These are our Top 100 submissions of artists for the Universal Sea – pure or plastic?!
190
ogygia (screenshots from film)
2108
Title:
ogygia (screenshots from film)
ogygia (screenshots from film)
Author:
Deep Femme Futures
Deep Femme Futures
Description:
Ogygia is a multifaceted immersive installation where one is invited to consider and contemplate the meetings of human and plastic in an underwater world. A multiscreen film expands and envelops the space displaying an underwater reel of dances between human and plastic in a sea of spectral toned light, as if both are being birthed from the other or merging together. A living sculptural installation inhabits the center of the space, made up of several large masses of hanging ice, slowly melting, dripping onto plastic glacier-like areas, containing the melted water. The sound of the ice dripping is amplified and possibly distorted with water based contact microphones to create a background sound score for the film and space, as if this is a future cave or tomb where the memory of the birth of plastic could be regarded as sacred, alchemical or immortal. Ogygia has been in research for about a year and a half, and is still considered a work in progress. Test shots of underwater choreography between body and plastic occurred in the summer of 2017 as well as a residency at culminating in a dance performance with the above mentioned sculptural ice installations in Fall of 2016. Ogygia is a container dedicated to performances of queer futurity. It is hoped that the space could be dynamically utilized for live performative actions, choreographic experiences and public events building upon the works of Heather Davis, Donna Haraway, Roland Barthes and others to merge the worlds of queer theory and plastic under conditions of extinction and non reproduction, ‘where our progeny may not even be human, much less our biological offspring.’ (Davis, Toxic Progeny)
Ogygia is a multifaceted immersive installation where one is invited to consider and contemplate the meetings of human and plastic in an underwater world. A multiscreen film expands and envelops the space displaying an underwater reel of dances between human and plastic in a sea of spectral toned light, as if both are being birthed from the other or merging together. A living sculptural installation inhabits the center of the space, made up of several large masses of hanging ice, slowly melting, dripping onto plastic glacier-like areas, containing the melted water. The sound of the ice dripping is amplified and possibly distorted with water based contact microphones to create a background sound score for the film and space, as if this is a future cave or tomb where the memory of the birth of plastic could be regarded as sacred, alchemical or immortal. Ogygia has been in research for about a year and a half, and is still considered a work in progress. Test shots of underwater choreography between body and plastic occurred in the summer of 2017 as well as a residency at culminating in a dance performance with the above mentioned sculptural ice installations in Fall of 2016. Ogygia is a container dedicated to performances of queer futurity. It is hoped that the space could be dynamically utilized for live performative actions, choreographic experiences and public events building upon the works of Heather Davis, Donna Haraway, Roland Barthes and others to merge the worlds of queer theory and plastic under conditions of extinction and non reproduction, ‘where our progeny may not even be human, much less our biological offspring.’ (Davis, Toxic Progeny)
Description:
Ogygia is a multifaceted immersive installation where one is invited to consider and contemplate the meetings of human and plastic in an underwater world. A multiscreen film expands and envelops the space displaying an underwater reel of dances between human and plastic in a sea of spectral toned light, as if both are being birthed from the other or merging together. A living sculptural installation inhabits the center of the space, made up of several large masses of hanging ice, slowly melting, dripping onto plastic glacier-like areas, containing the melted water. The sound of the ice dripping is amplified and possibly distorted with water based contact microphones to create a background sound score for the film and space, as if this is a future cave or tomb where the memory of the birth of plastic could be regarded as sacred, alchemical or immortal. Ogygia has been in research for about a year and a half, and is still considered a work in progress. Test shots of underwater choreography between body and plastic occurred in the summer of 2017 as well as a residency at culminating in a dance performance with the above mentioned sculptural ice installations in Fall of 2016. Ogygia is a container dedicated to performances of queer futurity. It is hoped that the space could be dynamically utilized for live performative actions, choreographic experiences and public events building upon the works of Heather Davis, Donna Haraway, Roland Barthes and others to merge the worlds of queer theory and plastic under conditions of extinction and non reproduction, ‘where our progeny may not even be human, much less our biological offspring.’ (Davis, Toxic Progeny)
Ogygia is a multifaceted immersive installation where one is invited to consider and contemplate the meetings of human and plastic in an underwater world. A multiscreen film expands and envelops the space displaying an underwater reel of dances between human and plastic in a sea of spectral toned light, as if both are being birthed from the other or merging together. A living sculptural installation inhabits the center of the space, made up of several large masses of hanging ice, slowly melting, dripping onto plastic glacier-like areas, containing the melted water. The sound of the ice dripping is amplified and possibly distorted with water based contact microphones to create a background sound score for the film and space, as if this is a future cave or tomb where the memory of the birth of plastic could be regarded as sacred, alchemical or immortal. Ogygia has been in research for about a year and a half, and is still considered a work in progress. Test shots of underwater choreography between body and plastic occurred in the summer of 2017 as well as a residency at culminating in a dance performance with the above mentioned sculptural ice installations in Fall of 2016. Ogygia is a container dedicated to performances of queer futurity. It is hoped that the space could be dynamically utilized for live performative actions, choreographic experiences and public events building upon the works of Heather Davis, Donna Haraway, Roland Barthes and others to merge the worlds of queer theory and plastic under conditions of extinction and non reproduction, ‘where our progeny may not even be human, much less our biological offspring.’ (Davis, Toxic Progeny)
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