Difference between revisions of "LB2 Graduation 2021 and V2"
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Revision as of 10:01, 11 August 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.
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
- 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.
Add your project description here.
Add the short biographical note here.
email@example.com | +31 621340851
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.
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.
firstname.lastname@example.org | +31 648143488 | +91 7005484460
Graduation Project site
of the land: faces, place, traces, earth [Video (color, sound)]
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
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.
Nguyen Ngoc Trang Thy
email@example.com| https://www.thytrang.com/ | +31 622 835595
Grand-Mother-I [Video (color, sound)]
This video is an excerpt of my documentary called Grand-Mother-I
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.
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, 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.
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.
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.
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.
firstname.lastname@example.org | 06-47421683| https://read.cv/yuchingchiang |
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.
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.
email@example.com, +31 06 45571089
entangled landscapes is a body of work that dissects the relationship between flora, capitalism, and coloniality and its impact on the European landscape.
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.