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    Archived pages: 19 . Archive date: 2014-10.

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  • Title: tableaustations-isakimmanuel
    Descriptive info: Tableau Stations.. |.. Isak Immanuel..

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  • Title: aniconic
    Descriptive info: “ANICONIC” is a three-part interdisciplinary dance performance negotiating the materials, images, and everyday iconoclasms that make a sense of place.. A central inquiry is the ambiguous environment of various conceptual, religious, and personal ideas of the imagistic (especially human representation).. Here, the work is articulated by the terrain of still tableaux and their ability to reflect on precarious notions of a “soul” or ideas of “presence”.. In a process of image making and unmaking, the work acts in an uncertain space, questioning the object quality of human relationships and the life of objects.. A basic premise is that sometimes such things as a brick, a chair, water, wood, or a lamp, may have a more pronounced sense of a “soul” then a human being.. Here, the setting of a scene, the given environment or landscape and its makeup, is filled with questions of presence, memory, and an unsettled occupancy.. The work negotiates and acts in this space.. As a discursive project, the work is composed of three distinct movement choreographies, recorded text, video, and installation that question the context for a body, its images, and its living trace.. ANICONIC.. Additional notes:.. The third part of the work, 'water stations', is developed around a series of still and moving tableaux and a circuit of four plastic water bottles.. It is primarily staged in cyclical actions of drinking and releasing, pouring, vomiting, spitting, or spilling water.. Through drinking,  ...   mine.. ”.. - Bhagavad Gita 11.. 32 (5th - 2nd Century BCE).. “In photography, the liquids study us, even from a great distance.. - Jeff Wall, Photography and Liquid Intelligence (1989).. dance / performance:.. Surjit Nongmeikapam, Marina Fukushima, Isak Immanuel.. artistic direction, choreography, installation:.. sound/music :.. Pictures at an Exhibition.. composed by.. Modest Mussorgsky.. ,.. performed by.. Kazuhito Yamashita.. , anonymous cover songs from.. YouTube.. , and various sound constructions by the ensemble.. spoken/recorded voice from:.. Satyajit Ray, Jeff Wall, Nao Yoshigai, Abu Mussab Wajdi Aakkari.. directorial advisor:.. Jayachandran Palazhy.. (part two).. upcoming.. July 25, 26, 27, 2014.. 8:00pm.. +.. U Define.. by.. Surjit Nongmeikapam.. at.. SOMArts.. 934 Brannan St.. San Francisco, US.. Part 1.. a day without images.. 15min.. developed and initially performed at Djerassi, in Woodside, California, 2012.. Part 2.. a quiet landscape.. 22min.. developed and initially performed at the Attakkalari India Biennial, Bangalore, 2013 (with Yeon-woo Na).. Part 3.. water station.. s.. 18min.. developed, performed at ST Spot Yokohama, Dock 11 Berlin, Headlands Center for the Arts, CA, 2013-14.. “Angels do not enter a house where there are pictures.. - Sahih al-Bukhari 7 : 72 : 841 (846 CE / 232 AH).. photos, top of page, from performance:.. a quiet landscape.. at the Attakkalari India Biennial, Bangalore, 2013.. photos, above:.. outdoor installation for performance.. at Djerassi, CA, 2012.. ANICONIC.. indoor installation for full performance work.. at Headlands Center for the Arts, CA, 2014..

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  • Title: news
    Descriptive info: April 16-17, 2011.. Berlin Workshop: body in | site out.. at K77 Studio, Kastanienallee 77, 2HH, Berlin Prenzlauerberg..

