“It is inscribed as on Pandora’s Box…do not open…passions…escape in all directions from a box that lies open…” from Bruno Latour’s “Opening Pandora’s Box”, in Science in Action: How To Follow Scientists & Engineers Through Society, Harvard University Press, Cambridge, Massachusetts, 1987, p1-17.
This work investigates and records the production of a digital media artwork blackBOX: Painting A Digital Picture of Documented Memory, generated through the media technologies of interactive multimedia, exploiting the creative potentials of digitally produced music, sound, image and text relationships in a disc based & online (Internet) environment. The artwork evolves from an imaginary electronic landscape that can be uniquely explored/ played in a non-sequential manner. The artwork/ game is a search for the protagonists hybrid cultural identity. This is mirrored in the exploration of random, fragmentary and non-linear experiences designed for the player engaged with the artwork. The subjective intervention of the player/ participant in the electronic artwork is metaphoric of the improvisational tendencies that have evolved in the Greek Blues (Rembetika), Jazz, and Hindustani musical and performative dance forms. The protagonist Nina’s discovery of these musical forms reveal her cultural/ spiritual origins. As a musical composer arranges notes, melodies and harmonies, and sections of instruments, so too, the multimedia producer designs a ensemble of audio-visual fragments to be navigated.
Dance also becomes a driving metaphor, analogous to the players movement in and through these passages of image/ sound/ text and as a movement between theories and ideas explored in the content of the program. The central concern is to playfully reverse, obscure, distort the look of the dominating/colonialist gaze, in the production of an interactive game and allow the girl to picture herself.
One of my objectives is to explore the ways in which social research can be undertaken by the creation of an interactive program in the computer environment utilizing interactive digital media technologies. The study reveals that, through the subjective intervention of the player/ participant (user)* with the digital artefact, a unique experience and responsiveness is produced with the open-ended text. The work is comprised of a website http://www.strangecities.net; an interactive CD-ROM; a gallery installation; digital photomedia images: and a written thesis documenting and theorising the production.
Classical Indian dance music: Bharata Natyam
Nirmal Jena & Odissi Dance Co.
* The term player/participant (user), while widely debated has been in usage from the 1980s to refer to the unique human interaction with the digital artefact, electronic screen work, and computer interface.
Geoffrey Weary’s video art was curated 27 September – 8 October 2010 in an exhibition VIDEO: Art From The Archive, Faculty Gallery, Monash University, Victoria, AUSTRALIA. The exhibition catalogue was published with a curatorial essay in MADA (Monash University Art Design & Architecture) an online portal of Monash publications.
View online Video: Art from the Archive (2010): Monash Essay by Leonie Cooper, Elena Galimberti, Matthew Perkins; list of works in Gallery; 7 pp. 3 illus. ISBN: 978-921179-79-2
Tatiana Pentes, WORSHIP SCULPTURE DANCE, Master of Art (Media Arts), CoFa, UNSW, 1995 [download paper]
Figure 1 Digital montage from A Few Small Snaps digital film artwork by Tatiana Pentes
This study documents the production of a set of digital film artworks installed in the College of Fine Arts gallery as the culmination of the Master of Art (Film, Video, Sound, and Computing), Media Arts. The digital film artworks are comprised of : (i) Worship Sculpture Dance: Odissi : Movements in Stone, the imaging an ancient devotional classical Indian dance form Odissi, from the state of Orissa, India; (ii) Zang Tumb Tumb 1, inspired by the Futurist sound poetry of Filippo Tommaso Marinetti, and the Luigi Russolo and The Art of Noise; (iii) A Few Small Snaps, the digital animation of a series of autobiographical self-portraits stimulated by a study of the Mexican self-portrait painting of Frida Kahlo; and (iv) Strange Cities2 an interactive CD-Rom new media script. Strange Cities script (writing) has been included to the Worship Sculpture Dance study as blueprint for potential future research and development. The aim of this creative research has been to focus on new technology as a contribution to a questioning of traditional (analogue) modes of art production.
The approach has been to explore & image traditional classical Indian forms of representation (dance, choreography, & music) and to re-interpret and translate these ancient forms as a new form of engagement. At the same time, the objective of this creative research has been interrogate transforming notions of the filmic, televisual, radio(audio)phonic, sonic and the (digital) computer medium, and to investigate questions of authorship and to challenge the uniqueness of the art object. This creative work is the outcome of conceptual and art historical research, focusing on the potential of an articulation of the philosophical, historical, cultural, formal and spiritual in a digital (computer) landscape.
Technological and Conceptual Framework
These digital films that have been produced and installed in the gallery context: (i) Odissi : Movements in Stone; (ii) Zang Tumb Tumb; and (iii) A Few Small Snaps, for the Worship Sculpture Dance forming a major creative artwork exhibition.
