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Share your videos with friends, family, and the world

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As we developed the project, we realized we needed a sound piece to complete the work.

Our first option was Violo by Venezuelan Singer and DJ Arca.

We choose this one because of the pauses it has and the intensity of the echoes in the strings, it had some sort of balance between our visuals and the energy we want to transmit.

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matheus' preparation for performance, othr (2021)

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matheus performance experimentation, othr (2021)

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matheus performance experimentation (ii), othr (2021)

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matheus performance experimentation (iii), othr (2021)

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matheus performance experimentation (iv), othr (2021)

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projection experimentation on a cardboard

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projection experimentation on a cardboard

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projection experimentation on a cardboard, othr (2021)

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projection experimentation on a chair, othr (2021)

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rob performance experimentation (iii), othr (2021)

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manon performance experimentation (ii), othr (2021)

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overlaying the face distortion video of the whole group

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overlaying the face distortion video of the whole group

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In groups of three, we will research areas related to video, such as video performance, video installation, video art, video projection, and expanded cinema, exploring and experimenting with a range of analog and digital materials to produce two outcomes.

The first outcome, after the extensive research is completed, students must find a way to present a video to their peers showing their research process, using the editing techniques that best illustrates it.

The second outcome students will explore identity as the main theme, investigating self-image through video and other reflecting mediums. As a group, we will produce a piece of moving image to be displayed in a range of different surfaces  considering the composition of the space, dimensions and time duration of the piece.

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We found a video by nowness that had this soundtrack made by flying lotus an american rapper, composer and filmmaker.

This was the one we chose because of its timing and rhythm.

We adapted the projection to the opening and ending of the performance.

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Define Beauty: Skinflick (original score by Flying Lotus)

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Live Screen Project Brief Part 2 2020 21

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tate's preparation for performance, othr (2021)

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in search for a mirror store and cheap mirrors

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in search for a mirror store and cheap mirrors

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One video outcome presenting the research process of the group.

One moving Image outcome that explores analogue, digital devices and media and their relationships with Identity and self Identity.

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reality mirror.

dreamy mirror
trippy mirror
spooky mirror
creepy mirror

teller mirror
better mirror
clever mirror
never mirror

mirror mirror
mirrorry mirror
memory mirror
mirrorless mirror

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(old tv, old monitor, projection, human body, mirror, paper, sculptures, rocks,  etc)

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In a group of three, students will research areas related to video, such as video performance, video installation, video art, video projection, and expanded cinema, exploring and experimenting with a range of analog and digital materials to produce two outcomes.

The first outcome, after the extensive research is completed, students must find a way to present a video to their peers showing their research process, using the editing techniques that best illustrates it.

The second outcome students will explore identity as the main theme, investigating self-image through video and other reflecting mediums. As a group, you will produce a piece of moving image to be displayed in a range of different surfaces  considering the composition of the space, dimensions and time duration of the piece.

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https://file.org.br/

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TATE (n.d.). The Tanks. London: Tate Modern. Available at: https://www.tate.org.uk/visit/tate-modern/tanks

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Baigorri, L. (ed.) (2008) Latin-American Video Art. A Critical View. Madrid, Spain: Brumaria.

London, B. (2020) Video/Art: The First Fifty Years. Phaidon Press

Kholeif, O. (2015) Moving Image. Massachusetts: MIT Press.

Youngblood, G. (1970)

Expanded Cinema. Massachusetts: E.P. Dutton.

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Bilbao-Herrera, M. (2019) Utopian | Mapping. [Online video]. April 29th. Available at: http://www.mariabilbaoherrera.com/utopian-mapping [Accessed: 22 February 2021]

Hill, G. (1976) Mirror Road [Online video] Available at: https://ubu.com/film/hill_mirror.html [Accessed: 18 February 2021]

Smithson, R. (1969) Yucatan Mirror Displacements.  [Online]  Available at: https://www.guggenheim.org/artwork/5322  [Accessed: 19 February 2021]

Acconci, V. (1976) The Red Tapes Parts 1, 2 and 3.  [Online video] Available at: https://ubu.com/film/acconci_red1.html  [Accessed: 19 February 2021]

