Last Seen Blogs
ladybewitched
Alaska🪞
veilyixing
𖹬line
thesithdiaries
Naerys Velaryon
despairstation13
Welcome Aboard, Crew.
tejasdeshmukh-blog1
TeeJay
Text
Photography Glossary – Tommaso Fiscaletti Workshop
o Aperture (f-stop): the opening of the lens, influencing how light or dark the image will be. Also influences depth of field. The smaller the aperture the shorter the depth of field.
o Shutter speed: the length of time the shutter remains open
o ISO: how sensitivity of the camera to light (International Organization for Standardization), changes the sensitivity and the grain of the photo.
o Exposure: how bright the image is (is affected by how much light enters the camera lens).
o Aspect ratio: the format of the image (portrait or landscape)
o Focus: How clear or blurry the subject is. Autofocus (automatic) and manual focus (physical adjustment).
o Backdrop: any material behind a subject on set
o Snoot: light attachment that narrows the beam of light emitted and creates directional light on subject.
o Dish - a bowl-shaped reflector that is mounted on the strobe head of the light to large spotlight action on subject.
o Tripod: three-legged stand allowing the camera to remain still in shooting, therefore photographs to be sharp and in focus on a slow shutter speed.
o Beauty dish: wide, flat reflector used on strobe heads that softens the light and creates a more natural and pure lighting.
o Softbox: a lighting attachment made of soft material to create dispersed ambient light that is soft in the subject.
o Gel: coloured plastic sheets placed over light-source to change colour of light on set.
o Continuous light: a lighting technique when continuous light is used, this may be with strobes or with natural light.
o Reflector: white/silver/gold board, reflects light back onto the subject from the strobe, creating a more natural lighting effect.
o Trigger: a device that syncs the camera’s flash with the lighting on set.
0 notes
Text
James Webb “La Syzygie” 2016
Meaning “The synthesisation of opposites, a union.”
Who: James Webb (1975) is a South African artist based in Cape Town. His work consists of large-scale installations in galleries and museums, or as unannounced interventions in public spaces. Webb studied Drama and Comparative Religion and Advertising (Copywriting), which have given him skills in conceptualising directing and production. Webb also holds an interest in ancient mythology.
What: In 2016 James Webb was invited to stage a site-specific public intervention in the Théâtre Graslin, in Nante, France, commissioned by to be a part of their annual Art Festival. This culminated in the birth of “La Syzygie,” a multi-dimensional installation piece that included aspects of sound and light art that revolve around the architecture as the central role.
When:2016
Where: Nante, France. Nante is a port city built in the 18th century. Relevant aspects of its history as a city of transport include the slave trade and a large portion of the population working as sailors and ship builders.
How: Webb was flown into Nante on acceptance of the offer and had a 3 week period in which to conduct research and produce 5 proposals to present to the selection committee of Le Voyage à Nantes. Webb then had 6 months to execute and complete the project to be ready for the annual summer Art Festival in Nante.
Why: Nante has a tradition of hosting an annual Summertime Art Festival to bring tourists into the city and boost its economy. In this time the theatre is off-season and no shows take place, leaving the theatre empty for art installations, exhibitions and interventions.
Professional and creative process surrounding “La Syzygie”:
James Webb relies on research and gathering info finding overlaps and making connections between narratives within the history of the building. Make connections. Information. Webb looks for the key into the work by asking “What do you see?” and evaluating that observation to go deeper into the subject, texts and symbols. Webb approaches the work in an almost scientific manner by “creat[ing] a problem that only you can solve”. This investigative approach encourages questions to be asked and truths to be uncovered, allowing for a network of information and connections to form out of which the artwork is revealed.
In the first stage of research James Webb observed and analysed the Théâtre Graslin, the most obvious aspect being the building itself and its architecture. Webb observed the Neo-Classical Roman façade and noticed the 8 figures resting on top of the colossal fluted columns and pediment. The figures represented the 9 muses of ancient Greek mythology- nymphs that entertained the gods and became inspirations for the liberal and fine arts, sing, dance, music, poetry and the sciences. The Muses named Clio, Thalia, Erato, Euterpe, Polyhymnia, Calliope, Terpsichore, Urania and Melpomene. Webb noticed that one muse was missing, Urania the muse of the stars, astrology and astronomy. Webb set out to investigate and understand this incongruace in logic and meaning as the heavens held particular value in a 17th century port city as ships are navigated by the stars.
