björk: stonemilker (360 degree virtual reality)

Björk's Stonemilker 

as a 360 degree virtual reality experience, 

taken from the album vulnicura.

Shot on location in iceland 

by award-winning director andrew huang for vrse works,

“stonemilker” presents björk in a 360 degree film 

performing the haunting first track from her global hit record vulnicura.

Please click here,
Watch it on your phone,

Select the highest quality,

in the largest size, 

move it left and right, up and down, 

move it all around and you will see how amazed this artwork is.

About MOVEment

MOVEment: Where fashion, dance and film unite

“There has always been an incredible historical dialogue between fashion and dance,

because they are both art forms that deal with pushing boundaries and

because they both deal with the body. 

For the video age that we are in, 

I wanted to make a survey uniting the best of fashion, 

dance and film for a series of performance pieces, 

commissioned for the screen and not really about the live element. 

How would that change the dynamics? 

It was really important for me to partner with Alistair Spalding 

and the team at Sadler’s Wells for their expert counsel on making these pairings. 

Some were blind dates and some were existing relationships, 

but all were paired to bring something new and original to the table.” 

Alexander McQueen x Marie-Agnès Gillot

Gareth Pugh x Wayne McGregor

Calvin Klein Collection x Jonah Bokaer and Julie Kent

Stephen Jones Millinery x Jasmin Vardimon x Ford Vignale

Prada x Dancers of Tanztheater Wuppertal

Iris Van Herpen x Russell Maliphant

Chalayan x AyaBambi and Ryan Heffington

All of the incredible art collaborations are from AnOtherMagazine, click it to see more.

Robert Wilson

Born October 4, 1941
An American experimental theater stage director and playwright
Also worked as a choreographer, performer, painter, sculptor, video artist, and sound and lighting designer

"I would come home from school, go to my room, and close my door and lock it. 
I was not interested in playing with the other kids in the neighbourhood. 
I was perfectly content to be alone. 
My mother died at quite a young age – she was about 57 – 
and shortly before she died she said, “You’ll get along just fine in this world.” 
I asked her why and she said “Because you know how to be alone.” 
It’s very curious that I ended up working in the theater 
where you’re responsible for and you work with many people, 
but it’s no problem for me."


KA MOUNTAIN from OpenEndedGroup on Vimeo.

"I grew up in a community that was ultra conservative, right wing.
Full of religious fanatics, and Seventh Day Adventists, Southern Baptists, 
you know, it was a sin for women to wear pants, it was a sin to go to the theater. 
It was a disgrace that Abraham Lincoln, 
the President of the United States, was assassinated in the theater. 
The theater was a house of ill repute. 
It was immoral to go to the theater. 
It was a very racist community. 
You couldn’t walk down the street with a black man, 
you couldn’t go to the same public toilet, there was a blacks’ toilet and a whites’ toilet. 
And the public drinking fountain: there was whites-only drinking water. 
So, I think I was very concerned about social justice from a very young age. 
I was very disturbed growing up in this community, 
and I think that’s been deeply rooted in all of my work. 
As you know, my first major work in the theater was written with 
a 13-year-old Afro-American boy 
who had never been to school and knew no words and was deaf."



"My background was primarily in the visual arts, in architecture and painting, 
so whatever I do, I usually bring a very strong visual book to the work 
in terms of light, in terms of gesture, 
sometimes scenery, props, furniture, sculpture. 
I always think that what we see is what we see 
and what we hear is what we hear, 
and what we see should be as important as what we hear. 
So often in the theater, what we see is secondary to what we hear, 
and we think that the most important thing in the theater is
the text, is the book, is the word. 
In an opera, it’s the music, 
but the two primary ways in which we communicate with one another is
through our eyes and through our ears. 
So I try to make the visual book not necessarily a decoration, 
or there to simply support the audio book, 
but it can parallel, it can be as important. 
It is an equal partner and can reinforce what we hear, 
without having to illustrate or decorate."