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  • Title: profile
    Descriptive info: Isak Immanuel.. is an interdisciplinary artist, dancer, photographer, and choreographer working internationally.. As artistic director of.. Tableau Stations.. , recent work has been as a fellowship recipient from the Japan-US Friendship Commission and the National Endowment for the Arts, at the.. 2013 Attakkalari India Biennial.. with.. FACETS – Bangalore.. choreographer's residency in India, at the Taipei International Artist Village and the HweiLan International Artists Workshop in Taiwan, Akiyoshidai International Art Village in Japan, Moving_Movimento - Fabrica Europa in Italy, at Dock11 in Berlin, at CESTA (Cultural Exchange Station Tabor Arts) in the Czech Republic, and at New Langton Arts, CounterPULSE, SOMArts, Garage, OffCenter, Headlands, and Djerassi in the San Francisco Bay Area.. In January 2009, photographs and text from the project.. Clothes x Sun.. was featured in the European dance magazine.. ballettanz.. In 2012, work was nominated for the.. 7th International Choreography Competition.. -.. no ballet.. in Ludwigshafen, Germany.. For 2014, he was selected to take part in.. CHIME Across Borders.. (choreographers in mentorship exchange), with Dana Reitz in San Francisco, US.. Immanuel received a BFA from the California College of the Arts (1999) and has since independently worked with several movement artists internationally, including Anna Halprin.. (Tamalpa Institute/Dancers’ Workshop).. , Katsura  ...   an inquiry on how to negotiate contemporary public spaces of a city with the intimacies and economies of individual bodies.. Initiated (with the project.. Floor of Sky.. in 2004) by interdisciplinary artist and choreographer.. Isak Immanuel,.. the works shift between static and kinetic notions of identity and place.. Here, inquiries to sight/site-specificity are actively engaged.. It is work in the area of travel, absence, inversion, and how to open a map through collaboration and experimentation.. Since its conception, numerous solo and ensemble works, site-specific performances, videos, and mixed media photography works have been created within the context of theaters, galleries, museums, metro stations, airports, intersections, and civic spaces in the United States, Asia, and Europe.. photographs from the works (top down):.. 1.. Aniconic - a day without images 2.. Made of silence, air, and glass.. 3.. Stations of Appearance 4.. Aniconic - a quiet landscape 5.. Clothes x Sun / To.. all images Tableau Stations / Floor of Sky / Isak Immanuel, 2006-14.. current and past collaborators, performers, musicians, and visual artists, include:.. Luigi Coppola Yuko Kaseki Diego Agulló.. Surjit Nongmeikapam Meng Yeh Chou Christian Nagler.. Marina Fukushima José Navarrete Jorge Rodolfo de Hoyos Jr.. Anna Halprin Kanoko Nishi.. Anu.. Kaliting Sadipongan..

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  • Title: tableaucities-text
    Descriptive info: Clothes wet with tears.. Keep walking.. The clothes begin to dry.. A series of photographs began as a travel work in August of 2006.. Images were taken in Prague, Paris, Berlin, Seoul, Haulien, and Taipei.. The clothes used in this work were found discarded in the streets and outdoor public spaces of each city.. The primary motivation of this work was to create tableaux that assembled repeating but variant relationships to absence and memory, between two people or between a person and a shifting topography.. On arriving in a new city often my first intention is to get lost.. Get lost from a dominant given route and from pieces of my own memory.. To look for a story of clothes, touch of city and skin, the resonance often to remain in pieces.. Discarded.. Left behind.. The people who wore them that I do not know and are now absent.. I begin somewhere here as a wandering point of contention with pieces of urban anonymity, loneliness, and recognition.. Images rest between, lost and found, the finding and the losing, the weight of memory, wind to a flag or a kite, and the slipped trace.. With a cartography of questions, I take to the road.. Why do I travel? Why do I pick up and wear these clothes? From discarded, what movement holds one’s body, what release can be found in movement?.. Footsteps to disappearance.. Dressed in the architecture.. Repeating appearances.. When I first began this work, the clothes I found where used directly as a series of “costumes” in the context of a live performance.. As well, the performance work was site-specific to outdoor spaces of the city creating another link to where the clothes had been found.. Initially this work was done in Taipei, Taiwan (apart of a residency at the Taipei Artist Village).. This work was entitled “Yifu x Sun”.. Yifu.. is clothes in