Lied ballet

“Lied, a word of German origin and gender neutral, which represents classical music sung about strophic poem, and Ballet. Lieder’s romantic themes are transformed into movement, creating choreographic writing that begins with mime and ends with abstraction. In the end, everything comes together in a great chorus challenging genres and categories, fundamentally expressing the artist’s confidence in the dancing body”. Marcia Peltier

Es Devlin

Devlin’s latest installtion is ‘BLUESKYWHITE’, a large-scale work commissioned by 180 Studios, which is currently showing at LUX: New Wave of Contemporary Art, a new exhibition co-curated by Fact and SUUM Project. The work combines light, music and language, and was conceived as a sculptural expression of our emotional response to the possible extinction of blue sky. The installation is formed of two parts: In Part I, text from Byron’s 1816 poem Darkness underscores the viewer’s passage through a 24m long red-lit tunnel. Part II draws from contemporary solar geo-engineering models documented by Elizabeth Kolbert and others which suggest that a haze of suspended particles might reduce global temperature to pre-industrial levels and might also turn the blue sky white.

Jeremy Rotsztain

BECHA-KPACHA is an algorithmic music video for the electronic musician COH. The song’s tittle (pronounced Vesna Krasna) was taken from an old Russian poem and roughly translates “Spring the beautiful”, though it can also mean “Spring the red.” The animation reference’s traditional Russian folk patterns, commonly known as Hohloma. In these patterns, colorful plant leaves expand and twist around one another while fruit grows along side. These patterns were a starting point for this sound-responsive animation.


Avatar do artista
“Para quem não a conhece, Shu Lea Cheang é uma figura da net art e do movimento ciberfeminista que surgiu na década de 1990. Na época, morando em Nova York, ela também era membro ativo do coletivo de vídeo ativista Paper Tiger Television (assim como a cineasta francesa Nathalie Magnan). Desde então, o trabalho de Cheang tem lidado com “questões que incluem sexo, futuro, gênero, ecologia, dinheiro, mídia e comida [para] englobar filme, instalação, trabalho online, processos sociais e intervenção direta nos sistemas sociopolítico, técnico e estético, e os imaginários que os compõem ”. Matthew Fuller


Dans cette installation étincelante intitulée Volume, l’artiste Leo Villareal a pris une poignée d’étoiles scintillantes et les a ramenées sur terre. La partie cylindrique était suspendue au plafond et contenait plus de 20 000 lampes LED en acier inoxydable réfléchissant et hautement poli, qui créaient un espace tridimensionnel dans lequel la lumière pouvait prendre vie. Les modèles d’éclairage, contrôlés par la conception du code logiciel de Villareal, se déplacent à différentes vitesses, cycles d’allumage et d’extinction et vagues de luminosité et d’obscurité. Selon un critique, « la pièce est un poème d’argile éblouissant qui attire le spectateur dans un espace abstrait profond tout en déformant la perception temporelle et visuelle. » Villareal n’est pas un débutant en matière de sculptures lumineuses étonnantes. Découvrez ce tunnel de spectacle de lumière de 200 pieds qu’il a installé sur l’allée du hall des bâtiments est et ouest de la National Gallery of Art. L’espace entre les installations de Villareal et son public est un facteur important car les spectateurs sont entrelacés avec les lumières qui pulsent tout autour.

Playmodes Studio

FORMS- String Quartet
“FORMS – String Quartet” é uma performance multimídia ao vivo para quarteto de cordas, música eletrônica e visuais panorâmicos, baseada no conceito de “sonificação gráfica”. Os músicos interpretam uma série de partituras gráficas que por sua vez constroem a cenografia visual, oferecendo ao público a experiência de poder antecipar a “música que virá”. Essas partituras, juntamente com os espectrogramas que compõem o acompanhamento eletrônico da peça, foram previamente criadas por meio de algoritmos gráficos generativos.


32 rue vandenbranden
The script of physical actions is inspired by the Japanese film A ballad de Naraiama (1983), by Shohei Imamura, the one with tearing images, like that of the son carrying his mother on his back, embraced by the wind, climbing the mountain to put her on the summit until death, as the local tradition says that every septuagenarian must have an equal destiny. In the same village in the late 19th century, parents used to sell babies to survive. These material and spiritual miseries do not bring literals to the stage. Rather, they are essentials that make the show a fabulous visual poem written in and with the body and the scenic space. The song is also celebrated at the height, with moments such as Stravinski’s The Bird of Fire suite, and the song Fline on you crazy diamond, by the band Pink Floyd.