Baldessari, J. (1972) Teaching a plant the alphabet. [Online video]
Available at: https://ubu.com/film/baldessari_plant.html [Accessed: 19 February 2021]

Firth, Ana. (n.d.) [Online]. Available at: https://www.annafirth.com/[Accessed: 18 February 2021]

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THE ART ASSIGNMENT (2019) The Case for Video Art. [Online video] Available at: https://www.youtube.com/watch?v=YcXpAHVAxwY&feature=emb_title [Accessed: 20 February 2021]

TATE (2018) Does Performance Art Need to be Experience Live?. [Online video] Available at: https://www.youtube.com/watch?v=-5ObKMT27_0&feature=emb_title [Accessed: 20 February 2021]

TATE (n. d.) Expanded Cinema. [Online] Available at: https://www.tate.org.uk/art/art-terms/e/expanded-cinema [Accessed: 20 February 2021]

TATE (2009) What is Expanded Cinema?. [Online video] Available at: https://www.youtube.com/watch?v=lDJqA6jOXYw&feature=emb_title [Accessed: 20 February 2021]

TATE (2012) Aldo Tambellini | The Tanks. [Online video] Available at: https://www.youtube.com/watch?v=CwLJtAeYy3k&feature=emb_title [Accessed: 20 February 2021]

Byrne, D. (2008) Talking Heads - Once in a Lifetime (Official Video). [Online video] Available at: https://www.youtube.com/watch?v=5IsSpAOD6K8&feature=emb_title [Accessed: 20 February 2021]

Stauber, J. (2018) Peppermint. [Online video] Available at: https://www.youtube.com/watch?v=MtTBqIAQ434 [Accessed: 20 February 2021]

Stauber, J. (2018) MS Paint ANIMATION PROCESS. [Online video] Available at: https://imgur.com/gallery/U6umr [Accessed: 20 February 2021]

MONOSKOP (2021) Expanded Cinema. [Online] Available at: https://monoskop.org/Expanded_cinema [Accessed: 21 February 2021]

TATE (2012) Juan Downey - Plato Now | The tanks. [Online video] Available at: https://www.youtube.com/watch?v=Aa4RIyDatO8&feature=emb_title [Accessed: 21 February 2021]

KULTURHUSET STADSTEATERN (2010) Mirror Piece I: Reconfigured (1969/2010). [Online video] Available at: https://vimeo.com/77162791 [Accessed: 21 February 2021]

Trotman, N. (n.d.) Joan Jonas Mirror Piece I. [Online] Available at: https://www.guggenheim.org/artwork/24749 [Accessed: 21 February 2021]

Jonas, J. (2018) Mirror mirror: Joan Jonas on the fairytales that have cast a spell over her 50-year career. [Online] Available at: https://www.theguardian.com/artanddesign/2018/mar/22/joan-jonas-exhibition-tate-modern-london [Accessed: 21 February 2021]

ICAMIAMI (n.d.) Ana Mendieta Untitled (Glass on Face), 1972. [Online] Available at: https://icamiami.org/collection/ana-mendieta-untitled-glass-on-face-1972/ [Accessed: 21 February 2021]

ICAMIAMI (n.d.) Ana Mendieta Untitled (Glass on Body), 1972. [Online] Available at: https://icamiami.org/collection/ana-mendieta-untitled-glass-on-body-1972/[Accessed: 21 February 2021]

Oursler, T. (n.d.) [Online] Available at: https://tonyoursler.com/ [Accessed: 21 February 2021]

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A big circle with 6 meters height, which is a mirror reflecting the sky. I find mirrors so interesting, and I don't really know why. They distort the image, it gives a different image of what is real. It's bizarre yet intriguing. Changing it's shape, it's texture can give many different effects, like making the image bigger, smaller, disproportional...

Like the name suggests, the Sky Mirror always points up in a ~45º towards the sky. It reflects the environment. It's weird, because it feels like a piece of the sky on the ground.

