to the presence and attitude of an author who is aware of the tradition of experimental performance art. Often we see Laitinen pushing the boundaries of his physical endurance and comfort in order to engage with the world and thus creating a dialogue between the artist’s exploration of his own identity and the wilderness.
In Laitinen’s case, the term work needs be defined with care. Many of his works are actually composed of various stages in the process of its making, when he moves from one medium and semantic context to the next. The switch produces a new, independent work, which then becomes part of the overall piece and thus incorporating different temporal stages.
Hakanaï is the union of two Japanese characters (one meaning “man” and the other “dream”) used to define the ephemeral and the fragile. In this dreamlike environment, a single dancer moves within a cube, interacting with the images projected on its walls, tracing arcing parabolas and sine waves with hands, arms, and feet.
The dancer takes a visual journey into a 3D space between dreams and reality. The choreographed performance installation combines video projection mapping, CGI, and sensors to dynamically respond to the movements and proximity of its performer. Its visuals and sounds are generated and animated live, offering a uniquely different performance for each and every iteration.
Its appeal lies in the one-on-one exchange that takes place between performer and complex programming. They often mine theoretical and mathematical sources for inspiration for their work and rely on the empirical study of the world around them as their guide.
Conception Adrien Mondot & Claire Bardainne
Danse Akiko Kajihara
Interprétation numérique, en alternance Adrien Mondot, Claire Bardainne
Création sonore Christophe Sartori, Loïs Drouglazet
Régie générale Laurent Lechenault
Dans le cadre du programme FRIMAS (Consulat Général de France à Québec et Institut français)
We can go on and on about how great this album really is, but it just takes this one song and this performance to get just how complex and interesting Justin Vernon has turned his Bon Iver project into.
We like Aaron Young plenty, a great Bay Area artist who has gone onto big things in NYC, but we think we just really like this photo of the performance piece he created with James Franco for their Venice Biennale installation, Rebel. This photo is just epic. There is an interview to read here.
Manny Ramirez retired today because he tested positive for Performance Enhancing Drugs in Spring Training. Instead of contesting or serve a 100-game suspension, he just retired, like the ass he is. And he was batting .059, which is worse than what Michael Jordan would be hitting for the Rays this year.
DIE JUNGE DIE YOUNG (The Young Die Young) is a film detailing the progression of a 2011 performance of the same name that took place in San Francisco in preparation for Future Sounds – a live collaborative performance piece between artists Jason Jaworski and Monica Canilao as a part of 2011′s Culture Club at Noise Pop Festival.
For more details, including a narrative text that accompanies the piece, please check the Performance section on the Sprinkles Sparkles and Kankles website here: sprinklessparklesandkankles.com
A recreation of a 1979 performance by Joy Divison using Playmobil stand-ins? Yeah, why not. It’s like some anal kids really professional version of Tuesday after school’s pretend session. You’d probably expect their performance to be a lot more stiff, considering they’re plastic figurines and all… but this stop motion doesn’t disappoint.