The objective of this creative research has been to question traditional (analogue) modes of art production, and the approach has been to explore & image avant garde European sound poetry, self-portraiture and traditional classical Indian sanskrit forms (dance, choreography, and music culture) and to re-interpret and translate these (analogue) forms (using a new stylus, pen & glue-stick) and to produce a critical engagement with these representations of Other. Simultaneously, the objective has been to interrogate transforming notions of the filmic, televisual, videographic radio(audio)phonic, sonic and moving image (animation) in the (digital) computer environment; to investigate notions of ‘self’ in a cross-cultural environment; to question the Western concept of authorship and to challenge the uniqueness of the art object.
These digital film artworks have been generated in the new multi-media environment of the computer. The installation of these digital films in the gallery context has provided the context for social interaction and engagment with the artworks in the form of an exhibition. The artworks have been produced using Macintosh computer software and hardware, and the following
software digital imaging and editing programs.
Image 2. Digital film still Chitritta Mukerjee, Odissi Dance Company performs Konarak Kanthi at The Performance Space, Sydney 1993, by Tatiana Pentes
“…landscape architect and film-maker, Gavin Wilson, was researching the artistic heritage of Hill End and the region for his 1995 exhibition The Artists of Hill End: Art, Life and Landscape for the Art Gallery of NSW. Aware of Bellette’s bequest, and withthe support of Bathurst Regional Art Gallery, Evans Shire Council and the National Parks and Wildlife Service, Wilson invited a third wave of artists to respond to Hill End. Contemporary artists including Richard Goodwin, Anton James, Tom Spence, Wendy Sharpe, Peter Wright, Geoff Weary, Peter Kingston, Mandy Barrett, Emma Walker and James Rogers participated in a series of pilot residencies at Haefligers Cottage in 1994 and 1995. Works from these residencies were exhibited alongside historic works in The Artists of Hill End exhibition at the Art Gallery of NSW.
“The historic Haefliger Cottage at Hill End and the spectacular surrounding scenery are prividing an ideal location for artist in residency, Geoffrey Weary, who is finding it a welcome respite from Sydney. Mr Weary, who describes himself as a video artists also working with more ‘traditional’ mediums, is the latest participant….Hill End artist in resident, Geoffrey Weary and Tatiana Pentes who are, living and working with the spirit of Paul Haefliger and Jean Bellette in the famous Haefligger Cottage…The house has all their things still intact, the cottage is pretty much as they left it…” in Inspiration For Visiting Artist: Hill End Artist Residency: Geoffrey Weary: Bathurst Regional Art Gallery Advocate, 24 January 1995.
Photograph: Geoffrey Weary & Tatiana Pentes
The foundations of the Hill End Artists in Residence Program were laid. In 1999, under the auspices of Bathurst City Council and Bathurst Regional Art Gallery, the Program was officially launched. In 2002 Murrays Cottage was refurbished with the assistance of the NSW Ministry for the Arts and added as a new studio residence alongside Haefligers Cottage in 2003.Since 1994, a total of 283 residencies have been awarded to artists from a diverse range of disciplines including painting, drawing, sculpture, photography, ceramics, textiles, new media, writing, animation, film, sound and performance. Over 150 works by 70 of the artists participating in the Program have entered the collection through donation and purchase. The selection presented here represents just a small portion of the work produced in response to the landscape, history and heritage of Hill End.”
“Celebrating 20 years of the Hill End Artists in Residence Program,works in this exhibition are drawn entirely from BRAG’s permanent collection. Featured artists include Jean Bellette, Ray Crooke, Russell Drysdale, Donald Friend, Ben Quilty, David Strachan, Rosemary Valadon, Greg Weight and Nicole Welch. A Bathurst Regional Art Gallery exhibition.”
An Australian Jazz Interactive Treatment for Broadband funded by Screen Australia (AFC/ Screen Australia)
New Media Writer/Director TATIANA PENTES
Photography/ Cinematography GEOFFREY WEARY
Original Jazz Music SERGEI ERMOLAEFF
Dramaturg Prof BRUCE JOHNSON
1. STORY OUTLINE
Expermimental Online Documentary
BLOWIN’ AT THE ROCCO: Saturday Night is an experimental interactive work that seeks to exploit and enhance the creative potentials of digitally produced music, sound, image and text relationships in an interactive online Broadband environment. In this context, the delivery of interactive work online provides an innovative approach to the conventional narrative & documentary forms. In BLOWIN’ AT THE ROCCO: Saturday Night, the participant/player will experience new possibilities produced through the slippage across a series of interactive screen surfaces, engaging the participant/player in a spatial relationship with the program. The participant/player discovers the origins of Sydney Jazz milieu through the eyes of Serge Ermoll Jr. (Jazz Pianist/ Private Investigator) during, smoky sophisticated bohemian, Sydney circa 1968. In addition the user is revealed eight tracks of original Australian jazz, recorded live at the El Rocco Jazz Cellar, 1968.