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Contorted Limbs and Bodies Disrupt the Mundane in Surreal Photographs by Cristina Coral

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Contorted Limbs and Bodies Disrupt the Mundane in Surreal Photographs by Cristina Coral

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This work is about photograph of people and the ambient interacting. I find it really interesting because if not for the people there, it wouldn't make sense, and in different ambient, it would just be some people. It complements each other, telling us how our environment can complement the idea of each photo or pose. The color of your hair, the texture of your clothes, the shape of your body, these things talk to the wallpaper, the color of the room, the texture of the sofa, etc.

Source: https://www.thisiscolossal.com/2021/02/cristina-coral-photographs/

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dangerous Screen
visible Screen
magical Screen
touch Screen
negative Screen
complete Screen
curatorial Screen
animal Screen
instinctive Screen
video Screen
broken Screen
research Screen
reflection Screen
love Screen
improving screen
Group screen
Live screen.

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A Collective Invention: Photographs at Play, New York

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ana mendieta, Untitled (Glass on Face), 1972 + Untitled (Glass on Body), 1972

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ana mendieta, Untitled (Glass on Face), 1972 + Untitled (Glass on Body), 1972

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“Untitled (Glass on Body) and Untitled (Glass on Face) are part of the artist’s series “Untitled (Glass on Body Imprints),” created in that pivotal year. For these photographs, Mendieta presses her face and parts of her body onto a square sheet of plexiglass, distorting and transforming the appearance of her physical features and youthful beauty”.

For me, these photographic series are so strong and even shocking. Ana Mendieta always works with the exploration of women bodies confronting the issues present in feminist discussions. I think in these two works, she goes deeper in questioning the beauty patterns, and the photographs are a reflection of it.

https://icamiami.org/collection/ana-mendieta-untitled-glass-on-face-1972/

https://icamiami.org/collection/ana-mendieta-untitled-glass-on-body-1972/

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Mirror mirror: Joan Jonas on the fairytales that have cast a spell over her 50-year career

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Mirror mirror: Joan Jonas on the fairytales that have cast a spell over her 50-year career

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In this text, Joan Jonas unravels a little bit more her career, her interests, her influences, and the relationship between her works and readings.

The first two paragraphs talk about her famous Mirror Pieces and the way Jonas relates to the mirror conceptually, unconsciously, and philosophically. I separate some quotes, I found them interesting:

“Mirrors and poetry, as well as myth and fairytales, refract reality in unexpected ways”

“Mirrors can collapse or confuse the distance between performer and audience and disrupt visual frameworks.”

She also tells us the influences she had on Jorge Luis Borges’ texts. And, how his writings became part of the text read at the beginning of Mirror Piece I.  “I don’t change the language, but rather I change the context, which opens up the text to different possibilities of meaning. I don’t illustrate; I juxtapose.”

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am always reading something: newspapers, periodicals, poetry, philosophy, fiction and non-fiction. I'm interested in many forms of narrative, of storytelling - movies and television, dance and theatre. Naturally not everything I read or see ends up becoming a part of my work, but sometimes a story sticks in my mind - I can't get rid of it, and then I begin to analyse what it's about, how it works and why it has taken such a hold on me.

In the early 1960s, when the writings of Jorge Luis Borges were first published in English, reading his work was a transformative experience. For one of my earliest solo performance works in 1968, I made a costume that had mirrors of various sizes attached to the material. For the text, I took every reference to mirrors from Borges's Labyrinths and assembled the excerpts into a script, which I memorised and recited aloud.Mirrors and poetry, as well as myth and fairytales, refract reality in unexpected ways. Mirrors can collapse or confuse the distance between performer and audience and disrupt visual frameworks. When I use a myth or a story or a literary text in my work, I often extract particular passages from a larger narrative that resonates with me. In performance, the audience hears the text, recorded in advance or recited in real time, in fragments, and sees components - such as movements, props, drawings and video - that may relate only indirectly to the text. I don't change the language, but rather I change the context, which opens up the text to different possibilities of meaning. I don't illustrate; I juxtapose.