The next stage of research included gaining specialised insight. Webb worked in collaboration with 6 specialists to ‘read’ the theatre and gain deeper understanding of the site through their own disciplines. The specialists included an architect (Xavier Fouquet); an astrologer (Bernard Duchatelle); a theatre historian (Christine Gross); the technical director of the Théâtre Graslin (Régis Vasseur); a psychic (Stéphane Barbreau) and a psychologist (Daniel Dumoulin).
From these explorations Webb uncovered the following information. The architect of the theatre belonged to the Free Masons (a brotherhood of educated men dealing in the main crafts and conducting business and historical preservation practices in a ritualistic fashion). There is an Axial view from theatre stage to river (a connection to the ocean and shipping). Webb discovered that Space affects our psychology in a body- space- use- feeling way. It has a presence as it contains and energy and creates settings for human living and emotion. Architecture is unavoidable. There was a fire that burnt down the leaving only the façade as the original structure standing. The Stage curtains now consists of a metal shutter. The mural in auditorium demonstrates Momus, critique of the Gods. Momus’s red cloak extends out of the mural sheet metal cloak coming out of painting and hangs over the stage. The grand crystal chandelier hangs from the centre if the mural and used to wax for chandelier dripped down onto Bougeousie (anointed by wax). It was at the this point Webb realise dthat the chandelier is the 9th muse of the stars, Urania. Franz Litz, performed 1845 and was known as the most beautiful man in France. His fans would ‘riot’ and adorn themselves in jewels, gold and silver to hear him play. The Interiors in the style of Rococo, Royal-Blue sears and gold inlay. The theatre had a Storm machine (created the rumble and shake of thunder and was still in usable condition).
James Webb used this information to construct narratives of the past. He was interested in the traces left by the past on the building and he toyed with the idea of memories and ghosts living on in the architecture. Webb decided to go forth and create a multi-dimensional installation that incites the ‘dreaming’ and the ‘subconscious’ of the building.
“a box containing history, experiences, narratives.”
Webbs intervention included a sound installations of hidden speakers that narrated a script written by playwright, Louis Viljoen. The sound worked synchronously with light installations to populate the auditorium with voices and shadows relating to the building’s past, present, and future. The script was delivered with a play of chorus and spatial direction. The script drew on the history of the building and invoked life into the past, allowing the audience to experience the ‘ramblings of ghosts’ of the theatre, speaking of the sub-conscious and dream-like states and playing with psycho-architectural environments artistically.
Jams Webb runs his artwork almost like a theatre production and believes in crediting all involved in the process. Actors Melodie Abad and Olivier Birene, as well as Maxime Deluc, Didier Moestus, Nadegé Sanz, Marie Roux, and Jean-pierre Whitfield, to voice. French to English translations of research by Christopher Silva. English to French translations of the script by Audrey Petit-Trigg. Cape Town studio assistance by Antonia Brown. Rehearsals conducted at La Grenadine, Cape Town. Curated by David Moinard, co-curated and produced by Jenna Darde for Le Voyage à Nantes.
0 notes
Photo
Jessica at the Cape Town Public library 20 September 2017 :)
0 notes
Text
Transformation of Self (the alternative self-portrait) - Kim Sonja
Kim Sooja is a South Korean multi-disciplinary conceptual artist based in New York, Paris and Seoul. She represented Korea for the 24th São Paulo Biennale in 1998 and the 55th Venice Biennale Korean Pavilion in 2013, and participated in more than 30 international biennials and triennials. Kimsooja thought about the conceptual implications of combining her name into one word. One word names do not ascribe gender identity, marital status, or cultural identity because there is no separating between the first name and family name.
In 1999, Kimsooja presented her most iconic work: “A Needle Woman” a performance video piece that premiered at CCA Kitakyushu, and further evolved in subsequent showings as a multi-channel video projection. In A Needle Woman the artist is seen her back facing the camera, wearing precisely the same clothes, standing precisely the same way in various metropolises.
Tokyo, Shanghai, Delhi, New York, Mexico City, Cairo, Lagos, London, Patan, Nepal (1999–2001); and in a second series of performances: Havana, Cuba; N’Djamena, Chad; Rio de Janeiro, Brazil; Sana’a, Yemen; and Jerusalem (2005). Many locations visited in the work are places of violence, disrepair or unresolved conflict, lending to the needle a metaphoric function as an instrument of healing.
