Jackson Pollock by Hans Namuth  

video art & mouvement_10 minuts

Jackson Pollock

"Not satisfied with black and white stills, Namuth wanted to create a color film that managed to focus on Pollock and his painting at the same time, partially because he found more interest in Pollock's image than in his art. His solution was to have Pollock paint on a large sheet of glass as Namuth filmed from underneath the work. As Namuth could not afford professional lighting, the film was shot outside Pollock's Long Island home. This documentary (co-produced with Paul Falkenberg) is considered one of the most influential for artists."

"In November 1950, Namuth and Pollock's relationship came to an abrupt conclusion. After coming in from the cold-weather shoot of the glass painting, Pollock, who had been treated in the 1930s for alcoholism, poured himself a tumbler of bourbon whiskey after supposedly having been sober for two years. An argument between Namuth and Pollock ensued with each calling the other a "phony", culminating in Pollock overturning a table of food and dinnerware in front of several guests.

Hans_Namuth (March 17, 1915 – October 13, 1990)

 

 

 

Transcendence_trailer_2014

Título original: Transcendence
País: USA
Estreno en USA: 18/04/2014
Estreno en España: 06/06/2014
Productora: Alcon Entertainment, Warner Bros. Pictures
Director: Wally Pfister
Guión: Jack Paglen, Annie Marter
Reparto: Johnny Depp, Paul Bettany, Rebecca Hall, Kate Mara, Cillian Murphy, Clifton Collins, Jr., Morgan Freeman

Sinopsis:

Johnny Depp es el Dr. Will Caster, un renombrado investigador de inteligencia artificial obsesionado con crear una máquina inteligente con sentimientos. Sus controvertidos experimentos le han hecho famoso, pero también le han convertido en el principal objetivo de los extremistas anti-tecnología que harán lo que sea necesario para impedir sus planes. Sin embargo, sin querer, se convierten catalizadores del éxito de Will. Para su esposa Evelyn (Rebecca Hall) y su mejor amigo Max Waters (Paul Bettany), ambos compañeros de investigación, la cuestión ya no es si pueden hacerlo, sino si deben. Sus peores temores se cumplen y es el propio Will quien responde a través de la máquina, a quien no parece haber forma humana de parar en su omnipresente ansia de poder.

Balletto Maurice Béjart SACRE DU PRINTEMPS Stravinsky 1970 

Maurice Jean Béjart (1 January 1927 – 22 November 2007) was a French-born dancer, Swiss choreographer and opera director who ran the Béjart Ballet Lausanne in Switzerland. He was the son of the French philosopher Gaston Berger.

He was born in Marseille, France in 1927. Fascinated by a recital of Serge Lifar, he decided to devote himself entirely to dance. In South France days, he had studied under Mathilde Kschessinska. In 1945, he enrolled as a corps de ballet at the Opéra de Marseille. From 1946, he had studied under Madam Rousanne (Sarkissian), Leo Staats, Madam Lyubov Egorova and Olga Preobrajenska at "Studio Wacker," and etc. in Paris. In 1948, he was also formed with Janine Charrat, Yvette Chauvire and then with Roland Petit, in addition he had studied under Vera Volkova at London.

In 1954, he founded the Ballet de l'Étoile company (dissolved in 1957). In 1960 he founded the Ballet du XXe Siècle in Brussels (dissolved in 1987).

In 1987 he moved to Lausanne in Switzerland, where he founded the Béjart Ballet Lausanne, one of the most famous and successful dance companies in the world.

He made significant contribution to the Persian Ballet Repertoire in the late 1960s and 1970s performing at the famous Roudaki Hall in Tehran created under the supervision of the former Empress of Iran, with whom he kept strong ties of friendship over the years.

Among his works is a thoroughly revised version of The Nutcracker, presumably inspired by his own life story, which he staged in 2000. It still uses Tchaikovsky's original score, but completely scraps the original plot and characters, instead supplying a new story about a boy's efforts to re-connect with his mother. We also are given a look into the boy's strange sexual fantasies. The production design is full of erotic images — some of which are most likely shocking to many, such as wombs and vaginal openings. One of the characters is Marius Petipa, who becomes Mephisto. Another character is called Felix the Cat, presumably after the famous cartoon character. The production has been issued on DVD.

In 2003, he won the Prix Benois de la Danse for lifetime achievement.

                      

CULT 60s

NATIONAL KID_ JAPANESE TV SERIES_1960

TV Series_Japan_1960
Directed by Nagayoshi Akasaka / Jun Kaoike
Screenplay by Daiji Kazumine / Nagayoshi Akasaka
Original music by Yasuo Fuzakawa
Produced by Toei Company

Great entertainment indeed! In Brazil, in the 60's, National Kid was a big hit. Created by National Electronics (today Panasonic) Inc, as a propaganda-show, this character seems to have had success only in Brazil! . 

