1. MOCA/DAC - Compilation 2 - interviews

    05:30

    from Hanif Janmohamed / Added

    A series video-based installations exploring the work of Frank Gehry, Gehry Technologies (GT) and the development of 3D parametric design in the Architecture, Engineering, Construction industries. For MOCA, we created an environment of asynchronous video loops highlighting key elements of the GT/Digital Project process, as part of a major exhibition on Gehry’s work. These were accompanied by an ambient soundscape with key moments that synchronized with the videos to create intuitive connections in viewers’ minds. For the Danish Architecture Centre (DAC) installation, we built on the success of this technique, creating an open-space exhibition in which the audience could wander freely and be ‘engaged’ by the words and ideas of Gehry and other leading professionals.

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    • MOCA/DAC - compilation 1 - ambient

      05:07

      from Hanif Janmohamed / Added

      A series video-based installations exploring the work of Frank Gehry, Gehry Technologies (GT) and the development of 3D parametric design in the Architecture, Engineering, Construction industries. For MOCA, we created an environment of asynchronous video loops highlighting key elements of the GT/Digital Project process, as part of a major exhibition on Gehry’s work. These were accompanied by an ambient soundscape with key moments that synchronized with the videos to create intuitive connections in viewers’ minds. For the Danish Architecture Centre (DAC) installation, we built on the success of this technique, creating an open-space exhibition in which the audience could wander freely and be ‘engaged’ by the words and ideas of Gehry and other leading professionals.

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      • Sagrada Familia

        10:43

        from Hanif Janmohamed / Added

        A video commissioned by Danish Architecture Centre, Denmark, allowed viewers to appreciate the fundamentals of 3D parametric design and the pivotal role it played in making Gaudi’s vision realizable. Parametric modeling and 3D building technologies have been used to realize unrealizable projects. A compelling example is Gaudi’s Church of the Sagrada Familia. After Gaudi’s death, the masterpiece was still very incomplete, and during the Spanish Civil war, most of Gaudi’s drawings and models were destroyed, making reconstruction work and project completion nearly impossible. We developed a video that interwove an interview conducted with the project’s executive architect with examples of how 3D technologies were applied to the restoration project—in particular, for analyzing surviving fragments of the destroyed models to reveal the essential geometries intrinsic in Gaudi’s masterwork.

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        • MOCA/DAC - Gehry interview

          08:32

          from Hanif Janmohamed / Added

          A series video-based installations exploring the work of Frank Gehry, Gehry Technologies (GT) and the development of 3D parametric design in the Architecture, Engineering, Construction industries. For MOCA, we created an environment of asynchronous video loops highlighting key elements of the GT/Digital Project process, as part of a major exhibition on Gehry’s work. These were accompanied by an ambient soundscape with key moments that synchronized with the videos to create intuitive connections in viewers’ minds. For the Danish Architecture Centre (DAC) installation, we built on the success of this technique, creating an open-space exhibition in which the audience could wander freely and be ‘engaged’ by the words and ideas of Gehry and other leading professionals.

