LB2 Graduation 2021 and V2: Difference between revisions

Latest revision as of 19:17, 25 September 2021

LB2 Graduates 2021 and V2_

About the collaboration between LB2 graduates of 2021 and V2_.

The schedule includes two days of build-up and roughly four days of exhibition with a two-hour live-streamed program on each exhibition day for live presentation and performance.

-The whole program can take place using V2_’s streaming and presentation equipment.
-Students are responsible for: the bar and door; any presentation materials related to their individual work; and the design of the promotion materials.
-The curatorial groundwork will be planned by Florian Weigl in conversation with LB alumni and monitoring during the build-up.

V2_ assistants

Space for the names and contact details of two students who will be the liaison between LB2 and V2_.

Yu-Ching I am interested in this, maybe I could help :)

Thy I'm interested in this as well xD

Annalisa

Alumni proposals

Please add your name, email address and phone number plus a short project description, bio and no more than three images.

Add your personal details here.
Project description
Add your project description here.
Bio
Add the short biographical note here.
Images

Jelle Havermans

jellehavermans@hotmail.com | +31 621340851

Project description

In this atmospheric short film, a man returns to a gloomy forest in Birmingham, where long ago a mysterious crime was committed. Party photo-roman, partly digital travel report, this short film juxtaposes old forensic photographs with videos shot with a phone of the crime scene as it stands in the current day. A whisper in Hagley Woods reflects on placeness, the apparatus of cinema and on the way ghosts inhabit photographs. It further ambiguously explores the role of the male creator indulging his obsession. He retraces the steps of the murderer as well as the victim… while reminiscing on a past that is shaped through the lens of fictional narratives.

Bio

Jelle Havermans was born in the Netherlands and currently live in Amsterdam. In his current work he reflect on film and it's role in history. Recurring topics are the depiction of violence and (true) crime, cinematic language and the aesthetics of forensic imagery. By mingling fiction with documentary-style investigation, he explores his own obsessions and desires, through the lens of true crime media and horror.

Images Still 1 Still 2 Still 3

Fileona Dkhar

fileonadkhar@outlook.com | +31 648143488 | +91 7005484460

Project description

I pointed the lens at myself, I focused it nearby
“I pointed the lens at myself, I focused it nearby” is a research project which considers the lens and its role in articulating notions of identity. The lens acts and is considered as a metaphor for looking and being looked at. Referencing Trinh T. Minh-ha’s philosophy of using the lens to “speak not about identity but to speak nearby,” the project examines identity linked to image, place, feeling and personal history.

Bio

Fileona Dkhar [IN] is a Rotterdam-based Khasi artist and researcher. Her work investigates the personal, spatial, abstract and ideological boundaries of representation. Her work uses generative applications of code, performance, filmmaking, writing, and photography.

Images

Exhibition Notes

Caressing a Forest in my Palms [Video (Color, Sound)] LED TV and Headphones https://vimeo.com/612545553/b377ccef1c
Requires a computer/screen for people to scroll and see the website Graduation Project site

Nguyen Ngoc Trang Thy

thy@dcsg.vn| https://www.thytrang.com/ | +31 616105490

Project name

The Living Room Wars (work-in-progress)

This is a body of work stemming from the ongoing research of Thy Nguyen about the intergenerational trauma of Vietnamese women (her grandmother and mother) who lived through the many Wars that happened in Vietnam in the 20th century and the rapid socio-cultural as well as infrastructural, economic changes in the 21st century, given the context of Vietnam society in warfare and post-war time.

Thy is currently making a creative documentary film based on this research, in which she remixes rarely seen archive footage of the Vietnam conflict (from the point of view of the Vietnamese), documentary interviews, family archives, and newly shot footage and re-enactments. It tells the story of a family trying to reconcile with and take ownership of its story: a story that opens up fresh, personal yet profound perspectives on the Vietnam War.