"It’s all architectural to me. 
It’s construction and time and space, how to support this line of attention. 
Sometimes it can be something in contradiction 
and it makes more attention on the space, and sometimes it’s not. 
They’re aesthetic decisions that are made in a construction in time and space, 
so sometimes one can see, maybe, 
a movement on stage that’s slower or different tempi than the music. 
Or it’s an internal rhythm of the music; 
sometimes it can be quicker and sometimes it can be exactly in the tempi of the music. 
To me it’s boring 
if all the walking and all the movements are exactly in the tempi of the music, 
so sometimes there’s someone walking slower, someone quicker, someone with the music.
It makes a denser work, a more complex work. 
It also relates more to the energy of the public. 
You find that some people are in different mental rhythms in the audience. 
Within a house there are very different mental vibrations of the public in the theater. 
And the stage is like a battery, 
so you can set up different energies in this battery that maybe relate to the entire audience."


Peter Pan from Anna Graenzer on Vimeo.

"Theater is something live, so it’s always something exciting. 
There’s that risk, that danger that something might fail, something might not work. 
And some people are looking for an alternative to the media and the mass electronic world. 
So much of the theater that we have now reminds me of television: 
most directors, most actors say something for the people to understand. 
They say this, and you’re supposed to understand 
what it is that you’re saying and what you’re doing. 
It’s okay to get lost! 
When I did Einstein, there was nothing for the audience to hang on to."

"I usually start with a structure.
The structure is quite rigid. So I have a strong form or frame. 
A work like Einstein on the Beach is like that: Act One, Two, Three, Four. 
Act One is A and B. 
Act Two is C and A. 
Act Three is B and C. 
And Act Four is all three together, A, B, and C. 
So, I knew it was going to be based on theme and variation, 
and once I get that, I can be freer to fill in the form. 
Without it, I don’t know how to fill it in – 
it’s like an architect builds an apartment building: 
you can live in the building, I can live in the building, other people can live in the building. 
They each have their apartment to their own liking, 
but the building has a cohesion because the architect has built it."


Philip Glass Robert Wilson - Einstein On The Beach - Act 4 - Spaceship - 2014 - Paris from Hugo Kessler on Vimeo.

"For me, one of the basic things of theater is that it should be accessible to anyone; 
the man on the street or the man from Mars 
should be able to walk into the theater and appreciate something. 
Susan Sontag said in her essay Against Interpretation that 
“the mystery is in the surface.” 
And I think that’s true, 
that somehow the surface of a work must be mysterious and accessible. 
Whether one’s doing Shakespeare or Gluck’s Alceste, 
there must be something very simple about it. 
One must be able to tell one’s self, 
if one is an actor or a director or author, the work is about this, something, very simple. 
Then it can be about many things."

Click here to Robert Wilson's homepage

Gareth Pugh SS2015

" The handwork, the ceremonial aspects, the playful and sometimes outlandish practices, and the unnerving notion of an outsider society, all deeply resonate with me " explains Pugh.

Giles Deacon "Design Disrupted" Spring Summer 2015

Advertising Agency: Team One, California

Creative Directors: Ryan Didonato, Andrew Smart

Media Director: Kirsten Atkinson 

Associate Media Director: Shelley Cartland

PR Director: Meg Seiler

PR Management Supervisor: Daphne Dobbs

PR Supervisor: Kat Kirsch

National Research and Partnership Manager: Lissy Galton

Assistant Account Executive: Channel Smith 

Production Company: Legs Media, New York

Executive Producer/ Founder: Adam Joseph

Executive Producer: Tom Berendsen

Director: Radical Friend

Creative Directors: Andrew Thomas Huang, Radical Friend

Producer: Jonathan Lia

Line Producer: Carrie Bornstein

Production Supervisor: Alli Maxwell

Choreographer: Ryan Heffington

Music Composition: HEALTH

Designer: Giles Deacon

Make-Up: Kabuki

Graphic Elements: Logan Seaman

VFX: Dorian Orange

Video Production: BootLegs

Lighting: Stanton Collective

Motion Graphics, Set Design and Visual Systems: Obscura Digital

Holographic Display: Musion

Video Editor: Nuno Xico and Bennett Barbakow

Rick Owens spring 2014 womenswear

Kazuo Ohno

(October 27, 1906 – June 1, 2010)
was a Japanese dancer and inspirational figure in the dance form "Butoh".