Mandarin Chinese.. In my first nights walking the streets of Taipei, I encountered pieces of clothing left by trash cans, the edge of the side walk, and in various public transit spaces, sparse but immediate; my memory connection was with a displaced outdoor body, a fleeting, found only in a trace.. Arriving in a new city, a memory of a departed city is brought along, for myself, one of a past negotiating its loss and future presence.. What I look for are markers of reflection on the carrier space each person travels with, fragments of a city in memory, carried as if a lens.. In the work, this became a returning frame of resonance, question, and departure.. The insignias of a continuous city, a dialogue of distance, and that the process was initiated by terms of travel and between-space is integral to the works unfolding.. The performances in Taiwan specifically engaged spaces of transit or non-space, ranging from the Taipei Railway Station, corridors of the MRT (Metro Rapid Transit), and the Taoyuan International Airport.. To continue on a train.. Overlooking the ocean.. My son is missing.. In August of 2006 I came to the Czech Republic to take part in a residency in Tabor at CESTA (Cultural Exchange Station Tabor Arts).. I worked on one project there with a small ensemble and on this work individually.. During this time I always wanted to go to Prague.. The context of the residency was in this beautiful small town tucked away on the hillside and an ideal haven for artistic concentration for many, but my thoughts remained on the edges, of what was to me, an almost mythical city about a two hour train ride away.. Ever since I was a teenager I have felt this strong push and pull between rural and urban areas.. As a child I grew up on the mesas of a small town, Taos, New Mexico, in the US.. When I was thirteen years old my family moved to the inner-city area of East Los Angeles.. From this point on, I have always experienced both a strong fascination and alienation to most cities.. It is a relationship both intimate and distant.. I look, and take part, but in a way I am always still coming on a train from a mesa above a small town.. In my looking, I find another sense of the minute located in the city itself, and then perhaps an even smaller perimeter of location, the train, a bus or the metro a shifting visage of municipality, breaking apart in shards of varied departures and arrivals.. Different types of rivers, mountains, and bridges.. I find I cannot locate the rural or the city without the interference of the other, the between creates a cartography of looking.. In Prague, one of the first pieces of clothes I found, near a small bush by the River Vltava, was a turquoise pair of pants with a checkered pattern.. I had placed them in a transparent plastic bag and had walked about a mile down the river when a very frail elderly woman approached me.. She began speaking softly and urgently, initially in Czech, to which I did not understand; soon after switching to a quiet yet decisive broken English, I gathered that the pants I had found belonged to her son.. Her son was missing and she had not seen him  ...   of a perspective I continued.. Throughout, I would return to a question on the common clothes of social acclimation and their movement language.. In this regard, there is one quote by the fashion designer Ralph Lauren that I find interesting as a simple evocation, quite haunting in a way, particularly considering the conditions in which many of his clothes are made, he states, “I don’t design clothes, I design dreams”.. These “dreams” offer another story of clothes.. In examining the language of dreams you can find many elements of disappearance.. The perception of another person, or one’s perception of his or her own body shifts often quite dramatically relative to dress.. Fashion holds a tremendous power in this regard.. It can become a myth making that dares, in part, because of its own impermanence.. It is as if the sense of dream is designed to appear and disappear.. It is a very human preoccupation.. Dance can dare because of its ephemerality in its own way.. But in a question of this, how do you map the origins of habitual movement? The traces of a past linger with the body just as a body does abandoned clothing and abandoned clothing (or people) do a culture.. The lens here can be similar to that of the Situationist’s term ‘Dérive’ or to drift.. These questions of sense phenomena to a place, object, or person relative to a carried or wandering memory often loiter in their own particular agitations.. These returns remain as questions to what could be considered ‘past’ or ‘ephemeral’.. Though there are many things in my everyday society that I would like to walk away from, I am often only in between.. With the discarded, often stained