Project description

#1 Excerpt of The Living Room Wars [Video (color, sound)]

Western media called the Vietnam War “the Living Room War.” For filmmaker Thy Nguyen’s family, the end of the war in 1975 brought a new war into their living room. The story starts with a Ho Chi Minh TV broadcast: numerous women looking for Thy's grandfather after the war ends spark a series of bitter family disputes which last for generations.

https://vimeo.com/596033134

(pass: livingroom)

#2 out of sight, out of mind [Video (color)] <be>

CCTV installed in the house allows Thy to care for her mother even though they are thousands of miles apart. But unlike modern communication technology that allows people to communicate with each other, watching her grandmother through CCTV is a passive communication process. It reflects the way women in Thy's family care for each other - observing each other from afar, silently.

https://vimeo.com/611634206 pass: CCTV

#3 Digital heritage

We as conscious beings do not want to be forgotten. We do not want to disappear from thoughts and memories, nor do we want our loved ones to meet that same fate. For Thy, scanning, digitising family archives is a way of keeping memories alive, it provides ample opportunity for reflection about ourselves and those whose lives and work will be visible to future generations.

https://www.youtube.com/watch?v=KP6oADydqYI

Artist bio

Nguyen Ngoc Trang Thy is a Vietnamese artist and filmmaker based in Rotterdam, NL. The first generation born in peacetime in her family, at the age of 17, Thy was sent abroad to pursue Western Education. Thy makes video arts and films that investigate gender roles, societal beliefs and the crime of (the Vietnam) war, the trauma war caused and how small, personal narratives of women (and men) in times of tragedy interwoven with grand, historical narratives throughout the history of Vietnam.

Exhibition Notes

For #1 A TV cube or LED TV + headphone

For #2 Projector or Ipad/Iphone mounted on wall

For #3 Projector + speaker

I need 2-3 walls to make it like a living room (closed space)

Lea Novi

lea.novi@gmx.de +49 15110673770 www.lea.novi.de

Project description

The calm after the storm

The project "The calm after the storm" consists of abstract photographs and text. Through conversations, thoughts, and feelings, it reflects my emotional engagement with photography as my practice and questions its changing meaning in today's society. The photos are the result of a search for calm, quiet, and for comfort.

Bio

Lea Novi is originally from Germany and currently based in Rotterdam with a background in documentary photography. Her practice focuses on belonging, isolation as well as the underlying structures of society. She is interested in developing techniques that allow a deep level of engagement and empathy with these topics. Her current project is a self-reflection on the medium of photography.

Images

Exhibition Notes

30 images (size of the images are depending on the space I could use)

If possible: Black wall (exhibition wall, Florian showed me one, when I had the meeting at V2)

Bench (or similar objects to sit on)

Laser pointer to hang up images

System to hang up images (tape, gaffa tape, and needles)

Muxingye Chen

chenmuxingye2014@gmail.com | 0629432797| https://muxingyechen.com/%7C

setting examples

1. would like to have three hanging screens(100cm*57cm)(or three 16:9 projecting materials) arranged in a row.
2. Stereo sound systems
3. completely dark situation(for the video)

my considering: my sound is pretty intense, I don't know if it's disturbing others work( Otherwise I don't mind finding alternatives) thank you very much

Project description

Project called "unframed". It will be presented as a video installation and will have three chapters. The first chapter subtitled "离" would be shown in V2. It illustrates a situation that in a certain frequency, the body has falling into different parts, they individually build up their own relations with the environment, and randomly interact with each other.

Bio

Muxingye Chen is from Chengdu, China, studied at the Piet Zwart Institute in Rotterdam with the Master Program Lens based media.

He works with digital art on an abstract representation of body movement. He uses animation and 3D programming as a kind of extension of the limited body. In this way, he tries to deconstruct, unravel and convert our current image of how we deal with social structure into our individual experience.

