New Crowned Hope 艺术节，关于Lynette Wallworth
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最后更新：2006/10/19 16:08:45 by
Commissioned by New Crowned Hope and Arnolfini
Produced by Forma
Supported by Arts Council England and the City of Melbourne Arts House program, Australia Council Fellowship New Media and Visual Arts Board
2006年11月16日至12月13日
New Crowned Hope Festival （艺术节），奥地利维也纳
参加艺术家：Lynette Wallworth
澳大利亚艺术家，Lynette Wallworth，主要作品为装置，摄影和短片。
她关注沉浸环境的装置。作品经常发展成系列，给一种变化和积累的感觉。
环境不是一个被动的空间而靠观众的刺激。
作品强调图片，声音，空间和观众的关系。
这次，在New Crowned Hope艺术节，Lynette Wallworth 展出一系列作品。
Lynette Wallworth is an Australian artist whose practice spans video installation, photography and short film. To date Wallworth has exhibited widely in Australasia. Forma represents Lynette Wallworth worldwide for touring of the artist's installation work with a current focus on developing new exhibition dates in Europe.
In Wallworth's current body of work, she specialises in the creation of immersive installation environments which offer a tactile gateway. Frequently the works are developed in series to provide a sense of a cumulative process that changes over time. The environments are not passive spaces but rely on activation by the participant/viewer. The interplay between the moving image, sound, space and visitor as component elements in the ecosystem of a work is the artist’s primary focus.
For Evolution of Fearlessness exhibition at New Crowned Hope Festival, Lynette Wallworth shows a series of works.
Produced by Forma
Supported by Arts Council England and the City of Melbourne Arts House program, Australia Council Fellowship New Media and Visual Arts Board
2006年11月16日至12月13日
New Crowned Hope Festival （艺术节），奥地利维也纳
参加艺术家：Lynette Wallworth
澳大利亚艺术家，Lynette Wallworth，主要作品为装置，摄影和短片。
她关注沉浸环境的装置。作品经常发展成系列，给一种变化和积累的感觉。
环境不是一个被动的空间而靠观众的刺激。
作品强调图片，声音，空间和观众的关系。
这次，在New Crowned Hope艺术节，Lynette Wallworth 展出一系列作品。
Lynette Wallworth is an Australian artist whose practice spans video installation, photography and short film. To date Wallworth has exhibited widely in Australasia. Forma represents Lynette Wallworth worldwide for touring of the artist's installation work with a current focus on developing new exhibition dates in Europe.
In Wallworth's current body of work, she specialises in the creation of immersive installation environments which offer a tactile gateway. Frequently the works are developed in series to provide a sense of a cumulative process that changes over time. The environments are not passive spaces but rely on activation by the participant/viewer. The interplay between the moving image, sound, space and visitor as component elements in the ecosystem of a work is the artist’s primary focus.
For Evolution of Fearlessness exhibition at New Crowned Hope Festival, Lynette Wallworth shows a series of works.
我喜欢。
Still:Waiting2，video installation
静止：等2，录像装置
Still:Waiting2 presents video footage of a single tree – an Australian River Gum that is home to a huge number of native Corella birds - filmed under a breathtaking dawn light in Quorn, South Australia. Corellas are a species that have slowly adapted to the biological ravages caused by colonization which brought other native parrots close to extinction. Meeting at the first and last light of day, the flocks occupy trees with such density that the tree itself appears to be in full bloom.
Still:Waiting2 is an immersive installation environment that is both unsettled and revealed by our very presence. When a viewer enters the space, sensors are activated, causing these birds to fly from the tree. The viewer must then negotiate the needs of the space, as well as the movements of others in the space, if the birds are to return. The works suggests that on first viewing much can be overlooked by the ‘newcomer’; it is about a threshold, a gateway that is passed through often unknowingly, whilst inviting us to consider the impact of others, of communal life and the complex interconnection of co-existing species.
The installation sets up an ecosystem, a space complete within itself where the participant/viewer contributes to the revelation of the work. Reflecting on human immersion in a complex world, Still:Waiting questions whether there may be ways of meeting across cultural distance that do not cause rupture.
Fundamental to this piece is an attempt to reproduce the artists’ extraordinary experience of filming these birds, the humbling requirement to be patient and the understanding that nothing can be made to happen when faced with nature.
In this work, we see only what will let itself be shown.
Commissioned by New Crowned Hope and Arnolfini
Produced by Forma
Supported by Arts Council England and the City of Melbourne Arts House program, Australia Council Fellowship New Media and Visual Arts Board
静止：等2，录像装置
Still:Waiting2 presents video footage of a single tree – an Australian River Gum that is home to a huge number of native Corella birds - filmed under a breathtaking dawn light in Quorn, South Australia. Corellas are a species that have slowly adapted to the biological ravages caused by colonization which brought other native parrots close to extinction. Meeting at the first and last light of day, the flocks occupy trees with such density that the tree itself appears to be in full bloom.
