1. FACTUM JACOB

    01:03:49

    from Candice Breitz Added

    FACTUM JACOB, 2010 Left: Miguel Jacob (born 1 July, 1973). Right: Marco Jacob (born 1 July, 1973). FACTUM JACOB is usually shown as a dual-channel video installation on two vertically-mounted plasma displays hung alongside one another. For exhibition purposes, the footage loops endlessly without beginning or end. For more info on FACTUM and to view other portraits from this series, see http://vimeo.com/album/259786 To produce the series of works collectively titled FACTUM (2010), Candice Breitz conducted intensive interviews with seven pairs of identical twins and a single set of identical triplets in and around Toronto during the summer of 2009, footage from which she then edited seven dual-channel video installations (and one tri-channel video installation). Like Robert Rauschenberg’s near-identical paintings FACTUM I and FACTUM II (both 1957), from which the series borrows its title, each interviewee in FACTUM is an imperfect facsimile of their twin: their apparent identicality is soon disrupted by a host of subtle differences. Breitz chose to work with monozygotic twins (and triplets) who spent their formative lives together and who thus draw on shared memories and experience. Each pair of twins was filmed over the course of one long day in a domestic environment designated by the twins – most chose to shoot in the home of one twin, or in their shared home. In each case, Breitz interviewed Twin A for approximately 5–7 hours in the absence of his/her sibling and then directed the same set of questions separately to Twin B. Designed to give each individual the opportunity to narrate his/her own story as s/he chose, the questions covered intimate areas such as childhood, sibling rivalry and family matters, but also zoomed out to allow each subject to address his/her relationship to the world at large. Some questions were specifically slanted to shed light on the mysterious terrain of subject formation: the twins were asked to lend comment, for example, on the nature-nurture debate, or to offer their thoughts on evolution versus creation. Other questions invited the twins to share personal anecdotes or key memories. According to their level of comfort before the camera, some individuals were willing to enter into minute and graphic autobiographical detail, while others set distinct boundaries. Each pair of twins was asked to style themselves as identically as possible for the camera, and left to decide how diligently they wished to fulfill the request. For some the superficial sameness that resulted – almost immediately to be undermined by innumerable small differences that manifest themselves throughout the interview – became an apt metaphor for the projections of sameness that they had been subject to all their lives. Each pair of interviews was later woven together in the editing studio to create a somewhat stereoscopic dual-channel portrait. Breitz’s edits accentuate the push-and-pull relationship between the siblings. As the twins relate their stories, sharp distinctions in their voices, their attitudes, their body language, and their views on the world become apparent. At times they gravitate towards each other, offering almost the same syntax and gestures to describe memory, while at other moments they differ vastly in their conclusions on topics they both consider vital. Breitz’s presence is strongly tangible in each twin portrait – her jagged editing style distances the works from the truth claims of conventional documentary, suggesting that the intertwining forces of fact and fiction are always at play in auto/biography. FACTUM raises questions not only about twinship per se, but also about the struggle that each individual must negotiate in defining him or herself as distinct, while facing constant reminders of the relative role of others in the process of self-definition. The FACTUM series comprises FACTUM BRADLEY, FACTUM HAWKE, FACTUM JACOB, FACTUM KANG, FACTUM McNAMARA, FACTUM MISERICORDIA, FACTUM TANG and FACTUM TREMBLAY. Director + Editor: Candice Breitz Assistant Director: Bianca Semeniuk Camera: Sean Anicic Makeup: Allison Magpayo Production Assistants: Manuela Buechting, Sue Johnson, Eva Michon Post Production: Alex Fahl Commissioned by The Power Plant, Toronto; Commissioning Partner - Partners in Art, Toronto Additional information available upon request: www.candicebreitz.net