Images

Yu-Ching Chiang

eric.chiang.chiang@gmail.com | 06-47421683| https://read.cv/yuchingchiang |

Project description Main tile: In search of (un)mediated particularities of communicative space

The project is a series of experiments in search of (un)mediated particularities of communicative space in video chat. The exhibition is three installations alongside my thesis presentation. The first installation, Compass Video Calling Device(2021) is two hand-held devices that audiences are invited to interact with others, they only can see each other when they face each other. The second installation is a Video Chat Cafe(2021), an installation to contextualize the action of video chat which encourages people to encounter random or friends in a place I call a shared table. A table cut in half, one is situated in the indoor space while the other half sits outside the V2. A sleeping mattress will be placed alongside my still image work-Sleeping Together(2021). The work questions the physicality, unification, virtualization of space we intimately shared.

Bio

I am a cross-disciplinary individual who is constantly seeking for innovation in environmental and people-engaging design. As a professional practitioner, I have been designing many practical and conceptual projects for ten years. I also conduct my own practices for exploring new possibilities of space by diverse approaches such as mixed media, spatial art, installation, and photography.

Images

Notes

Ipad x2 (one need to be mounted on the wall, one on the glass) //60" screen x2

Anh Dao

4nhdao@gmail.com, +31 06 45571089

Project description
entangled landscapes is a body of work stemming from a research project that dissected the relationships between flora, capitalism, and coloniality. It examined the impact and manifestations of belonging on the European landscape (past, present, and future).

Bio
Anh Dao is an artist and film technician from the west coast of Canada. Anh makes images and sometimes films. Her practice involves thinking about the natural world and thinking about places. She engages in a research-based embodied practice with a focus on material experimentation. Anh is interested in ecofeminism, crip time, and diasporic narratives of longing.

Images

1. On the exactitude in science, 2021
Anthotype on inkjet print
70 x 48 cm

2. Ambiguities, redundancies, and deficiencies #1, 2021
UV print on polycarbonate
50 x 47 cm

3. Ambiguities, redundancies, and deficiencies #2, 2021
UV print on polycarbonate
50 x 47 cm

(Image coming soon)
4. Untitled #1 (itadori), 2021
UV print on aluminum composite plates
21 x 30 cm

(Image coming soon)
5. Untitled #2 (lale), 2021
UV print on aluminum composite plates
21 x 30 cm

Exhibition Notes
I have five traditionally framed images:
- 70x48 cm
- Two 50x47 cm
- Two A4

If possible I would like white walls and natural/bright lighting.

Annalisa Urti

annalisa.urti@gmail.com
+393285555552

Project description
I'd like to exhibit two videos, single channel:
1. Domani ti dimenticherò meglio (Tomorrow I will forget you better)
2. Baci fantasma (Ghostly kisses)

1. Domani ti dimenticherò meglio (Tomorrow I will forget you better)
Details: 3’, colour, sound, 1920 x 1080, 2019 - 2020
A girl wanders through the streets, the promenade, the reeds of bamboo of a small town in the South of Italy on Google Earth. She revists the places that once saw her tight to her former lover. An intimate confession unravels between aerial visions and street views of the town, spherical panoramas uploaded by the users of Google, and the virtual touch of the cursor on the screen.

https://drive.google.com/file/d/1YsgyZcyYcgERU6XSljAD1Rk5PklhEZ71/view?usp=sharing

2. Baci fantasma (Ghostly kisses)
Details: 19’3’’, colour, sound, 1920 x 1080, 2021
A story of loss, fragility and obsession told through the interface of Google Earth. A girl goes to the city of Rome looking for her lost love. She leaves three red roses behind at each stop she makes, hoping that they will lead her former lover to her. In the light of unresolved desire, the roses become indexical markers of human emotion in a depersonalised digital world of anonymous blurred faces. The voiceover is interspersed with the transcription of a WhatsApp chat that begins with the last and ends with the first message the two sent to each other.

https://drive.google.com/file/d/1y4lpsG0gy92eZKXrZMo1EaaGUeru1lTi/view?usp=sharing

Bio
Annalisa Urti is a visual artist and writer based in Milan, Italy. She first approached dramatic art at the age of 10 to then embrace the visual arts at a broader scale during high school and her bachelor in Painting and Visual Arts at NABA, Milan, Italy. Once landed at Piet Zwart Institute, Rotterdam, Netherlands, she uses video and writing to explore themes such as human emotion in the era of hyper-communication and the dichotomies embedded in the concept of displayed intimacy. Her visual and verbal language puts lyrical and colloquial, spiritual and secular in close dialogue.