0 notes
Photo
Still from “A Needle Woman”
Delhi (India)
1999 - 2001
6:33 loop
silent
0 notes
Photo
Still form “A Needle Woman”
Cairo (Egypt)
1999 - 2001
6:33 loop
silent
0 notes
Photo
Still form “A Needle Woman”
Lagos (Nigeria)
1999 - 2001
6:33 loop
silent
0 notes
Photo
Still from “A Needle Woman”
Shanghai (China)
1999 - 2001
6:33 loop
silent
0 notes
Photo
“The Lovers, The Great Wall Walk” (1988/2010)
Marina Abramović and Ulay.
0 notes
Text
Transformation of Self (the alternative self-portrait- Marina Abramovic
Is a Serbian performance artist who breaks radical boundaries in the definition of contemporary art. Her work explores relational dynamics and taught social structures of human interaction as well as the limits of the body and the possibilities of the mind. Her work engages with defined binaries such as male and female, active and passive, through the execution of repetitive, exhausting, and often painful performative actions. Abramovic’s work is radical and raw and she does not mask her Self, in fact she reveals more of herself. In acts of complete vulnerability she reveals all of her self and I turn human nature. In this way her work is bit a self-portrait and a portrait of the world.
Abramovic’s performances range from informal to formal in the public sphere, most of her performances now appear in gallery settings. She performs herself, usually in the nude, in a setting constructed by a team of experts at her command. Her performances express the human spirit in its most essential and universal way. The acts often require endurance and self-discipline. She focuses on "confronting pain, blood, and physical limits of the body”. If Abramovic is dressed she wears an elegant dress in primary colours. She braids her hair and adopts a meditative persona. The performances take place in a stage-like setting with teams of professional preparation and specialised expertise.
Uses objects, tools, context. Sets the stage. She is still herself but takes on a meditative persona where she is focused on one action- she acts and reacts to stimuli within the parameters of the performance she sets up no matter how violent and uncomfortable they may become. Her works are often interactive in which the audience becomes a part of the artwork. Abramovic documents her performances with film and photography, as performance art is ephemeral. This creates an interdisciplinary practice. Abrmovic is truly one of the most influential and inspiring artists of our century, known as the “grandmother of performance”.
0 notes
Photo
“Untitled” (2014)
Inkjet print on watercolour paper
Triptych
0 notes
Photo
“Untitled Frames” (2012 – 2013)
Inkjet print on watercolour paper
Triptych
0 notes
Photo
“Ditaola” (2014)
Inkjet print on watercolour paper
Triptych
0 notes
Text
Transformation of Self (the alternative self-portrait)- Mohau Modisakeng.
Mohau Modisakeng was born in Soweto in 1986 and lives and works between Johannesburg and Cape Town. Mohau Modisakeng uses his body to explore the influence of South Africa’s violent history on how we understand our cultural, political and social roles as human beings. Represented through film, large-scale photographic prints, installations and performance, Modisakeng’s work responds to the history of the black body within the South African context, which is inseparably intertwined with the violence of the Apartheid era and the early 1990s.
His images are indirect representations of violence in a powerful yet poetic invocations where the body is transformed into a marker of collective memory.
Modisakeng uses his body as art as he steps into characters and take son a performative role to explore his identity within the context of South African history, particularly his race in relation to apartheid. Modisakeng’s work takes on a professional theatrical sense as he is a dancer and focuses on the movement of his body and the choreography of the performances. The performances are well planned and professionally executed with teams of specialists taking charge of lighting, styling, audio and everything in between. Modisakeng’s work uses stark contrast in his work to amplify the inky depth of his skin. The lighting is theatrical (spotlight effect). He uses costume, simple and yet powerful outfits to exaggerate his character. He often crafts head-gear and uses a single tool in the performance (whip, umbrella, staff etc).
The setting is often in a studio with a simple black, white or green backdrop. Birds often feature as a language through his performances (dove, eagle etc). His audio language uses recordings of the natural environment as well as musical scores. Modisakeng also uses materiality in his work, simple but powerful natural references such as water, sand, charcoal or white powder. This adds to the materiality and the meaning of the work.
0 notes