Laurie Anderson - White Lily / Home Of The Brave, 1986.
What Fassbinder film is it? The one-armed man comes into the flower shop and says: "What flower expresses 'days go by, and they just keep going by endlessly, endlessly pulling you into the future. Days go by endlessly, endlessly pulling you into the future?'
Este ano não há Top 10s para ninguém. Este ano há uma lista alfabética de coisas que me maravilharam ao longo deste ano. Livros, discos, filmes, séries, concertos. Lembro-me destas, o que já quer dizer alguma coisa. Outras esqueci, a memória falha-me por vezes. Por ordem alfabética de autor:
Alfonso Cuarón - Roma - Se a memória fosse escrita, encenada, representada e filmada com perfeição virtuosística, era este filme. Um tratado sobre a arte do cinema. Com defeitos, claro, criticável, claro, mas isso haja liberdade para fazer sempre.
Bruno Nogueira (com Marco Martins e Ricardo Adolfo) - Sara - A melhor coisa que já se fez na ficção televisiva em Portugal. E ainda se consegue ver, creio. Do princípio ao fim, por favor.
Deborah Levy - The Cost of Living - Uma das jóias do ano, o confessional e diarístico escrito como deve ser. Já tinha gostado do "Hot Milk" e vou ler mais, estou certo.
Hanna Gadsby - Nanette - Sobre o humor, a gargalhada, o trauma, a liberdade e muitas outras coisas em que vale a pena pensar e sentir. Um tema para ler sempre mais.
Jon McGregor - Reservoir 13 - Pegar num género e ele ser outro género e deixar passar os anos anos e um livro ser isto.
Kore-Eda Hirokazu - Shoplifters - Vamos jogar um jogo de escondidas e descoberta com um amor profundo às nossas personagens. Foi merecida Palma de Ouro.
Laurie Anderson - Landfall (com Kronos Quartet)/ All The Things That I Lost In The Flood / ao vivo no Nimas - Um disco, um livro, um espetáculo, a perda, a poesia. Damn, girl.
LCD Soundsystem - Ao vivo no Coliseu dos Recreios - Transpirar a sério pelos melhores motivos com todos os meus amigos, mesmo os que não estavam lá.
Low - Double Negative - Quase sem querer, um disco que se entranhou. Fiquei surpreendido ao vê-lo em tantas listas de fim de ano, mas isso não me impediu de ouvir de novo.
Michael Ondaatje - Warlight - Volto sempre a ele e ele nunca me desilude, na intersecção entre história, indivíduo e poesia onde um dos corações da literatura vive.
Nick Cave - Ao vivo no Primavera Sound Porto - O momento, o local, o tempo, os artistas e, é claro, a música, no festival que prefiro, por estes dias.
Nick Drnaso - Sabrina - Tão longe chegou a chamada "novela gráfica". Nenhum preconceito deve impedir a leitura deste livro, num estilo tão limpo quanto os temas são graves, um relato minimal de um país caótico.
Paul Thomas Anderson / Johnny Greenwood - Phantom Thread - Les beaux esprits se rencontrent. Já tinha acontecido antes mas de novo aqui um filme, uma banda sonora, uma elegância que podemos destruir como nos apetecer.
Phoebe Waller-Bridge - Killing Eve - Espias, assassinas, mulheres. Um dos géneros mais antigos do audiovisual pode sempre ser baralhado sobre clichés e tornar-se um prazer.
Rosalía - El Mal Querer - Há gente que explica muito melhor que eu como este disco é musicalmente inteligente e viciante.
Ryan McGinley - Mirror, Mirror - Sempre a pensar, a sentir, a fotografar, rodeado de amigos e imagens, o Ryan mostra-nos o caminho.
Thom Yorke - Suspiria OST - Lá podia o Thom ficar atrás do Johnny. vivemos sobre os ombros de gigantes.
Thomas Adès - Concerto de piano com música de Leoš Janáček - Há sítios onde se volta, se é feliz e se descobre coisas que não se conhecia. A Gulbenkian é um deles.
As of today, you can now study and learn to play new string quartets written by Laurie Anderson, Soo Yeon Lyuh, Karin Rehnqvist, Trey Spruance and Stephan Thelen. Scores and parts, recordings, and learning materials are now available on our website, free of charge.
