Temporal Architecture in Light

CAPSULE

architecture, light, temporal, performance, installation

Temporal Architecture Sculpted in Light

Synopsis

‘The obvious role of architecture in the construction of sets (and the eager participation of architects themselves in this enterprise), and the equally obvious ability of film to “construct” its own architecture in light and shade, scale and movement, from the outset allowed for mutual intersection if these two “spatial arts”. […] for filmmakers (like Sergei Eisenstein) originally trained as architects, the filmic art offered the potential to develop a new architecture of time and space unfettered by the material constraints of gravity and daily life.’

– Anthony Vidler, Warped Space: Art, Architecture, and Anxiety in Modern Culture. (London: The MIT Press, 2001), 99110.

Existing between the real and the imagined, the architecture of space and time created by film allows us to temporarily inhabit non-existent worlds. Intently constructed to be experienced through multiple senses, it deconstructs the space it inhabits and reconstructs an alternative space to be experienced. Manifested in a range of forms, either being passively observed or actively engaged with, this temporal, imaginary architecture is built out of light, projection, film and data.

This capsule will explore film and installation performance pieces that create architecture out of light, projection, and film. It will examine non-physical imaginary spaces which sit between virtual 3D systems and physical architectural spaces. By looking at temporal art pieces that are intended to be observed and experienced in the present and in person, this programme aims to investigate / explore architecture that has been created and enhanced with the medium of film.

Programmed by

Agata Murasko is Production Director at the Architecture Film Festival London, and architect at Allford Hall Monaghan Morris. She has also collaborated on an installation with Stasus and has been involved in the building process of a performance set with Punchdrunk. Agata has an avid interest in art where she draws architectural and cinematic inspirations from and has recently completed a course on Contemporary Art at MoMA. This interest in film and architecture has led her to be involved in making the Architecture Film Festival London from the outset.

This capsule programme has been created in partnership with the Japan Foundation.

Film Programme

Shiro Takatani, Between Nature and Technology

Giulio Boato, Canada, 2019, 52′

Trailer

Synopsis

Across Europe and Japan, this film covers over three decades of Shiro Takatani’s artistic journey through his installations, theatre and dance performances. Takatani and his collaborators (including composer Ryuichi Sakamoto) explain the driving principles behind his work where nature and people are observed through modern tools. Takatani uses technology to improve our understanding of our environment: enhancing infinitely small organisms, showing large scale galaxies, creating an interaction between performers / dancers with cameras and large screens. Carefully selected performances and installations – remarkably filmed – demonstrate the evolution of his work.

Film Programme

2020

Dumb Type – Members: Takayuki Fujimoto, Ken Furudate, Satoshi Hama, Marihiko Hara, Yuko Hirai, Ryoji Ikeda, Nobuaki Oshika, So Ozaki, Ryo Shiraki, Norico Sunayama, Shiro Takatani, Yoko Takatani, Mayumi Tanaka, Hiromasa Tomari, Misako Yabuuchi, AOI YAMADA, Toru Yamanaka, Yukiko Yoshimoto, Japan, 2020, 57′

Trailer

Synopsis

Under the direction of Shiro Takatani who was one of the founding members, this work is the first to be presented since Voyage (2002) 18 years ago.

Flipbook

Film Beyond Its Limits by George Baker

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When Godard says everything has two parts, and that in a day there’s morning and evening, he’s not saying it’s one or the other, or that one becomes the other, becomes two. Because multiplicity is never in the terms, however many, nor in all the terms together, the whole. Multiplicity is precisely in the “and,” which is different in nature from elementary components and collections of them. . . . AND is neither one thing nor the other, it’s always in-between, between two things; it’s the borderline, there’s always a border, a line of flight or flow, only we don’t see it, because it’s the least perceptible of things. And yet it’s along this line of flight that things come to pass, becomings evolve, revolutions take shape.[1] —Gilles Deleuze, “Three Questions on Six Times Two”

In 1920, when the Parisian Dadaists asked Francis Picabia to design a stage set for one of their “manifestations,” Picabia responded by creating a “transparent” set, an accumulation of ropes, placards, and suspended objects set up in front of the stage instead of behind it. And in 1924, when Picabia was invited to create a full-scale ballet that he entitled Relâche (Performance Canceled), the artist designed a notorious set of some 370 spotlights which were now placed behind the stage instead of above or before it. Gazing at the space of the stage, spectators were forced to stare headlong into an immense wall of light that would burst periodically into full illumination, like so many car headlights or camera flashes, in time with the changes in volume of the ballet’s musical score. Through such precise reversals or inversions of theatrical conventions, Picabia highlighted the space of the auditorium over the stage, the audience over the spectacle, an audience whose response was to be an intrinsic part of both Dada manifestation and avant-garde ballet. But to what effect?

[1]-Gilles Deleuze, “Three Questions on Six Times Two,” Negotiations, trans Martin Joughin (New York: Columbia University Press, 1950), 44-45

George Baker; Film Beyond Its Limits. Grey Room 2006; (25): 92–125. doi: https://doi.org/10.1162/grey.2006.1.25.92

Conversation:

Agata Murasko in conversation with TeamLab
  •     TeamLab conversation with Agata Murasko

Exhibition:

The Infinite Crystal Universe

teamLab, 2020

Info

Exhibition: teamLab SuperNature Macao, The Venetian Macao, Macao
Term: Soft Opened June 15, 2020
Website: https://www.teamlab.art/ew/infinite_crystaluniverse_macao/macao/

Credit: teamLab, Exhibition view of teamLab SuperNature Macao, 2020, The Venetian Macao © teamLab, courtesy Pace Gallery

Exhibition:

Beating Earth

teamLab, 2020

Info

Exhibition: teamLab SuperNature Macao, The Venetian Macao, Macao
Term: Soft Opened June 15, 2020
Website: https://www.teamlab.art/ew/beating_earth_macao/macao/

Credit: teamLab, Exhibition view of teamLab SuperNature Macao, 2020, The Venetian Macao © teamLab, courtesy Pace Gallery

Exhibition:

Expanding Three-Dimensional Existence in Transforming Space – Flattening 3 Colors and 9 Blurred Colors, Free Floating

teamLab, 2020

Info

Exhibition: teamLab SuperNature Macao, The Venetian Macao, Macao
Term: Soft Opened June 15, 2020
Website: https://www.teamlab.art/ew/transformingspace_macao/macao/

Credit: teamLab, Exhibition view of teamLab SuperNature Macao, 2020, The Venetian Macao © teamLab, courtesy Pace Gallery.

Images

Anthony McCall. "Face to Face" Installation view, The Hepworth Wakefield, UK, 2018. Courtesy Hepworth Wakefield
Anthony McCall. "Line Describing a Cone" during the twenty-fourth minute. Istallation view at the Musee de Rochechouart (2007). Photograph by Freddy Le Saux.
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