A dark scene of multiple people holding up individual translucent screens to catch the projections of the opening act Kiatre from the performance space on the other side of the wall. On the wall to the right, the lights of the lenses are visible.
How Do We Project
我們如何投射
2022 // THE CLEMENTE, LOWER EAST SIDE, NYC [USA]
Building on my work with room-sized camera obscura’s [MERT, Through Multiple Lenses, ILOVIT Theater] this iteration, introduced a performative aspect; splitting the room in half created a performance and an audience side. The wall had multiple lenses installed, that projected the performance side at different scales. The audience was provided with handheld and other movable screens on which they would capture a unique experience of the performance for themselves; the screens enabled them to explore the projection of the performance space, but never see the entire space. This was a collaboration with Pedro Wainer.
The performance side, lit by a large window, mixed the view of the city with the performers. Throughout the show musicians, dancers, and other artists activated the performance side, along with artworks installed in the space. Amongst the performances were an opening electronic set with visuals by Kiatre, a Dance Installation by Patricia Nicholson and Miriam Parker, with live music by Brandon Lopez on a standing bass, Waltz an art interference by Daniela Stubbs-Levi, and a closing electronic set with light installations by Niknil Shah.
Besides this, I set up a darkroom in the back and used the camera to make unique silver gelatin prints, see more about this here, and I have described the construction and process, including more about how the camera functions here.
此一版本延續我過往對房間尺度暗箱相機的創作（MERT、《Through Multiple Lenses》、ILOVIT Theater），並引入表演性層面；透過將空間一分為二，形成表演區與觀眾區。牆面上安裝了多個鏡頭，以不同尺度投射表演側的影像。觀眾獲得手持與可移動的螢幕，藉此為自己捕捉一段獨特的表演經驗；這些螢幕讓觀眾探索表演空間的投影，卻永遠無法同時看見整個空間。此作品為我與 Pedro Wainer 的合作。
表演側由一扇大型窗戶照亮，將城市景觀與表演者的身影交織在一起。整個展期中，音樂家、舞者與其他藝術家不斷啟動表演空間，並與空間中安裝的藝術作品共同作用。演出內容包括：由 Kiatre 搭配視覺影像的開場電子音樂演出；Patricia Nicholson 與 Miriam Parker 的舞蹈裝置作品，並由 Brandon Lopez 以低音提琴現場演奏；Daniela Stubbs-Levi 的《Waltz》藝術介入演出；以及由 Niknil Shah 以燈光裝置搭配的閉幕電子音樂演出。
此外，我在後方設置了一間暗房，並使用這台相機製作獨一無二的銀鹽相紙作品；關於此部分可於此處了解更多。我也在此詳細說明了相機的構造與製作流程，包括其運作方式。
A short film showing the interior of the camera obscura space, the film is set to the music of Earl Carlson, as performed for the opeing.
Visual description: A plan drawing showing the layout of the space for How Do We Project. The drawing shows the light lock, used to enter the darker audience side, and how the large window to the exterior lights the performance side and drives the projections through the multiple lenses, indicated in red cones on the drawing. At the back of the audience space is a darkroom, used to develop unique silver gelatins.
Photo of the audience side of the camera. On the right side is the black wall with four lenses visible on the center, and on the left are the multiple projections, showing the exterior view and one of the installed glass sculptures. All projections are upside down.
An audience member catching a refraction of the projected image in his own hand, while a projection slightly higher sends a beam of light trhough the sapce, which renders visible the outline of two other audience members, one of them holding a portable screen in they hands.
The left half of the photo shows a projection of a small glass artwork enlarged by the projecting lens and mixed with a projection of the exterior from a different lens. The right half shows a person holding a screen in front of a lens, looking at the projection.
A dark photograph, in the center, a person can be seen trying to capture a photograph. Next to them, the outline of another person looking away and at the bottom left a bright projection of the adjacent view through the window.
Two people are holding up a screen inspecting a projection of a painting projected from the performance space.
Two photos next to each other, of the same scene. They show a projection of the exterior city space and the interior space with the ladder leaning next to the column. Part of the screen is fabric, on the left photo it is still, rendering the projection calm, while in the right photo it is moved during the camera exposure, liquefying the image. The audience could manipulate these fbric screens during their visit.
Kiatre gathering their thoughts in front of their equipment. The scene is projected onto a range of different screens as well as the white cabinets, the wall, and ceiling. The projections it is upside down.
Two photos side-by-side from the Dance Installation , a dancer is seen in the audience space in front of a wall where the other dancer is visible upside down, projected from the performance space. In this way, the camera enabled and challenged the dancers to dance visually together, while in separate spaces. Dance Installation by Patricia Nicholson and Miriam Parker, with live music by Brandon Lopez.
Photo from Dance Installation from the performance space, on the right the two dancers are dancing together in front of the large window, on the left the bassist is playing on a small white stage. Dance Installation by Patricia Nicholson and Miriam Parker, with live music by Brandon Lopez
Three photos next to each other from the Dance Installation, a dancer is moving through space with a screen, trying to catch a specific image to show the audience in front. Dance Installation by Patricia Nicholson and Miriam Parker, with live music by Brandon Lopez
Photo from the closing event, the projection from the exterior is multiple exposed a mixer used by the artist, which in the projection becomes part of the building wall across the way. When playing, the audience could see the musician use the mixer.
Photo from the closing event, a dark scene blending projections of the exterior with the electronic music instruments, and colored light tubes. To the left part of the audience can be sensed in the dark, taking in both music and the visuals.
A close up of the projection. In the middle left, a person is seen walking on the adjacent roof. The left side of the projection on museum-board is sharp, while the right side on fabric shows small wrinkles from the fabric, indicating that the projected image can be moved and played with by manipulating the fabric. The tones are muted.
Photo of a projection of Pedro Weiner and Troels Steenholdt Heiredal.