丁香园AV

Rahul Bader

BREATH, BRAINS & BEATS

Interactive Performance & Installation

This project includes a performance and interactive installation intended to explore musical rhythm and embodiment with the use of interactive technology. Utilizing 2 Muse brainwave sensing headbands, a bharatnatyam dancer and tabla player create a dynamic and interactive improvisational work using visual and auditory biofeedback data in real-time.

Jean Brazeau

Smashing a Circle into a Square

Sound

A selection of four home studio recordings dubbed together as one, produced with various software synthesizers and two reel-to-reel machines over the summer of 2020.

Charlie Cooper

The Neighborhood

Sound

Keeping within my newly limited boundaries, I set out with a few microphones and a natural radio receiver. I鈥檓 searching for cars, fish, insects, lightning, solar wind and whatever else I can find. I laugh at my measurements and marvel at what I miss.

鈥淚 am not a scientist. I explore the neighborhood.鈥� 鈥� Annie Dillard

To listen to the audio, please visit .

Karla Desentis Rodriguez

Latente

Video & Installation preview

The first part of this project is a six-minute video collage in landscape format, depicting twenty close-up frames of hands writing that, appearing consecutively, produce a crescendo of a sonic texture麓s chorus.  For illustrating the second part of this project, another video presents a preview of an architectural installation assembled with papers, which built an immersive environment designed through drawings (hand-coloured black-and-white) done by women`s participation on their view of the many forms of female violence and its global impact.

Aakansha Ghosh

Geographies of Home

Mixed Media & Video

These works are an attempt at understanding the complexity associated with the notion of defining and encountering places inside and outside through an intricate line of demarcation, a window. Geographies of Home is an exploration to visualize their invisible coexistence.

This is a research in progress, and each of these 4 projects are a part of this progress.

Please visit the page to view the projects: .

Somayeh Khakshoor

賱丕

This short piece鈥斮勜р�攊s a diary based on conversations with the Moon and going through its phases, in an isolation period.

Initially it started to grow in me like massive, hard thorns on a massive, hard tree-like figure with an organic surface, while craving for bones; it was the manifestation of an irresistible yearning for a central structure. Yearning for the I-ness. The need to say 鈥渘o鈥� was against the forces outside; it was out of the necessity to define borders. It was as strong, as many, and as sharp as the teeth of a huge dragon. It had the power of all knives, daggers, swords. I instantly recognized it, it was 賱丕: all starts with 鈥渘o鈥�. But then, as time went by, I remembered that it was also as the coral armature of any statuous structure, the fundamental pillars. It was bulky and hard, but not sharp anymore. Like a thousand-year-old tree. Then, it became soft, like each leaf鈥檚 tip or the shape of that lock of hair curling on the forehead, or all the delicate lines which move statically in miniatures to reflect tenderness. Then it became even softer, like the tip of ocean waves, or even more, almost immaterial like the ever-changing shapes made by smoke or flames of fire. It became the without, the only existing inexistent. It was now denial of the 鈥淚鈥�. It was the form and its negation at the same time, it was the black light, the one and the zero, therefore all.

賱丕 (l膩) is an Arabic word, a combination of two letters 賱 (l膩m) and 丕 (aleph). The Arabic alphabet has 28 letters. 賱丕 is believed to be the 29th letter鈥攚hich doesn鈥檛 exist. The word means no, not, and 诲辞苍鈥檛.

(Please use headphones and consider it as a tentative draft version of an exploration of a work-in-progress ;) Thank you.)

Giselle Liu

Encounter Your Experience

Telematic Performance, Experimental Video

Encounter Your Experience, a work in progress, was an invitation into an international telematic choreographic process working with five beautiful dancers from Hong Kong and an audience from around the world. My research asks how movement uncovers our embodied interconnectedness with matter and energy.

Mansi Patel

In White Room

Installation

This project is a work in progress intended for the Informal Online Spring Show, 鈥�20. In White Room is a part of my practice based research, continually experimenting and exploring light, natural and projected. Living a 鈥榥ew normal鈥� life, In White Room is a set of three time and site based installations. It began with an idea of how I perceive and introspect light movement over time in a space. In White Room is within my home and beyond my perceived visibility.

Here, showcasing my summer work in progress, and looking forward, the shift in the moment makes me think of the next process, in which I physically become a part of poetic gestures of the reflection stories I further create.

I work on artwork, and now art is working on me.

C. Olivia Valenza

field. notes.

field. notes. is a continued experiment investigating methods of score making. This research has taken place over the past few months and remains an ongoing chronicle of unexpected, roaming, constellated thought and sonic discovery. In seeking to encourage performances that access and amplify sounds personal to the performer, I wanted to return to methods of remediation in my score making process. Drawn to some very "musical" looking water coloured engravings of different grasses, I have played with the significance these illustrations hold for me as scores. I wanted to experiment with them, what would it be like to combine the graphical elements present with personal marks and notes of my own? In performing these scores, these elements help to ground myself in accessing what I feel is a personal sound during an improvisation. This sound can exist in the gaps pocketed between the already precedented graphic and text scores. There is a place where I can ruminate on memory and experience, loosely tethered to the train of thought elicited by thinking of my connections to these grasses, to their colours, shapes and histories; to a past or present, to here or there.

I have been lucky as well to share this research process with many friends, and I'm grateful for all those long walks, late-night calls, and compressed dialogues that have helped to get to the root of this work. Special thanks to Anthony D'Agostino who continues to share and explore these personal sounds with me and didn't bat an eye when I asked if he would play some tall oat grass in the name of research.

Faune Ybarra

Archive of Embodied Displacement

Archival materials and time-based media

I am a diasporic artist writing and making from Vancouver, coming from Newfoundland, but born and raised between Oaxaca and Mexico City. From constantly adapting to different landscapes, I鈥檝e asked myself how and or if it鈥檚 even possible to lay roots as a non-native person when my transits resemble more those of the seeds of a dandelion. In this work-in-progress archive, I acknowledge times, places, and spaces of the so-called 鈥淐anadian鈥� East and West coast, as I aim to claim some agency over my own journey, part of a shared history of immigration and displacement.

In the form of what I have come to call 鈥渄iasporic gestures鈥�, actions to ground oneself to the currently inhabited land, I sustain a conversation with the book Through Newfoundland with the Camera, published over 100 years ago, responding from the new land I鈥檓 trying to adapt to, Vancouver. My hope is for this archive to grow to include other times, places, people, and non-humans that can intimately delineate the connections between nuanced nationhood and the diasporic need of belonging to shifting territories.