1. Alaska

    01:43

    from somang lee Added 172 0 0

    This is a clip of live illustration I did with 'Snowed In' a collaborative piece with three singers, two musicians and another visual artist at the Barbican.

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    • Merce Cunningham Dance Company - Merce Circus

      04:27

      from Dance Umbrella Added 938 0 0

      As part of Dance Umbrella 2011 and on its final visit to the UK before disbanding at the end of the year, Merce Cunningham Dance Company performs in east London for the first time. The Company takes up residence with East London Dance at Stratford Circus for an intensive weekend, providing an opportunity for fans and new audiences alike to interact directly with the multi-faceted work of one of the world’s choreographic greats. A unique presentation, MERCE CIRCUS includes performances of Squaregame (1976) combined with films and other events taking place all over the building. There is even an opportunity to try out and perform a short Cunningham piece, Field Dances (1963). MERCE CIRCUS was presented by Dance Umbrella, the Barbican and East London Dance. Film by Scott Murden Follow us on Twitter https://twitter.com/danceumbrellauk Like us on Facebook http://www.facebook.com/DanceUmbrella http://www.danceumbrella.co.uk

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      • Stop/Motion | ACE Club

        00:24

        from Turquoise Branding Added 78 1 1

        We created this little experiment in stop-motion animationafter being inspired by our trip to the Watch Me Move animation exhibition at The Barbican. Read more about it here » http://trqu.se/sDl8yS

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        • Interview: Iyad Alsaka on OMA and Libya

          01:57

          from Dezeen Added

          In this movie from our series filmed at the opening of OMA/Progress at the Barbican in London, OMA partner Iyad Alsaka discusses the firm's recent project in Libya, which was an analysis of how tourism can be generated in the desert. A series of images from this project are projected onto the floor in one of the rooms of the exhibition. Iyad Alsaka reveals more about OMA's engagement in the Middle East and North Africa in an earlier movie. OMA co-founder Rem Koolhaas also gave Dezeen a private tour of the OMA/Progress exhibition, while partner Reinier de Graaf talked to us about more of the firm’s preoccupations.

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          • Interview: Iyad Alsaka on OMA, the Middle East and North Africa

            06:57

            from Dezeen Added

            In this interview from our series filmed at the OMA/Progress exhibition at the Barbican in London, OMA partner Iyad Alsaka talks about the firm's presence in Arab countries, starting with a 2007 exhibition about the Gulf Region and leading up to their current projects in Saudi Arabia and Qatar. Syrian national Alsaka joined OMA in 2007, specifically to work on projects in the Middle East and North Africa.

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            • Rotor: Investigating OMA (Trailer)

              02:01

              from Barbican Centre Added 106 0 0

              Highlights of an open discussion with OMA/Progress exhibition curators, Belgium-based collective Rotor, on the experience of getting to know OMA in all of its territories. Watch the full video at http://www.barbican.org.uk/galleryvideos OMA/Progress Media Partner: Icon Magazine

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              • Graham Dolphin - Photopsia Relay 2011

                10:05

                from Graham Dolphin Added 85 1 0

                English Journey: Revisited 22 October 2011, Barbican, London

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                • The Wall: London's most public gallery

                  03:43

                  from Village Underground Added 563 3 1

                  More info: http://www.kickstarter.com/projects/1656940722/the-wall-londons-most-public-g... Our Project We're turning 5 years old here at Village underground, and in celebration we've decided to try and make a dream happen. We want to build London's most public gallery. For years this immense wall on Great Eastern Street has been host to many artists painting in the wall's 4m X 3m recesses, they're oddly like natural picture frames, from Steve Powers and Shepard Fairy to incredibly talented local artists. We want to evolve this informal project, turning it into an amazing permanent art space. Why We're Coming to Kickstarter To do this, we need to design, build and install bullet proof metal and glass frames over the recesses to protect the art work from theft and vandalism. Importantly, this means that artists can paint on board and canvas so the work can be kept. Its been really tough over the years to see such amazing work lost as the next artist paints over it. Saving the art work will mean that artists can sell their pieces and earn a living. That's obviously important, but it also means that we can exhibit art that's not just painting -- photography, digital art, mixed media, even interactive work: This takes the wall onto a whole new level. Staying True We've always been steadfast in remaining independent and much of what we do at Village Underground is on a not-for-profit basis. Supporting artists and providing an open and alternative space for culture is why we get out of bed in the morning. We've fought off the offers from advertising companies who what to use the wall, we want to raise our own money rather than having a corporate sponsor. How it Will Work We'll invite guest curators and artists to contribute, programming The Wall with the same mixed-art approach as venue of Village Underground itself. Established artists will exhibit next to emerging ones, international artists next to locals. We're also creating The Digital Wall that will take the project much further afield. The Digital Wall will allow artists from all around the world to upload their own work in a bid to have exhibition time on the physical wall, this means we can go global, from New York to Istanbul. Art lovers can log onto the Digital Wall to follow this international stream of creativity, as well as download or order affordable art prints. This will generate income for both the artists and for the ongoing project costs, as well as Village Underground's social programme of supporting young talent. London traffic stats state that over 10 million cars pass The Wall every year - that's more 'visitors' than Tate, The National Gallery and The Barbican combined. Add to that a few million more passengers, pedestrians and cyclists, and you'll start to see why we're more than a little excited about our plans. That's why we need your help. A huge thank you from Auro, Abi and Orlando and all of us at Village Underground And if you're interested, you learn more about who we are and what we do here: www.villageunderground.co.uk

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                  • Barbican Fingers - Entrance 13 - Where Barbican meets Barbican

                    00:35

                    from Adriana Valdez Young Added 18 0 0

                    The most seamless interface between a Barbican pedestrian bridge and a stairwell to the Tube entrance. It's an area where people stand around to smoke and check their mobiles. Maybe they are waiting for people? Maybe they are avoiding going to work? Nearby, they can eat sandwiches at Pret, extract cash from Barclays, pick up their dry cleaning and take care of other daily necessities that integrate well with moving through the city. Guy and I detected a strong lavender scent on the sidewalk that seemed to be emitting from the sky above and not from any particular individual or commercial entity.

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                    • Barbican Face - Entrance 16 - Everyday Luxury

                      00:32

                      from Adriana Valdez Young Added 82 0 0

                      This Rolls Royce, complete with attentive chauffeur, waited immediately in a self-made VIP parking space outside the main entrance to the Barbican Centre. Silk Street also has connotations of refinement and luxury, so it only seems appropriate that the Rolls Royce park here, as opposed to some of the less glamorous and less obvious entrances to the Barbican. Its presence also exacerbates a condition we had observed, which is that the language of the pavement seemed to speak to cars and not people. The immediate interior of the public entrance to the Barbican Centre is quiet austere and lacking in warmth, feeling much like an airport or hospital in tone, texture and lighting. Why does the Barbican save all of its warm reds and oranges, brass and wood for the belly of the theater? Could it entice the public with just a little warmth from the entrance? We think that this entrances needs a lot of help.

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