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

Marina Abramović and Ulay

Marina Abramović (Born November 30, 1946) A performance artist based in New York
Ulay (Born November 30, 1943) An artist based in Amsterdam and Ljubljana

In 1976, after moving to Amsterdam,
Abramović met the West German performance artist Uwe Laysiepen
and began their collaboration, explored the ego and artistic identity.

This was the beginning of a decade of influential collaborative work.

They formed a collective being called “The Other”,
and spoke of themselves as parts of a “two-headed body”.
They dressed and behaved like twins and created a relationship of complete trust.
They devised a series of works in which their bodies created additional spaces for audience interaction.

“The main problem in this relationship was what to do with the two artists’ egos. I had to find out how to put my ego down, as did he, to create something like a hermaphroditic state of being that we called the death self.”

In 1988, after several years of tense relations, Abramović and Ulay decided to make a spiritual journey which would end their relationship. They each walked the Great Wall of China, starting from the two opposite ends and meeting in the middle.

“We needed a certain form of ending, after this huge distance walking towards each other. It is very human. It is in a way more dramatic, more like a film ending … Because in the end you are really alone, whatever you do.”

At her 2010 MoMa retrospective, Marina performed The Artist Is Present, in which she shared a period of silence with each stranger who sat in front of her. Marina have had a deeply emotional reaction to Ulay when he arrived at her performance, reaching to him across the table between them.

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

Louise Nevelson

(September 23, 1899 – April 17, 1988) 

An American sculptor born in Czarist Russia

" There was some experimenting with painting them,

and also different woods put together, 

the tonalities, 

but not very much because 

I didn't want to make sculpture and 

I didn't want to make form as such and

I got through that very fast 

I wanted really to get beyond that.

I never thought I made sculpture or made anything. 

I'm not looking to make anything. 

I want something else entirely. 

I want that extra dimension where you don't make things; 

you live with that place and 

you give that place a form and 

in that place where you give form you bring back here and 

hope to communicate on that level. 

Some people do get it. 

Even if it's a little late, 

they get it. 

I don't know if I've said it well, 

but I'll say it again: 

I don't want to make sculpture and

I don't want to make paintings; 

I'm not looking to make anything. 

I myself need, 

for my place of consciousness, a form.

It's almost like you are an architect that's building through shadow and light and dark. 

You are really an architect in that place, 

but you don't want to make buildings for people; 

you are -- in another dimension 

you are the architect, you see. 

But it's a very real world. 

I never use a word like "imagination" because

that word "imagination" means to me that 

you extend immediately to that great dimension.

So it's not imagination. 

It's a great reality 

but the material you are using is in that place instead of in this place, 

you see. 

So it isn't through the intellect, 

it's through vision that you give form and structure to that place. 

And so, naturally, you are an architect in that place. "

Chris Burden

Born in Boston in 1946, grew up in Cambridge, Massachusetts, France and Italy.
An American artist working in performance, sculpture, and installation art.

SHOOT  (November 19, 1971)

"At 7:45 p.m. I was shot in the left arm by a friend.
The bullet was a copper jacket .22 long rifle.
My friend was standing about fifteen feet from me."

 Trans-fixed (April 23, 1974) 

"Inside a small garage on Speedway Avenue,

I stood on the rear bumper of a Volkswagen.

I lay on my back over the rear section of the car,

stretching my arms onto the roof. Nails are driven through my palms onto the roof of the car. 

The garage door was opened and the car was pushed half way out into the speedway. 

Screaming for me the engine was run at full speed for two minutes. 

After two minutes, 

the engine was turned off and the car pushed back into the garage. 

The door was closed."

tehching hsieh 謝德慶

A New York City-based performance artist
Born on December 31st 1950 in Nan-Chou, Taiwan

" I felt painting was limited, my paintings became emptier, only the movement of hand is left, so I stopped painting and started doing actions. "

" I began to take photographs but it was a continuation of my painting. Then I bought a Super 8 camera to document my actions. I used it to document the process where I exposed 100 sheets of photo paper one by one on the ground in a zigzag manner, then flipped all of them over from the first one; the photo paper turned dark sequentially while exposed under the sunshine. In 1973 I jumped from a second-floor window onto a concrete floor and had it recorded with the Super 8 camera. This became my first action piece. "

" The work is destructive, it is a gesture of saying goodbye to painting, broken ankles were out of my prediction. I have no interest in masochism."

" I knew it was risky, but I wasn’t sure in what degree I would be injured. I broke both ankles and have had pain ever since."

" One day all of a sudden I thought: what else do I look for? I don’t need to go out to find art, I am already in my work."