    + More details
    • FACTUM HAWKE

      57:00

      from Candice Breitz Added

      FACTUM HAWKE, 2010 Left: Kristy Lee Hawke (born 13 August, 1979). Right: Amy Lee Hawke (born 13 August, 1979). FACTUM HAWKE is usually shown as a dual-channel video installation on two vertically-mounted plasma displays hung alongside one another. For exhibition purposes, the footage loops endlessly without beginning or end. For more info on FACTUM and to view other portraits from this series, see http://vimeo.com/album/259786 To produce the series of works collectively titled FACTUM (2010), Candice Breitz conducted intensive interviews with seven pairs of identical twins and a single set of identical triplets in and around Toronto during the summer of 2009, footage from which she then edited seven dual-channel video installations (and one tri-channel video installation). Like Robert Rauschenberg’s near-identical paintings FACTUM I and FACTUM II (both 1957), from which the series borrows its title, each interviewee in FACTUM is an imperfect facsimile of their twin: their apparent identicality is soon disrupted by a host of subtle differences. Breitz chose to work with monozygotic twins (and triplets) who spent their formative lives together and who thus draw on shared memories and experience. Each pair of twins was filmed over the course of one long day in a domestic environment designated by the twins – most chose to shoot in the home of one twin, or in their shared home. In each case, Breitz interviewed Twin A for approximately 5–7 hours in the absence of his/her sibling and then directed the same set of questions separately to Twin B. Designed to give each individual the opportunity to narrate his/her own story as s/he chose, the questions covered intimate areas such as childhood, sibling rivalry and family matters, but also zoomed out to allow each subject to address his/her relationship to the world at large. Some questions were specifically slanted to shed light on the mysterious terrain of subject formation: the twins were asked to lend comment, for example, on the nature-nurture debate, or to offer their thoughts on evolution versus creation. Other questions invited the twins to share personal anecdotes or key memories. According to their level of comfort before the camera, some individuals were willing to enter into minute and graphic autobiographical detail, while others set distinct boundaries. Each pair of twins was asked to style themselves as identically as possible for the camera, and left to decide how diligently they wished to fulfill the request. For some the superficial sameness that resulted – almost immediately to be undermined by innumerable small differences that manifest themselves throughout the interview – became an apt metaphor for the projections of sameness that they had been subject to all their lives. Each pair of interviews was later woven together in the editing studio to create a somewhat stereoscopic dual-channel portrait. Breitz’s edits accentuate the push-and-pull relationship between the siblings. As the twins relate their stories, sharp distinctions in their voices, their attitudes, their body language, and their views on the world become apparent. At times they gravitate towards each other, offering almost the same syntax and gestures to describe memory, while at other moments they differ vastly in their conclusions on topics they both consider vital. Breitz’s presence is strongly tangible in each twin portrait – her jagged editing style distances the works from the truth claims of conventional documentary, suggesting that the intertwining forces of fact and fiction are always at play in auto/biography. FACTUM raises questions not only about twinship per se, but also about the struggle that each individual must negotiate in defining him or herself as distinct, while facing constant reminders of the relative role of others in the process of self-definition. The FACTUM series comprises FACTUM BRADLEY, FACTUM HAWKE, FACTUM JACOB, FACTUM KANG, FACTUM McNAMARA, FACTUM MISERICORDIA, FACTUM TANG and FACTUM TREMBLAY. Director + Editor: Candice Breitz Assistant Director: Bianca Semeniuk Camera: Sean Anicic Makeup: Allison Magpayo Production Assistants: Manuela Buechting, Sue Johnson, Eva Michon Post Production: Alex Fahl Commissioned by The Power Plant, Toronto; Commissioning Partner - Partners in Art, Toronto Additional information available upon request: www.candicebreitz.net