Still:Waiting2 is an immersive installation environment that is both unsettled and revealed by our very presence. When a viewer enters the space, sensors are activated, causing these birds to fly from the tree. The viewer must then negotiate the needs of the space, as well as the movements of others in the space, if the birds are to return. The works suggests that on first viewing much can be overlooked by the ‘newcomer’; it is about a threshold, a gateway that is passed through often unknowingly, whilst inviting us to consider the impact of others, of communal life and the complex interconnection of co-existing species.
The installation sets up an ecosystem, a space complete within itself where the participant/viewer contributes to the revelation of the work. Reflecting on human immersion in a complex world, Still:Waiting questions whether there may be ways of meeting across cultural distance that do not cause rupture.
Fundamental to this piece is an attempt to reproduce the artists’ extraordinary experience of filming these birds, the humbling requirement to be patient and the understanding that nothing can be made to happen when faced with nature.
In this work, we see only what will let itself be shown.
Commissioned by New Crowned Hope and Arnolfini
Produced by Forma
Supported by Arts Council England and the City of Melbourne Arts House program, Australia Council Fellowship New Media and Visual Arts Board
Invisible by Night, installation
夜里无形的，装置
Evolution of fearlessness, installation
无畏的发展，装置
这两个作品关注死忙和它后果，生存，希望，和力量这个互动装置投影一个同比例的女的，一直漫步行走。通过观众的接触她可以慢慢停下来。
Two works which deal with loss and its aftermath, survival and beyond that, hope and strength. These works began with a commission for The Melbourne Festival 2004. Asked to develop a work to respond to the layered history of the site of Melbourne’s first morgue, Wallworth chose to create a piece about the process of grief.
Invisible by Night is gently interactive piece which responds to touch and presents a projection of a life sized woman whose eternal pacing can be quietly interrupted by the viewer.
The work signals our neglect of ‘histories of site’ through our more immediate lack of compassion for those who suffer amongst us. Its attention to the transient beauty of compassion and interaction traverses boundaries of urban community and history.
Working not with actors but with women whose life experiences have confronted them with terror and grief, Evolution of Fearlessness marks the next step in this series of work that explores restrained emotion and responsive video, aiming to connect the viewer and the viewed through the physical materials of the work.
Evolution of Fearlessness adopts a similar format to Invisible By Night and is an intimate, interactive installation which responds to touch. Built around the importance of the gesture, Evolution of Fearlessness builds gestural mirroring into the interactive structure of the work to link us to the living women contained in the piece whose stories we are given glimpses of but whose lips do not speak
Evolution of Fearlessness is commissioned by New Crowned Hope
Produced by Forma
Invisible by Night is commissioned by Experimenta.org
Touring produced by Forma
夜里无形的，装置
Evolution of fearlessness, installation
无畏的发展，装置
这两个作品关注死忙和它后果，生存，希望，和力量这个互动装置投影一个同比例的女的，一直漫步行走。通过观众的接触她可以慢慢停下来。
Two works which deal with loss and its aftermath, survival and beyond that, hope and strength. These works began with a commission for The Melbourne Festival 2004. Asked to develop a work to respond to the layered history of the site of Melbourne’s first morgue, Wallworth chose to create a piece about the process of grief.
Invisible by Night is gently interactive piece which responds to touch and presents a projection of a life sized woman whose eternal pacing can be quietly interrupted by the viewer.
The work signals our neglect of ‘histories of site’ through our more immediate lack of compassion for those who suffer amongst us. Its attention to the transient beauty of compassion and interaction traverses boundaries of urban community and history.
Working not with actors but with women whose life experiences have confronted them with terror and grief, Evolution of Fearlessness marks the next step in this series of work that explores restrained emotion and responsive video, aiming to connect the viewer and the viewed through the physical materials of the work.
Evolution of Fearlessness adopts a similar format to Invisible By Night and is an intimate, interactive installation which responds to touch. Built around the importance of the gesture, Evolution of Fearlessness builds gestural mirroring into the interactive structure of the work to link us to the living women contained in the piece whose stories we are given glimpses of but whose lips do not speak
Evolution of Fearlessness is commissioned by New Crowned Hope
Produced by Forma
Invisible by Night is commissioned by Experimenta.org
Touring produced by Forma
Photo: Diane Panuccio (R)
Hold, installation
抓住, 装置
艺术家请观众拿一个玻璃碗去一个黑暗的空间。水里的生活（鱼，海马，等）从上面到碗里投影。空间是空的除了影像和声音之外。
Hold is a breath-takingly accomplished installation work. It is immersive, engaging, wondrous, yet almost mystically ‘simple’ in its interface and unfolding dramas.
The audience is invited to carry glass bowls into a darkened space. Images of underwater life in radiant colour are projected from above; small fish, a seahorse, coral, flurries of light that suggest the night sky fill the empty bowls to their rim. Visitors are encouraged to ‘catch’ the falling images. With nothing in the room except light and sound, directional speakers attached to each projector provide intimate moments of synchronised sound for each loop of wondrous vision. Hold offers a sensation akin to holding life in your hands, - it is simply wondrous.
This is a work that celebrates minutiae - the microscopic forms of life, rather than grand spectacle. It is an uplifting work that creates a sense of communal participation in the space as visitors pass the bowl to each other, being careful not to ‘drop’ the small fragile worlds. There is intense hope in Hold.
