ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
VOOM PORTRAITS
ISABELLA ROSSELLINI

…Robert Wilson does not portray only famous personalities, such as Isabella Rossellini, Brad Pitt, or Caroline von Monaco, but also unknown people and animals who have until now escaped artistic representation, such as a street dancer or a frog. In precisely these stagings, Wilson’s complex visual and sound languages reach their climax, namely, a celebration of empathy: anonymous people become divas, neutral beings achieve cult status. Wilson’s video portraits thus have a cognitive function. Within the history of portrait painting and photographic portraits, especially staged photography, his staged portraits present not only a pinnacle of accomplishment, but also, first and foremost, a climax that is groundbreaking.

E.A.T

E.A.T

Experiments in Art & Technology

In 1966, 10 New York artists worked with 30 engineers and scientists from the world renowned Bell Telephone Laboratories to create groundbreaking performances, known as 9 Evenings: Theatre and Engineering. Artists included Andy Warhol, John Cage, Lucinda Childs, Vyvind Fahlstrvm, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor, and Robert Whitman. Notable engineers involved include: Bela Julesz, Billy Kluver, Max Mathews, John Pierce, Manfred Schroeder, and Fred Waldhauer.

WAYNE MCGREGOR

واين ماكغريغور
韦恩·麦格雷戈
웨인 맥그리거
ויין מקגרגור
ウェイン·マクレガー
Уэйн МакГрегор
rAndom International
FAR
Wayne McGregor’s anatomy-defying choreography and ground-breaking approach across dance, science, film, music, visual art and technology has fuelled a string of truly unique works. FAR is no exception. Inspired by the controversial Age of Enlightenment, FAR mines an era that first placed ‘a body in question’. Ten incredible dancers confront the distortions, sensuality and feeling of the 18th Century‘s searing contemporary sensibility to a haunting score by the critically-acclaimed composer Ben Frost. Staged in a mesmerizing environment of shadow and light (rAndom International, Lucy Carter), object and film (Moritz Junge, Ravi Deepres), FAR binds cutting edge design with choreography made from a radical cognitive research process.

NEIL DENARI

Fluoroscape
Long considered to be one of the pioneers of the use of computers in architectural design and visualization, NMDA has produced a body of work that has fused the physical and the graphic worlds in unprecedented ways. From our groundbreaking installation in Tokyo’s Gallery MA in 1996 to our current explorations, we have relentlessly pursued the development of “cultural ergonomics”, i.e. those forms that “fit” our contemporary life. Although NMDA operates on a global level, Los Angeles and it’s landscapes and cultural institutions play an important role in the development of our work.

MARIA BLAISSE

Spheres
Dutch designer Maria Blaisse is one of those legends. She began in the early 80s’ by creating spherical foam forms that moulded and folded in ways that were revolutionary at the time and she worked primarily in dance wear where she is still breaking new ground today. Blaisse then went on to collaborate with Issey Miyake for whom she made mitre-like rubber hats.

shen wei

ШЕН ВЕЙ
שן וויי
沉伟
folding
Folding will irk those who view modern dance as a grounded form of ballet. But for those who consider the simplest gesture worthy of exploration as a dance, and who relish in costume design and the slow progression of what feels like figures in friezes breaking free from the confines of their molds, much like Michelangelo’s “slaves,” Folding is an enthralling, gorgeous sci-fi spectacle. The entire event carries a regal air, as if commissioned by Star Wars Queen Amidala.

MEREDITH MONK

מרדיית המונק
Мередит Монк
ميريديث مونك
16mm Earrings
Meredith Monk’s groundbreaking performance work, 16 Millimeter Earrings, was a seamless integration of live performance, objects, film, vocal and instrumental music, movement, text, recorded sound, and light. It marked several, notable “firsts” for Monk: thinking of sound as an overall environment, working with her voice and visual images as primary elements, creating a full sound score, and incorporating film into a live work. The piece was a breakthrough in her quest to discover a visual/sonic/poetic performance form that could weave together multiple modes of perception. Responding to the original performances in 1966, art critic John Perrault wrote in the Village Voice, “Images, movement, film, words and sounds in Miss Monk’s new work are so skillfully interwoven and inter-related that no description can substitute for the kind of magic that she has managed to produce. The whole stage is her canvas and she uses every bit of it. 16 Millimeter Earrings has to do with surfaces, all seen as if through glass or reflected in a mirror. The surface of the human body. The surface of the erotic and the emotional. The radical juxtaposition of apparently contradictory surfaces- film, flesh, colors, and sound- becomes a witty method of deliberation and deliverance, and of complete art.”
video