or torn garments I find, I work directorially with a tableau vivant of looking into an away, a distance, or a dream, and a questionable construct of dreams; the intention is a kind of pictorial mirage that holds the image up between an appearance and disappearance.. An empty print.. Seeing or meeting a person for the first time, or for an audience in viewing a performance in a theatrical context, clothes give a direct but partial reply to the question “who are you?” For dance I want to keep this question active, moving and shifting with incompletion and transformation.. With clothes, I often am drawn to articles that connect to the everyday or function as uniforms of industry.. In looking at the insignias of a city, contemporary movement and stillness, I work in a question of location and memory.. I can never fully acclimate, yet I try on different identities while often wishing to forget one’s of the past.. Here, clothes often work with movement as an opening and closing, “made in”, “found in”, size, color, a tear, stain, or particular insignia, here dance becomes its own story of clothes.. Choreography or a movement phrase, just like clothes can be something you simply take on and off or there can be another layer of asking about the resonance or response of this entire shifting process.. Travel and transience have a similar line of questioning of what is carried, what is picked up, and what is left behind.. In working with the clothes I find discarded in a given city, for photography, or for dance, I take a lot in as a process, but as well, emptying is a constant activity.. Here, I am in between again, if I remember too much I become heavy and unable to move, if I forget all, I am easily thrown by the wind.. An erasure and a carried space remain in step.. In the stillness of a picture or in dance, always shifting, to remember and forget at the same time.. The last tableau photograph that I took in this series was in Hualien, Taiwan overlooking the Pacific Ocean and facing in the approximate direction of the western coast of the United States.. The clothes I used here, a set of worker uniforms with a faded factory logo on the back, I found covered in dirt behind an abandoned building near the ocean.. I felt this tableau was a fitting end point to the travel series, facing back across the horizon line of the water and into the direction from which my travels began.. Looking out across a space vacant of the city, in a question of where absence and quotidian memories coexist.. The following text is an assemblage of brief reflections on the interrelated role of clothes, dance, and photography in recent travel and site-specific work.. It is focused in particular on a series of images that have developed as a photography work unto themselves, “Clothes x Sun (tableaux for disappearance)”, and are projected apart of the umbrella performance project “To”, and as well, have taken the role of a physical image for a number of varying choreographic and improvisational works.. Each work has taken the images in considerably different directions while redeveloping and deconstructing the idea of image as a set entity or reference.. Select images from this work can be seen in the January 2009 issue of the European Dance magazine.. As well, an earlier version of this text was published on their.. website.. by Isak Immanuel.. ____________________________________________________________________________________________________________________________________.. Tableau Cities:.. clothing, travel, and the photographic frame..

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  • Title: workshop
    Descriptive info: body in.. site out.. Inside the Studio, Outside in the City.. (.. Between Memory, Map, and Moment ).. For:.. dancers, performers, experimenters, live bodies.. Body training in the studio: physical and conceptual practices of gravity and sense work, Noguchi Gymnastics, Butoh method, spatial improvisation and composition.. 2.. Work engaged with the urban habitat.. Through both inside and out, we will explore the dynamics of conditioning a pliable sensitive body relative to change.. Exercises are developed for moving with restriction, release, and fluidity between a tactile quotidian person  ...   a body and a city landscape.. Shifting between spaces, layers of perception, and orientation, physical imagination opens.. The work is a discipline for meeting your body and your environment as it is and inside out.. • Additional attention in the outdoor space is on Video as a Witness, Translator, or Voyeur.. Participants are encouraged to bring their own video camera for this element of research and engaged documentation.. Additional video documentation will be made.. Additional info: isak ( at ) tableaustations (dot).. New Workshop Schedule TBA soon..

