in search for art live experience

the world


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Sketch v.3

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Image and music

The way Tarkovski used elements and textures within image compositions of dreams (Stalker for example) reminds me on Bach’s preludes and fugues. Visual elements are appearing in a stream as a multitude of various tones, as in music composition. And then, suddenly, composition opens from this multitude of tones into big wide space where earth and sky are touching eachother.

We see in Stalker his dream, close-up of coins, photographs, fire arms, teared book pages, various pieces and cracks of apparats, unrecognizable gadgets, a lot of dust, and then Stalker’s head enters the screen. Or, close-up of stones and moss little bushes, they appear in the frame slowly, gradually, as numeruous impulses, and then camera shows a cliff and lower behind it a river surrounded by swampy soil, and a lot of soup’foam like texture on the surface of the water.

In each of his films an amazingly intuitive way of image construction can be compared with structures of arias, sonatas and fugues.

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Nothing has be done that can’t be done

cause nothing has been done that can’ t be done
nothing has been sang that can`t be sung
and nothing has been set, so forget how to play the game
it`s easy

nothing has been made that can`t be made
and no one has been saved, that should have been saved
and nothing you can do but forget yourself this time
it`s easy

cause nothing has been known that can`t be known
nothing has been seen that ain`t been shown
nowhere you can be and that isn`t where you meant to be
it`s easy

EINSTURZENDE NEUBAUTEN ‘Headcleaner’ (Tabula Rasa)

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Heiner Goebbels on theatre creation

Explain nothing. Put it there. Say it. Leave.

Everything which is not a story could be a play.

What I wanted to evoke with this quote also, and what I wanted to make strong with this piece Eraritjaritjaka is that actually a structure in which there is maybe a lot of stories but not the story telling in linear, in conventional sense as we use sometimes in theatre which is based on dramas.

I would recomend to all of you some lectures, lectures in the good sense, lectures of not explaining too much as well, Gertrude Stein, in 1930s she did lectures in America. And there you can find a quote. She says ‘everything which is not a story, could be a play.’

And Heiner Muller once made this quote. He said ‘drama has not happening on the stage. Drama has to happen in the audience, or between the stage or the audience.‘ And I can go even further  and say my work, the drama is happening between the media.  The drama is not happening between the figures necessarily but between the media or between your different perception modes.

… As soon as we hear something else, where we don’t know  where the source is coming from or we only assume where the source is coming from they intrigue us immediately and that’s something I work a lot with. So one topic is for example, in my work, ‘drama of the media’ in a sense of trying to build the space, to open the space, to separate things we are used to see together.

On ‘Stifter’s Dinge’ theatre installation

Those voices that you hear are actually more than one hundred years old, they are from 1904, recorded by austrian ethnograph “on his construction of himself” in which he recorded indians of Papua New Guinea and they were doing the incantations for the wind, they were doing incantations for the south-west wind which was so vital for their sailings, fishing fishes. What you see is those reflections of the water on these four curtains and also these curtains are constantly moving. So you never know exactly do you see the curtain moving, do you see the shadow of another curtain moving, or you see the reflection of the shadow of another curtain moving. And sort of irritation upon this quality of image which doesn’t give you clear idea how the process is working, how the curtains are dancing. What you rather can notice is that we have two stages here, like a visual stage, with these images, reflections, curtains, the water; and you have an acoustic stage with the voices from hundered years ago and this crackling sounds. And there is a gap between visual stage and acoustic stage. Each one of you within the performance would probably feel this gap in different way.

On perception

While we hear the voice saying text, we see the projection of painting by Dutch painter from 17th century. And very slowly, during more than 10 minutes, very slowly , the colour is changing. Which is very visual… And we discovered during our rehearsals, strongly, is that was quite difficult to follow both (the voice speaking text and the image) at the time. When we try to understand the story something misses always the point that the colour is changing, because it is so slow slow. And when you want to follow the changing of the colour, than you miss up the story. Even seeing and listening seems to be difficult at the same time. And what this installation is doing, and what Stifter is doing in his writing, is deceleration of the perception.

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This page should be considered as a window looking at my artistic project* research path. Here one can see works of known artists, excerpts from various texts and books, linked videos – all with function to inspire, explain and contextualize my art project at Transmedia Postgraduate Program, Sint-Lukas, Brussels.

*The artistic project is focused on research and production of an artwork which can be determined as a performance that integrates and orchestrates elements of theatre, cinema and live cinema. Its design is aimed towards presentations in closed spaces (black box), where the computer generated visual material is projected on two opposite screens in complementary relation with musical score.