The artists featured in the exhibition are Meriem Bennani, Lawrence Abu Hamdan, Korakrit Arunanondchai & Alex Gvojic, Ian Cheng, Tamara Henderson, Kahlil Joseph, and Fatima Al Qadiri & Khalid al Gharaballi, each with a work commissioned and produced by the Biennale. The future could start to blur into some vague, digital present, while primeval sounds bear echoes of a past that struggles on, refusing to fade away.Įmphasizing the innovative potential of new languages connected to the moving image, the 2018 Biennale forges an intense dialogue with a generation of artists from a wide range of countries and backgrounds. As visitors are sucked into these universes, they may begin to lose their grip on reality and their sense of time. Inevitably, this edition of the Biennale explores the status of the moving image and its exhibition format, building on the idea that the long era of projection on screens is coming to an end and will give way to environments that reverberate with the radiant echo of their implosion.įor this edition, an immersive exhibition has been dreamt up, presenting a series of contiguous, differing worlds that alternate within a densely packed space that is a unified whole, yet teeming with eclectic forms. The concept for this show, which covers more than 2500 square meters, revolves around a fundamental principle: that moving images now dwell outside the screen, lingering on in a fascinating kaleidoscope where vision can be shaped by sound as much as by the image itself, or even more so. While the project’s strategic focus remains on production, the 2018 edition takes a new approach: alongside an extraordinary series of films, performances, and concerts, it presents an exhibition conceived as a series of individual environments. The Biennale de l’Image en Mouvement 2018 is curated by Andrea Lissoni, Senior Curator, International Art (Film) at Tate Modern, and Andrea Bellini, Director of the Centre d’Art Contemporain Genève. The 2018 edition: The Sound of Screens Imploding The Biennale de l’Image en Mouvement in Geneva has therefore become a full-fledged production platform, with each edition presenting only new works. The latter engage in a dialogue with the curators throughout the production process of a new work, financed or co-financed by the Centre and premiering in Geneva. A unique hybrid event-at the crossroads of a film festival, a plethora of solo exhibitions, performances and a platform for research and production-the BIM brings together visual artists, performers, musicians and filmmakers. The Biennale de l’Image en Mouvement was founded in 1985 in Geneva and was reinvented in 2014 as a platform for producing new works. Repeat steps 5–7 for your fourth prediction and observation, using all three mirrors.20 new works commissioned and produced by the Centre d’Art Contemporain Genève.Repeat steps 5–7 for your third prediction and observation, using two mirrors.Remember to take a picture if you are using a digital camera, or making a drawing.Do you see more, the same, or fewer reflections than you did with zero mirrors? Record your observations in the second row of the data table.Look into the kaleidoscope, which now has one mirror exposed.Write down your prediction in the second row of your data table.When you look into the kaleidoscope with one mirror, do you think you will see more, the same, or fewer reflections than you did with zero mirrors?.Remove the kaleidoscope's eyepiece and pull out one piece of paper, uncovering a mirror.If you do not have a camera, you can make a drawing of what you see. If you are using a digital camera, get an adult to help you take a picture through the kaleidoscope's eyepiece.Do you see any reflections? Write down your observation in the first row of your data table.It will help if you aim the kaleidoscope at a plain background, like a wall or a piece of paper. Write down your prediction in the first row of your data table.When you look into the kaleidoscope, do you think you will see any reflections? Don't look just yet!.Now you are ready to make your first prediction.Push a piece of black cardstock into the tube, lengthwise, until it completely covers one mirror.
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