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  • Title: reply
    Descriptive info: Reply.. a catalog of circles and incomplete cities.. From falling, floating, disappearing, and appearing.. Pieced together from an international collaborative, the performance work constructs a series of tableaux negotiating the edge space of landscape and circularity in the shared quotidian spaces of a city.. Thematically and working specific for video, construction sites are engaged as metaphors and realities of people’s lives in pieces, transition, and looking for foundation.. Extracting for movement and image from Milan Kunderaʼs “The Book of Laughter and Forgetting”, and what he terms the magic of the circle dance , the mixed ensemble cast and a roaming camera move in and out of architectural patterns, place, and placelessness, exploring the nuances between memory, response, replication, and transformation.. Compositions for music box, songs of Joni Mitchell, and disparate frames of silence create a score.. Video shifts amidst the mixed topographies of Los Angeles, San Francisco, Volos, Genoa, Seoul, and Berlin.. Performance:.. Isak Immanuel (SF), Yuko Kaseki (Tokyo/Berlin), Jorge Rodolfo De Hoyos (SF), Monique Goldwater (Paris//SF).. Musical Compositions / Sound :.. Antonis Anissegos (Greece/Berlin), Végtam Váltam (Mexico City), Barton McGuire (Oakland).. Installation and Video:.. Performance for Video (in addition to the performers above):.. Diego Agullo (Madrid/Berlin), Michelle Baard (Amsterdam/Berlin),.. Hironori Sugata (Osaka/Berlin), and SF guests.. March 5, 6, 7, 2010.. Installation Performance.. The Garage, SF - USA.. www.. 975howard.. com.. December 11-19, 2009.. Work Developed  ...   sun”).. photos:.. Isak Immanuel/Tableau Stations.. and stills from video.. Entries in a catalog:.. “Circle dancing is magic.. …and before long not one of them was touching the ground, they were taking two steps in place and one step forward without touching the ground… and I was falling like a stone.. - Milan Kundera.. “The earliest phase of social formations found in historical as well as in contemporary social structures is this: a relatively small circle firmly closed against neighboring, strange, or in some way antagonistic circles.. ” - Georg Simmel.. “There are exiles in every community, among them, they form a great nation,.. if they only knew it.. - Jan Morris.. “The catalog of forms is endless: until every shape has found its city, new cities will continue to be born.. When the forms exhaust their variety and come apart, the end of cities begins.. ” - Italo Calvino.. “To love someone is to isolate him from the world, wipe out every trace of him, dispossess him of his shadow, drag him into a murderous future.. It is to circle around the other like a dead star and absorb him into a black light.. ” - Jean Baudrillard.. “To reply, to fold back, a city of silence.. The making of a possible city, through the night, a making and unmaking of signs.. ” - Kate Mikan..

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  • Title: to
    Descriptive info: To.. untitled portrait and ocean.. TABLEAU STATIONS / FLOOR OF SKY international collaboration:.. (SF).. Luigi Coppola.. (Torino).. Yuko Kaseki.. (Berlin).. With musical contributions from.. Kanoko Nishi.. (Oakland),.. Theresa Wong.. (Berkeley),.. Zachary Watkins.. (Santa Cruz), and.. Maruta/Phnonpenh MODEL.. (Tokyo).. Mail Art/Paper Sculpture:.. Yachu Kang.. (Taipei).. Installation:.. With a question of “To” comes one of “From”, between makes trace.. To whom to write a memory.. To go, to take flight.. To return in a question of address.. To (untitled portrait and ocean) is a meeting of performance art installation, videologue, and intimate dance theatre remapping the transient spaces of a city and the gravity of location.. The work is pieced together by an international collaboration of artists from three different countries: Luigi Coppola (director of the Italian based performing arts company LOSS), Yuko Kaseki (Japanese Butoh dancer and physical theatre artist based in Berlin working with cokaseki and inkBoat), and Isak Immanuel (interdisciplinary performance and visual artist and founder of the Tableau Stations / Floor of Sky series in San Francisco).. With