UPDATE FROM CURATING TEAM

TIME TABLE:

TOPIC AND THEMES: We had a meeting today (14/09) and brainstormed some keywords and questions. The curating team will meet again next Monday (20/9) to make the final decision on the theme and move on to poster design/exhibition layout/ marketing etc.

POSTER: V2 Designer will handle

OPENING DATES: We're currently thinking of both Thursday and Friday night. Thursday is private event for family and friends and Friday is for the public. There will be champagne for private event and a bar service).

DOCUMENTATION: V2 will help us to document individual and group exhibition. If you have any ideas of your documentation styles, please propose (DIY also an option).

@@ Line 45: / Line 45: @@
 <hr>
 ===Fileona Dkhar===
 fileonadkhar@outlook.com | +31 648143488 | +91 7005484460
@@ Line 50: / Line 51: @@
 '''Project description'''
-[https://www.fileonadkhar.com/focusnearby Graduation Project site]<br>
+''I pointed the lens at myself, I focused it nearby'' <br>
-''of the land: faces, place, traces, earth'' [Video (color, sound)] <br>
+“I pointed the lens at myself, I focused it nearby” is a research project which considers the lens and its role in articulating notions of identity. The lens acts and is considered as a metaphor for looking and being looked at. Referencing Trinh T. Minh-ha’s philosophy of using the lens to “speak not about identity but to speak nearby,” the project examines identity linked to image, place, feeling and personal history.
-Through voiceover, the narrator attempts to define her identity as image, place, feeling and belonging. Using the POV of the camera, the narrator traces her relationship to the moving image presented, beginning in colonial figurative representation, getting lost in the abstraction of place through maps, finding an abstract sense of shared kinship in feeling, and, finally, the land itself as a marker of her history.
-If VR headset use is possible, a part of the installation can also be an interactive video: https://vimeo.com/563244503/3d0e7ed7d6
 '''Bio'''
-Fileona Dkhar is a Khasi indigenous artist and researcher. Her current work rearticulates notions of her identity linked to image, place, feeling and personal history. Dkhar expresses her ideas through abstract and generative application of code, performance, filmmaking, writing, and photography.
+Fileona Dkhar [IN] is a Rotterdam-based Khasi artist and researcher. Her work investigates the personal, spatial, abstract and ideological boundaries of representation. Her work uses generative applications of code, performance, filmmaking, writing, and photography.<br>
 '''Images'''
 <gallery mode="packed-hover" heights=200px>
 File:Screenshot 2021-07-11 at 1.23.14 PM.png
@@ Line 65: / Line 65: @@
 File:Screenshot 2021-07-11 at 1.23.06 PM.png
 </gallery>
+==== ''Exhibition Notes'' ====
+* Caressing a Forest in my Palms [Video (Color, Sound)] LED TV and Headphones https://vimeo.com/612545553/b377ccef1c
+* Requires a computer/screen for people to scroll and see the website [https://www.fileonadkhar.com/focusnearby Graduation Project site]<br>
 <hr>
 ===Nguyen Ngoc Trang Thy===
-  thy@dcsg.vn| https://www.thytrang.com/ | +31 622 835595
+  thy@dcsg.vn| https://www.thytrang.com/ | +31 616105490
+'''Project name'''
+'''The Living Room Wars (work-in-progress)'''
+This is a body of work stemming from the ongoing research of Thy Nguyen about the intergenerational trauma of Vietnamese women (her grandmother and mother) who lived through the many Wars that happened in Vietnam in the 20th century and the rapid socio-cultural as well as infrastructural, economic changes in the 21st century, given the context of Vietnam society in warfare and post-war time.
+Thy is currently making a creative documentary film based on this research, in which she remixes rarely seen archive footage of the Vietnam conflict (from the point of view of the Vietnamese), documentary interviews, family archives, and newly shot footage and re-enactments. It tells the story of a family trying to reconcile with and take ownership of its story: a story that opens up fresh, personal yet profound perspectives on the Vietnam War.