Leonhard Lass and Gregor Ladenhauf

The Entropy Gardens
The Entropy Gardens is an artistic VR experience that explores one of humanity’s most archetypical artforms – garden making. It challenges its myths, aesthetics and modes of perception. Like a garden, The Entropy Gardens attempts to become a spatiotemporal poem — a poetic organism. In the form of a sprawling journey it constructs a hermetic, virtual garden as a poetic ecosystem — a psychic landscape that is foremost a complex audiovisual experience. It admits the visitor into a place that is equally challenging and contemplative (and of course profoundly weird).


巧合引擎是向20世纪匈牙利作曲家GyörgyLigeti致敬的PoèmeSymphonique for 100 Metronomes致敬系列作品,他不仅使用节拍器来保持音乐时间,还作为声音事件的产生器。巧合引擎一由精确制造的发泡聚苯乙烯泡沫结构组成,其形状令人联想到露天剧场。在这种结构中,相同设计的1200个时钟排列在同心圆弧中。这些电池供电的计时设备是目前可用的最通用的批量生产模拟时钟,是从中国福州的制造商批发购买的。一个观众/听众站在中央,完全被钟表所包围,沉浸在声音中,可以最充分地参与这项工作


Tout à chaque fois
La pièce présente un commentaire continu sur l’activité de la ville dans laquelle elle se situe. La «poésie», qui est créée par un algorithme qui sélectionne et réorganise au hasard les données collectées à partir d’un certain nombre de points spécifiques au site, et est publiée sur un site Web. Les Pis tirent la poésie du site Web sur 4G, puis transmettent les adresses de lettres via Ethernet aux arduinos, puis aux moteurs en utilisant le protocole réseau I2C. L’acte de ceci déclenche alors l’algorithme pour générer un nouveau poème.


“Poem for an artificial intelligence”

the sun is a beautiful thing

in silence is drawn

between the trees

only the beginning of light

this realm of rain

grey sky and cloud

it’s quite and peaceful

safe allowed

And, arguably, worse:

I am a coal-truck

by a broken heart

I have no sound

the sound of my heart

I am not

Es Devlin

UK Pavillion

Christopher Meerdo

These videos are networked across multiple screens that have ben sculpturally shaped into a tall arch, asserting its physical presence like boding force. Embedded within one of the video sections is a poem the artist wrote about the ties the police have to slave catchers who then became police officers after abolition. The video also separately speaks to the artist’s own personal loss, affecting the video with an additional elegiac quality of the search for a missing friend.

Michael Burk & Ann-Katrin Krenz.

Parasitic / Symbiotic
In the project “Parasitic / Symbiotic” this area of tension between nature and technology is addressed. A scenario is created in which the human being makes use of a technical device, that is sitting like a parasite on a tree. It contains a milling machine, which moves along a tree to carve encoded text into it. For the content of the carving a poem from romanticism („Abschied.“ von Joseph von Eichendorff) is used, which expresses the natural thoughts of unity and oneness and depicts the relation of nature and culture.


Heavy Industries
I discuss how the poem controls the reader’s experience and how this control affects its possible interpretations. The control is mostly executed by limiting the reader’s freedom over reading. Reading time, direction and duration are determined by the poem. It is only possible to start the poem, but not rewind, stop or fast-forward it. Furthermore, the manipulation of speed affects reading in many ways. In the fast extreme the effect is illegibility, but more subtly used speed creates varieties of emphasis and de-emphasis. The effect of emphasis of this kind, I argue, creates different layers of readings and invites re-reading. These different readings require different cognitive modes, which mirror our contemporary reading habits. Not being in control of the reading process also leads to a scattered sense of unity, one of postmodernism’s essential traits. While reading the poem I also question why I read as I do, and by doing so I hope to present more general traits of how to approach digital literature.

Douglas Lee

“Douglas Lee’s Naiad takes the audience on a fascinating journey to the depths of the ocean. Fragments of Alfred, Lord Tennyson’s poem The Kraken, a mysterious Naiad and a swarm of undulating dancers evoke the depths of an element which has long captivated the human imagination.” Stuttgart Ballet

Naho Matsuda

The piece presents a running commentary on the activity of the city in which it’s located. The ‘poetry,’ which is created by an algorithm which randomly selects and rearranges the data collected from a number of site-specific points, and is posted on a website. The Pis pull the poetry from the website over 4G and then transmits the letter addresses via ethernet to the arduinos and then to the motors using I2C network protocol. The act of this then triggers the algorithm to generate a new poem.