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          • Veil of freedom

            06:10

            from francesca montinaro / Added

            22 Plays / / 0 Comments

            Veil of Freedom is the natural expressive evolution in the female video portraiture shown in the initial video installation Ritratto continuo mod . 3.375.020.000 - the number refers to the approximate total female population in the world. The project engages the feminine choice of wearing a veil. Whether it may be a spiritual motive or a social requirement, women become “those who belong” by wearing a figurative element that is rich in plastic vibrations, but which expresses “visual subtraction”. None of those women are in fact hidden by their veil but rather they are revealed with more clarity than with their facial expression or conscious gestures. Taking an excerpt from the critical study by Luigi Ficacci, art historian and Superintendent for Historical and Anthropological Heritage: “Francesca Montinaro takes no account of the current issues and distortions concerning the veil. Instead her work focuses on the deep nature and mystery that involves the archetypal cultural custom of wearing a veil”. The artist asks each one of them to reflect on her identity and her role, and to sum it up by performing a symbolic gesture: to dirty her hands in order to propel a message well beyond the confines of the video. It is an invitation to express themselves, tell their stories, take a decision. The women write a message on their hands and cast it towards future generations. It is a ritual, silent, slow, hypnotic performance: sitting on a swivelling chair, the participant is seen from behind, she then turns and finally she shows the message written directly onto her hands. The video portrait, carefully fashioned in every detail of color, light and shot, acquires that extraordinary monumental quality typical of ancient statues seen from below. All the video portraits, each 90 seconds long, are edited together in sequence, with no sound. It is a work that has built up over a number of months, to be viewed by the public over a period of time that is protracted, cyclical, and random. The final result speaks a direct narrative language with strong visual impact, the contents of which are uncertain; these become manifest only cumulatively, portrait after portrait.

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            • Dissolution of Order, 2013

              14:00

              from Robert Campbell / Added

              3 Plays / / 0 Comments

              Dissolution of Order is a synchronized, silent 3-channel video triptych comprised of three 55" flat screen displays installed vertically on the wall. Relying on compositing techniques and randomizing algorithms, this photo-based work, comprised of seven 'image poems', incorporates video elements of water, found objects, people, animals, insects and atmosphere to give each poem its haecceity.

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              • Eva Schlegel's "No Man's Heaven"

                01:01

                from Gallery Wendi Norris / Added

                15 Plays / / 0 Comments

                Eva Schlegel "No Man's Heaven", 2013 Rotor, video projection 94 inches (240 cm) diameter; 300 rpm Running time: 8 minutes Installation view, Gallery Wendi Norris, San Francisco.

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                • listening

                  03:28

                  from Sala Wong / Added

                  5 Plays / / 0 Comments

                  Title: listening (video documentation) Artist: Sala Wong Medium: Urban intervention with video and live sound performance Using the at-once ephemeral and monumental medium of video projection, this piece transforms a commonplace feature of the Terre Haute urban landscape. listening uses video projection with graphics and texts and live sound performance to express the quotidian, as well as distance and longing. For its immense scale and timelessness, a decrepit silo/grain elevator was chosen as the site for the installation. Interviews were conducted with people from all walks of life - immigrants, local residents, students and more - asking them to talk about their experiences of Terre Haute and to share some of their personal stories and memories, big and small.

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                  • "Red Eyes", 2 of 6, Video Installation

                    01:41

                    from Motomichi Studio / Added

                    25 Plays / / 1 Comment

                    “Red Eyes” is a six video projection installation project. I was inspired to create this piece after reading about the mythical creature known as Mothman and the paranormal events that took place in the town of Point Pleasant in West Virginia in 1967. According to a series of witness accounts, this creature was slightly larger than a human being and had two big eyes that glowed as red lights and it was so terrifying that “no one who saw could be indifferent to the creature, as somehow the thing struck terror into the hearts of all its viewers.” What I found very interesting about this story is that what the majority of witnesses found most frightening about the encounter is the pair of red eyes staring at them from the darkness. The community as a whole then seem to become so obsessed with the idea of the red eyes that even those who didn’t experience the encounter with the creature first hand could vividly recall the image. By having different sets of red eyes scrutinize the viewer from a series of dark screens and by using a rear projection technique, my intention is to allow the viewer to come face to face with the creatures on the screen and to use the image of the red eyes as a symbol that even when devoid of its original context could still instill a sense of fear in those who witness it, resembling for instance the images in dreams that are considered to have an universal meaning.

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                    • Drops

                      00:35

                      from Motomichi Studio / Added

                      30 Plays / / 0 Comments

                      Animation originality made for a Video Installation for "Kids are us – I Bambini Siamo Noi", Galleria Civica di Arte Contemporanea, Italy 2003.

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