amplified bicycle/sound sculpture and musical contributions from Theresa Wong, Kanoko Nishi, Zachary Watkins, and Maruta/Phnonpenh MODEL.. As an ongoing site/city specific work, To creates a series of theatrical tableaux taking apart and re-piecing the quotidian, bizarre, and fragile ways in which people meet, miss, mirror, glimpse, erase, and trace one another.. Following the dynamics and deviations of a fugue (in terms of the musical, psychological, and linguistic paths) the work is created from a multiple voice perspective.. Just as the word fugue is traced back to the Latin “fuga” (flight, running away; especially: flight from one’s country, exile, banishment; escape; or to flee), the artists each develop a line framed in the real and imagined cityscapes of uproot.. This layered motion is framed by an international dialogue highlighting the social opacities, mental baggage, and overall weight, wonder, and often desired amnesia of travel.. The work rests in discursive space, questions of return and the personal carrier space of one’s everyday life that can fall open when parallel lives collide.. The subtitle (Mario Rossi, Wúmíng Shì, John Doe, Erika Mustermann, Nanashi-Gonbee) is comprised of the names for unknown or unspecified persons in Italy, Taiwan, The United States, Germany and Japan - the countries of the artists own nationality, collaboration and domicile.. Drawing from this thread, the immediacy of the body and the real and imagined distances to civic space are cross-referenced from artist to artist.. Photography and video documents done in the context of each country’s unique urban topography are interwoven to give concrete touchstones while movement engages the ephemeral ghostlike absences of people and place that linger outside a given picture frame.. As a shared work, it traces the outlines of urban intimacy and the incomplete formations of portraiture.. ____.. To (untitled portrait and ocean).. has been supported in part by: Theatre Bay Area (CA$H), MOVIN’UP Action - Italy, HweiLan International Artist Workshop, The Taipei Artist Village, Taiwan, Berlin Senate Cultural Exchange/Der Regierende Bürgermeister von Berlin and Farmlab Los Angeles.. Biographies:.. TABLEAU STATIONS / FLOOR OF SKY.. Tableau Stations / Floor of Sky is a two part performance and exhibition series creating work in dance and the visual arts.. Projects shift through an exploration of place  ...   moment, his projects have participated at numerous national and international artistic residencies, festivals and exhibitions.. lossnet.. Yuko Kaseki.. Yuko Kaseki lives and works as a dancer, choreographer, and teacher in Berlin (1995-present).. She studied Butoh dance with Anzu Furukawa and danced in her company Dance Butter Tokio and Verwandlungsamt in 1989-2000.. With Marc Ates she founded the company cokaseki in 1995 and since has presented many solo and ensemble projects with musicians and visual artists throughout Europe, Japan, and the USA.. Alternately, since 2001 she has worked consistently with the Bay Area performing arts company inkBoat and in 2004 was awarded an Izzie for her work apart of ‘Ame to Ame’ at Yerba Buena Center for the Arts.. cokaseki.. Kanoko Nishi began playing piano at age three, koto at age 18.. ,.. studying with Kazue Sawai and Brett Larner for koto and Marc Shapiro for Classical piano.. As a Graduate of Mills College with a BA in piano performance she is active as an improviser on koto and piano, performing in Japan and throughout the Bay Area.. She currently plays solo and in local musical groups Slow, Children, with MaryClare Brzytwa and Shayna Dunkelman, and Silk, Bamboo and Catgut, with Kiku Day and Anne LeBaron.. Theresa Wong.. Theresa Wong is an improviser and composer based in the San Francisco Bay Area.. Her current work spans the areas of improvisation, composition, performance art, video and large scale performance pieces.. With cello, voice, piano and amplified bicycle, she performs solo as well as with Carla Kihlstedt, Kanoko Nishi, Ellen Fullman and Gianni Gebbia.. Her works have been presented at the Fondation Cartier in Paris, Unlimited 21 Festival in Wels, Austria, San Francisco's Other Minds Brink series, Radio France broadcast, A L'improviste , and at The Stone in New York