Butoh is an avant-garde dance form that originated in post WWII Japan,
characterized by white body paint and conceptual, tortured movements.

"The best thing someone can say to me is that
while watching my performance they began to cry.
It is not important to understand what I am doing;
perhaps it is better if they don't understand, but just respond to the dance."

“ My intention in dressing as a woman onstage
has never been to become a female impersonator,
or to transform myself into a woman.
Rather, I want to trace my life back to its most distant origins.
More so than anything else,
I long to return to where I've come from.”

A Message to the Universe
by Kazuo Ohno, 1998

“On the verge of death one revisits the joyful moments of a lifetime.

One’s eyes are opened wide-gazing into the palm,
seeing death, life, joy and sorrow with a sense of tranquility.

This daily studying of the soul, is this the beginning of the journey ?

I sit bewildered in the playground of the dead.
Here I wish to dance and dance and dance and dance,
the life of the wild grass.

I see the wild grass, I am the wild grass, I become one with the universe.
That metamorphosis is the cosmology and studying of the soul.

In the abundance of nature I see the foundation of dance.
Is this because my soul wants to physically touch the truth ?

When my mother was dying
I caressed her hair all night long
without being able to speak one word of comfort.
Afterwards, I realized that I was not taking care of her,
but that she was taking care of me.

The palms of my mother’s hands are precious wild grass to me.

I wish to dance the dance of wild grass to the utmost of my heart.”

Tero Saarinen

is a Finnish dancer and choreographer

In 1996 he founded his own "Tero Saarinen Company"

" When we talk about art, I think that the risk-taking makes it more exciting. If it is too calculated and comfortable, and does not have a possibility for the participants to take risks, then it is not alive. It is a risk with some kind of safety. And I think that is also in my life. I never cared about my contracts, my pensions. You have to take other injections of inspiration from other cultures. It is all about the structure. The ideology of our company is like that, we take risks but under control, on stage and off stage."

" I read days ago an interview I did when I was 25, saying “I am not afraid of getting old…” So I think that there is this dilemma of the dancer, you feel you do not have to exhaust physically yourself to transmit things. You can do less but still transmit more things. People ask “when do you stop?” I still have not decided when I stop. I am quite critical with myself, so I suppose I will decide to stop when I am not able to transmit anything anymore. When the dialogue with the audience does not happen, I will stop before that."

" You can't dance classical ballet after a certain point if you don't want to do parody. But if the body still works and the desire's there, a place can be found on stage for everyone."

" I dance because I do not want to talk. Everything can be said in the art of dance."

" There is always this fundamental need to express emotions and observations of life through movement. Music, films, books or just incidents in everyday life can serve as source of inspiration but choreographic ideas can also be born without them."

" There were so many things boiling inside of me. Dancing and choreographing was really the most effective and most suitable way for me to study and talk about human emotions and behavior."

" I feel we are carrying inheritance from our ancestors in our minds and bodies. To be able to connect in to the present and even to dream on creating something new, we must be aware of our past."

" The visual appearance of the piece is rooted in the aesthetics of frugality and the accentuation of opposites."

" I made no sudden decision to become a choreographer, but I wanted to dance ballets based on my own experience. I created honest pieces reflecting my life, and it felt right "

“Dance is my attempt to understand human nature and its multiple manifestations.”

" I do not have any discrimination against any kind of dance. I think any kind of dance in education is good, the important factor is what you do with it. All the techniques are a nutrition for your body, in this way I feel privileged because first of all I could start late, I did all kinds of activities for my body, sport and stuff…..they represent an alphabet for your physicality."

PS. because of the copyright, most of the videos i can't upload here. 

i suggest you better search his name and you will find some good videos of him.