Philip Glass

Portrait Trilogy:Einstein; Akhnaten; Gandhi
According to the composer, this work is the culmination of his two other biographical operas, Einstein on the Beach (about Albert Einstein) and Satyagraha (about Mahatma Gandhi). These three people – Akhenaten, Einstein and Gandhi – were all driven by an inner vision which altered the age in which they lived, in particular Akhenaten in religion, Einstein in science, and Gandhi in politics.
The text, taken from original sources, is sung in the original languages, linked together with the commentary of a narrator in a modern language, such as English or German. Egyptian texts of the period are taken from a poem of Akhenaten himself, from the Book of the Dead, and from extracts of decrees and letters from the Amarna period, the seventeen-year period of Akhenaten’s rule. Other portions are in Akkadian and Biblical Hebrew. Akhnaten’s Hymn to the Sun is sung in the language of the audience.

Lin Hwai-min

“Formosa relies heavily on words and poetry for its inspiration and imagery. It traces Taiwan’s history from the 16th century, when Portuguese sailors upon seeing the island exclaimed, “Formosa!” meaning “Beautiful!” Poems appear on a white scrim above a white floor. In the beginning, the poems are whole. The black Chinese characters are neatly aligned. Gradually, however, the poems slide away and the characters enlarge, slowly disappear, become abstract, pour like a stream, peel away, and break apart. A chaotic jumble appears. To some extent, the writing dances.” Carmel Morgan

Florian Schneider

Florian Schneider
Electronic Poem
Poem dedicated to synthesizer Doepfer A-100
” Analogsynthese mit system
klanglich, optish angenehm
technisch, logisch, funktionell
prototypisch und speziell

modular und variabel
leicht, kompakt und transportabel
für ein musikabenteuer
A-100, nicht zu teuer
midi-kontrolle vom computer
A-100 to the future! ”

Sidi Larbi Cherkaoui

سيدي العربي الشرقاوي

Faun started from a desire to create a performance around dancer James O’Hara. As part of the centenary celebrations of the Ballets Russes, Sadler’s Wells Theatre in London also invited Cherkaoui to work on or draw inspiration from any of the pieces of the repertoire of the legendary company. Cherkaoui chose L’après midi d’un faune, Nijinski’s choreography inspired by Stéphane Mallarmé’s poem and danced on Claude Debussy’s impressionistic music. Nijinski’s version based itself on Greek representations on vases, it was very two dimensional, very classical yet also daring, sexual and quite controversial in it’s time.

Rob Seward

Death Death Death
File Festival
“Death Death Death” is book written by an algorithm. It utilizes a word association study conducted by the University of South Florida between 1976 and 1998. It contains over 10,000 words and their associations to each other. “Death Death Death” traces a path from each word to the word death. The book starts off with the words most closely associated to death. The beginning reads like this: Life – Death Funeral – Death Coffin – Death. Later, it takes several associative leaps to get to death: Enthusiasm – Spirit – Soul – Death Folly – Funny – Sad – Death Bahamas – Paradise – Heaven – Death Waggle – Wiggle – Worm – Maggot – Death. Reading soon becomes humorous, as every line reads like a joke-death is always the punchline. “Death Death Death” is 405 pages, contains an index so you can find any word, and a detailed description of the algorithm. Death Death Death was nominated for the 2010 File Prix Lux in the Digital Languages category.

Hailey Chan

Color of Beats

Cette série de photos est un flou des lignes qui délimitent la photo-représentation. Mouvement, balancement, pose. Regardez, tournez, marchez, penchez-vous. Ces verbes échappent souvent à la photographie. Ici, à l’aide de superpositions et de temps d’obturation variés et avant tout, d’un œil vif, la photographie commence à se développer en quelque chose qui s’apparente à un poème ou à une peinture.