City.. theresawong.. timeline.. The collaborative effort began in November 2007 in Taiwan (working with Taiwanese artists Meng Yeh Chou, Yachu Kang, Sunwei Liuo, Shu-yi Chou, Lan Huang, Shoozoo Tsai and Sandra S.. Chiu, and with the Chinese Germany based artist Yingmei Duan).. The work acts as trace and glimpse to many people and place.. Site/city specific work was done in Tokyo, (with Maruta/Phnonpenh MODEL).. Berlin (with Alessandro Bedosti), San Francisco (with Peiling Kau, Sherwood Chen, and Folawole Oyinlola), and in Los Angeles.. In September 2008 the project was hosted by Moving_Movimento/Fabbrica Europa in Florence, Italy and in October by Dock 11 in Berlin, Germany.. October 23, 24, 25, 26, 2008.. contact:.. Tableau Stations / Floor of Sky.. 1 415 329 3033.. isak (at) tableaustations.. Photographs this Page:.. “To”.. collaborative work 2007-8 (Top to Bottom).. Images 1, 5, 6, 7, 8, 10 stills from video Tableau Stations / Isak Immanuel.. Images 2, 4, 9: Adam Aufdencamp.. Image 3: Chang-Chih Chen.. September 27, 28, 2008.. Museo d’Arte Contemporanea madre, Napoli - ITALY.. ffeac.. org/576.. page.. October 8, 9, 2008.. Teatro Affratellamento, Florence - ITALY.. October 17, 18, 2008.. Officine Caos, Torino - ITALY.. June 26, 27, 28, 29, 2008.. Studio for Social Sculpture, Los Angeles - USA.. farmlab.. June 12, 13, 14, 2008.. New Langton Arts, San Francisco - USA.. newlangtonarts.. December 21, 22, 2007.. Taipei Artist Village - TAIWAN.. artistvillage.. December 9, 10, 2007.. HweiLan International Artist Workshop, Haulien - TAIWAN..

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  • Title: echo
    Descriptive info: Echo.. traces of an incomplete portrait.. ISAK IMMANUEL.. Questions below from an audience member.. San Francisco - September, 2007.. Why did he have a mask on?.. In part, I relate to an idea of dance through the mime and even more so the puppet.. Puppet shows are basically plays without people; at least the people are unseen, so there is an element of removal, absence and presence.. This is similar to a mask worn for dance.. The person can become transferred to an absent state with varied transformations similar to the puppet.. Absence, vacancy, or simply a question of identity is key to this work.. This is a simple dance of a puppet with no face.. Maybe a dance with no people.. “The lamps of the city prick my eyes and I can no longer see your face.. - Amy Lowell.. Why did you show a film on a curtain so the audience couldn't read some of the words?.. I work with different ways to address site; here the curtains have so much character to me, they also hold a similar dialog to that of a mask.. For theatre, the curtains traditionally play an important role in the framing of an accepted nowhere or anywhere, I comply and I simultaneously refuse to understand.. A curtain may hide something that is not to be seen, is secret, or is unkempt.. The folds in the curtain take on another role and create a simple beauty when pronounced by the projections of the images and text; as well, there is this question of legibility.. The point is to create a play between a staged nowhere or theatrical closet and the memory of an illegible person or nobody.. What was with the hopscotch?.. I find a strong relationship of play in children’s games to collective and personal memory, as well, to its discards and to dreams.. The origin of hopscotch came from soldiers training for combat; the transformation to a youthful game holds an evocative play of death and amnesia that can be found in many games.. I wonder about the underlying landscapes of a person’s body and the hidden layers of their capacity to dream and invent that often remain opaque, shifted, and not completely logical.. A child is a star with little memory.. A game made of imitating soldiers.. A game of memory.. To dance a falling line of recall.. What did Auld Lang Syne have to do with anything?.. The work for this context was to stem in part from a workshop with a small group of individuals who were homeless or formerly homeless in the San Francisco area.. In the time of opening up this process, many people were met.. Many quickly defy the common images or associations of homelessness, often people simply living a question of how  ...   