Archives mars, 2013
Exposition de six nouvelles pièces de l’artiste
22 février-5 mai 2013
76 Allées Charles de Fitte
31300 Toulouse, France
«Invited to take over les Abattoirs, Anthony McCall set up a series of solid light works. Visitors start from the basement and along their course, they can discover 6 of his recent creations where the artist stages a dialogue between his horizontal and his vertical works for the first time in France. Anthony McCall was born in 1946 in England. The body of work he has developed from the early 1970s is part minimal and conceptual art, performance and cinema. It is nowadays considered fundamental in the development of art in the last 30 years. Film was first used by the artist to record his own actions and ephemeral installations; it consecutively became the subject itself. Anthony McCall created his first « solid light film » titled Line describing a cone in 1973, the year he went to live in New York. His movie focuses on the essential elements of cinéma—light, length—but with a totally reversed angle: it is no longer on screen but in space. It develops in a smoky area between projector and screen, in the viewer’s space. From this revolutionary turning point, the artist led a series of work for multiple or individual projectors during 10 years or so: a universe of light in which conceptual rigor was only matched by the sense of marvel they created.»
lien : Rozenn Canevet. «Points de vues archifilmiques» http://www.ednm.fr/leurslumieres/?page_id=2297
Premier travail de Nicolas, à New York, voir ces précédents travaux in http://www.ednm.fr/leurslumieres/?page_id=11
The Blue Balcony.
«Reception for The Blue Balcony in Petit Versailles, 247 East Second Street, Thursday the 14th of March, 8pm until late. There will be intermittent screenings of Busby Berkeley and Len Lye shorts during the reception. Et al. The Blue Balcony East Village, New York, NY
The Blue Balcony is a cinema sculpture built in Petit Versailles Garden by the artists et al. Residents in the East Village and guests are invited to nightly film screenings and weekend matinees. See
https://www.facebook.com/pages/The-Blue-Balcony/262305140570310for a weekly schedule.
The sculpture’s exterior is a nondescript patchwork of refuse lumber, while the interior references the atmospheric movie palaces of the Nineteen-twenties. Decor wise the ceiling is an intricately meandering black pattern constellated with specks of light, and the walls mimic outdoor scenery. Giving the viewer the impression she stepped in an unearthly time. During the screenings ambient colored cove lighting and dim spots are left on, as was often the practice in cinema palaces, making it possible for attendees to be able to see while entering and leaving mid-program; as well as to affect the tenor of the film. The sculpture is intended as a fragment to what could be a larger cinema palace, with three levels of seats it can accommodate an audience of fourteen.
Thematically the balcony is dripping with allusions to Maurice Maeterlinck’s symbolist fairytale The Blue Bird, as well as to the no longer extant labyrinth of Louis XIV’s Gardens of Versailles, and the 1924 silent cubist film L’Inhumaine. Featuring Georgette Leblanc as a vampish chanteuse at home in the modern designs of the french architect Robert Mallet-Stevens.
In the same way that a good plot twist can shake a movie viewer out of a self-shrouding world* revealing a double meaning, The Blue Balcony undertakes with slowness to perform a similar sleight of hand. Where the movie screen should be two large panes of glass look out onto a garden path, rippling leaves, and shades of light that bounce off the wall from Houston Street. The projected image that audiences are accustomed to seeing on screen will be permanently deferred for the duration of a visit to The Blue Balcony.
During a screening the soundtrack of the film remains intact, but without an image, the experience of watching a movie is disembodied.
Each film frame has been divided into a grid with nine sections and each section has been processed with a computational algorithm determining the overall luminosity level of that section. In total outputting nine values. The values are then matched with nine sources of light embedded in the walls individually controlling the levels of light. Such that there is a pulsating periphery that reenacts the event of light bounced off a projected movie screen and on to the walls. Though this time sans-screen.
What the audience is left experiencing is an illusion of what is missing. A chiasmus turning the black box cinema on its head, and extinguishing the delivery of attention en masse to a central gaze. Untethered, the audience’s eyes no longer service a narrative, but are, perhaps, at leisure to tarry….» Nicolas Vargelis
The Bay Lights is the world’s largest LED light sculpture, 1.8 miles wide and 500 feet high. Inspired by the Bay Bridge’s 75th Anniversary, its 25,000 white LED lights are individually programmed by artist Leo Villareal to create a never-repeating, dazzling display across the Bay Bridge West Span through 2015.
The Bay Lights is a monumental tour de force eight times the scale of the Eiffel Tower’s 100th Anniversary lighting. Shining from dusk until 2:00 a.m. for two years, it will impact over 50 million people in the Bay Area, with billions more seeing it in the media and online. By conservative estimates, $97 million dollars will be added to the local economy.
A project of this scale requires teams of top talent with the ability to adapt, innovate, stimulate and create. See the team.
September 15–October 15, 2012
Fiber and power line backbone installed. 25,000 LEDs with integrators and 48,000 Bridge Clips in production.
October 15, 2012
LED light system night installation begins, with 8-10 electricians working Mondays to Fridays, 8:00 p.m. to 5:00 a.m.
First test of lights installed to date.
March 5, 2013
The Bay Lights Grand Lighting! 8:30 p.m.
PST Live Stream Webcast 9:00 p.m. Lights On!