+[[File:Screenshot 2021-09-20 at 08.22.15.png| 500px]]
 '''Project description'''
-''Grand-Mother-I'' [Video (color, sound)] <br>
+[[File:Quarantine edit.00 02 54 16.Still002.jpg| 700px]]
-This video is an excerpt of my documentary called Grand-Mother-I
+''#1 Excerpt of The Living Room Wars'' [Video (color, sound)] <br>
-Television reduces the space between the battlefield and people at home. That is why the Vietnam War called the Living Room War. It was the first time Americans see the war with their own eyes, in their own home. Broadcasting images of the war helped to end it, but in Vietnam, the war lives on. In the living room of Thy - the filmmaker, in 1975, the bulletin of numerous women looking for her grandfather after the war ends sparks family disputes that go on for decades, shaping the lives of three generations. The film offers multiple intimate gazes into the Vietnam War, trans-generational traumas and the journey towards peace of the three generations of women (and men) hence the name: Grand-Mother-I.
+Western media called the Vietnam War “the Living Room War.” For filmmaker Thy Nguyen’s family, the end of the war in 1975 brought a new war into their living room. The story starts with a Ho Chi Minh TV broadcast: numerous women looking for Thy's grandfather after the war ends spark a series of bitter family disputes which last for generations.
+'''https://vimeo.com/596033134'''
+(pass: livingroom)
-'''Bio'''
-Nguyen Ngoc Trang Thy is a Vietnamese photographer and filmmaker based in Rotterdam, NL.  Thy is the first generation that was born in peacetime in her family and she was sent abroad for Western education since 17. Thy’s works mainly scrutinized her own life experience, focus on exploring the concept of home, feeling at home and belonging in a globalising world.
-By questioning the meaning of ‘place attachment' when the COVID-19 pandemic reaches the Netherlands, her short film FROM HOME TO HOME (2020) weaves together mysterious images that evoke science fiction cinema to convey the experience of ‘homelessness' in the uncanny and silent Netherlands while longing for her motherland. FROM HOME TO HOME was selected to premiere in the London Lift-Off Film Festival 2021.
+[[File:CCTV.00 54 57 09.Still002.jpg| 700px]]
+''#2 out of sight, out of mind '' [Video (color)] <be>
+CCTV installed in the house allows Thy to care for her mother even though they are thousands of miles apart. But unlike modern communication technology that allows people to communicate with each other, watching her grandmother through CCTV is a passive communication process. It reflects the way women in Thy's family care for each other - observing each other from afar, silently.
+https://vimeo.com/611634206
+pass: CCTV
+[[File:Scanning.00 02 43 18.Still004.jpg| 700px]]
+''#3 Digital heritage''
+We as conscious beings do not want to be forgotten. We do not want to disappear from thoughts and memories, nor do we want our loved ones to meet that same fate. For Thy, scanning, digitising family archives is a way of keeping memories alive, it provides ample opportunity for reflection about ourselves and those whose lives and work will be visible to future generations.
+'''https://www.youtube.com/watch?v=KP6oADydqYI'''
+'''Artist bio'''
+Nguyen Ngoc Trang Thy is a Vietnamese artist and filmmaker based in Rotterdam, NL. The first generation born in peacetime in her family, at the age of 17, Thy was sent abroad to pursue Western Education.  Thy makes video arts and films that investigate gender roles, societal beliefs and the crime of (the Vietnam) war, the trauma war caused and how small, personal narratives of women (and men) in times of tragedy interwoven with grand, historical narratives throughout the history of Vietnam.
+'''Exhibition Notes'''
