후세인 샬 라얀
Fashion designer Hussein Chalayan has created elasticated costumes and sequinned garments for performers in his first self-directed dance production (+ slideshow).The production is split into 18 chapters that each explore themes of identity, displacement and invisibility.
Kimchi and Chips
Difference and Repetition
The title references Deleuze’s thesis ‘Difference and Repetition’ – his attempt to understand reality without referring to identities. The artists aim to ‘unidentify’ the audience – to criticize the bubbles of reality which technology has helped us to build around ourselves. By allowing ourselves to remove our identity occasionally, we can better understand the thoughts of those we disagree with and therefore better work together to build a combined reality. Difference (in both senses) is generated by the motion control system which continuously changes the pose of the mirrors relative to the viewer. This movement disrupts space itself, creating a transformation similar to that of a Lorentz transformation when one travels close to the speed of light. This causes space itself to compress, twist and break, giving the viewer a tool for observing the non-absolute nature of time.
Me, My Selfie and I
Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?
Originally from Germany, Alma Haser is currently based in London, UK. She received her photographic degree from Nottingham Trent University in 2010[…] Her most recent series titled, Cosmic Surgery, combines the tangible photograph and the subject with the photograph itself. This facet of the images creates distinctive stages. Alma as the viewer of the subject, the origami construction, and then the reconstruction is then photographed thus creating a new aspect of the subject’s identity.
Evolution or Death
Fatmi inverts spectacular representations of identity by rendering them mundane and within reach of a subject that may scramble any conclusive narrative. Fatmi’s work counters strategies of interpellation that identifies a subject with an ideology prior to that subject’s ability to place their identity in or beyond a particular ideology. Fatmi parodies the various interpellations of colonialism and capitalism that seek to define others according to symbolic narratives. In Evolution or Death, 2004, (fig. 4) two Anglo-European looking subjects imitate suicide bombers with books and papers taped around their abdomens. One holds open a trenchcoat and another holds up a book that looks like a detonator attached to wires. Fatmi reverses the situation. These are not the suicide-bombers from Arab and Muslim countries. Instead, they appear to be of European descent in a European street or modern room in casual clothing.
The piece, “YELLOW LAMBO” (2018)[…] is a reference to a half-serious joke in the crypto community about using profits to buy Lamborghinis.“I became familiar with #lambo as a declaration of success-identity, and because I always think in terms of how to distill emotions around value, I wanted to explore that,” Mr. Abosch said. He created another token, called YLAMBO, and turned its address into a physical sculpture in yellow neon. This sculpture then sold for $400,000 at a San Francisco art fair to Michael Jackson, the former chief operating officer of Skype. The meta-weirdness around the purchase of the art is at the heart of the questions Mr. Abosch wants to explore.
We Share Our Chemistry With the Stars (XX200)
The works measure two metres across, with Quinn describing them as ‘stealth portraits’, at once unique and universal and not just an image of the sitter, but an actual visual index of their identity. Using a macro-lens, Quinn captures the sitter’s iris in incredible detail and then uses an airbrush technique to apply oil paint onto canvas, transforming the images into these large-scale works. The eye appears virtually abstract and the pupil appears like a aperture or hole in the centre of a fine, detailed network of colourful lines.more…
Rise and Fall
Fiona Tan explores storytelling, memory, and the part they play in the formation of identity throughout this exhibition of five video installations, various associated sketches and one single-channel video. Rise and Fall (2009), elongated projections onto two large, side-by-side screens, is a wordless meditation, set to music, of a woman no longer young but still conscious of her looks; she was clearly a beauty in her youth. As the video proceeds we gather that the young woman pictured on the second screen is the memory of her younger self. They often move through domestic activities (sleeping, bathing, dressing) in parallel; this is inter-cut with scenes of violently rushing water (shot at Niagra Falls, it turns out). It’s a hackneyed metaphor – the water’s endless surging as an image of time’s relentless uni-directionality – but in Tan’s hands that doesn’t seem to matter; she creates extraordinarily emotional work out of simple stories and well-worn themes.
GOLAN LEVIN AND ZACHARY LIEBERMAN
Reface [Portrait Sequencer]
Reface [Portrait Sequencer] by Golan Levin and Zachary Lieberman (2007) is a surreal video mash-up that composes endless combinations of its visitors’ faces. Based on the Victorian “Exquisite Corpse” parlor game, the Reface installation records and dynamically remixes brief video slices of its viewers’ mouths, eyes and brows. Reface uses face-tracking techniques to allow automatic alignment and segmentation of its participants’ faces. As a result, visitors to the project can move around freely in front of the display without worrying about lining up their face for the system’s camera. The video clips recorded by the project are “edited” by the participants’ own eye blinks. Blinking also triggers the display to advance to the next set of face combinations. Through interactions with an image wholly constructed from its own history of being viewed, Reface makes possible a new form of inventive play with one’s own appearance and identity. The resulting kinetic portraiture blends the personalities and genetic traits of its visitors to create a “generative group portrait” of the people in the project’s locale.
Transmutation#01 is a generative system composed of two interacting multicellular agents in a Voronoi spatial configuration. Each cell owns a color/saturation information. The cells interact with each other and with the other agent. The two agents are different. The circular one, the most active and in evolution, constantly tries to reorganize its shape and color structures, connecting similar colors in concentric formations. Moreover the saturation and shape of its colors aggregates are influenced by the duration and proximity of the interaction with the other pluricellular agent, whose motion is abstract and immutable. The metaphor at the heart of this system is a reference to the subject of the 2012 Gender Docufilm Festival in Rome, from which the video was commissioned, that precisely addresses the issues related to the the reengineering and the transmutation of the sexual, physical, mental identity, through the collision / confrontation with the external reality. Coded with Processing, rendered with 3Delight (via Processing). In collaboration with Filippo Ulivieri, music by Massimo Dolce.