Philip Glass

with Allen Ginsberg
Hydrogen Jukebox

The creation of the chamber opera Hydrogen Jukebox can be traced to a chance meeting in 1988 between composer Philip Glass and poet Allen Ginsberg at the now defunct St. Mark’s Bookshop in New York City’s East Village. When Ginsberg plucked a book with a copy of his 1966 antiwar poem “Wichita Vortex Sutra” off the shelf and said he’d be reading it at a Broadway theater, Glass decided to compose a piano piece to accompany the reading. The collaboration was a success, so the two decided to expand the performance into a longer music-theater work. The result, Hydrogen Jukebox, a rarely performed piece for six voices and a chamber ensemble[…]

Iannis Xenakis

per due Orchestre e due Direttori

Iannis Xenakis est né en 1922 (ou 1921), à Braïla (Roumanie), au sein d’une famille grecque. Il passe sa jeunesse à Athènes, où il achève des études d’ingénieur civil et s’engage d’abord contre l’occupation allemande, puis contre l’occupation britannique (guerre civile). En 1947, après une terrible blessure et une période de clandestinité, il fuit la Grèce et s’installe en France, où il travaille pendant douze ans avec Le Corbusier, en tant qu’ingénieur, puis en tant qu’architecte (Couvent de la Tourette, Pavillon Philips de l’Expo universelle de Bruxelles de 1958 – où fut donné le Poème électronique de Varèse – célèbre pour ses paraboloïdes hyperboliques). En musique, il suit l’enseignement d’Olivier Messiaen et, dans un premier temps, emprunte une voie bartókienne qui tente de combiner le ressourcement dans la musique populaire avec les conquêtes de l’avant-garde (les Anastenaria, 1953). Puis, il décide de rompre avec cette voie et d’emprunter le chemin de l’« abstraction » qui combine deux éléments : d’une part, des références à la physique et aux mathématiques ; d’autre part, un art de la plastique sonore.


Fearful Symmetry
Taking its title from a line in William Blake’s poem “The Tyger”, the installation is inspired in part by the visceral description of an encounter with a creature in the night. So startling that the author questions the purpose and tools that could make such a life form. Intending to bring visitors to a primal state of hyper-awareness, the encounter of the work aimed to create such a visceral encounter.


فيليب الزجاج
פיליפ גלאס
필립 글래스
Филип Гласс
Koyaanisqatsi Godfrey Reggio

The film consists primarily of slow motion and time-lapse footage of cities and many natural landscapes across the United States. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and music. Reggio explains the lack of dialogue by stating “it’s not for lack of love of the language that these films have no words. It’s because, from my point of view, our language is in a state of vast humiliation. It no longer describes the world in which we live.” In the Hopi language, the word Koyaanisqatsi means “unbalanced life”.

Cecilia Vicuña

Quipu Womb
Although better known as a poet in her adoptive North American home (she has lived in New York since the 1980s), Cecilia Vicuña has stayed true to her youthful calling as a genre-bending visual artist for more than forty years, and her site-specific projects highlight the artist’s talent for composing poems in space, for a visceral lyricism in three dimensions.

Kian-Peng Ong

Ong Kian-Peng

“Coronado” foi inspirada em uma visita à praia de Coronado, na Califórnia, a qual foi um momento inspirador jamais sentido em outras praias. A paisagem sonora presente em Coronado parecia vir de todas as direções, com múltiplas camadas de ondas sonoras. Decidi então que iria fazer um trabalho sonoro que traduzisse esta experiência. Esta instalação sonora é caracterizada pela interação entre as fontes sonoras analógicas e digitais que se sobrepõem, explorando a ideia de uma paisagem marítima. O cerne da instalação é um tambor oceânico controlado por braços mecânicos, que cria e simula o som das ondas do mar. Isso é captado pelo microfone, reprocessado através do computador e enviado para as caixas acústicas de 6 canais em tempos diferentes. A interação e a sensação de infinitude na sobreposição do analógico e do digital são minha interpretação e resposta ao maravilhamento que senti em Coronado.

Heather Phillipson

100% Other Fibres
Through collisions of image, noise, objects, language and bodies, Heather Phillipson’s videos and sculptural installations behave as places, musical scores, poems and nervous systems – attending to how physical and affective ‘selves’ are constructed, manipulated and, above all, escape. Often rendered as walk-in conglomerations of readily accessible materials (digital images, paint, cardboard, words, audio loops and reproducible consumer detritus), her works stake out an ambiguous territory in which cultural references and emotional responses are mutually contingent and reactive. Collapsing distinctions between the forthright and the inarticulable, the banal and the ecstatic, and between metaphor and extreme literalisation, Phillipson’s work performs constant tonal shifts, disruptions and bleeds. In so doing, it oscillates between physical intimacies and conceptual distances – desire, sensuality, touching and being touched, shame, anxiety, (over-)exposure, resistant surfaces.

