A trip through the world, in the space of bary half a minute. Just like the pieces Provisory Object 01 and 02, this video shows a membrane of a soap bubble, clenched between two hands. The membrane takes on all kinds of illusory, multicoloured shapes in the light reflections. In all its plainness and triviality it obtains a poetical dimension. This video was recorded in Kinshasa, as a result of which the gesture takes on a whole different meaning.
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The air bubble turns into a jewel, a treasure, a metaphor for the riches buried underneath the ground in the area. The hands seem to be shielding of the treasure, before it suddenly vanishes into air. The membrane, in all its fragility, seems to be evoking the precarious situation of the country. Drawing source material from texts, films and photography, she questions the individual and global position of individuals within society from simple, everyday experiences.
Nothing in her lower bourgeoisie background indicated she would occupy this profession, but coincidence and her own, strong will turned out to be decisive. Today her retirement is at hand, but she continues to organize health care and juridical assistance for her colleagues. Nathalie Delaunoy creates and intimate dialogue in the enclosed surroundings of the salon. In this familiar and discrete atmosphere Sonia discusses the oldest profession in the world and the love she puts into it.
She talks about the psychology and humanity her profession requires, about the narrow divide between professional and private life and about the necessity to expand your perspective and overcome the prejudices wandering around in our collective consciousness.
She has a degree in applied communication. She has collaborated on countless Belgian film and television productions, getting to know the audiovisual sector and practice from the inside.
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Sonia is the first production she fully planned out and directed by herself. His works are not self-portraits nor transpositions of the author in one or more imaginary characters. Maybe they can only be described as playful abdications of the subject, absurd and almost surreal one-acters. Dangling somewhere between reality and fiction — or maybe these are even one and the same, exploding in a multitude of disengaged fragments. Delmotte, a self-declared poser, sneers at the institutionalised art world with his mischievous and surprising actions, trivial in content and simple in form.
The results are uncomplicated and unvarnished, but also pure and most of all irresistibly charming. Or, as Delmotte puts it himself: "Je le fais, je ne sais pas pourquoi, mais je le fais! His work fits in with the best Belgian surrealist tradition, somewhere between reality and imagination, between brilliance and dilettantism. In his videos he translates his unbridled boyish pranks, his sneers at the institutionalized art world in one-man actions, as simple as they are absurd, as reflections of the schizophrenic identity of the artist.
Chambre avec vue Simona Denicolai Ivo Provoost video col. Every now and again it explodes on the tones of blaring hardcore, like pixels in space. In between you are presented on and off with shots of almost idyllic landscapes. The video incorporates the opposition between the agressive energy of the city and the peace and quiet of the countryside. For the description of their work they often refer to the metaphor of the earthworm, which gulps down its context, digests it and casts it back out again in order to survive and be able to move about in its environment. But whereas Vanderbeek was strongly influenced by certain aspects of Surrealism and Dadaism, Desamory sets up a personal and often emotional world of the imagination from elements in cinema and pop culture and, particularly, her own universe of dreams and the imagination.
The result is a world of reaching tentacles, hovering eyes and dancing organs, surrealist and impervious. The result becomes an amalgam of various parallel and complementary Works weaving themselves around the dissection of memory, experience and perception.follow url
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The memory is explored as a subjective and emotional instrument, constituting a starting point for changeable realities and identities, entering into conflict die in conflict at the experience of loneliness and loss. He studied visual arts and graphic design at the universities of Sevilla and Granada and afterwards film and Transmedia at the Sint-Lukas institute in Brussels. At the same time he followed a wide range of workshops and he devoted himself to music.
His work comprises a broad spectrum of media and angles, among them painting, graphics, animation, documentaries and video installations, which he often explores and develops in collaboration with other artists and producers. She spent long periods in the U. Everyday surroundings are observed, dissected and transformed into architectural illustrations, with a proper sense of order and chaos. In long, steady shots and travellings space is reduced and abstracted into minimalist constructions, simultaneously they assume identifiability.
His visual conceptual ideas are interwoven with explorations of semiotics and linguistics, in a well-considered play with the layered structure and meaning of time, space and language. Space defines itself as a sequence of various contexts, not as a reality which might be considered from a single point-of-view.
The trilogy is partly based on ideas around urban space, architecture, transport and the distribution of goods, which Downsbrough points out as a necessary element in the human environment. How can material be distributed without disrupting the planet we are living on?
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To mankind the city has become a more natural environment than the forest. Agrarian nature has been swamped by urban culture. Its naturalness cannot merely be refuted or contradicted, because centring around power and wealth is inherent to human nature. In his videos Downsbrough wants to show how these mechanisms determine the configuration and the government of cities. Peter Downsbrough video col. The work of Peter Downsbrough — from sculptures to graphics, from photography to video and film — articulates a complex relationship with architecture and typography.