-Thy is currently working on her feature-length documentary called Grand-Mother-I, in which she rediscovery the generational trauma that lingered in her and her family over three generations; In the context of the Vietnam Wars, the Economic Renovation and the Internet era in Vietnam. Through re-enactments, national and family archives, interviews and observational footage, Grand-Mother-I investigates the truth about the director's family history alongside the grand narrative of Vietnam history.
+For #1 A TV cube or LED TV + headphone
-'''Images'''
-[[File:Grand-Mother-I-2.jpg| 400px]]
+For #2 Projector or Ipad/Iphone mounted on wall
-[[File:Grand-Mother-I-3.jpg| 400px]]
-[[File:Grand-Mother-I.jpg| 400px]]
+For #3 Projector + speaker
+I need 2-3 walls to make it like a living room (closed space)
 === Lea Novi ===
+lea.novi@gmx.de
++49 15110673770
+www.lea.novi.de
 '''Project description'''
+The calm after the storm
-The calm after the storm is a confrontation with the medium of photography. The two-part project consists of a text in which I reflect on my own practice and abstract photographs I took in nature. In a diaristic written text, I reflect on my experience during the pandemic, living in a foreign country and ask myself ethical as well as political questions about the position of the medium camera in today´s society. The text reflects in a poetic way on conversations, thoughts, and feelings that occurred during this time and are part of a struggle. The photos, which some perceive as paintings, are the result of a search for calm, quietness, and comfort in nature. Simultaneously, this approach was a way to express my feelings of home in a visual way.
+The project "The calm after the storm" consists of abstract photographs and text. Through conversations, thoughts, and feelings, it reflects my emotional engagement with photography as my practice and questions its changing meaning in today's society. The photos are the result of a search for calm, quiet, and for comfort.
 '''Bio'''
-Lea Novi is a german photographer and researcher based in Rotterdam. She is interested in developing techniques that enable a deep level of engagement and empathy. The works document social and cultural relationships in her surroundings, thus explore and reflect on life in rapidly evolving societies. In her current project, she reflects her own relationship with photography, the power of the camera, and the resulting depiction in images.
+Lea Novi is originally from Germany and currently based in Rotterdam with a background in documentary photography. Her practice focuses on belonging, isolation as well as the underlying structures of society. She is interested in developing techniques that allow a deep level of engagement and empathy with these topics. Her current project is a self-reflection on the medium of photography.
 '''Images'''
-[[File:L-N-Image-01.jpg| 400px]]
+[[File:L-N-Image-01.jpg| 200px]]
+[[File:L-N-Image-02.jpg| 200px]]
+[[File:L-N-Image-03.jpg| 200px]]
+<br>'''Exhibition Notes'''<br>
+[[File:ExhibitionInstallation_LeaNovi.jpg|thumb|none|500px|]]
+images (size of the images are depending on the space I could use)
+If possible:
+Black wall (exhibition wall,
+Florian showed me one, when I had the meeting at V2)
+Bench (or similar objects to sit on)
+Laser pointer to hang up images
+System to hang up images (tape, gaffa tape, and needles)
+=== Muxingye Chen ===
+chenmuxingye2014@gmail.com | 0629432797| https://muxingyechen.com/|
+'''setting examples'''
+<br>1. would like to have three hanging screens(100cm*57cm)(or three 16:9 projecting materials) arranged in a row.
+<br>2. Stereo sound systems
+<br>3. completely dark situation(for the video)
+my considering:  my sound is pretty intense, I don't know if it's disturbing others work( Otherwise I don't mind finding alternatives)
+thank you very much
+'''Project description'''
+Project called "unframed". It will be presented as a video installation and will have three chapters. The first chapter subtitled "离" would be shown in V2. It illustrates a situation that in a certain frequency, the body has falling into different parts, they individually build up their own relations with the environment, and randomly interact with each other.