One Year Performance 1978–1979 

" Staying in a cage for a few days can be boring. Staying for 365 days, it is not the same anymore and you are brought to another state of living. You need to do intense thinking to survive through the year, otherwise you could lose your mind. "

" Yes, the thinking process itself became a piece of work: the cage piece. It is an isolated piece with little impact from outside. "

" I didn’t need to deal with trifles in daily life when staying in the cage, I had freethinking, I lived thoroughly in art time and just passed time. The freedom found in the confinement is what one could find in a difficult situation, it is a way to understand life."

One Year Performance 1980–1981

" Punching the time clock itself is the work, I don’t need to produce anything. The 8760 times of punching in throughout the year is repetition, but in another way, each punch in is different from any other punch in, as time passes by." 

         

" Once a child asked me, “is future yesterday?” We all ask questions about time in different ways. Time is beyond my understanding, I only experience time by doing life."

" I’m not a masochistic person, I don’t emphasize pain. We can talk about suffering but then we have to talk about freedom. Or we can talk about freedom, but we also have to talk about discipline. There are many things interwoven. "

 

" I read Albert Camus’s The Myth of Sisyphus when I was 18, and I encountered its inspiration again and again in my early age. Rebellion, betrayal, crime, punishment, suffering and freedom form a cycle in my life experience, and are transformed in art. I’m not a person using words to create, I use art, but their thoughts inspire me, and I practice in life."

 

One Year Performance 1981–1982

" We don’t look at survival that closely. We pretend to smile. We are all taught to say everything is O.K., we are in control, even if we are not. There is a need to be positive in public. But art is not doing that. We try to tell the truth in someway, to touch a part of it, to not be so typical. This kind of work is not about suffering, it is about existence. It is about a technique, my concept is to show this technique. I think technique is the most important thing."

"I felt depressing after I finished Outdoor Piece, and I felt the same after the other pieces, because of emptiness as well as having to come back to normal life and dealing with the reality."

" The struggle is there because of the situation in life and in art, but I don’t emphasise it, my work is not autobiographical."

Art / Life: One Year Performance 1983-1984

" I got the idea for this piece because there are problems about communication with people. I feel this is always my struggle. So I wanted to do one piece about human beings and their struggle in life with each other. I find being tied together is a very clear idea, because I feel that to survive we're all tied up. We cannot go in life alone, without people. Because everybody is individual we each have our own idea of something we want to do. But we're together. So we become each other's cage. We struggle because everybody wants to feel freedom. We don't touch, and this helps us to be conscious that this relationship connects individuals, but the individuals are independent. We are not a couple, but two separate people. So this piece to me is a symbol of life and human struggle. And why one year's time? Because then this has real experience of time and life. To do work one week or two weeks, I feel that it may become like just doing a performance. But I do it one year and then the piece becomes art and life—it's real connection and that has more power. Also a year is a symbol of things happening over and over. "

One Year Performance 1985–1986 

" Art has its own life. The document of art is a trace through which you can approach my work, but it doesn’t equal the art itself. Audiences will use their own experience and imagination to approach my work."

" My idea is that time becomes the main thing, how I pass the time is my main concern. It doesn’t matter what I do, I pass time."

" After I did the piece where I did not do art for one year, I cannot go back and do a piece again.Everything I do is in a progression, an evolution. If I do one year without making art, what is the next step in the progression? If I go back to do another one-year performance like the earlier pieces, it doesn't make sense. Do you understand? The next logical step was to just survive into the next century, the new millennium. To do another work of art I have to go somewhere else in the universe which is why I said after the 13-year piece I just survived, on earth, the next step is out of this world because I have done what I can do here. On another planet I could do something. Our time is very short here. When we speak of historical figures we say they were born this year, died that year. Or, we say, they are still alive. That’s all we talk about really. It’s just like the dinosaurs, all we can talk about is when they lived and died.So for me, I use similar language. I can only say that I have kept myself alive. More details are unnecessary, survival is all. What I have done in those years remains in my mind.So you understand now, if I want to do art again, I cannot. I can enjoy life and do what I like, but not art."

Tehching Hsieh 1986–1999 

" Art cannot exist without public, but the public could be in the future – I published the work after thirteen years."

" One year is the largest single unit of how we count time. It takes the earth a year to move around the sun. Three years, four years is something else. It is about being human, how we explain time, how we measure our existence. A century is another mark, which is how the last piece was created. "

" Not doing art anymore is an exit for me. Art or life, to me the quality is not much different, without the form of art, still, life is life sentence, life is passing time, life is freethinking."

" Thinking is a basic activity to continue life. I don’t do art any more. I don’t have other things to say."