      + More details
      • FACTUM BRADLEY

        01:18:10

        from Candice Breitz Added

        FACTUM BRADLEY, 2010 Left: David Ronald Bradley (born 30 July, 1965). Right: Richard Donald Bradley (born 30 July, 1965). FACTUM BRADLEY is usually shown as a dual-channel video installation on two vertically-mounted plasma displays hung alongside one another. For exhibition purposes, the footage loops endlessly without beginning or end. For more info on FACTUM and to view other portraits from this series, see http://vimeo.com/album/259786 To produce the series of works collectively titled FACTUM (2010), Candice Breitz conducted intensive interviews with seven pairs of identical twins and a single set of identical triplets in and around Toronto during the summer of 2009, footage from which she then edited seven dual-channel video installations (and one tri-channel video installation). Like Robert Rauschenberg’s near-identical paintings FACTUM I and FACTUM II (both 1957), from which the series borrows its title, each interviewee in FACTUM is an imperfect facsimile of their twin: their apparent identicality is soon disrupted by a host of subtle differences. Breitz chose to work with monozygotic twins (and triplets) who spent their formative lives together and who thus draw on shared memories and experience. Each pair of twins was filmed over the course of one long day in a domestic environment designated by the twins – most chose to shoot in the home of one twin, or in their shared home. In each case, Breitz interviewed Twin A for approximately 5–7 hours in the absence of his/her sibling and then directed the same set of questions separately to Twin B. Designed to give each individual the opportunity to narrate his/her own story as s/he chose, the questions covered intimate areas such as childhood, sibling rivalry and family matters, but also zoomed out to allow each subject to address his/her relationship to the world at large. Some questions were specifically slanted to shed light on the mysterious terrain of subject formation: the twins were asked to lend comment, for example, on the nature-nurture debate, or to offer their thoughts on evolution versus creation. Other questions invited the twins to share personal anecdotes or key memories. According to their level of comfort before the camera, some individuals were willing to enter into minute and graphic autobiographical detail, while others set distinct boundaries. Each pair of twins was asked to style themselves as identically as possible for the camera, and left to decide how diligently they wished to fulfill the request. For some the superficial sameness that resulted – almost immediately to be undermined by innumerable small differences that manifest themselves throughout the interview – became an apt metaphor for the projections of sameness that they had been subject to all their lives. Each pair of interviews was later woven together in the editing studio to create a somewhat stereoscopic dual-channel portrait. Breitz’s edits accentuate the push-and-pull relationship between the siblings. As the twins relate their stories, sharp distinctions in their voices, their attitudes, their body language, and their views on the world become apparent. At times they gravitate towards each other, offering almost the same syntax and gestures to describe memory, while at other moments they differ vastly in their conclusions on topics they both consider vital. Breitz’s presence is strongly tangible in each twin portrait – her jagged editing style distances the works from the truth claims of conventional documentary, suggesting that the intertwining forces of fact and fiction are always at play in auto/biography. FACTUM raises questions not only about twinship per se, but also about the struggle that each individual must negotiate in defining him or herself as distinct, while facing constant reminders of the relative role of others in the process of self-definition. The FACTUM series comprises FACTUM BRADLEY, FACTUM HAWKE, FACTUM JACOB, FACTUM KANG, FACTUM McNAMARA, FACTUM MISERICORDIA, FACTUM TANG and FACTUM TREMBLAY. Director + Editor: Candice Breitz Assistant Director: Bianca Semeniuk Camera: Sean Anicic Makeup: Allison Magpayo Production Assistants: Manuela Buechting, Sue Johnson, Eva Michon Post Production: Alex Fahl Commissioned by The Power Plant, Toronto; Commissioning Partner - Partners in Art, Toronto Additional information available upon request: www.candicebreitz.net

        + More details
        • Bubble Head (2010)

          02:28

          from kangeunsu Added

          Interactive audiovisual installation for a public space

          + More details
          • Des Sons du Ciel de Paris - Teaser

            02:51

            from Antoine Bertin Added 441 1 1

            Teaser du projet 'des sons du ciel de Paris' qui sera présenté à Paris à l'occasion de la Nuit Blanche 2011 : une installation pour ballon d’hélium, microphone et système de communication sans fil. Au sommet de la butte Montmartre, un microphone est attaché à un ballon météorologique qui s’élance dans le ciel parisien. Au sol, des écouteurs sont mis à disposition de la foule qui s’immerge dans les sons de Paris, entendus du ciel, et contemple la vue sur la ville. Ce travail fait suite à une série d’œuvres que l’artiste Antoine Bertin a réalisé sur le thème de l’écoute d’espaces distants et qui prennent la forme d’installations, de performances ou de pièces radiophoniques. Inspirée par l’idée d’ 'excursion psychique', cette installation à pour but d’offrir au public de la Nuit Blanche une vue sonore, flottante et légère, sur la ville de Paris.

            + More details
            • ST 4U 111: Installing Cincom Smalltalk

              02:12

              from James Robertson Added 12 0 0

              Last time we registered and downloaded Cincom's non-commercial product; today, we install VisualWorks on the Mac. Installation is mostly identical across all platforms, as the product and installer are all cross platform.

              + More details
              • ŽILDA vs RÖ "L'assassinat de Marat"

                02:51

                from Žilda Added 6,603 45 6

                Rennes, 2011 Time Lapse by Colin Photo by Colin Editing by Colin Music by E.H. Grieg Interview about this installation : http://hahamag.com/?p=3760

                + More details
                • State Park

                  02:00

                  from MrHouser Added 30 0 0

                  Documentation for an installation project exploring public space loss in Los Angeles. A simulated state park was built and placed into 4 different locations across Los Angeles and viewer's reactions were documented. It's small size and plainly artificial construction reflects the lack of open space and the poor quality of those man-made park areas that already exist within the city.

                  + More details
                  • The Kinetic Approach - curlicue fractal

                    00:40

                    from Alek Grguric Added 38 0 0

                    Time-lapse video of The Kinetic Approach, a generative & processed live media installation which uses a computer, LCD monitor, 8-pen colour plotter, and custom code to render geometric abstract images based upon mathematical constructs. This rendering is of a curlicue fractal. More information at http://www.digitpro.ca/2011/07/kinetic-approach.html Music is Revival by Trancendam

                    + More details

                    What are Tags?

                    Tags

                    Tags are keywords that describe videos. For example, a video of your Hawaiian vacation might be tagged with "Hawaii," "beach," "surfing," and "sunburn."