In this exclusive video, Laurie Anderson presents her prizewinning virtual reality work from 2017: “I wanted to see what it would be like to travel through stories, to make the viewer feel free,” the legendary multimedia artist says.
Laurie Anderson’s ‘Chalkroom’ (2017) has been created in collaboration with the Taiwanese artist Hsin-Chien Huang. In ‘Chalkroom’ it is possible to float around virtually and to explore a hand-drawn universe of sentences and words written in chalk on the walls, guided all the while by Laurie Anderson’s voice – stories and storytelling are at the heart of the work.
You can interact in different ways and e.g. experience letters intermittently floating towards you: “Like snow, they’re there to define the space and to show you a little bit about what it is. But they’re actually fractured languages, so it’s kind of exploded things.” The most important aspect of working in virtual reality for Anderson was the fact that this technology enables you to fly, “like in your dreams.” Anderson feels that everything that she’s ever done is about one thing: disembodiment. In virtual reality, this is even more evident, as you become the ultimate viewer, who has amazing abilities such as flying: “My goal is to make an experience that frees you.”
Being inside Anderson’s VR work is an isolated experiment not unlike reading a book, and one of the things that make it different is that it isn’t task-oriented but rather “visually dazzling.” Another difference is that it isn’t as “perfect, slick and shiny” as VR is in general: “The reason it’s ‘chalk room’ is it has a certain tactility and made-by-hand kind of thing, and it’s the opposite of what virtual reality usually is, which is distant and very synthetic. So this is gritty and drippy and filled with dust and dirt.” Moreover, Hsin-Chien Huang – who is responsible for the extensive programming – made it full of never-ending secrets: “’Chalkroom’ is a library of stories, and no one will ever find them all.”
Laurie Anderson (b. 1947) is a legendary award winning multimedia artist based in New York. Initially trained as a sculptor, she has worked with painting, music, multimedia shows, drawings, operas, electronic software, theatre, films and installations throughout her career. Anderson became widely known outside the art world with her single ‘O Superman’, which reached number two on the UK pop charts in 1981. She is considered a pioneer of electronic music and is praised for her unique spoken word albums and multimedia art pieces. Among her most recent work is the film ‘Heart of a Dog’ (2015). In 2017 under the name of ‘La Camera Insabbiata’, ‘Chalkroom’ won for ‘Best VR Experience’ at the Venice Film Festival. Anderson's visual work has been presented in major museums throughout the United States and Europe. From May 2017 Laurie Anderson’s ’Chalkroom’ is on view at the MASS MoCA, Massachusetts, USA. For more about Anderson see: www.laurieanderson.com/
Laurie Anderson was interviewed by Kasper Bech Dyg at the Louisiana Museum of Modern Art, Denmark in connection with ‘Chalkroom’ being shown as part of the Louisiana Literature festival 23 – 27 August 2017.