richard tuttle

Таттл, Ричард
리처드 터틀
ריצ’רד טאטל
I Don’t Know
Richard Tuttle emploie magistralement différents matériaux pour élaborer un lexique personnel où le carton, le métal, le bois, le papier ou le textile deviennent comme les mots d’un poème ou les notes d’une partition. Ses sculptures se caractérisent également par l’absence de référence ou d’interprétation. “Faire une chose qui ne ressemble qu’à elle même, c’est là le problème, c’est là la solution. Faire quelque chose qui soit son propre dénouement, sa propre justification, cela ressemble au rêve. Il n’y a là aucun paradoxe, car ceci n’est qu’un adieu au réel. Nous n’avons pas d’esprit, nous n’avons que son rêve d’existence, un rêve de substance quand il y en a une”.


une saison en enfer

“L’exposition Une saison en enfer, proposée pour la septième saison du Centre d’art de la Ville de Chelles, emprunte son titre à un recueil de poèmes en prose d’Arthur Rimbaud. Plus précisément, le projet s’inspire des Délires II « Alchimie du verbe » qui se présente comme la confession d’un être tourmenté qui analyse avec ironie et dérision son expérience poétique. Et c’est avec ironie et dérision que le collectif, dont le nom rappelle le logo d’une marque de vêtements sportifs ou d’une association sportive lusitano-scandinave, questionne, à son tour, le rôle de l’artiste dans les systèmes médiatiques de la société d’aujourd’hui.” Ami Barak


רמונד קנה
Раймонд Кено
Cent mille Milliards de poèmes
Since its arrival (the Oulipo), the rules of the group were set out as follows: “We define potential literature as the search for new forms and structures that can be used by writers in the way they will most like.” “Potential” refers to something that exists in power in literature, that is, that is found within language and that has not necessarily been explored. The favorite tool for study and production is the contrainte, an arbitrary formal restriction that can create new procedures, new forms and literary structures that can generate poems, novels, texts. Over the years, dozens of different contraintes have been explored, from those somehow related to the riddle, such as the palindrome, the acrostic, the lipogram, of which the playful aspect has certainly not been underestimated, with forms more directly related to the codes of exact sciences, such as combinatorial calculus, set theory or graph theory. Among the numerous definitions of the Oulipo provided by the members themselves, one is very elegant and significant: “An Oulipiano is a mouse that builds the labyrinth from which it is proposed to come out later”. Queneau often explained that some of his works might seem simple pastimes, simple jeux d’esprit (mind games), but he remembered that topology or number theory also arose, at least in part, from what was once called “funny mathematics“.

Adam Cvijanovic

Drawing inspiration from Renaissance fresco painting, Adam Cvijanovic’s ‘portable murals’ depict contemporary landscapes with a sense of celestial awe. Spanning 75 feet, Cvijanovic’s Love Poem captures the dreamy and disquieting essence of suburban Americana as a rapturous science fiction tableau. Envisioning sun-bleached L.A. ten minutes after the end of gravity, Cvijanovic’s utopia ascends in a whirlwind of consumerist ecstasy. Emulating movie backdrops as well as the acclivous perspective of cathedral dome tromp l’oiels, Love Poem… combines the sublime horror of disaster films with a majestic religiosity, as bungalows, Broncos, and palm trees are destroyed in the exaltation of their own perfectness. Painted entirely by the artist without assistants, on a plastic used by Fed Ex, Cvijavovic’s work reconstitutes the intimacy of timeless artistry with a modern day immediacy.