Affiliate to conceptual art and the work of artistic movements like De Stijl and Bauhaus, he only makes use of the the bare essentials: form is reduced to lines and negative space, colours are barred. In his video work movement and language are explored in relation to time and space, in this process a prominent place held by the modernist network in urbane architecture.
Ultimately we are presented with a mirror, questioning the limitations of our perception of the asylum applicants and our notion of the world.
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The poetical accounts in this film create all kinds of sensorial, metaphorical, political and empathic associations, stretching beyond our awareness through the theatre binoculars used by most of the classic documentaries. There is a strong accent on stimulating participation in cultural, social, economical and political processes and the provocation of reflections on the image, its ethics and its ways of representation. Apart from setting up educational programmes, the production of films and documentaries of outspoken pedagogic, political or social nature is supported.
For the moment Gsara is structured as a network of various knowledge and service centres in the Belgian French-language community. Her own films show a strong social commitment towards the least visible, the most vulnerable layers of the population, in a style which fluctuates between the intimate and the political. The traditional idea of soundtracks as translation and extension of moving images was reversed for the occasion: five video makers were requested to produce a work based on a composition by David Shea.
Each individual filmmaker could draw out his own trajectory throughout the various musical layers. Images were distorted, layered and shaped into an apocalyptic spectacle in which vaguely recognisable shades and objects seem to be sucked up, into a parallel, enamelled world. Underneath all of these hermetical levels Fossilization comes forward as a meditation on the slip-off of Western civilisation to a pandemonium of mass-tourism, -media and —consumption.
Since he is working with Tuk aka Guillaume Graux on a series of audiovisual live-performances. In his work he explores digital effects as capsular environments for narrative experiences and controlled illusions. Among others with the aesthetics of minimalist electronic music as a source of inspiration, he shapes an organic world out of tactile sounds and pointillist images, far out and at the same time almost physically tangible.
Together the two composers have built up a sound reservoir over a one-year period, which consists exclusively of long tones. This reservoir is put at the disposal of wide-ranging sound artists, asking them to elaborate them further, purely electronically or with live instruments, as a concert composition or an installation, with or without image, improvised or written down. In an adaptation by Eckhardt and Engels the sounds, rich in overtones, are layered and estranged into an organic sound movement.
Els van Riel added several visual layers, which can only be distinguished from one another by lighting changes. A dialogue arises of hesitant gestures and soft caresses. In this way the perceived relation between sound and image is questioned. How do visual accents and sound tones interact?
How do movements in sound and image meet and cross each other? In her work she explores the relation between images, sound and space; an exploration of the fragile relativity of time in the twilight zone between presence and absence, between movement and immobility, between looking and seeing.
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She has made, among others, video and film installations, film sets for theatre pieces e. Sarah Baud and Musica and videos of and for various performances e.
DitoDito, Meg Stuart, Bronks. On a regular basis she works with Q-O2, a casual ensemble for contemporary experimental and improvised music, which also includes such people as Julia Eckhardt and Ludo Engels. As if Neacsu dragged with him the last remains of a just about bearable world into the hereafter. The young musicians who stayed behind are out of work, they pass away their despair with drugs and dreams of the West, every day they sleep off their high on sofas in gaudy colours.
As Marius, the accordionist puts it: "people live off promises and hope ". There is only one thing they can do: wander around during summer, in order to beat hibernation. Money won, stolen, borrowed or exchanged, it seems like the only means to turn the tide. In order to overcome their deadlock some are capable of anything. Marta Bergman, born and bred in Bucharest, draws her main inspiration from the stories of her native region.
Even though her work might be considered a classic documentary there are always fictitious notes to be found. Both she and her characters are storytellers, rather than interpreters or witnesses of social and political topics. They take stock of their lives, report on their experiences, look for answers to the question of who is responsible, who decides, who educates.
The concrete walls the women erected around them are beginning to show tears, the feelings of disappointment and bitterness make way to acquiescence and forgiveness. The static camera viewpoint and the simple text performance result in a sober confrontation of image and text, a residue of life traces, to the rhythm of the trains hurtling by, clearly visible from the window. After his studies he spent a considerable amount of time working in the domains of archaeology and art restoration and he also made sets for theatrical and opera productions, before focussing from on several forms of visual arts.
He calls his working methods predominantly architectural, in thinking patterns, design and composition. From he creates videos and performances in which he explores body and mind. He draws up an inventory of the world around us making use of antitheses: not merely formal, but also philosophical, social or political-economical oppositions. The camera wanders around between abandoned cameras and illuminated TV-screens.