“Already Hold is a ‘new media classic’. But unlike many examples of the genre, it features no obvious battery of high-tech machinery. And participation with it requires zero technical expertise. Its interface is not much more than curiosity hinged to compassion for our floating world and for everyone adrift in its delicate biosphere…. Many fans of Hold tell how they love the way you can hang back from grabbing a bowl so that you can observe the kindness of strangers as they offer the specimen worlds to each other and chat about how best to garner full wonder.”
– Ross Gibson, PolOxygen.
Commissioned by and Courtesy of Australian Centre for the Moving Image, Melbourne, AU
Touring produced by Forma
Supported by the New Media Arts Board, Australian Council for the Arts
Hold, installation
抓住, 装置
艺术家请观众拿一个玻璃碗去一个黑暗的空间。水里的生活（鱼，海马，等）从上面到碗里投影。空间是空的除了影像和声音之外。
Hold is a breath-takingly accomplished installation work. It is immersive, engaging, wondrous, yet almost mystically ‘simple’ in its interface and unfolding dramas.
The audience is invited to carry glass bowls into a darkened space. Images of underwater life in radiant colour are projected from above; small fish, a seahorse, coral, flurries of light that suggest the night sky fill the empty bowls to their rim. Visitors are encouraged to ‘catch’ the falling images. With nothing in the room except light and sound, directional speakers attached to each projector provide intimate moments of synchronised sound for each loop of wondrous vision. Hold offers a sensation akin to holding life in your hands, - it is simply wondrous.
This is a work that celebrates minutiae - the microscopic forms of life, rather than grand spectacle. It is an uplifting work that creates a sense of communal participation in the space as visitors pass the bowl to each other, being careful not to ‘drop’ the small fragile worlds. There is intense hope in Hold.
“Already Hold is a ‘new media classic’. But unlike many examples of the genre, it features no obvious battery of high-tech machinery. And participation with it requires zero technical expertise. Its interface is not much more than curiosity hinged to compassion for our floating world and for everyone adrift in its delicate biosphere…. Many fans of Hold tell how they love the way you can hang back from grabbing a bowl so that you can observe the kindness of strangers as they offer the specimen worlds to each other and chat about how best to garner full wonder.”
– Ross Gibson, PolOxygen.
Commissioned by and Courtesy of Australian Centre for the Moving Image, Melbourne, AU
Touring produced by Forma
Supported by the New Media Arts Board, Australian Council for the Arts
Damavand mountain, installation
Damavand 山, 装置
Damavand山是一个录像装置，通过一个艺术家拘留项目计划，在伊朗的一个山里的小村里拍的。
录像内容为花，一个带纱巾的女的和一所山的关系。
录像下面一个容器满了黑夜体反映录像的内容。
Damavand Mountain is an elegant and simple video installation based on imagery filmed in the small Iranian mountain village of Poloor, north east of Tehran, during an artist residency in 2004.
A series of images track the cycle of a short lived poppy flower, a woman and a snow covered mountain. Gradually, the visual correspondence between the woman in chador, the flower, the clouds and the mountain peak emerge. The cloth of the chador is carved by the wind. The clouds caress the mountain peak. The poppy’s fragile skin is transformed by light. Invisible forces cause something to dance, our eyes note the movement but distanced by physical space our skin does not feel the cold or warmth of this invisible force. Only the garments in the piece: petals, chador and clouds reveal the evidence of their response to a force that shapes them daily. They adjust to it, yet there is a sense of endurance here – in human nature and in nature itself.
Below each video monitor lies a vessel containing black liquid holding a mirror reflection of the footage above it. These secondary alter images suggest some darker unseen forces within the timeless, haunting and beautiful imagery above; in this black liquid we sense the substantial global and governmental powers that shape everyday life in contemporary Iran.
Damavand 山, 装置
Damavand山是一个录像装置，通过一个艺术家拘留项目计划，在伊朗的一个山里的小村里拍的。
录像内容为花，一个带纱巾的女的和一所山的关系。
录像下面一个容器满了黑夜体反映录像的内容。
Damavand Mountain is an elegant and simple video installation based on imagery filmed in the small Iranian mountain village of Poloor, north east of Tehran, during an artist residency in 2004.
A series of images track the cycle of a short lived poppy flower, a woman and a snow covered mountain. Gradually, the visual correspondence between the woman in chador, the flower, the clouds and the mountain peak emerge. The cloth of the chador is carved by the wind. The clouds caress the mountain peak. The poppy’s fragile skin is transformed by light. Invisible forces cause something to dance, our eyes note the movement but distanced by physical space our skin does not feel the cold or warmth of this invisible force. Only the garments in the piece: petals, chador and clouds reveal the evidence of their response to a force that shapes them daily. They adjust to it, yet there is a sense of endurance here – in human nature and in nature itself.
Below each video monitor lies a vessel containing black liquid holding a mirror reflection of the footage above it. These secondary alter images suggest some darker unseen forces within the timeless, haunting and beautiful imagery above; in this black liquid we sense the substantial global and governmental powers that shape everyday life in contemporary Iran.
喜欢第一件作品，光的氛围很不错
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