Documentation of MY NAME IS NOBODY performance that had its premiere at 2014's Avant Art Festival in Audiovisual Technology Center in Wrocław.
An interdisciplinary spectacle based on music by a Croatian electroaccoustic composer Frano Durović, to which several artists, dancers and performers from Wrocław have contributed. The visual aspect of the project was created by Bartek Szlachcic, mix and postproduction by Kostas Georgakopulos, and choreography by Dawid Lorenc. The spectale had its premiere at 2014's Avant Art Festival.
Bartek Szlachcic and Dawid Lorenc, two young artists, have been invited to participate. As far as the musical aspect goes, there has been made a large scale interference in the sound and construction of Frano Durović's composition. Now it is an entirely new piece, also in it's choreographic and performative aspects.
An enormous work was carried out by Bartek Szlachcic. The visual aspect, created entirely by him, has been based on already prepared photographs and various generative visual forms written in specialy prepared software environment. In the spectacle 4 screens, 4 projectors and kinect sensor have been used. These formal and artistic treatments plus the contribution of 8 dancers intensify the atmosphere and build an extraverbal albeit very substantive narration based on an eerie and psychedelic message.
Composition: Frano Durovic, mixed by Kostas Georgakopulos
Visual director - Bartek Szlachcic
Visual preparation: Joanna Jackowska, Anna Mika, Bartek Szlachcic
Choreography director - Dawid Lorenc
Choreography: Marta Dunajko, Maria Fekecz, Dawid Lorenc, Aleksandra Osowicz, Dorota Radwańska, Katarzyna Stasiak, Tomas Wortner
Choreographic cooperation: Karolina Brzęk, Natalia Gabrielczyk, Magda Górnicka, Kasia Kamecka, Jan Nykiel, Magda Wodyńska.
Directed by Jerome Monnot and Vania Jaikin Miyazaki
Music by Squeaky Lobster (soundcloud.com/squeaky-lobster)
Camera by Jerome Monnot, Vania Jaikin Miyazaki, Camille Dedieu, Linda Cavaliero
Editing by Jerome Monnot
Post-production effect by Damien Schneider
Sound mix by Thomas Vaquié
The Mapping Festival is dedicated to the advancement of the VJ medium. The festival is a meeting place for production and artistic experimentation. It is a laboratory for the VJing discipline, offering both novices and professionals the possibility for exploration as well as a forum for exchanging ideas and resources.
Festival Curators: Amira El May, Justine Beaujouan, Boris Edelstein
Amira El May: Artistic coordinator
Gaëlle Amoudruz: Festival co-coordinator, communication and fundraising
Corinne Benoit : Festival co-coordinator and administration
Nicolas Donnet: Music curator
Adrien Boulanger: Technical and video director
Stéphanie Gautier: Production
Institutionnal partners: Ville de Genève – Département des Affaires Culturelles et Fonds Municipal d’Art Contemporain, Etat de Genève – Département de l’Instruction Publique, Organe genevois de répartition des bénéfices de la Loterie Romande, Office Fédérale de la Culture, Fondation Ernest Göhner.
"KTTV (August 2015)," 2015
Custom software (color, sound), digital video, computer, screen
Dimensions variable, landscape orientation
Sound by Philip Rugo
The source for this continuous, generative collage is one hour of edited signals captured from the Los Angeles TV Station KTTV (198 - 204 MHz @ 34°13′29″N, 118°3′47″W) in August 2015. Reas captured the footage in this piece from the most watched TV programs, signals that the artists states “are all around us, and with their glorious advertisements and violence, influence our thoughts and risk setting the context of our world view.” The images and audio in this piece were created by sampling, distorting, amplifying, and overlapping the original signals.
"Aphasic Mapping," 2014
From the series "Small Data"
Discarded keyboard parts, wood, projector, multimedia player
33.5 x 39.4 x 63 in / 85 x 100 x 160 cm
Edition of 3
"Small Data" is series of objects made from salvaged electronic devices: old cell phones, broken computer screens, printers, cracked hard discs. Overhead, precise projections are cast onto the devices, animating and seemingly giving new life to the abandoned technologies. Working like an archeologist, Canogar reclaims the discarded technologies from junkyards and recycling centers—veritable cemeteries for consumer electronics—and positions them in sculptural arrangements on shelves, as if they were fragile remnants of a bygone era.