2.1 COPYRIGHT INFORMATION
Serge Ermoll Jr (Sergei Ermollaeff) owns the copyright on all original compositions and recordings of his music. The production Budget would incorporate research fees and broadcast fees for the use of all other archival image, sound, text materials.
3. THEMES OF THE PROJECT: Pathway Elements BLOWIN’ AT THE ROCCO: Saturday Night is composed of eight storylines, a series of interactive immersive screen environments, characterising the narrative structure of the program. The pathways are named by eight musical movements recorded by Serge Ermoll Jr (Sergei Ermollaeff). The recurrence of musical allusion and composition (a) in the form of musical iconography and (b) in the rendering of musical score in sonic fragments – will resolve in each storyline as the realisation of these eight jazz tracks. From the surface of the computer screen each story unfolds inside a series of frames, inspired by (Black American) Blue Note modern jazz album covers and early Russian constructivist assemblages. The jazz tracks name each storyline expressively, evoking the emotive state of the compositions and shaping the narrative structure of the pathways.
OVERVIEW Story (Musical) Tracks Opening Titles
Each story pathway is triggered by an visual icon in the music cellar. The Detective foregrounds each pathway with an image/text sound transition
Pathway (1) Movement # 1 – VALSE Kings Cross & Bohemian Sydney
Pathway icon: montage of Alamein fountain & a trumpet
Visual trigger: : movement across a cappuccino coffee cup
This story conjures the memories of the musicians, music entrepreneurs, and patrons. The pathway is inspired by written texts by Bruce Johnson, John Clare, Kenneth Slessor, statements by jazz musicians remembering the milieu, and news stories reporting on the phenomena of the jazz cellar.
Pathway (2) Movement # 2 – FREE KATA Crest of freedom
Pathway icon: montage of Free Kata group
Visual trigger: movement across a Karate figure
This story explores the FREE KATA jazz ensemble of the 1970s, evolving from the seeds of El Rocco jazz culture. This pathway is composed of photographic portraits of the musicians, album artwork, record labels, music publicity material, text from news article coverage of the ensemble, and locates the music in the context of images of urban Sydney in this period and references the larger jazz picture.
Pathway (3) Movement # 3 – JUNGLE JUICE International Influences on Australian Jazz 1968
Pathway icon: montage of Uluru & Wattle matches
Visual trigger: movement across a portrait of a soldier
This storyline contextualises Australian Jazz & the era in archival moments that iconicise the sixties and world events shaping the Australian spirit: (i) the anti-Vietnam war protests (ii) the assassination of Martin Luther King Jr, (iii) Robert Kennedy’s campaign against Lyndon Johnson and the Vietnam war. The imagery evokes the generational complexity & tension that produced the fresh and vital early Australian jazz. This pathway is composed of original photographs, digital reconstructions, news articles, archival photographs, digitized moving image and sound.
Pathway (4) Movement # 4 – CLOUDS Australia 1968 – Iconic cultural imagery
Pathway icon: montage of hands on a keyboard (piano)
Visual trigger: a framed portrait of a blonde tourist in the red centre
This story evokes Sydney circa 1968, and juxtaposes the Eastern seaboard city with imagery of the Australian red center, (white tourists) a family visit to Uluru in a light plane, in the context of political movements (the anti-Vietnam war protests – students) and populist imagery – Shrimpton wears the legendary mini-skirt. This pathway is composed of original photographs, digital reconstructions, news articles, archival photographs, digitized moving image and sound.
Pathway (5) Movement # 5 – PASSION DANCE Serge Jr. & Stamatia meet on the Patris Ship
Pathway icon: montage of young Serge & wife Matina)
Visual trigger – black & white portrait of an emigre couple on the deck of a Greek ship
This story is personal and exposes in a series of black & white photographs and interviews two immigrant Australians broadening their horizons and making the journey back to Europe.
Pathway (6) Movement # 6 – RASPUTIN Diasporic Music Memories
Pathway icon: black & white montage of parents
Visual trigger –movement across a portrait of Rasputin
This story charts the movement of Serge Ermoll’s forbearer’s diaspora from Russia in revolution through to Harbin, Manchuria and then international capital of the East – Shanghai, China where his father worked as a jazz bandleader. Serge and his Russian parents then immigrate to Australia with assistance from the International Refugee Organisation. Serge Jr reflects on the influence of his China born father on his contemporary jazz endeavors in Australia. This pathway is composed of dramatized interviews/statements & original photographs.
