Tag: telefante

TELEFANTE at At Biennal of contemporary art in Cuenca Ecuador

The techonology are we all (La tecnología somos nosotrxs)

Sala Proceso, CCE Azuay, Cuenca, Ecuador 15th March until May 25th 2018

Review

If, to define our species, we strictly follow what history and prehistory present to us as a constant characteristic of man and intelligence, we would not speak of man as Homo sapiens, but as Homo faber. Henri BergsonThe project Technology we are seeks to resituate the relationship between Homo faber and the world, leaving the colonial narrative and inventing, or rediscovering, other imaginaries and practices.

“The human is the animal that makes tools (faber), which uses technology – it is not the only one on earth, but the most prolific – while thought (sapiens) is a capacity of many beings, even plants. For that reason, authors such as Hannah Arendt or Henri Bergson consider the name Homo faber more appropriate than Homo Sapiens for the species.Today, what for millennia was of common good or natural magic, has become unbalanced, becoming a voracious machine that is ending with the cultural and biological diversity of our planet, facing this new colonialism, art proposes strategies of subversion: other uses of technology that point to spaces of imaginative and formal autonomy, to hi / low tech, to ancestrofuturism and to collectivity as relationship and story. ”

The audiovisual installation TELEFANTE, by Juan Orozco and Luis Negroón, connects different times and geographies through the meeting of old and contemporary technologies in a cardboard box

“We need to decolonise and heal our technologies. Healing is resistance.” Tabita Rezaire

Live-Cinema sessions in Tokyo, Seoul and Kuala-Lumpur

UNSTUMM
Conversation of Moving Image and Sound
unstumm.com

Photo Credits to MasafumiTsuji

UnStumm is a project for improvised film and music (Echtzeitfilm) for cross-disciplinary and crosscultural collaboration between filmmakers, video artists and musicians from Germany and other countries. The project is organized and curated by video artist Claudia Schmitz and guitarist/soundartist Nicola L. Hein.

It aims to create an environment of cultural and creative exchange, where a common complex artistic language is invented and used to communicate narratives, textures, colliding, combining, attracting worlds of sight and sound. The group of eight artists will work together in two different groups for three days to create an audiovisual performance that explores multidisciplinary improvisation as well as structure and narrative. The resulting artworks reflect on the themes of interculturality, cultural identity, cross cultural communication, the history of artistic thought (in different cultures) and many other philosophical topoi. The concert encompasses two Echtzeit-movies, which are improvised by a group alongside a conceptual composition that has been worked out during the rehearsals. Every group presents a piece that is in between 40-50 minutes long.

 

Axel Dörner
Luis Negrón van Grieken
Claudia Schmitz
Nicola L. Hein
Toshimaru Nakamura
Tetsuzi Akiyama
Akiko Nakayama
Harata Atsushi

Tokyo : De-Luxe

Seoul: Insa Gallerie

Kuala Lumpur – [toccata Studio] – [Goethe Institute Malaysia ]

 

 

 

Kindly supported by

Special Thanks go to: Masafumi Tsuji, Takafumi Tsuji​

ocultar – disfrazar – disimular

Video – Performance

2012

“One hides what you do not want it to be seen, one conceals the obvious, one disguises himself what he wants to be perceived as something other that what it is. To hide by silence, conceals actions, disguised by words. It is revealed by behaviour, or in the speech. Arguably dissimulation is a lie in action…”

In a 45 minute performance the whole space of mapa teatro is converted into a encyclopedical flow of references without any logic of order and accumulation and interference becomes the protagonist of a journey through TELEFANTE’s archive from the last years.
October the 4th, 2012, Mapa Teatro, Bogotá Colombia.
Sound: Andres Jurado

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2012ocultardisfrazardisimularMapaTeatroTelefante

{ñ} an oracle-based composition for a(n) (empty) page

Video

VIDEO PERFORMANCE/ TELEFANTE

2009

{ñ} is a video concert divided in three parts each one subdivided in different sections which propose to rewrite (in a poetic and metaphorical way) „Diderot & D‘Alambert‘s Encyclopedia“ written in the XVII century and which is one of the most important works of French enlightenment.
{ñ} is located at the intersection of two couples of concepts. The first one related to an intimate approach: photography as selection and also as experimental activity (the laboratory). The second more public related to theater and phantasmagoria.
{ñ} wants to works mainly with the more than 2000 plates that accompany the Encyclopedia. We believe that the plates/illustrations are not mere supplement to the written explanations, but an important and outstanding part of the whole project of the Encyclopedia.

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heines sklavenschiff

„Das Sklavenschiff“ by Heinrich Heine is a text that undulates magnificently between grim humor, satire and a merciless social critique and criticism of capitalism. It nevertheless contains extremely soft, lyrical imagery and numerous burlesque scenes. The epic poem form provides a structure of its own, which is interwoven and held in check by the “mollsche” music.
Parts of the music are composed (by Moll, Schubert, Schumann, Skempton, but improvisation repeatedly opens windows into the unforeseeable. The structure provided by das mollsche gesetz serves to keep the overarching dramaturgy intact.

The video artist’s work can be witnessed in its development live on stage and occupies itself with rediscovering myth and aspects of magic in creating images from light and shadow. The technology used for this is a prototype of a Laterna Magica, which not only incorporates analog (foils, drawings…), but also digital imagery. This method gives the video work a handmade touch and an aura-like effect often missing in modern digital productions.

[DEUTSCH]

Heines Sklavenschiff pendelt zwischen bitterboesem Humor, Satire und gnadenloser Sozialkritik und ist doch mitunter von lyrischer Zartheit. Rezitiert von Matthias Scheuring, wird das epische Gedicht verzahnt mit der Musik des Trios das mollsche gesetz, 2004 von Udo Moll als improvisatorisches Forschungsprojekt gegruendet, hat sich zur Regel gemacht, dass kein Stueck laenger dauert als 60 Sekunden / und dass jeweils eine Pause in gleicher Laenge folgt. [—] Parallel dazu schaffen Videokünstler Bildnisse aus Licht und Schatten. So entstehen drei Ausdrucksebenen aus Sprache, Ton und Bild / jede fuer sich autonom, aber gemeinsam sinnfaellig.