Sound Poem

Studio Schwitters ist Pavel Büchlers Hommage an das Klanggedicht des Dada-Künstlers Kurt Schwitters, The Ursonate, seine „Ursonate“ oder die Vorstellung, wie eine Sonate vor der Erfindung der Sprache ausgesehen und geklungen hätte. Mit einem digitalen deutschen Sprachprogramm ließ Büchler den gesamten Text von The Ursonate lesen und produzierte eindrucksvoll seine eigene außerirdische Interpretation von Schwitters ‘einundzwanzigminütiger Originalversion der Sonate. Das Programm bringt die sehr klassische Struktur von Ursonate entschlossen zum Ausdruck, verändert Inhalt und Struktur radikal und verlängert das Stück auf neununddreißig Minuten. The Ursonate wird von vielen als eines der einflussreichsten und wichtigsten großen Klanggedichte des 20. Jahrhunderts angesehen und von Klangkünstlern auf der ganzen Welt neu interpretiert. Schwitters ‘eigene Aufnahme ging für viele Jahre verloren und tauchte schließlich Ende der 1980er Jahre in Holland auf. Pavel Büchler beschreibt seine Arbeit als „nichts geschehen lassen“ und betrachtet Kunst als Katalysator, um den Alltag und das Offensichtliche als letztendlich bizarr zu enthüllen. Er manipuliert Literatur, gefundene Objekte, alte Audioaufnahmen und Fotografien, veraltete Technologien und andere Medien und macht sie für die Gegenwart relevant.


It´s fire, you can touch it

On the other hand, an example of a work representing a difference in which the viewer is faced with participation in the event, is an installation by Yoko Ishii and Hiroshi Homura It’s fire, you can’t touch it (2007). In this work which appoints the active environment, onto the hands reached out by the participants, miniature light signs are projected—a Japanese tanka poem is running through, glyphs change form, fuse together, move. Here we deal with a poetic spectacle in which the perspective of cognitive interactivity, set off in contact with poetry, is complemented by tactile sensations and poems themselves are as if extracted from the environment by interactive gestures of receivers-readers.


“Baraka is a documentary that starts from an old word with meanings in several languages. It can be translated as a blessing, breath or essence of life, from where the process of world evolution is triggered. The film reveals how much humanity is interconnected, despite the differences in religion, culture and language of the peoples. A true visual poem without narration or caption, only images and sounds carefully captured and articulated through an expressive montage, which makes each take add the next other meaning, whose theme is… After all, what is Baraka about? I believe that each viewer of the film sees a different theme. It can be about the strength of planet Earth. It may be about the multiple diversities that unite us. It can be a lot. Baraka is a visual reproduction of the human connection with the Earth ”


أندريه تاركوفسكي
Андрей Тарковский
el sacrificio
Para comenzar a hablar de este poema, es recomendable hacerlo utilizando las mismas palabras de Andrei, en su libro ‘Esculpir en el tiempo’, página 44:
“Normalmente se busca una puesta en escena más expresiva, porque con ella se quiere mostrar de forma inmediata la idea, el sentido de la escena y su subtexto. También Eisenstein trabajó de este modo. Además se parte de la base de que la escena cobra así la necesaria profundidad, una expresividad dictada por el sentido. Esto es una idea primitiva, sobre cuya base surgen muchas convenciones superfluas, que diluyen el tejido vivo de la imagen artística”
Esta reflexión estética ya confirma en Tarkovski un artista asombroso, muy superior a prácticamente todos sus coetáneos, principalmente porque pudo contextualizarla en su labor como director, más que nunca en ‘Sacrificio’, como también llevó hasta sus últimas consecuencias su idea del cine como una captura del tiempo real. Y lo hizo homenajeando a Bergman sin perder su propia esencia, y a otros admirados cineastas como Kurosawa, el primero en dirigir una ficción en torno a la amenaza nuclear (lógico, siendo Japón el primer país que sufrió sus aterrador poder de devastación) en ‘Crónica de un ser vivo’ (‘Ikimono no kiroku’, 1955). Los primeros ochenta, con los coletazos finales del imperio soviético y la paranoia sobre una inminente guerra nuclear, vieron nacer la que probablemente sea la obra magna sobre el tema, ‘Terminator’ (‘The Terminator’, James Cameron, 1984), que Tarkovski pudo ver en el Festival de Londres antes del rodaje de su última película, sintiéndose impresionado por ella a pesar de despreciar su extrema brutalidad.
Hablar con Dios
cinema full


A multi-faceted experience celebrating British creativity across the arts, ‘Metamorphosis: Titian 2012’ brings together a group of specially commissioned works responding to three of Titian’s paintings — ‘Diana and Actaeon’, ‘The Death of Actaeon’ and the recently acquired ‘Diana and Callisto’ — which depict stories from Ovid’s epic poem ‘Metamorphoses’. Featuring new work by contemporary artists Chris Ofili, Conrad Shawcross and Mark Wallinger, including sets and costumes for three new ballets at the Royal Opera House. Leading poets including Seamus Heaney, Wendy Cope, and Patience Agbabi have also responded to Ovid’s text and Titian’s paintings.