I participated the movement class by Lana Coporda at the Dansatelier in Rotterdam.
We start from writing. This exercise translate brain work to movement of writing.
Movement Class by Lana Coporda
Exhibition : For I Know The Plans I Have For You @ NEST Den Haag
For I Know The Plans I Have For You @ NEST Den Haag
There was big audience than I expected. Pretty exciting night.
Void Unvers
Void Unvers @ NEST from Peloham on Vimeo.
Studio Visit by Hamid El Kanbouhi
I got the final studio visit by Moroccan artist Hamid El Kanbouhi.
He gave me both conceptual and practical advices.
I was still packaged idea how to present this piece. It was quite nice Hamid mentioned it. He pointed that this piece can crossover various categories of art, and it means this piece doesn’t have to frame by typical performance.
I re-think again how to present this piece.
I want to think how can I change a relationship between the artwork and the audience.
Pocket Glove for XBee
The XBee modules need to attach to body. I made two pocket for arm and ankle, but those body parts didn’t catch the movement of a body well. We tested to attach on the hand and the sensor monitored quite sensitive movement.
How to Start & How to End
I’ve been thinking about what difference between a performance at a theater and gallery.
At the theater, it’s easy to make clear sign of “start” and “end”.
For example, red curtain is one of the clear sign to show “start” and “end”.
Also lighting helped audience to find those sign.
It start and end on the stage. At some point, the audience stops to see performance as a performance.
My piece, I mean the performer and garment are still on the stage, but the piece is “end”.
There is a certain rule of the theater.
At the gallery, this rule doesn’t work in my opinion.
At least, there is more freedom about how to start and end.
I need to break my old idea of how to show a performance.
Seeds #10: Poidespaces
The performance was about space and movement. It was interesting the performer Thomas Körtvélyessy focuses on “weight” of a space. He used her body to embody a heavy-ness and light-ness of the space.
Thomas Körtvélyessy – movement/room
Benjamin Strauch – sound/space
@Jazz in Crooswijk
Ironing
Ironing is one of the biggest task for every rehearsal and performance.
It usually took couple hours to ironing and still need to ironing after carrying to the gallery.
Today, I finally found the solution to keep ironing by attaching masking tape between pleats.
Positive/Negative Space of Sound
Conversation with So Oishi:
In visual field, we define space to “positive” and “negative”.
How can we create those two opposite in 3D space?
-Light
-Sound
Maybe we can create positive space and negative space with sound.
Example 1 : John Cage “4.33”
This piece changed the idea of “music” or even “sound”.
Audience can find their own sound in this piece.
He reverse positive and negative space of sound.
Example 2 : Luc Ferrari “Presque rien” (1970)
The title means “almost nothing”.
He spend one day at the beach in Yugoslavia and recorded environment sound, then he edited to 21mins piece.
We usually think “sound” is positive and “environment noise” is negative and don’t pay attention.
This piece bring those kind of environment noise as positive.
https://www.youtube.com/watch?v=z2aWEM1nnNg
-Other keywores
psycho acrostic 聴覚心理学