GRAPHIC ART / INDESIGN PROJECTS
Beberemos El Vino Juntos! Let Us Drink The New Wine Together!
Beberemos El Vino Nuevo, Juntos! Let Us Drink The New Wine, Together! presents a body of collaborative work created through 2020-2021. This work is led by Alys Longley and Máximo Corvalán-Pincheira with over 60 participating artists from all continents of the world, with whom the artists have previously worked with or alongside, to create a series of analogue, digital and performance artworks. These collaborations occurred across borders and timezones, materialising possibilities of connection and touch in a time when literal physical connection became impossible. This project culminates in an exhibition at the Museum of Contemporary Art, Santiago, Chile in August 2022.
Book design by Jeff Holdaway & alys longley with InDesign layouts by Jeff Holdaway.
Post Project: Mapeo de Bordes Porosos
An artistic experiment in border crossing at a time of extraordinary border control
A series of envelopes each travel to five different countries in the world (we estimate over 20 in total, depending on how many envelopes are lost in transit), with blank artist-paper inside. Artists are invited to keep anything they want to from the envelope, and to contribute any kind of mapping/ writing/ drawing/ notation/ on the paper. They photograph their contribution and send the digital image to the Mapeo de Bordes Porosos project before sending it on.
In creativity research, the value of intuitive, playful and unpredictable studio methods is well accepted. There are times when conventional approaches to writing and the values of proof, explanation, predictability, analysis and linear argument may constrain, rather than enable, creative research. Each SMUDGE SKITTLE card provides a short task that tangles artistic thinking with written reflection. These cards frame writing and knowing as playful, open-ended, idiosyncratic and relational.
Mistranslation Laboratory is a intimate interactive performance work performed in small spaces, creating miniature performances for (and with) audiences of no more than ten people at a time.
Four fallible, dreamy and untrustworthy “choreographic scientists” prepare this buffet of experiments from a menu of 10 works with titles like ‘Rainbow Taming’, ‘Salt Harbour Tuning Dance Laboratory’, and ‘Making Rubbings of Real Emotional Things’. Groups of participants chose three pieces for their experience, which can be shuffled into any order.
Te Ao Live: Experimental Dance Aotearoa NZ in the Early 21st Century. Edited by Alexa Wilson.
Experimental dance in Aotearoa has existed since the late 90s, but has thrived during the early 21st Century in a fast-changing and tumultuous political climate. The movement can be defined by a number of stylistic and conceptual features, these include: the breaking of conventions of contemporary dance in form and concept, whilst existing in and around the wider dance scene, a movement away from Eurocentric modernism, interdisciplinary exploration and influence, somatic/improvisation training and investigations, and theoretical and political activations. Poetic and philosophical dialogue with post colonialism, gender, capitalism, ecology, embodiment and transformation are also some key thematic concerns that coin this movement.
The voices within this publication make moves to sample something from experimental dance in Aotearoa and the strength of dialogue that exists here.
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