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https://francisalys.com/alberts-way/

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Mexico City, Mexico, 2014; 4:48 min

In collaboration with Félix Blume and Julien Devaux.

Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author. These videos cannot be altered in any way or used for commercial purpose nor cannot be displayed or exhibited without the consent of the artist.

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Mexico City, Mexico, 2014; 4:48 min Albert's Way Mexico City, Mexico, 2014; 4:48 min In collaboration with Félix Blume and Julien Devaux. Public domain videos can be downloaded and shared with others as long as the authorship is credited and there is a link back to the website of the author.

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Lily Morin

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Store photos and docs online. Access them from any PC, Mac or phone. Create and work together on Word, Excel or PowerPoint documents.

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Refik Anadol, Machine Hallucination, 2019, Refik Anadol Studio, Artechouse NYC, New York, USA

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The question of why we collect, record, and share our quotidian experiences has always been entangled with the formal and aesthetic concerns about how to represent reality, totality, and the depth of human imagination. Nineteenth century poet and critic Stéphane Mallarmé famously said that everything in the world existed to end up in a book.

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James Murray, The Awakening, 2012, a (re)performance.

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The Awakening: A (re)Performance (2012), James Murray

Duration: 12 hours

Text by Cover photograph screenshot from the video installation of the performance

The Awakening: A (re)Performance is a twelve hour flagging dance created using a a single strobe light, documented with a single video camera, and recorded for playback within the gallery. The Awakening: A (re)Performance sought to understand the role music played during the AIDS crisis. This performance looked to the musical period between 1980 and 2000 as source material to begin an exploration into the importance of the dance floor during the AIDS crisis. The music score used for the performance was collected through a series of open calls and direct requests to the public. The open calls were posted on forums, mailing lists, social media sites as well as public and private online groups. By crowdsourcing the musical score for the performance, Murray built a community for those affected by the crisis. The music sent to the artist was that which held for the public a certain kind of importance through the AIDS crisis and embodied the time period becoming emblematic of their journey through this period in history.

Below is an excerpt from the video installation of the documentation of the performance, presented without the original soundtrack which was only used during the 12-hour performance and later removed for the video installation.

The performance documentation is broken into four side-by-side vertical videos, each playing a three hour loop of the original performance. These loops represent different phases of a typical party, from an early evening warm-up set, to the peak-hours high energy sound that would set the night into motion. The final three hours of the performance, following a period of musical "darkness," represent the dance floor brought into light as it traditionally would be during the final hours of a party.

This work was first shown at Emily Davis Gallery, at the University of Akron as part of the Collider4 exhibition which helped to generously fund the production of this performance.

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THE AWAKENING: A (RE)PERFORMANCE (2012) - Marina Abramovic Institute

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Text by Cover photograph screenshot from the video installation of the performance The Awakening: A (re)Performance is a twelve hour flagging dance created using a a single strobe light, documented with a single video camera, and recorded for playback within the gallery. The Awakening: A (re)Performance sought to understand the role music played during the AIDS crisis.

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Leo Villareal, Multiverse, 2008,
light-emitting diodes (LEDs), computer, and electronic circuitry.

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Leo Villareal National Gallery Multiverse Part 4

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3 channel video projection on Polypropylene Mesh, 2021, 1152cm x 287cm

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Echolocation is an eleven-meter-long, three-channel video installation that seeks to excavate more than a millennium of local history.

When Athelstan, the first king of a unified England and the first to wear a crown, ascended the throne in 925, he chose to be "consecrated" in Kingston upon Thames. Indeed, seven Anglo-Saxon kings - among them Eadweard the Elder, Ethelred the Unready and Eadweard the Martyr - are believed to have been crowned here on the King's Stone, a sarsen geologically similar to those at Stonehenge. It survives to this day, though the original chapel outside which it stood is long gone, replaced by All Saints Church.

Using data gathered by Lidar; a method of measuring distances using a pulsed laser to construct a digital 3D representation of space, a virtual version of the church was created. It's a process that relates to echolocation; the method by which bats navigate, determining the location of objects by sound.

Kingston is a bat conservation area, and seven species have been recorded across the river in Bushy Park. Bats are also harbingers of change. But unlike the spectral evocation of the church and its Gothic interior, which is based on its actual architecture, the bats in the video are animations, a reference to the work of Eadweard Muybridge, who pioneered stop-motion photography and motion-picture projection with his studies of moving animals and was also another Kingston resident. Born in 1830, he was christened Edward at All Saints, only later assuming the spelling Eadweard after the Saxon kings. He died, aged 74, a mile from here, at 2 Liverpool Road.