Mirror, mirror ... Joan Jonas in Mirror Costume, 1968. Photograph: Peter Campus

At college, as well as reading writers - such as Jean Rhys, James Baldwin, and Marguerite Duras - whose work would become a lasting influence, I was drawn to the imagists, especially HD (Hilda Doolittle). I was excited by Ezra Pound 's definition of an image as "that which presents an intellectual and emotional complex in an instant of time". Many of the imagists' poems, including Pound's "In a Station of the Metro" and HD's "The Pool", were written as haiku. What fascinated me was the way the visual structure of the poem, its image on the page, was an essential unit of meaning, graspable at a glance by the reader.

In The Frog Prince, lines such as, 'Let me in, let me in', could be heard one way by children and another by adults

In 1976, I was commissioned by the Institute of Contemporary Art in Philadelphia to make a piece for children. The story I chose was a fairytale recorded by the Grimm brothers called "The Juniper Tree", partly because it was the favourite of the son of my friend, the poet Susan Howe. But I'd been interested in myth and fairytale for a long time; years earlier I'd read James Frazer's The Golden Bough as well as Robert Graves's The Greek Myths and The White Goddess. Bruno Bettelheim's The Uses of Enchantment played an important role in my thinking about The Juniper Tree. As well as the stories themselves, I was interested in their origins - many fairytales were orally transmitted, mostly by women, and stories evolved with the nomadic movement of Europe's early cultures. "The Juniper Tree", for example, is rooted in, or at least shares many elements with, the Egyptian Osiris myth in which the god is murdered. Also of particular interest to me in the story were the different representations of women - the good mother, the wicked stepmother and the young daughter, all of whom I played in the final version of the piece. I made drawings of hearts, valentine and anatomical, representing the boy and the girl, in red paint on white silk and white paint on red silk for the set.

After The Juniper Tree, I made one more piece using fairytales, also from Grimm, in 1979, called Upside Down and Backwards, in which "The Frog Prince" is intercut with "The Boy Who Went Out to Learn Fear". As I was retelling stories that had been retold for centuries, I felt freer to adapt their language, and changed the setting by adding references to the American south-west and the mountains of the north-east. I was attracted by the way the sexual connotations of "The Frog Prince" - lines such as, "Let me in, let me in" - could be heard one way by children and another by adults, and I liked how the story unfolded backwards. What do we fear and why do we fear it? The princess's fear of the frog and the boy's need to learn fear in order to enter into life play off each other pleasingly in the entangled stories.

In 2001, I was invited to make a work for Documenta 11 based on an epic poem. I chose a book-length poem by HD, Helen in Egypt. From the beginning as an artist, my dominant focus has been on the roles that women play - in folklore, fiction and in the culture at large - and how they are seen in history. HD's Helen in Egypt is a poetic exploration of the story, told in Herodotus's Histories, of how Helen was defamed, in effect, by Homer's Iliad: she was never in Troy but was transported to Egypt by the gods, and a double, a phantom (or eidōlon in Greek) was sent to Troy in her stead.

Joan Jonas, performing in Robert Ashley's Celestial Excursions in 2009. Photograph: Hiroyuki Ito/Getty Images

For the work, I chose sections of HD's poem and from her book Tribute to Freud in which she describes being analysed by Freud in Vienna in 1933-34. How does war begin? And why? Helen was blamed, as women are often blamed, for the war, which Graves asserts was in all probability a trade war, fought over riches and access to the east. I called the work Lines in the Sand, a title suggested by an exhibition at New York's Metropolitan Museum of Art that examined the excavation of archaeological sites in the Middle East in the 19th century - and the dissemination of vast numbers of artefacts, exhibited in museums across Europe. For me, it also evoked the almost arbitrary colonial division of Middle Eastern lands into parcels of European dominance.

For the work, I used photographs of the pyramids taken by my grandmother on a trip to Egypt in 1910 and used Las Vegas as a contemporary eidōlon for ancient Egypt. I found a small painting of a modern-day Helen in a thrift shop there, and shot video - of the desert and city sights, derelict props from extinct shows, monuments such as the Luxor Casino - that was projected during the performance.I've incorporated a wildly diverse range of other textual sources into my art throughout my life, including the Icelandic Laxdæla Saga in Volcano Saga (1985); the notebooks of Aby Warburg in The Shape, the Scent, the Feel of Things (2004-6); Dante's Divin e Comed y in Reading Dante (2007-10); and Halldór Laxness's Underneath the Glacier in Reanimation (2010-12).