Pathway (7) Movement # 7 – FALLEN FLOWERS Private detective – Sydney underworld
Pathway icon: montage of a dancing girl over Kings Cross
Visual trigger –movement across a portrait of a dancing girl
This story envisions Kings Cross and Sydney, 1968. The participant/player enters into the space of clubs and strip joints, café culture at night. The participant/player is provoked to uncover a criminal situation, revealed through the character of the detective (Serge Ermoll Jr/ jazz pianist) in a series of reconstructed & simulated photographic & filmic sequences that expose Sydney’s underworld.
Pathway (8) Movement # 8 – SERGERY
Pathway icon: young Serge with band on piano
Visual trigger –movement across a keyboard
Blowin’ At the Rocco 1968 – Serge Ermoll Jr Quintet
Visual trigger; movement across the keys of the piano
This story is a temporal montage of Serge Ermoll Jr music career from his emergence as a musician to 1968. The pathway is composed of news material – newsprint articles, magazine reviews
And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof, and did eat…And the eyes of them both were opened… Old Testament, Genesis Chapter 2: 6 & 7
A sublime female body descends from the heavens, illumined upon the black painterly digital surface. These selected prints from Geoffrey Weary’s photographic series
TIME WAS…emerged from his residency at the British School at Rome, in 2000.
Exploring notions of the flow of time through cinematic representations of the human form, the artist presents and reveals both the precious object and the visceral shape of the corpus. The images represent the flow of time in the photographic realm. Time passing through and enveloping the body in frozen motion. The concealed female form transforms and reveals a knowing subject. The dualism of the clothed and the unclothed woman allegorise for the viewer the Biblical myth of the Fall. However, the artist transcends this idea through the repetitive exploration of these motifs, exemplified in this series.
Weary’s practice in the field of video art has shifted in the taking up of creative new media technologies and multimedia processes, to incorporate digital media, photomedia collage, where photography alchemically mingles the interplay of historical visual traditions: referencing sequential narrative film, modernist expressionist picture space, and the dark void of mannerist aesthetics. In a self-reflexive mode, Weary calls attention to the materiality of the paint on canvas
and pixels, the legacy of early avant-garde experiments. However, in true multimedia fashion, the fusion of stylistic impulses coalesce on his electronic surfaces, forming both abstract and figurative motifs, the convergence of art historical traditions, media types and knowledge.
And God said, Let there be light: and there was light.
And God saw the light, that it was good: and God divided the light from the darkness. Old Testament, Genesis Chapter 1: 3 & 4.
From the darkness emerges the virtual play of light sources, signifying the shift from perspectival representation to the creation of an imaginary horizon, floating world.
Tatiana Pentes Doctor of Creative Arts (Digital Media) Communications, University of Technology, Sydney, 2006.
Explore the world of HOME through the eyes of Frank, Jason and FAE. Frank’s memories overwhelm him as the shop he has lived and worked in for the past 50 years crumbles around him. Jason lives with his grandfather, He photographs Frank, and what is left of the shop. Meanwhile he dreams of escape. To where he isn’t sure. Fae often comes to visit her uncle Frank. They share an obsession with the city, street maps and the places that Fae loves to wander through.Frank remembers June, Vera and Fae’s mother Clare.
Frank:: Jim Palmer
Jason:: Eric Warburton
Fae:: Patricia Werleman
Japanese Performer:: Kazuo
Photography, Cinematography & Timeline Montage:: Geoffrey Weary
Interface Design and Development:: icemedia
Sound Design & Music:: Michael Bates with thanks to Mark Gardiner
Online and Social Media:: Tatiana Pentes
HOME is navigated across the Frank, Jason and Fae timelines with a touch to screen movement from right to left. Backward movement is optional at any time.
A double touch on any frame will bring the timeline selected to full screen. Touch again will return to three timeline screen display.
When navigating HOME we recommend the use of iPad headphones.
HOME was produced as part of a University of Sydney ICT initiative Faculty-specific Research & Education Program (2012). The program helped sponsor this proof of concept. Extensive consulting & procurement services were provided by the team as a part of this initiative.
An interactive digital work/ Musical CD-Rom by Tatiana Pentes (Writer/Director) & Geoffrey Weary (Co-Development/ Cinematography & Photography), Eurydice Aroney (Producer), Roi Huberman (Sound Design), Glenn Remington (Interface Design). Produced in association with Screen Australia (AFC). Online exhibition Australia-Japan New Media Gallery, Australian Embassy, JAPAN http://newmedia.australia.or.jp/artist/info.php?name=tatiana
Strange Cities CD-ROM has been exhibited inter/nationally & winner of Best Arts/Cultural Title/Site, AIMIA Awards, 2000, and Most Innovative/Creative Multimedia Title, ATOM Awards, 2000, Australia. Acquired by the Australian Centre for the Moving Image (ACMI) Multimedia Collection, Australian Film & Television School Library, University of Hawaii, University of Sydney, UTS, the National Library Australia and many inter/national archives.