The video is projected onto a semi-transparent fine mesh made from stretched fishing net. (Kingston's coat of arm consists of three silver salmon on a blue ground, representing three fisheries that are mentioned in the Domesday Book, after which the town became known as Kyngeston super Tamisiam, after the Latin for sieve or filter.) This gives the images both depth and an ethereal quality like a free-flowing X-ray of an unseen past, a ghostly palimpsest that interrogates the history of this ancient place.
Text: Claire Wrathall
This project was commissioned by Canadian & Portland Estates and was created in collaboration with Lorena Popovici, BA Digital Media: Creative Computer Graphics and Media Technology, Faculty of Science Engineering and Computing at Kingston University (bat animation) and Josephine Miller, BA Art Direction, Creative and Cultural Industries at Kingston School of Art (bat texturing), in conjunction with Studio KT1.

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Echolocation is an eleven-meter-long, three-channel video installation that seeks to excavate more than a millennium of local history. When Athelstan, the first king of a unified England and the first to wear a crown, ascended the throne in 925, he chose to be "consecrated" in Kingston upon Thames.

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Echolocation is an eleven-meter-long, three-channel video installation that seeks to excavate more than a millennium of local history.

When Athelstan, the first king of a unified England and the first to wear a crown, ascended the throne in 925, he chose to be "consecrated" in Kingston upon Thames. Indeed, seven Anglo-Saxon kings - among them Eadweard the Elder, Ethelred the Unready and Eadweard the Martyr - are believed to have been crowned here on the King's Stone, a sarsen geologically similar to those at Stonehenge. It survives to this day, though the original chapel outside which it stood is long gone, replaced by All Saints Church.

Using data gathered by Lidar; a method of measuring distances using a pulsed laser to construct a digital 3D representation of space, a virtual version of the church was created. It's a process that relates to echolocation; the method by which bats navigate, determining the location of objects by sound.

Kingston is a bat conservation area, and seven species have been recorded across the river in Bushy Park. Bats are also harbingers of change. But unlike the spectral evocation of the church and its Gothic interior, which is based on its actual architecture, the bats in the video are animations, a reference to the work of Eadweard Muybridge, who pioneered stop-motion photography and motion-picture projection with his studies of moving animals and was also another Kingston resident. Born in 1830, he was christened Edward at All Saints, only later assuming the spelling Eadweard after the Saxon kings. He died, aged 74, a mile from here, at 2 Liverpool Road.

The video is projected onto a semi-transparent fine mesh made from stretched fishing net. (Kingston's coat of arm consists of three silver salmon on a blue ground, representing three fisheries that are mentioned in the Domesday Book, after which the town became known as Kyngeston super Tamisiam, after the Latin for sieve or filter.) This gives the images both depth and an ethereal quality like a free-flowing X-ray of an unseen past, a ghostly palimpsest that interrogates the history of this ancient place.
Text: Claire Wrathall
This project was commissioned by Canadian & Portland Estates and was created in collaboration with Lorena Popovici, BA Digital Media: Creative Computer Graphics and Media Technology, Faculty of Science Engineering and Computing at Kingston University (bat animation) and Josephine Miller, BA Art Direction, Creative and Cultural Industries at Kingston School of Art (bat texturing), in conjunction with Studio KT1.

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Echolocation is an eleven-meter-long, three-channel video installation that seeks to excavate more than a millennium of local history. When Athelstan, the first king of a unified England and the first to wear a crown, ascended the throne in 925, he chose to be "consecrated" in Kingston upon Thames.

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Part of records transfer HUAM.RECORDS.2018.47. Contact the Archives at am_reference@harvard.edu for more information. ArchivesSpace reference ID comm20180807_032.

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Muybridge's Chronophotography. Museu del Cinema

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Joan Jonas Mirror Piece I & II (1969/2018/19)

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Joan Jonas Mirror Piece I & II (1969/2018/19)

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MIRROR PIECE I & II (1969/2018-2019)  | JOAN JONAS EM SERRALVES

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Mario Klingemann  - Memories of Passersby

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Mario Klingemann  - Memories of Passersby

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The Hypnotic Allure of the AI Art Generator

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'Static No. 12' courtesy Daniel Crooks & Anna Schwartz Gallery

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Daniel Crooks is an artist practising across a range of media including video, photography and installation. He is the recipient of an Australia Council Fellowship and residencies at Rijksakademie (Netherlands), Ars Electronica, FutureLab (Austria) and the Australia Council London studio.

