Kota Ezawa, Jump Cut, 2012
11 & 12 August
Premiering at the De La Warr Pavilion, Blue Crystal Ball is a collection of single-channel videos by nine contemporary artists from around the globe commissioned by the IOC Olympics Media Art Collection. These new works reflect the values of Olympism through the prism of unique international perspectives.
Kota Ezawa (Japan / USA) has created Jump Cut, a black and white ink animation based on archival footage of Olympic competitions from the 1920s to the present. Whilst a different style of animation guides Cao Fei (China) whose work Intellectual Marathon in RMB City will be a Second Life machinima of an intellectual marathon in the virtual world of RMB City, a virtual realm in the online world of Second Life. Utilising archives, Susan Pui San Lok (UK) presents Citius, Altius which considers visual and cultural rhetorics around nation, unity and sport. Also enquiring into nationhood is Kimsooja (South Korea / USA) in a multi-layered projection of one image containing all the nation’s flags layered on top of each other to reinforce the meaning of the symbol of these nations in the spirit of the Olympic Games. Torsten Lauschmann (Germany / UK) presents Khronus a film which revisits the origins of pre-formalised play through researching the world of street and playground games around the world to capture the true Olympic Spirit. Emily Wardill (UK) will present Sphere is Rotation in a Circle which takes the motif of a sphere as an ideal form the piece will relate this form to the ideals of the Olympics to specifically focused on the sphere as it appears within rhythmic gymnastics and snooker. Exploring sport as a metaphor for love, Yeondoo Jung (South Korea) presents Rotation which investigates the endlessly rotating emotion of love. Also offering psychological perspective is Hiraki Sawa (Japan / UK) who explores the shifting terrain between focus and disarray, between concentration and mental collapse of athletes participating in Olympic Games. Kyungwoo Chun Perfect Relay: Citius, Altius, Fortius
Torsten Lauschmann, Khronus, 2012
"And the streets of the city shall be full of boys and girls playing in the streets thereof.’ Attributed to the prophet Zechariah, this quote is believed to have originated from the same time period of the inauguration of the ancient Olympic Games around 776 - 500 BC.
Play is unrestricted while games have rules. Play may merely be the enactment of a dream, but in each game there is a contest. Yet one can notice that when children play a game in the street they are often extraordinarily naïve, or depending on a viewpoint highly civilized. They seldom need an referee, they rarely trouble to keep scores, little significance is attached to who wins or loses, they do not require the stimulus of prize and it does not seem to worry them if a game is unfinished. Indeed children like games in which there is a sizeable amount of luck, so that individual abilities cannot be directly compared. In these games children gain the reassurance that comes with repetition and feeling of fellowship. This to me resembles the vision of the Olympic spirit which encourages a ‘peaceful and better world which requires mutual understanding with a spirit of friendship, solidarity and fair play’. I am making a film which revisits the origins of pre-formalised play through researching the world of street and playground games around the world. It will be a poetic film which captures the true Olympic Spirit in these ancient rituals of Racing, Duelling, Chasing, Catching, Seeking and Daring". Torsten Lauschmann, 2012
Whether manifested through photography, video, sound, online work, drawing or installation, Lauschmann’s work is characterised by a thoroughly 21st-century approach to art-making. His eclectic, idiosyncratic and multifarious practice is not led by the desire to produce a single object or image, but by the artist's interconnected interests in the theoretical, the personal and the absurd.
Kota Ezawa, Jump Cut, 2012
Kota Ezawa, Jump Cut, 2012
"In this animation, athletes are extracted from archival Olympic films and inserted into photographic land and townscapes. By isolating the athletes from their stadium environments, the various sports disciplines portrayed in this film are re-imagined as meditative and aesthetic pursuits away from spectacle and mass commerce. To make an animation is also a long and solitary process, and only in the end it is shared with a public. In this way, artists and athletes work in similar ways". Kota Ezawa, 2012
Kota Ezawa meticulously recreates, frame-by-frame, animated sequences from television, cinema, and art history using basic digital drawing and animation software. His aesthetic is a highly stylized mixture of Pop Art and paint-by-numbers pictures. Ezawa’s painstaking process creates an intriguing facsimile of the source material he draws upon, which ranges from the Zapruder 8mm film of the Kennedy assassination, footage from the O.J. Simpson verdict, and excerpts from the films Who’s Afraid of Virginia Wolf? (1966) and D.W. Griffith’s Birth of a Nation (1915).
For more details on the London 2012 programme and to sign up for information visit www.london2012.com/festival.
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