Of course, I continue to read and read, for my own enjoyment and researching new work. Over the past few years, I have increasingly explored the environment and the relationships between species - I've been thinking in particular about how we perceive the behaviour of animals. The Italian philosopher Giorgio Agamben's book, The Open, Sy Montgomery's The Soul of an Oct opus, Peter Godfrey-Smith's Other Minds and Peter Wohlleben's The Hidden Life of Trees as well as articles that I come across in newspapers and journals all play a part in that process. In May, I'll be presenting a new project, Moving Off the Land, which has grown out of these readings and other stories *

The Joan Jonas exhibition is at Tate Modern, London SE1, until 5 August. tate.org.uk.

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Mirror mirror: Joan Jonas on the fairytales that have cast a spell over her 50-year career

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am always reading something: newspapers, periodicals, poetry, philosophy, fiction and non-fiction. I'm interested in many forms of narrative, of storytelling - movies and television, dance and theatre.

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mirror piece I: reconfigured, joan jonas (2010)

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mirror piece I: reconfigured, joan jonas (2010)

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This video is a re-enactment performed by Joan Jonas herself on the work Mirror Piece I. In the beginning, we see Jonas walk on the stage wearing a dress with some pieces of a mirror attached to it. Then, she opens a long rolled paper and starts reading a beautiful and reflexive text about mirrors. Actually, this is a reinterpretation of TLÖN, UQBAR, ORBIS TERTIUS, a tale by the Argentinian writer Jorge Luis Borges.

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Mirror Piece I: Reconfigured (1969/2010)

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In an exclusive re-performance for Kulturhuset Stadsteatern, Joan Jonas shows one of her classic works, Mirror Piece I: Reconfigured (1969/2010).

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"Beginning in the late 1960s, Joan Jonas created a groundbreaking series of works that established her as one of the pioneering forces in body art, performance, and video art. Undertaking a sustained examination of the process, politics, and psychology of spectatorship, Jonas adopted numerous strategies for complicating her audience’s relationship to her staged activities. She employed mirrors as props and structuring devices, separated performers and spectators by great physical distances, and eventually incorporated live video feeds that multiplied and fragmented viewers’ perspectives of her actions. Mirror Piece I (1969) featured performers carrying oblong mirrors in slowly choreographed movements before the audience, alternately reflecting their own bodies and the surroundings, and offering the audience a flattened view of itself as an image within the performance. The photograph acquired by the Guggenheim Museum is a rare document of that work, shot by the artist herself. In it a single performer sits in the grass holding a mirror that fragments and replicates her body into an uncanny, almost Surrealist form. In both a literal and pictorial sense, Jonas denies the audience any position of stability from which to apprehend what lies before it." (written by Nat Trotman)

I like how Joan Jonas is able to recreate a relationship between the mirror and the reflection of it: the people. It is quite interesting to see that the performers, who carry the mirrors, are always behind the mirrors. Their identity seems never to be revealed. Their identity seems to be the lack of it. And it is intriguing and, according to the text above, surrealist and uncanny. However, it also seems that the identity of the performer is not the important thing.

Jonas plays with the audience as well. The image of them or everything that surrounds them is reflected creating a sort of interaction. Space also becomes a spectator and a participant.

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Joan Jonas | Mirror Piece I | The Guggenheim Museums and Foundation

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Learn about this artwork by Joan Jonas in the Guggenheim's Collection Online.

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Vito Acconci - The Red Tapes (Parts I, II, III) 1976/1977

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Vito Acconci - The Red Tapes (Parts I, II, III) 1976/1977

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Acconci´s masterpiece The Red Tapes was the first thing that came to my mind when I saw Tati's reference on expanded cinema, I think it talks to our research in the way it was prepared and made for projection.

I feel Acconci's work is one of the strongest video pieces I have seen but his presence in the research files also makes me wonder about timing. how long is our screening going to be?

In order to fully understand what Acconci's work means for us there is a much needed time to think and reflect on and I want our work to have a feeling similar to this one,