Strange Cities was selected for Dart 99 dLux Media Arts in partnership with Sydney Film Festival, the 1999 Experimenta Media national travelling Exhibition, The Red Room, & promoted New Talent Pavilion, MILIA Games, Cannes, France in February 1999
Interface still Strange Cities: A musical CD-Rom (2000)
Strange Cities is an experimental interactive multimedia work authored for CD-Rom release and exhibition. Through the disclosure of evidence, Sasha dreams, discovers and remembers the exotic identity of her grandparents Xenia and Sergei Ermolaeff (a composer and orchestra leader) in fragments and traces of their music and struggle to survive the Russian and Chinese Communist Revolutions. The dulcet tones of the legendary voice of ABC Radio – Tony Baldwin as Newsreader deepen the nostalgia of this interactive drama/history.
The inspiration for the work is a tune of the same name – a musical illustration, an imaginary vision of old Shanghai, Chinese metropolis and international settlement which conjures mythic, filmic, musical and personal images of the city port.
Interface still Strange Cities: A musical CD-Rom (2000)
Coined capital of the international underworld, the city of Shanghai became a seductively strange locale symbolized in the Western imagination. In reality however the city was most often the final port of call for political refugees. The visual imagery for the project was shot in St Petersberg, Shanghai, Tokyo, and Sydney and involves found photographs, film footage, simulated radio archives, and original musical compositions.
Interface still Strange Cities: A musical CD-Rom (2000)
Strange Cities experiments with performance, sound, image and text and their dramatic representation in the interactive environment. Providing a challenging approach to traditional modes of story-telling and music in the interface design, the user is provoked to discover the Strange Cities tune in the graphic portrayal of its musical script, sonic perception of its vocal lyric, and orchestration through user interactivity.
In the exploration of Strange Cities the user will experience a questioning of the relationship between fictional, biographical, historical and musical narrative possibilities produced through the slippage between and across a series of interactive screens. Participation with the interface provides for the user an experience which challenges traditional modes of narrative in audiovisual presentation, the perception of musical structure, storytelling and in historical, biographical and fictional texts in the multimedia environment.
Interface still Strange Cities: A musical CD-Rom (2000)
Strange Cities was selected for the 1999 Experimenta Media Art CD-Rom Exhibition and has been promoted at the New Talent Pavilion, MILIA Games, Cannes, France in February 1999.
NEW MEDIA AWARDS FESTIVALS
Best Arts/Cultural Title/ Site, Australian Interactive Multimedia Industry Association (AIMIA) Awards November 2000, AUSTRALIA
Most Innovative/Creative Multimedia Production, Australian Teachers of Media, (ATOM) Awards May 2000, AUSTRALIA
This project has been produced in association with Screen Australia (Australian Film Commission)
Shanghai Nostalgia” as a Cultural Industry by Pan Tianshu
Shanghai Nostalgia: Historical Memory, Community-Building, and Place-making in a late Socialist City
Pan, Tianshu. “Historical Memory, Community-Building and Place-Making in
Neighborhood Shanghai.” in Restructuring the Chinese City: Changing Society, Economy, and Space, ed. Laurence J. C. Ma and Fulong Wu, 122–37. London: Routledge 2005.
“For the first time in post-Mao Shanghai, the local people found their colonial past was no longer baggage to carry but a rich resource to be fully utilized. “Shanghai nostalgia” thus “became entangled with a (dys)utopian fervor to embrace global capital and its ideology, the appearances and normalcy of the Shanghai modern entered intellectual and commercial circulation at the standard version of historical memory” (Zhang 2000: 354). Shanghai quickly became a “re-colonized” site for various kinds of joint ventures in film production. Old buildings in the Municipal Concession and small villas in the west end were renovated in order to attract more Spielbergs and boost the tourist industry. Those sinified cafes and European restaurants that somehow managed to survive communism changed their names back to their original western names. The famous Red Mansion Coffee House, for example, was once again Chez Louis. So did the theaters, movie houses, department stores, and dance halls. The Old Man Jazz Band, who had a brief appearance in Spielberg’s movie, started to perform all year around in the Peace Hotel (Sasson House, previously owned by a famous Jewish billionaire). Colonial Shanghai rekindled collective memory and in the process of remembering, itself was re-invented. With its success in the colonial past in setting trends, finding opportunities, and witnessing miracles, Shanghai provided a somewhat “infectiously decadent, but alluring background and setting” (Dai 1997: 158) especially for those working in the film industry.”
