Video sampling and synchronized audiovisual counterpoint create a fusion of contact improvisation and musique concrete. A trio of dancers move through an empty industrial warehouse. Contact improvisation technique creates encounters between bodies and architecture. The sounds created by the dancers interactions with the space serve as concrete music. The video editing explores a counterpoint of synchronous, synchronized and asynchronous relationships between sound and image. The dancers dance to music made from the sounds of their own movements.
Written, Directed, Composed, Edited and Choreographed by Gabriel Shalom
Choreography & Dance: Mandy Cregan, Taylor Eggan, Rachael Lembo
Producer & Director of Photography: Luke Buckley
Produced by KS12
1st Assistant Director: Fons Schiedon
Audio Mastering: Thomas Von Pescatore
Sound recorded with a Shure MV88
The digital settles in as background. We remember less and query more. Our identity play would be considered schizophrenic in the last century. We have more friends than ever before yet know new frontiers of isolation. The quantification of our experience haunts us in the form of a persistent history. And we are distracted more than we ever knew possible. These circumstances are paradoxically a description of the near future and a diagnosis of the current state of affairs. The truly timeless is redefined – it has transcended that which is classic; it has become that which is never finished.
Directed and Edited by Gabriel Shalom
Designed by Patrizia Kommerell
Produced by KS12
Producer: Karen Cifarelli
Commissioned by MU Artspace, Eindhoven
Curated by Angelique Spaninks
Production Assistant: Rob Versteeg
(in order of appearance)
Bernhard Herrmann herrmann-lehrmittel.de
Rafaël Rozendaal newrafael.com
Bruce Sterling en.wikipedia.org/wiki/Bruce_Sterling
Peter Kirn pkirn.com
Jorien Kemerink foodlabeindhoven.com
Markus Kayser markuskayser.com
Elske van der Putten heyheyhey.nl
Vivian van Gaal strp.nl
Toby Barnes about.me/tobybarnes
Mary Flanagan maryflanagan.com
Shot on location in Eindhoven, NL during the STRP Festival 2011 and in Hofgeismar, Germany at the Günter Herrmann Lehrmittelfabrik
MINI invited me to create a multimedia installation for the Frankfurt Motor Show and BMW Museum. The hidden music of objects unlocks a heightened appreciation for the rhythms in the world around us.
Roles: Producer / Writer / Director / Editor / Composer
Agency: Meiré und Meiré
Art Director: Carsten Goertz
Production: KS12 / Karen Cifarelli
Transmediale festival in Berlin commissioned my creative studio KS12 to produce a collaborative documentary live during the festival. Shot, edited, and screened in a five-day sprint, the project included a video blog, a micro artist's grant, and interviews of internationally acclaimed artists such as Aaron Koblin, Vincent Moon, and Reynold Reynolds.
Roles: Producer / Writer / Director / Editor
Six videos with music composed 100% from the sounds of clothes. Each piece of clothing is transformed into an instrument. A necklace is a synthesizer; a bra strap is percussion; a pair of Doc Martens are kick drums.
Featuring the musician Shingo Inao and clothes by Von Bardonitz
Curated by Angelique Spaninks
Supported by MU Artspace
Eindhoven, The Netherlands
Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork. The actual term was promoted and refined by Californian artist Robert Irwin, but it was actually first used in the mid-1970s by young sculptors, such as Patricia Johanson, Dennis Oppenheim, and Athena Tacha, who had started executing public commissions for large urban sites.
The Tosso Pavilion is an art-specific site. It is a virtual location designed and rendered with a particular series of prints and video artworks in mind – The Tosso Variations.
The primary quality of an art-specific site (as opposed to a site-specific artwork) is the manner in which it inverts the traditional relationship between the artwork and exhibition space in which the space exists before the object.
In this art-specific site, the site is dependent on the artwork for its form. One floor is dedicated to the five-channel video artwork and its five walls are joined together to form a pentagonal space.
Above this screening room is a series of five cylindrical floors which display large-scale prints derived from the video timelines of the five movements of the video artwork. These round floors derive their circumferences (ranging from approximately 11 to over 13 meters) from the lengths of the prints which they exhibit.
At the same time that the structure is an emergent property of the parameters of the artwork, this art-specific site allows us to indulge in another level of simulation, as the scale of the structure and its unreal proportions give us a glimpse of an aesthetic experience which has not yet occurred as a "real life" exhibition to date.
That said, given the status of contemporary digital art practices in the debate between what is "IRL" (in real life) and alternately simply "AFK" (away from keyboard) we can already perceive the reality – or hyperreality – of this exhibition despite its digital incarnation. We recognize how the mediation of this art-specific site is both a gesture towards a possible future physical exhibition as well as an actual physical exhibition in the present, distributed to the screens of an internet audience. The Tosso Pavilion exists in an ambiguous position between the real and the hyperreal.
The Tosso Pavilion was curated by Protey Temen for The Wrong Biennale
Written, Directed, Edited and Composed by Gabriel Shalom
Production Company: Portal A
Director of Photography: Catherine Goldschmidt
Single-channel video installation
Series of five c-prints
Commissioned by KiKK Festival
We got older. And as we got older we realized we had rules. Not the rules of our parents. Not the rules of some big corporation or government. Rules of interaction, of engagement, etiquette even. We had grown up in a world of magical objects – things with attributes, properties, menus and options. And slowly we introduced this magic back out into the world – at least on the surface of things. In our desperation for control in a world more and more out of control, we began expressing these rules about objects in our aesthetics. Guided by visions of a near future in which the real and the virtual would be seamlessly blended, we created prototypes and simulations with increasingly higher fidelity. Yet the tyranny of the frame prevailed. Our rules collided with systems of another dimension. Stubbornly, we carried on building the simulacrum. We gritted our teeth, we dug in our heels, and we fought to stay lucid as our dreams shimmered across legions of rectangles.
Directed & Edited by Gabriel Shalom
Art Director and Production Designer: Patrizia Kommerell
Produced by KS12 as artists in residence in the Deutsche Boerse Residency Program at the Frankfurter Kunstverein
Commissioned by NODE Forum for Digital Arts
Curated by Eno Henze
Festival Director: David Brüll
Assistant Curator: Jeanne Charlotte Vogt