accompanying dance at the start of a new year, in memory, and as a communal farewell to people and things of the past year.. I use it here simply as a question of memory, the perimeters of “community” and what is, or who is forgotten.. I am not a storyteller in the oral sense of theatre; I take images and resonance into the body as dance.. At points here, the movement is drawn out as still image, as tableau vivant, and as a flattened access, at other points it is loose, childlike, offbeat and a little drunk, yet at the same time not able to forget, like a snag in a dream.. In one sense, I am only a pantomime that always wishes to forget the story line.. Auld Lang Syne.. If only… And of only….. Occupied with so many stories of forgotten and silenced people.. In movement, where do I stand?.. If I forget everything I become easily thrown by the wind, if I remember everything I become heavy, unable to move; here, I am in between, to remember and forget at the same time.. Why did he take pictures of the audience?.. In this section there are photographs of individuals who are living homeless in various locations throughout San Francisco.. The images were taken by local photojournalist Robert L.. Terrell.. They are projected on the closed curtains followed by images that I myself, in returning to the place of each of his images, took of the exact same locations as found, each void of a person.. The image of the vacant space is up for triple the time of that of the peopled space.. This is a question of location and witness.. Absence and lingering presence.. Between an audience and a social ghost.. Between spectator and spectre.. To be caught between.. Who can wear this strange crown of the spectacle?.. A disposable plastic camera is used.. Why were there peeing sounds?.. The actual sounds you are referring to are in fact the recorded sounds of a small fountain in the garden of a Korean Seon Temple.. To me as well, when listened to simply as audio in a removed context, the sound is reminiscent of urination.. I find this play of altered perception appealing and useful.. The sound relates to nature, functions of the body, and in the theatrical context with the given coinciding movement, a base emasculation, or simply a passing of time.. Cycles of perception and misperception.. To watch an incoherency with such disdain.. A currency in an outside frame remains.. Vision like pissing.. Vision like water.. Even in an outhouse.. Memory flips the pages.. photographs this page:.. Adam Aufdencamp and stills from video.. at CounterPULSE, San Francisco, CA.. Artist-in-Residence, September 2007.. previous titles:.. “illegal echo / untitled echo”.. “Three walls and a window”.. “Faces”..

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  • Title: clothesxsun
    Descriptive info: Clothes.. x.. Sun.. tableaux for disappearance.. This work began in travels in parts of Asia and Europe in 2006.. In its entirety, it is comprised of multiple photographic series, writing, site-specific performances, and work for theatre and video.. The clothes used in this work were found discarded in the streets and outdoor public spaces of Taipei, Hualien, Seoul, Tabor, Prague, Berlin, and Paris.. They have been photographed, collected, and re-photographed and are used for exhibition, movement research, and performance.. The story of clothes, touch of skin, resonance, to remain in pieces.. My own distance and landscape I carry with me.. between memory and no memory… From discarded, what movement  ...   use of discarded clothing have played a role in subsequent projects and varying choreographic and improvisational works.. In the work “Echo”, found clothing is used and the central tableau is used as a physical image that develops in an alternate direction, in the work “To”, the tableau images are projected as video within the context of a mixed media installation.. Each work has taken the images in considerably different directions while redeveloping and deconstructing the idea of an image as a set entity, reference, memory, flat surface, set up, or a historical shard.. Seoul, South Korea.. Hangang, Rive.. Paris, France.. La Seine, River.. Prague, Czech Republic.. Hlavní Nádraží (Main Station)..

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