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Where Lakes Once Had Water - Sonia Leber & David Chesworth

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Where Lakes Once Had Water - Sonia Leber & David Chesworth

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Théâtre Optique d'Émile Reynaud. Museu del Cinema

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Len Lye - "Kaleidoscope" + "A Colour Box" + "Colour Flight"

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Len Lye - "Kaleidoscope" + "A Colour Box" + "Colour Flight"

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1935-1937 Len Lye - "Kaleidoscope" + "A Colour Box" + "Colour Flight" (highlights mix)

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Tacita Dean: On “JG” and the Medium of Time

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Tacita Dean: On “JG” and the Medium of Time

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Teaser: Tacita Dean: On "JG" and the Medium of Time

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The concept of time is a constant preoccupation of Tacita Dean’s, and one of the central subjects of her new 26 1/2 minute film, "JG," commissioned by the Arcadia University Art Gallery with support from The Pew Center for Arts & Heritage and on view through April 21. "JG" is inspired by Dean's correspondence with British author J. G. Ballard regarding the connections between his short story, “The Voices of Time” (1960), and Robert Smithson’s massive earthwork and film, "Spiral Jetty" (1970). Shot on location in the saline landscapes of Utah and Southern California, the film features Dean's recently developed and patented system of aperture gate masking. In our exclusive interview with the artist, she speaks softly but emphatically about time’s myriad forms, from the geological and the celestial to the biological or the structural.

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Pipilotti Rist - I'm Not The Girl Who Misses Much

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Pipilotti Rist - I'm Not The Girl Who Misses Much

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Pipilotti Rist - I'm Not The Girl Who Misses Much

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Slices of Time: Eadweard Muybridge’s Cinematic Legacy

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Slices of Time: Eadweard Muybridge’s Cinematic Legacy

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Slices of Time: Eadweard Muybridge’s Cinematic Legacy

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William Kentridge on 'The Refusal of Time'

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How can we get a hold of time with our body and mind? This question is the crux of South African artist William Kentridge’s immersive installation ’The Refusal of Time.’ Join the artist for a detailed tour of his pulsing, breathtaking work.

‘The Refusal of Time,’ 2012, is an immersive installation and a meditation on time, space and the complex legacies of colonialism and industry. A multi layered work packed to the brim with references - to early cinematic history, and the science and philosophy of time and images - the work combines visually seductive imagery, sculptural objects, megaphones and sound. ”It’s not a scientific lesson in time,” explains the artist. “But it uses the metaphors scientists use when they’re doing their deepest thinking about time.” Therefore references to Einstein’s theory of relativity and figures like black holes - “a space in which everything disappears, a way of talking about death” - feature throughout the work.

Kentridge uses cinema as ”an artistic, mechanical and optical means of playing with time,” to show time materialized. Cinema can slow time down, replay it, hold it, run it backwards, and by employing these techniques of making time visible, the work shows time, and essentially the trudge of a human life, as “a series of predictable, unremarkable actions that continue until we are worn out.” But within that frame there are also refusals says Kentridge. “Those moments of coherence, of understanding and changing the world, which is the most we can hope for.”

Fragmented and futile in its story telling, ‘The Refusal of Time’ also references the painful histories of colonial wars and anti-colonial revolts in the context of time. In the colonial era the imposition of European time in the colonies was a means of control, Kentridge explains. “The resistance towards time became a metaphor for other kinds of resistance towards other forms of political control.” “In the end” – the artist says polemically – ”the project isn’t really about time. It’s much more about to what extent do we escape our fate? To what extent are we heading towards our fate whether we like it or not? Can we change the world on our way or is this all illusory?”

William Kentridge (b. 1955) is a South African filmmaker, draughtsman, and sculptor. He has produced both animation, set design and sculpture as directing operas at the Metropolitan Opera in New York, USA, and the Royal Opera House in London, UK. His work has been shown around the world, e.g. at dOKUMENTA 10, 11 and 13 Kassel, Germany, the 1999 Venice Biennial, Italy, the Metropolitan Museum and the Museum of Modern Art, New York, USA, the Louvre, Paris, France, and Louisiana Museum of Modern Art, Denmark. Kentridge’s work is held in numerous private collections worldwide and he is the recipient of many prestigious awards such as the 1999 Carnegie Medal, the 2010 Kyoto Prize and the 2013 Commandeur des Arts et des Lettres.

 William Kentridge's installation 'The Refusal of Time' is a collaboration with composer Philip Miller, filmmaker Catherine Meyburgh & Peter Galison, professor of the history of science and of physics at Harvard University. The work is part of the exhibition ’Thick Time’, at the Louisiana Museum of Modern Art, 16 February – 18 June, 2017. William Kentridge’s installation is also part of the Louisiana Collection.


This video also features extracts from 'Making Time', 2011, a film about the making of 'The Refusal of Time', filmed and edited by Catherine Meyburgh.

 William Kentridge was interviewed Christian Lund in the installation of ‘The Refusal of Time’, at the Louisiana Museum of Modern Art, in February 2017.

Camera: Jakob Solbakken
Edited by: Klaus Elmer
Produced by: Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2017

Supported by Nordea-fonden

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Julien Maire - Man at Work ("Relief" exhibition)