OPENING CREDITS

NATIONAL KID = FLASH GORDON + SUPERMAN

      National Kid - A Invasão dos Incas Venusianos       

COMPLETE CHAPTER_PORTUGUESE

Jupiter Ascending - Official Trailer 2 [HD] 

 

Título original            Jupiter Ascending

Año                            2014

País                            Estados Unidos

Director                     Andy Wachowski, Lana Wachowski

Guión                        Andy Wachowski, Lana Wachowski

Música                      Michael Giacchino

Sinopsis

Jupiter Jones nació bajo el cielo de la noche, y las señales apuntaban a que estaba llamada a grandes cosas. Ya mayor, Jupiter sueña con las estrellas, pero se topa con la fría realidad de su trabajo como limpiadora de casas y un sinfín de rupturas problemáticas. Y no empieza a ser consciente del destino que le estaba aguardando hasta que Caine, un cazador ex militar genéticamente modificado, llega a la Tierra para encontrarla; y es que su firma genética la señala como la continuación en la cadena de una herencia extraordinaria que podría alterar el equilibrio de todo el universo. (FILMAFFINITY)

 

Bill T Jones- dance performance

Two-time Tony Award® winner and contemporary performance icon Bill T. Jones. This performance features live musicians, as the company presents Play and Play: an evening of movement and music applying Bill T. Jones's extraordinary choreography to some of the most important Western musical works of our time. Featuring compositions by Mendelssohn and Mozart, it highlights the joy of musicians and dancers working together. Repertory includes D-Man in the Waters (1989), a modern dance classic, as well as Spent Days Out Yonder (2001), a sublime reflection on the second movement of Mozart's String Quartet No. 23 in F Major.

 

 

TOMMY_1975_KEN RUSSELL_THE WHO

The plot of course has deaf, dumb, blind Tommy Walker (Roger Daltrey) becoming a pinball champion and developing a cult following. Daltrey has no trouble getting into the role, especially when he sings "I'm Free". Equally good - and quite perceptive - is Ann-Margret as his mother Nora, using his celebrity to enrich herself; I really liked the scene where she hallucinates soap, beans and chocolate pouring out of the TV set. Oliver Reed seems a little bit wooden as Frank, whom Nora marries when she hears that her husband has gotten killed in WWII, but he still passes. Tina Turner really goes over the top as the Acid Queen, who tries to cure Tommy. Elton John is OK as the Pinball Wizard, but I guess that anyone could have done that role. Probably the most surprising cast member is Jack Nicholson as The Specialist; I mean, who would have ever imagined Jack Nicholson of all people in a musical?* Peter Townshend, John Entwistle and Keith Moon also appear.

All in all, director Ken Russell instills this movie with the same sensibility that we find in the rest of his movies. Maybe it seemed better in the cinema, with its quintaphonic sound. But it's still something that I recommend to everyone. In conclusion: See it...feel it...touch it...heal it. 

(text by Lee Eisenberg)

The Refusal of Time - William Kentridge

 William Kentridge /dOCUMENTA 13 Kassel

L’artiste sud-africain William Kentridge and his "The Refusal of Time". Un travail sur la notion du temps et la soumission à son diktat. "La négation du temps" est une oeuvre complexe et belle, tout simplement.

William Kentridge est né en 1955 à Johannesburg où il vit et travaille. Artiste multimedia, Kentridge expérimente tous les possibles avec toujours sa technique très particulière du dessin. En 1997, il acquiert une reconnaissance internationale grâce à sa participation à la Documenta X de Cassel et aux biennales de Johannesburg et de La Havane. Bien que ses « dessins animés » soient souvent considérés comme des films, Kentridge leur donne le nom de « drawings for projection » (dessins pour projection). Il les réalise grâce à une technique particulière qui consiste à créer, puis gommer et retravailler minutieusement des dessins au fusain qu’il photographie puis projette ensuite sous forme d’images animées. Le mouvement dans l’image est créé manuellement par l’artiste, la caméra ne servant qu’à enregistrer sa progression.

Mais Kentridge, qui est passé également par le théâtre et l’école Jacques Lecoq où il étudia à Paris, est fasciné également par l’expérience vivante de l’art. Il sera d’ailleurs à Avignon en juillet pour le 66e Festival où il donnera "Refuse The hour", qui est la suite logique de son installation de dOCUMENTA et procède des mêmes questionnements.

"Je pratique un art politique, c’est-à-dire ambigu, contradictoire, inachevé, orienté vers des fins précises : un art d’un optimisme mesuré, qui refuse le nihilisme."William Kentridge.

William Kentridge: "Return" | Art21 "Exclusive" 

Shot in his Johannesburg studio in South Africa, William Kentridge reveals the process and unusual presentation of the video work "Return" — a component of the larger project "(REPEAT) from the beginning / Da Capo" (2008) — which had its debut on the fire screen of Teatro La Fenice opera house in Venice, Italy. 

Having witnessed first-hand one of the twentieth centurys most contentious struggles—the dissolution of apartheid—William Kentridge brings the ambiguity and subtlety of personal experience to public subjects most often framed in narrowly defined terms. Using film, drawing, sculpture, animation, and performance, he transmutes sobering political events into powerful poetic allegories. Aware of myriad ways in which we construct the world by looking, Kentridge often uses optical illusions to extend his drawings-in-time into three dimensions.