+'''Bio'''
+Muxingye Chen is from Chengdu, China, studied at the Piet Zwart Institute in Rotterdam with the Master Program Lens based media.
+He works with digital art on an abstract representation of body movement. He uses animation and 3D programming as a kind of extension of the limited body. In this way, he tries to deconstruct, unravel and convert our current image of how we deal with social structure into our individual experience.
+'''Images'''<br>
+[[File:Screenshot 2021-09-14 at 23.27.55.png|400px]]
+[[File:Screenshot 2021-09-14 at 23.28.31.png|400px]]
+[[File:Screenshot 2021-09-14 at 23.28.10.png|400px]]
+[[File:Screenshot 2021-09-14 at 23.28.21.png|400px]]
-[[File:L-N-Image-02.jpg| 400px]]
-[[File:L-N-Image-03.jpg| 400px]]
@@ Line 122: / Line 226: @@
 '''Project description'''
+Main tile: In search of (un)mediated particularities of communicative space
-The project is a series of experiments in search of (un)mediated particularities of communicative space in video chat. The exhibition will be three installations alongside my thesis presentation in whether paper form or digital. In terms of installation,  Compass Video Calling Device is two hand-held devices that audiences are invited to interact with others, they only can see each other when they face each other. The second installation is a Shared Table, an installation to contextualize the action of video chat which encourages people to encounter random or friends in a place I call Shared Table. A table cut in half, one is situated in the indoor space while the other half sits outside the V2. A sleeping mattress will be placed alongside my still image work-Sleeping Together. The work questions the physicality, unification, virtualization of space we intimately shared.
+The project is a series of experiments in search of (un)mediated particularities of communicative space in video chat. The exhibition is three installations alongside my thesis presentation. The first installation, Compass Video Calling Device(2021) is two hand-held devices that audiences are invited to interact with others, they only can see each other when they face each other. The second installation is a Video Chat Cafe(2021), an installation to contextualize the action of video chat which encourages people to encounter random or friends in a place I call a shared table. A table cut in half, one is situated in the indoor space while the other half sits outside the V2. A sleeping mattress will be placed alongside my still image work-Sleeping Together(2021). The work questions the physicality, unification, virtualization of space we intimately shared.
 '''Bio'''
@@ Line 138: / Line 243: @@
 [[File:Final presentation.029.jpeg| 400px]]
+'''Notes'''
+Ipad x2 (one need to be mounted on the wall, one on the glass)
+//60" screen x2
+<hr>
 === Anh Dao ===
 nhdao@gmail.com, +31 06 45571089
+<br>
 '''Project description'''<br>
+''entangled landscapes'' is a body of work stemming from a research project that dissected the relationships between flora, capitalism, and coloniality. It examined the impact and manifestations of belonging on the European landscape (past, present, and future).
-''entangled landscapes'' is a body of work that dissects the relationship between flora, capitalism, and coloniality and its impact on the European landscape.
 '''Bio'''<br>
 Anh Dao is an artist and film technician from the west coast of Canada. Anh makes images and sometimes films. Her practice involves thinking about the natural world and thinking about places. She engages in a research-based embodied practice with a focus on material experimentation. Anh is interested in ecofeminism, crip time, and diasporic narratives of longing.
+'''Images'''<br>
+https://pzwiki.wdka.nl/mw-mediadesign/images/thumb/c/cf/Anh_gradshow_image.jpg/800px-Anh_gradshow_image.jpg
+. ''On the exactitude in science'', 2021 <br>
+Anthotype on inkjet print <br>
+x 48 cm
+<br>
+[[File:Anhdao_2.jpg| 600px]] <br>
+. ''Ambiguities, redundancies, and deficiencies #1'', 2021<br>
+UV print on polycarbonate<br>
