VIEWS presented by Leo Kuelbs Collection

WMAT is a collaborative video with visuals by Nina Sobell and music by Laura Ortman. Views of dream, reality, earth, sky and in-between weave in unison, tracing the territory of the White Mountain Apache Tribe blending line, color and movement within a tapestry of sounds.

Nina Sobell pioneered the use of video, computers, and interactivity in art, as well as performance on the Web. Since 1969, when she first used video to document participants’ undirected interactions with her sculptures, she investigates the extent to which video enables her to manipulate the relation between time and space, and to create a vortex for human experience, in which the mediated event coincides with public experience, memory and relationships. Groundbreaking projects include ParkBench and VirtuAlice, and the ongoing Interactive Encephalographic Brainwave Drawings.

Laura Ortman (White Mountain Apache) is a Brooklyn composer, musician, visual artist, and hairstylist. Currently, she is recording her third solo album with legendary Gowanus engineer Martin Bisi, playing violin, Apache violin, electric guitar, amplified piano, Casio, pedal steel guitar, vocals, samples and field recordings. She has collaborated musically with great artists, filmmakers, dancers and musicians from New York, New Mexico, Italy and Canada, including Jock Soto, Nanobah Becker, Raven Chacon, Martha Colburn, Tony Conrad, Pauline Oliveros, Okkyung Lee, Alan Michelson, Lorenzo Clayton, Brooke Swaney and Pegi Vail. She has performed and recorded with New York bands Stars Like Fleas, The Dust Dive, Family Dynamics, GON, Raft's Assemble, and White Hills. In the fall of 2014 she was awarded a five week Rauschenberg Residency for music in Captiva, Florida. In 2015 she was awarded a residency at IAIA's Museum of Contemporary Native Arts for art and music in Santa Fe, New Mexico. In 2008, she founded the Coast Orchestra, an all-Native American orchestral ensemble performing and improvising to the 1914 original score to photographer Edward Curtis's only film "In the Land of the Head Hunters" to sold-out audiences at the National Gallery of Art in Washington, D.C., and the American Museum of Natural History in New York.
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VIEWS presented by Leo Kuelbs Collection

kuelbs Plus

featuring:
Bordos
Daniella Imhoff
Mighty KongBot (Domenico Barra+Luigi Console)
Kitzinger Gabor+Alex Hamadey
Karl Erickson+Justin King
Visakh Menon+Heavy Birds
Nina Sobell+Laura Ortman
Jeremy Couillard+Dennis Vos

Curated by Leo Kuelbs

“Views”…


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featuring:
Bordos
Daniella Imhoff
Mighty KongBot (Domenico Barra+Luigi Console)
Kitzinger Gabor+Alex Hamadey
Karl Erickson+Justin King
Visakh Menon+Heavy Birds
Nina Sobell+Laura Ortman
Jeremy Couillard+Dennis Vos

Curated by Leo Kuelbs

“Views” is a New Media Video Art exhibition curated by Leo Kuelbs to be presented in galleries, online and in cinemas, around the world. As mankind moves further into the virtual world, “Views” asks participating artists to demonstrate evolving notions of the meaning of “Landscape.” The traditional painted landscape was a 2D visualization of a 3D/4D reality; a fixed perspective document encoding its own contemporary practices and hierarchies, i.e. man’s position versus nature. This ongoing relationship, as seen from multiple cultural perspectives, is central to “Views.”

Technology has continually affected landscape and its reflections of contemporary life and values. Whether it is terrestrial movement, trains, cars, airplanes—our relationship to landscape has changed with the times. But, until recently, landscape was typically relegated to a 2D surface. The advent of digital technology has provided unprecedented access into 3D virtual landscapes: the perfect continuation and reflection of our times and landscape’s continual analogous evolution. “Views” traces a continuum from observable representation of the real to the ability to create digital representations of the same, as well as create wholly new and interactive realities and spaces. This shift from the 2D to 3D Immersive Surfaces, and what this change represents in society as a whole, are key points of departure and exploration for “Views.”

With thousands of years of history behind and an unknowable future ahead, “Views” will reveal connections between rapidly evolving digital realities like gaming and glitch to analog representations of the terrestrial. Through the development and presentation of work from multiple platforms, “Views” explores new ways of “place-making,” while examining continuities and linkages between seemingly disparate periods of engagement. “Views” seeks to create a common language and dialogue between our past, present and future relationships to landscape.

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