Camera: Mathias Nyholm & Simon Weyhe Produced and edited by: Kasper Bech Dyg Copyright: Louisiana Channel, Louisiana Museum of Modern Art
You know, I live in downtown Manhattan next to the Westside Highway, right near a major tunnel into the city and for the last three years my corner has been a police checkpoint and there're constant sirens and blockades. And during orange alert motorcades of police cars go screaming up the highway as they train for maneuvers. And across the street, hidden at the end of the pier, there's the FBI headquarters. So lately, I've tried to get out of town as much as possible. So I'd been going on these ten day walks. And last spring I decided to go to the mountains. And the idea was to take a trip with my dog Lolabelle and spend some time out there and do a kind of experiment to see if I could learn to talk with her. I had heard that rat terriers could understand about 500 words, so I wanted to see which ones they were. Now, terriers are working dogs and they're all about security and they're bred to protect borders. And so they do these constant perimeter checks looking for any suspicious holes or bricks in the walls, little irregularities. So, Lolabelle does her rounds around my studio every day and she also does a bit of herding. So, when new people come into a room she taps them on the knee with her nose to take a running count and then she trains her eye on the door, keeping track of the motion in and out. But if someone leaves the room she can't subtract. Let's see… ten minus one would be…. So she has to start counting all over again from the top, so this is like a really time consuming job. Now, I took Lolabelle to California up into the northern mountains to a little isolated cabin near a Zen monastery. And they brought food up from the monastery every few days but we never actually saw anyone. The bread and the vegetables and supplies just appeared once in a while near the gate. And so it was an ideal place for an experiment like this one. Now, it was February and the mountains were covered with these tiny wild flowers. And every day was so beautiful. We just got up and went out and it was so dazzling and peaceful, this huge tall sky, very thin pale blue air and hawks circling. So, every morning we just headed out and started walking and what happened was, more or less, beauty got on the way with the experiment. It was just so beautiful up there and I forgot about the whole project really. It just slipped my mind. Now, most days we walked down to the ocean which took a few hours and we almost never saw anyone on the trails and Lolabelle would trot in front of me on the path, checking it out and doing little advance work, a little surveillance, and then for fun, sometimes, she'd drop back and hide behind a rock. And I would turn around and come running back up the path calling her name and then she would jump out from behind the rock just laughing her head off. And then we'd just keep on going and just sort of goofing around and checking out plants and lying down and having snacks of carrots. Now, occasionally, out of the corner of my eye I'd see some turkey vultures circling in this very lazy way, way up in the sky. And I didn't think much about it. And then one morning, suddenly, there they were, swooping down right in front of me and I could smell them before I could see them. This wild and super funky draft of air like somebody's really, really bad breath. And I turned around and they were dropping down through the air, lowering themselves straight down vertically like helicopters with their claws open right on top of Lolabelle. And it seemed impossible that could just hover like that. And then I realized that they were just hovering there because they were in the middle of changing their plan. This white thing that had looked like a bunny from 2,000 feet was turning out to be just a little too big to grab by the neck and they were hanging there for a moment, weighing, calculating, trying to figure it out. And then I saw Lolabelle's face. And she had one of these brand new expressions. And first was the realization that she was prey and that these birds had actually come to kill her. And second was a whole new thought. It was the realization that they could come from the air. I mean, I just never thought of that. A whole 180 more degrees that I'm now responsible for. It's not just the stuff down here, the paths and the roots and the ocean and the smells and the dirt but all of this, too. And the rest of the time we were in the mountains out on the trails she just kept looking over her shoulder and trotting along with her head in the air. And she had this whole new gait, just very awkward and her nose not to the ground, you know, following the smells but pointing straight up, sniffing and sampling, scanning the thin sky. Like there's something wrong with the air. And I thought "Where have I seen this look before?". And then I realized it was the same look on the faces of my neighbors in New York in the days right after 9/11 when they suddenly realized first: that they can come from the air. And second: that it would be that way from now on. It would always be that way. And we had passed through a door. And we would never be going back.
“Be loose!” The legendary multimedia artist, musician and film director Laurie Anderson puts it as simply and clearly as that when she here advises artists to avoid being pressured into limiting themselves artistically.
Calling yourself something as “vague” as a multimedia artist – as Anderson does – gives you the freedom to do whatever you want, without having to worry about whether it fits a certain definition: “It’s so easy to get pigeonholed in the art world.” Anderson is aware that sales are a strong underlying factor – “I am a 21st century citizen in a highly corporate world” – but she nonetheless maintains that you should always follow your own interest and obsession: “Whatever makes you feel free and really good – that’s what to do. It’s really simple.”
Laurie Anderson (b. 1947) is an internationally renowned experimental performance artist, composer, musician and film director, based in New York. Initially trained as a sculptor, Anderson became widely known outside the art world with her single ‘O Superman’, which reached number two in the UK pop charts in 1981. She is considered a pioneer of electronic music and is praised for her unique spoken word albums and multimedia art pieces. Among her most recent work is the film ‘Heart of a Dog’ (2015). For more about Anderson see: www.laurieanderson.com/
Laurie Anderson was interviewed by Christian Lund at the Louisiana Museum of Modern Art, Denmark in May 2016.
Camera: Rasmus Quistgaard Edited by: Klaus Elmer Madsen Produced by: Christian Lund Copyright: Louisiana Channel, Louisiana Museum of Modern Art