culturemulcher
360 Panoramic Video Test
In this video the the creator attached a chrome sphere in front of a camera and using post production by using polar coordinates, he warps the sphere into the shape of a frame to create a complete 360 degree horizontal panoramic effect.
This could easily be applied to mounting on any camera or device for filming the city in a completely new perspective in which you can’t really view traditionally. A bonus would also be filming a subject matter that you can’t really view from street level or normal line of sight.
2 notes (via dylanturney)
Reflective statement
Reviewing the events covered so far in the blog it seems that the moving image is a key interest.
I did attend a number of events that I chose not to review, preferring to focus on the events about which I had positive things to say.
At times I have felt there is too much investment required of the viewer. I don’t believe that a large amount of time, extensive knowledge of theory, or the background of the artist should be a pre-requisite to appreciate their work.
For me, even reading the labels on the gallery walls is often too much. I want something that will move me in some way. Now. This attitude probably excludes a broad range of artists, and necessary limits my experience their work. I don’t feel worried about this.
I like the attitude of street artists whose focus is on making the biggest impression in the shortest amount of time, with the limited space available.
I found Tino Sehgal’s work interesting and provocative. But I question his embargo on documenting it. I reason this is because the work concerns situations and interactions that could not be captured by a photograph, for example.
The fear of copyright is a suppressant of creativity and I believe any real artist would not seek to invoke that fear. Questioning copyright and the use of photographic images seems to be the fastest way to start a fight: “Freetard”.
I was excited at the prospect of experiencing Mahmoud Bakhshi’s monumental sculptural and sound work as part of the 4th Auckland Trienial. Shed 6 is a cavernous space and creates interesting acoustics.
Bakhshi’s work often contains political messages and has been censored by the government of Tehran. I wondered what message the array of loudspeakers would have for me.
I visited the gallery on three occasions. Only on the last visit was the work making some sound. One or perhaps two of the speakers quietly emitted the voice of a man speaking - looped and repeating.
I have the feeling that if Bakhshi had set the work up himself there would be a much richer soundscape. The speakers were linked to a network of preamps, mp3 players and mixers - I find it hard to believe that 90% of the electronics woven into the work is intended to be left disconnected.
Crochet Coral reef
An interesting inter-displinary project at the Auckland Museum. The project examines the connections between mathematics, handicraft and ecology. It turns out that the topology of crochet is able to accurately a hyperbolic plane - something that mathematicians have claimed cannot be done. It also reflects the biological forms of coral, Nudibranchs and lettuce leaves.
An international collaborative project, it struggled to find funding and is hidden away in the depths of the Museums’ web site. This is ironic considering the recent re-sergence and recognition of craft-art as an innovative medium.
Tiffany Singh - Union
The dark, close atmostphere of the MIC gallery provided an ideal setting for Tiffany Singh’s Union. A large collection of wax figures in a rainbow of colours are arranged in subdued lighting. The rows of small sculptures reminded me of the Terracotta Army that visited the Auckland Art Gallery in the 80s.
With this project Singh has encouraged the audience to participate by exchanging a personal item of their own for a wax sculpture of their choice. In many cases this was a simple message written on paper. In other cases handmade items took the place of Buddha and the Virgin Mary.
Alex Monteith - Red Sessions - Part of the 4th Auckland Trienial
Capturing the Taranaki coastline in beautiful panoramic detail, this four projector video installation is the closest thing to being at the beach, while standing inside an industrial shed.
Richard Bell - Scratch an Aussie - Part of the 4th Auckland Triennial - Shed 6.
Confronting seems to be the word used to describe Bell’s short film Scratch an Aussie. Take some good looking aussie teenagers in gold bikinis and have them relate, as to a therapist, through a process of free association, their personal stock of Abbo jokes. This is interspersed by Bell’s own confessions and motivations.
Bell’s approach is disarming but surgical. This film is not raw meat for the balcony, but some kind of psychic operation.
Laresa Kosloff at Artspace.
I have always had a soft spot for 8mm movies. My father’s super 8 footage from my early childhood and from his travels in Nigera have a strong influence.
Kosloff has created a ballet of movement using a trapeze as the vehicle of motion. I enjoyed the presentation of the film - back projected on a suspended acrylic sheet.
My only reservation was that the footage was not presented in it’s original format - a DVD projector was used.
I found the film relaxing and began to loose track of time as I watched.