Zhang, Xudong. 2000. “Shanghai Nostalgia: Postrevolutionary Allegories in Wang Anyi’s Literary Production in the 1990s”, in Positions: East Asia Cultures Critique, pp. 348-387. Duke University Press.
“Selling cosmetics by vending machine?”
April 19th, 2008 “In Japan you can find all sorts of things for sale in vending machines. Since I’ve lived in Hong Kong however, I’ve never seen an explosion of this sort of retailing in the city. So it came as a surprise to encounter a lonely looking vending machine while walking through Silvercord shopping center last week. The vending machine had a traditional 1920’s era graphic of two girls covering the outside.
“The image looked like a cigarette ad from old Shanghai, the type that tourists purchase on “antique” posters featuring beauties from the time period. On closer inspection, the image actually represented the logo of a brand of cosmetics, Two Girls.
“This sort of vintage look doesn’t really match a vending machine. Vending machines typically denote a sort of modern, mechanized and impersonal shopping experience. You don’t normally associate this type of experience with female shoppers. Further, a product like cosmetics would usually require the purchaser to read the labels and check the ingredients, which isn’t possible from inside a machine. Typical products that are sold in this way are ultra well known products. Perhaps the cosmetics are well known, however if I were a shopper unfamiliar with the brand, not being able to read the label and study the product would be a major impediment to sale.
“The location of the machine was also somewhat off. It was buried near the side of an escalator in an alternative entrance to the shopping center…”
“Yet another factor to consider, does the product match the target consumer of the youth-oriented Silvercord mall?
“So in essence, the product, the brand image, the target consumer, the location of the machine and the technology all need to be considered when selling a product by vending machine. In this case, the factors appear to be a bad match.”
“Darcy took me out to see Australia last night – and boy, what an epic! Sweeping scenery, soaring soundtrack, cattle drives, the Stolen Generations, World War II, and a reprehensible villain to top it off…But what really caught my eye were the costumes, created by Baz Luhrmann’s wife Catherine Martin. When Nicole Kidman’s character had to dress more elegantly, her costumes often had a distinct “1930s Shanghai” aesthetic to them that is discussed in this slideshow.
“The basic lines and structure of the cheongsam, also called a qipao, have remained essentially unchanged for decades, and for good reason. There is just something about a high collar, princess seams, and curve-skimming tailoring that oozes class, taste and glamour regardless of the decade. But there are some tricks to making sure you do end up looking glamourous in a dress like this:
“*Perfect fit is crucial. It should be body-skimming, but not so tight that you bust your seams when you sit down. If there is too much loose fabric around the waist, the curvy silhouette will be ruined. Conversely, if the dress is too tight across the bust, it will flatten you out and again – ruin the silhouette. Bottom line: if the dress does not fit perfectly off the peg, have it tailored.
“*Make sure the collar is neither too tight nor too loose. If you find yourself perpetually tugging at the collar to loosen it, of have to wear it unfastened, it is too tight.
“*Side slits can be tricky – sometimes there is only one, sometimes there are two, and sometimes there are none at all. Make sure that when you sit, you smooth your dress down over your hips to make sure you don’t reveal too much thigh. Go barelegged if possible to avoid showing off the tops of your stockings below the slits. If you are uncomfortable with the height of the slits, again – take your dress to a tailor and have them stitched together an inch or two to boost your confidence.
“*If your dress is made from a bold, eye-catching color or fabric, limit your jewelry to just simple stud earrings. Long earrings do not pair well with a high-collared dress. If your dress is a solid color, you can add a sparkly brooch for some visual interest, but keep the earrings minimal to highlight the collar area of the dress. Avoid necklaces – they distract from the dress, and can get tangled on the closures.
“*Don’t theme your entire outfit as “Chinese.” This is not the time to bust out your charm bracelet, handbag and hairclip that all have Chinese characters on them. A little bit of Shanghai style goes a long way, and your dress has just the right amount. Any more would be too much.
“*Keep your hair sleek but soft. If you have long hair, twist it gently back into a low bun or chignon but make sure the front frames your face. If you have short hair, style it simply in a way that suits your profile. The idea is not to distract from your dress, but to treat your hair as a key accessory.
“*Makeup should be simple and clean, but without sacrificing glamour. Classic bold matte lips, the tiniest brush of rouge, and minimal eye makeup is ideal – the same Hollywood classic look
“*The key words to remember when trying to create 1930s Shanghai glamour with a cheongsam or qipao are fit and simplicity. If your dress does not fit properly or if your makeup or hair are too distracting, then the entire effect will be ruined. Take the time and plan well in advance to ensure your dress has the perfect fit. Don’t fuss too much over your hair and makeup. Less is truly more! that is now in fashion. Avoid heavy eyeliner and blush, and overly glossy or frosty lips.”
