Difference between revisions of "LB2 Graduation 2021 and V2"
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The project is a series of experiments in search of (un)mediated particularities of communicative space in video chat. The exhibition
The project is a series of experiments in search of (un)mediated particularities of communicative space in video chat. The exhibition three installations alongside my thesis presentation. installation, Compass Video Calling Deviceis 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 , an installation to contextualize the action of video chat which encourages people to encounter random or friends in a place I call . 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.
Revision as of 21:43, 21 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.
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.
firstname.lastname@example.org | +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.
email@example.com | +31 648143488 | +91 7005484460
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.
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.
- I have one loop projection that could go on one of the black pillars: Caressing a Forest in my Palms [Video Loop Projection (monochrome, no sound)]
- If VR headset use is possible, this is the interactive video to be used: https://vimeo.com/563244503/3d0e7ed7d6
- If possible, I would like for there to be a way to view the website for the project. Open to discussions on how this could be done. Requires a computer for people to scroll and see. Graduation Project site
Nguyen Ngoc Trang Thy
firstname.lastname@example.org| https://www.thytrang.com/ | +31 616105490
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.
The Living Room Wars [Video (color, sound)]
An excerpt of her creative documentary
Logline 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.
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.
The calm after the storm
The project The calm after the storm consists of abstract photographs and a text. Through conversations, thoughts, and feelings, it reflects my emotions regarding my 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.
Lea Novi is from Germany and has a background in documentary photography. In her work she focuses on the feeling of isolation and belonging as well as the underlying structures of society. She is interested in developing techniques that allow for a deep level of engagement and empathy with these subjects. In her current project, she reflects on her photographic practice.
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)
email@example.com | 0629432797| https://muxingyechen.com/%7C
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 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.
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.
firstname.lastname@example.org | 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.
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.
Ipad x2 (one need to be mounted on the wall, one on the glass) //60" screen x2
email@example.com, +31 06 45571089
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).
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.
1. On the exactitude in science, 2021
Anthotype on inkjet print
70 x 48 cm
I have five framed images:
- 70x48 cm
- Two 50x47 cm
- Two A4 (Untitled #1 and #2, 2021. UV prints on aluminum composite plates. 21 x 30 cm)
If possible I would like white walls and natural/bright lighting.
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.
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.
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
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).