james turrell - the wolfsburg project
the primary medium of californian artist james turrell is light. probably the best-known artist in his field, turrell’s entire oeuvre since the 1960s has been devoted to exploring the diverse manifestations of this immaterial medium and working towards a new, space-defining form of light art. making full use of the adaptable architecture system of the kunstmuseum wolfsburg - unique within the german museum landscape - his installation will be an exploration of space and light: immaterial and material at once. the timelessness and fascination of james turrell’s works derives from his incredible skill at capturing fleeting light and giving it the visual presence and tactile density of a physical body.
a drug-dealing teen is killed in japan, after which he reappears as a ghost to watch over his sister.
dir.: gaspar noé
drama / drugs / sex / thriller
nathaniel brown as oscar
paz de la huerta as linda
cyril roy as alex
olly alexander as victor
masato tanno as mario
- gaspar noé describes his movie as a “psychedelic melodrama”.
- noé planned enter the void over a period of 15 years - before his short film carne (1991). he was around 23 years old, when he saw robert montgomery’s lady in the lake (1947) on drugs. the film is shot in subjective camera, entirely from the point of view of the main character. for enter the void, noé uses a subjective camera in the same manner. the main character oscar is seen just once while the character is alive (in a mirror.)
- noé was inspired by the famous “star gate” sequence in stanley kubrick’s 2001: a space odyssey (1968). for creating the special trippy atmosphere, the norwegian vj artist glennwiz (glenn jacobsen) was contacted for use of one of his videos.
- to develop this first-person perspective, noé also was inspired from the opening sequence in strange days (1995) by kathryn bigelow and the music video for the prodigy’s “smack my bitch up”, directed by jonas åkerlund.
- noé intended the film to be shown at 25 frames per second, rather than the 24 usually used in cinemas. the original cut is 154 minutes at 25 fps, or 161 minutes at 24 fps.
- frequently casts philippe nahon.
- likes either very long, intricate shots or totally static ones.
- opening credits are presented as title cards, in a pulsating fashion, with a reverb beat everytime they appear.
- often uses computer-generated images that are hard to detect.
- heavy strobing lights.
the dsnl (the day shade night light)
by yang ze-siao
during the day it blocks the sunlight, and at night, it creates light. it’s build mainly with 2 materials, flexible solar panels and flexible organix light-emmiting diodes (oled.) solar power, is converted from the sun and turned to electricity by the solar panels above.
the electricity is stored then until whenever you need it inside the umbrella frame. when the switch is turned on, the oleds deliver a blast of light, a unique experience of light for whatever you might need. the dsnl is the shade, then the dsnl is the light. intensity of light can be adjusted by turning the handle.
by johan thörnqvist
2010 asian games opening ceremony
+: the big picture
honda projection mapping @ frank gehry’s iac hq
new york city, usa
introducing ‘light lining’ to the us.
a technique of projection mapping 3d content.
by janne parviainen
straight from the camera. no post editing of anykind. 11 minutes of exposure.
+: jannepaint (flickr)
exhibition view @ designpreis halle 2010 - reisen / travelling
in an historical tram line depot in halle / saale illuminated solely with uv light
luminous new york
photographies by joergen geerds
west 42nd street | the new yorker
empire state building | trump tower & un
by light art performance photography (lapp)
a one-shot long time bulb exposure photography, performed aditionally with movement of light. the pictures shown here are in each case one single photo, not a result of working on the computer.
the german photography artist michael wesely has created even longer exposures using a self-built pinhole camera. he captured the light of his objects for up to 3 years. in 2001 he was invited by the museum of modern art in new york to use his unique technique to record the re-development of their building. he set up 4 cameras in 4 different corners and photographed the destruction and re-building of the moma until 2004 - leaving the shutter (the holes) open for up to 34 months!
(via vainaspaver / the longest photographic exposures in history)