One could not go without mentioning that cinematic blunder Shanghai Surprise (1986) panned by critics. The film had a solid producer in ex-beatle George Harrision and his Handmade Films company and acclaimed director Jim Goddard. It was based on an adaptation of Tony Kendrick’s literary novel Faraday’s Flowers (1978). However the ill-fated stars (newly weds) Madonna Ciccone and Sean Penn ensured a box-office failure. The film popularised the Shanghai 1930’s opium, coolies, and spies narrative once more. Shot in Hong Kong the film was set in Shangha, China 1938 – Maddona played Gloria Tatlock a US Missionary to Penn’s Occidental tourist adventurer. According to Paul Katz (posted 6 April 2007) “…Some bad films become kitschy-cool with age, but Shanghai Surprise continues to rot. Penn teams up with then wife Madonna as a ’30s rapscallion charged with helping the Material Girl’s missionary/nurse…we lost you at ”missionary/nurse,” didn’t we? While the tabloids claimed that the duo had chemistry in real life, those sparks never showed up on the screen. EXTRAS D-list celebs like Melissa Rivers riff on fave scenes; and in a doc, supporting players dish about paparazzi and Madonna’s prima donna antics.” http://www.ew.com/ew/article/0,,20033920,00.html [Accessed 10 February 2009]
The legacy Shanghai gesture in theatre, cinema, literature, photography and music is an elegant motif and contested space – a dialectic between East & West (Chinglish, Chinoiserie, Europeanoiserie et al) and not only a reminder of Shanghai between the Wars, but so too a powerful evocation of the Japanese occupation.
ABSENCE PRESENCE : The Body Navigation, Dance/Video/Performance/Music, 14-18 of July, 2007, St. Petersburg, RUSSIA by Lara O’Reilly (website)
Text by Tatiana Pentes
Lara O’Reilly, an Australian installation artist, residing at National Centre of Contemporary Art in June, 2007 and her works installed at Body Navigation III International Festival of Contemporary Arts on 14 – 18 July, 2007.
A film & performance installation in the Chapel of the Naval Hospital, Kronstadt, forming part of III International festival of contemporary arts, The BODY NAVIGATION, DANCE/VIDEO/PERFORMANCE/MUSIC, 14-18 of July, 2007, St. Petersburg, RUSSIA
“Anyone who wants can look at my films as into a mirror, in which he will see himself.” Andrei Tarkovsky, Sculpting in Time, p. 184.
“The installation was intended to be a highly experiential encounter with the space and with oneself. For the viewer to experience their own sense of the space and find themselves in a world between worlds…blurred between interior and exterior realms of built and natural spaces and the interior and exterior states of mind that the performance and the soundscape allude to….” Lara O’Reilly artist
In the contemporary convergent global media environment of digital networked technology, and pastische, empty parody (mimicry), O’Reilly’s ABSENCE PRESENCE returns us to the traditional notion of “multi-media”, suggestive of the shadows reflected on the walls of Plato’s allegorical Cave. The spectacular installation of ABSENCE PRESENCE, is staged on three levels and Chapel of the Naval Hospital, Kronstadt, Kotlin Island, Russia, 48km east of St Petersberg. The naval hospital was built 1717, and is the site of the earliest medical establishment in Russia. The Russian staging follows an Australian site-specific manifestation of the performance on the abandoned industrial Cockatoo Island, Sydney Cove.
O’Reilly creates for us a highly experiential and dramatic encounter, with her spatial, temporal and theatrical exploration of the rupture/suture paradox between marine and terrestrial, past and present, the outside and inside, the remote and the intimate, of seduction and abandonment, experience and the underworld. ABSENCE PRESENCE is infused with the resonance and mystery of what we feel but cannot see. In Lara’s words:
….[I felt] Kronstadt should have a very slowed choreographed movement piece. There was something about the spaces of the Chapel, the ascending movement through the spaces –I imagined that while the viewer ascended through the space, that they passed through these empty spaces as a slowed dance, a rhymic and sensual play between their own existence in the space and the lived memory of the place, a Chapel that functioned as a final farewell for the recently departed…”
The Kronstadt work integrates realtime and the simulated (cinematic) representations of the performances/movement of the bodies of five young contemporary Russian female dancers, professionally trained in classical western ballet and Japanese Butoh dance. The filmic (technological) cinematic sequences of the woman are juxtaposed with the live performance of female forms (reminiscent of netted mermaids) suspended in cocoons from the rafters, and released to move, dance and wander. The chrysalised women are “veiled and lit in a sensuous light, conjuring emotions of sadness, loss, loneliness and reverie and yet a gentle sense of security of our own stilled existence within the incredible space where we find ourselves..on an island….” The installation successfully plays with our notion of place, identity, communication, sexuality, the personal and the political, specifically with the cinematic and radiophonic allusions. The haunting tones of a live music (a cello sound piece) conjure the ghosts of the past, the dispossessed, and those who have passed from this life to the next, in these spaces, the site of the Kronstadt Revolution in the Finnish Gulf. Ironically, the waters off Kotlin Island are also the location of a modern tragic ship collision and indeed the invention of radio-location after Alexander Popov, the lauded Russian scientist (reported to have invented radio).
