http://strangedays-memoriesofthefuture.com/
I’m still reflecting on the video works presented at the “Strange Days: Memories of the Future” , the exhibition curated by Massimiliano Gionni, the artistic director of the New Museum in New York, who brought those film and video installations by twenty-one of today’s most radical image makers to the Store X in London.
by Patrick O’Neil
Unofficial Music Video:
Listening to the King of Limbs remix album and I started running an old security camera out of the tv and back into it to create video feedback.
A low key event with good acoustics and amazing hidden visuals/lighting play if you looked up to the the ceiling. Spotted them when I lied back flat on the floor. People circled around the stage which was located just below the Roundhouse dome trying to catch a glimpse of the artists. Initially I tried to sit on some elevated platform but was moved by the security. Sometimes it’s good to be right at the back behind the crowd with the vision of the musicians obstructed it turns out. Big thanks to the lighting guys, made the sonic experience hypnotising and truly unique. Captured with a crap mobile camera so it doesn’t make the show justice of course.
Animation and Edit: Sally Sibbet
Design: Dominic Flannigan & Lionel Skerratt
nice camera work and sleek special effects
Directed by Nick Roney and Owen Schwartzbard
Producers: Owen Schwartzbard and Jenny Leaf
Cinematography: Greg Cotten
Assistant Director / Editor: Alan Michnoff
VFX / Color Correction: Nick Roney
Costumes: Spencer Reed
1st AC / Grip: Doug Frerichs
Featuring Kimberle Rose
A mesmerising, meditative hybrid of art, science, technology and spirituality. Free entrance.
Footage from: Cyriak / http://www.youtube.com/user/cyriak
Video by the29nov Films
A slow and surreal video slideshow of nightmareish, grotesque and apparently static characters.
by donato sansone milkyeyes
sound Enrico Ascoli
gennaio 2014
“Yayoi Kusama is a Japanese artist born in 1929. As her early paintings featuring abstract forms didn’t fit the image of woman’s art in Japan, she decided to move to USA in 1957. ” For art like mine – art that does battle at the border of life and death, questioning what we are and what it means to live and die – [Japan] was too small, too servile, too feudalistic and too scornful of women. My art needed a more unlimited freedom and a wider world.” Read More
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