The Imaginarium of Doctor Parnassus
The Imaginarium of Doctor Parnassus is a 2009 fantasy film directed by Terry Gilliam and written by Gilliam and Charles McKeown. The film follows a travelling theatre troupe whose leader, having made a bet with the Devil, takes audience members through a magical mirror to explore their imaginations and present them with a choice between self-fulfilling enlightenment or gratifying ignorance.
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The Legible City

In The Legible City the visitor is able to ride a stationary bicycle through a simulated representation of a city that is constituted by computer-generated three-dimensional letters that form words and sentences along the sides of the streets. Using the ground plans of actual cities – Manhattan, Amsterdam and Karlsruhe – the existing architecture of these cities is completely replaced by textual formations written and compiled by Dirk Groeneveld. Travelling through these cities of words is consequently a journey of reading; choosing the path one takes is a choice of texts as well as their spontaneous juxtapositions and conjunctions of meaning.

ЛЮСИ МАКРЕЙ
ルーシー·マクレー
לוסי מקריי
露西·麦克雷
لوسي مكراي
institute of isolation
Lucy McRae’s short film The Institute of Isolation is a fictional examination of the ways travellers to outer space could use architecture and design to train their bodies for the challenge (+ movie).

Density Compression
With Density Compression [2020], Fujimoto turns his attention towards fundamental behaviours of visible light, focusing on straight lines and reflection. By representing light as a dense network of lines travelling in limited space, the artist renders light as a physical object, allowing him to explore and ultimately change its basic behaviour. The piece is accompanied by an atmospheric score from experimental composer and Raster-Noton affiliate Kyoka.

Prismverse
Prismverse is an installation inspired by light rays travelling in a diamond with Brilliant cut – a form that produces phenomenal brilliance with maximized light directed through its top. With a complex geometrical tessellated mirror wall, the highly illuminated interior becomes a metaphor for the instant tone-up effect of Dr.Jart+ V7 Toning Light.

’98m

Le travail d’Elizabeth McAlpine est souvent lié à la question du temps et à l’expérience du regard. Dans « The Height of the Campanile », l’artiste a calculé la durée de son film en fonction de la hauteur de son sujet, le Campanile, de sorte qu’au final la longueur de la pellicule soit équivalente à celle de la tour. De même, le temps nécessaire pour visionner le film et le rythme du travelling effectué par la caméra correspondent. Ainsi, tandis que nombre des oeuvres de McAlpine sont basées sur le montage, la répétition et la fragmentation, « 98m » se présente comme un simple plan-séquence.
L’image, au grain apparent, est projetée au mur à la taille d’une carte postale, pendant que le film forme une boucle au sein d’une structure en verre pensée par l’artiste. La taille de la projection rappelle que Venise est devenue une destination touristique incontournable. L’utilisation du Super 8 est une évocation de la pratique amateur – précédant l’invention de la vidéo, du touriste fixant le souvenir de ses vacances pour le projeter une fois rentré à la maison. Si ce support procure à l’oeuvre un caractère daté, la boucle continue et hypnotique formée par la pellicule suggère au contraire une certaine intemporalité, semblable à celle que peut ressentir le touriste qui découvre San Marco.

Travelling to the Wonderland

travelling theatre

أندريه تاركوفسكي
塔可夫斯基
アンドレイ·タルコフスキー
Андрей Тарковский
nostalghia
From the opening images of Nostalghia (1983), Andrei Tarkovsky presents the two disparate worlds-the spare, monochromatic landscape of the Russian countryside and the lush, idyllic meadows of rural Italy-that collided within the soul of Russian author, Andrei Gortchakov (Oleg Yankovsky). Gortchakov has travelled to Italy on an extended research expedition to retrace the emigrant journey of an acclaimed eighteenth century Russian composer named Pavel Sosnovsky who, despite achieving international recognition away from his homeland, eschewed fame and returned to the humble life of a feudal serf, only to sink further into despair and commit suicide. Gortchakov, accompanied by his translator, Eugenia (Domiziana Giordano), has travelled to the hills of Tuscany to see Piero della Francesca’s Madonna of Childbirth, but upon arriving, becomes disinterested in the attraction, and forgoes the church visit. Left alone at the foothills as Eugenia ventures alone, Gortchakov quotes a resigned passage that reflects his own feelings of inertia: “I’m tired of these sickeningly beautiful sights. I want nothing more just for myself. That’s enough.”
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The Sultan’s Elephant was a show created by the Royal de Luxe theatre company, involving a huge moving mechanical elephant, a giant marionette of a girl and other associated public art installations. In French it was called La visite du sultan des Indes sur son éléphant à voyager dans le temps (literally, “Visit from the Sultan of the Indies on His Time-Travelling Elephant”). The show was commissioned to commemorate the centenary of Jules Verne’s death, by the two French cities of Nantes and Amiens, funded by a special grant from the French Ministry of Culture and Communication.The show was performed at various locations around the world between 2005 and 2006.

When on a Winter’s Night a Traveller