+x 47 cm
+<br>
+[[File:Anhdao_3.png| 600px]] <br>
+. ''Ambiguities, redundancies, and deficiencies #2'', 2021<br>
+UV print on polycarbonate<br>
+x 47 cm
 <br>
-'''Images'''<br>
+(Image coming soon) <br>
+. ''Untitled #1 (itadori)'', 2021 <br>
+UV print on aluminum composite plates <br>
+x 30 cm<br>
+<br>
+(Image coming soon) <br>
+. ''Untitled #2 (lale)'', 2021 <br>
+UV print on aluminum composite plates <br>
+x 30 cm <br>
+<br>
+'''Exhibition Notes'''<br>
+I have five traditionally framed images: <br>
+- 70x48 cm <br>
+- Two 50x47 cm <br>
+- Two A4 <br>
+If possible I would like white walls and natural/bright lighting.
+<br>
+<br>
+<br>
+<hr>
+===Annalisa Urti===
+annalisa.urti@gmail.com <br>
++393285555552 <br>
+<br>
+'''Project description'''<br>
+I'd like to exhibit two videos, single channel:<br>
+. '''''Domani ti dimenticherò meglio''''' (Tomorrow I will forget you better) <br>
+. '''''Baci fantasma''''' (Ghostly kisses)<br>
+<br>
+. '''Domani ti dimenticherò meglio (Tomorrow I will forget you better)''' <br>
+Details:
+’, colour, sound, 1920 x 1080, 2019 - 2020
+<br>
+A girl wanders through the streets, the promenade, the reeds of bamboo of a small town in the South of Italy on Google Earth. She revists the places that once saw her tight to her former lover. An intimate confession unravels between aerial visions and street views of the town, spherical panoramas uploaded by the users of Google, and the virtual touch of the cursor on the screen. <br>
+<br>
+[[File:Isa EYE 1.png|500px]] [[File:Isa EYE 2.png|500px]] <br>
+<br>[[File:Isa EYE 3.png|500px]] [[File:Isa EYE 4.png|500px]] <br>
+<br>https://drive.google.com/file/d/1YsgyZcyYcgERU6XSljAD1Rk5PklhEZ71/view?usp=sharing
+<br>2. '''Baci fantasma''' (Ghostly kisses) <br>
+Details: 19’3’’, colour, sound, 1920 x 1080, 2021
+<br>
+A story of loss, fragility and obsession told through the interface of Google Earth. A girl goes to the city of Rome looking for her lost love. She leaves three red roses behind at each stop she makes, hoping that they will lead her former lover to her. In the light of unresolved desire, the roses become indexical markers of human emotion in a depersonalised digital world of anonymous blurred faces. The voiceover is interspersed with the transcription of a WhatsApp chat that begins with the last and ends with the first message the two sent to each other.<br>
+<br>
+[[File:GK1.png|500px]] [[File:GK2.png|500px]] <br>
+<br>[[File:GK7.png|500px]] [[File:GK8.png|500px]] <br>
+<br>https://drive.google.com/file/d/1y4lpsG0gy92eZKXrZMo1EaaGUeru1lTi/view?usp=sharing <br>
+<br>'''Bio''' <br>
+Annalisa Urti is a visual artist and writer based in Milan, Italy. She first approached dramatic art at the age of 10 to then embrace the visual arts at a broader scale during high school and her bachelor in Painting and Visual Arts at NABA, Milan, Italy. Once landed at Piet Zwart Institute, Rotterdam, Netherlands, she uses video and writing to explore themes such as human emotion in the era of hyper-communication and the dichotomies embedded in the concept of displayed intimacy. Her visual and verbal language puts lyrical and colloquial, spiritual and secular in close dialogue.<br>
+<br>
+<hr>
+'''UPDATE FROM CURATING TEAM'''
+TIME TABLE:
+[[File:Grad show2021 timetable.jpg|thumb]]
+TOPIC AND THEMES: We had a meeting today (14/09) and brainstormed some keywords and questions. The curating team will meet again next Monday (20/9) to make the final decision on the theme and move on to poster design/exhibition layout/ marketing etc.
+POSTER: V2 Designer will handle
+OPENING DATES:
+We're currently thinking of both Thursday and Friday night. Thursday is private event for family and friends and Friday is for the public. There will be champagne for private event and a bar service).
-[[File:Anhdao_2.jpg| 400px]] [[File:Anhdao_3.png| 400px]] [[File:Anhdao_1.jpg| 200px]]
+DOCUMENTATION: V2 will help us to document individual and group exhibition. If you have any ideas of your documentation styles, please propose (DIY also an option).