The filmic sequences are primarily performed by O’Reilly’s Russian model /dancer/muse Olya, in the locations of Konstantin Fort; the 300 year old Kronstadt Cemetery; and Summer Gardens. These cinematic performances are overlayed with film sequences of the ascending movement through the interior space of the Chapel and military hospital (closed in 2005), conjuring the bodies (victims) of the revolutions that passed through.
ABSENCE PRESENCE installation Kronstadt Island RUSSIA
My first collision with a previous staging of the ABSENCE PRESENCE multi-media installation in a deteriorating industrial complex, located on the isolated Cockatoo Island in Sydney Cove, Australia (the indigenous Australian Aboriginal name for this island is Wa-rea-mah). I was touched by her ability to deeply engage those visiting the location. The piece resonates with the dis-location of Indigenous people during the colonial period, when their island home was transformed into a convict prison for those transported across the seas from Britain. Later this place was a colonial & industrial shipping dock.
Therein lyes the connective thread – through the ghosts of the displaced – between the Cockatoo Island (Australia) and Naval Hospital Kronstadt (Russia) re-enactments. My engagement with both O’Reilly’s work and the sites are complex and intertwined. As daughter of Vladimir, a Admiral in the Tsarist Russian Navy, my grandmother Xenia emigrated from St Petersberg with her mother Eugenia & two sisters during the Revolution, they never saw Vladimir again, but found refuge in Harbin, Manchuria, then Shanghai, China & later Sydney Australia. As a child I grew up with these memories and on the Balmain peninsula, my primary school opposite Cockatoo Island.
The dialectic relationship between these two island spaces (curt by sea), both scarred by waves of industrialisation (modernity), migration, military/colonial abandonment – they share a depth of history and speak to each other, as O’Reilly’s work speaks to me (the child of a Russian émigré).
Thursday, April 26, 2007
ABSENCE PRESENCE installation cockatoo island
When encountering Lara O’Reilly’s multi-media installation I was touched by the work’s ability to deeply engage those visiting the location – a deteriorating industrial complex located on an isolated island in Sydney Cove. The indigenous Australian Aboriginal name for this place is Wa-rea-mah, and these people were dis-located during the colonial period, when their home was transformed into a convict prison for those transported across the seas from Britain. Later this place was a colonial & industrial shipping dock. The work resonates with ghosts of the displaced. As visitors/participants in O’Reilly’s work we must replicate the journey [across the river styx] from the mainland and step over a psychological threshold to apprehend the installation. Dissonant digital film/video imagery of a woman walking through spaces of ‘nature’ and water are projected on multiple screens within the massive space, juxtaposed with female forms (reminiscent of mermaids) suspended in silken cocoons from the rafters. The haunting tones of a live cello sound piece, conjure the ghosts of the past, the dispossessed, those incarcerated, and mingling with the feathers from a million birds and industrial detritus.
absence presence installation cockatoo island
A site-specific performance and moving image installation infused with the resonance and mystery of what we feel but cannot see. It is a meditation on space and memory and the ways in which the two constantly interact at specific sites. Composing filmic worlds moving between the abandoned architecture of Cockatoo Island and the remote Australian bush and how this collision of built and natural worlds can mediate between the present and the past – between the visible and the invisible. Rooms with suspended female bodies, veiled and lit in a sensuous light, conjuring emotions of sadness, loss, loneliness and reverie and yet a gentle sense of security and of our own stilled existence within the incredible space where we find ourselves.. on an uninhabited abandoned island that is richly embedded with the history of our colonial and distant past.
“The installation was intended to be a highly experiential encounter with the space and with oneself. For the viewer to experience their own sense of the space and find themselves in a world between worlds…blurred between interior and exterior realms of built and natural spaces and the interior and exterior states of mind that the performance and the soundscape allude to…. Above all it was to be enjoyed and to be taken on a journey to a faraway place…” Lara O’Reilly artist