Arts – Page 198 – [art]seen

REVIEW: Helicon’s Synesthesia

November 20, 2016November 20, 2016 Allie Scholten Leave a comment

Friday night’s Synesthesia was the first Helicon event I’ve attended, so I had no idea what to expect – which is usually the most interesting way to enter into an art show. It was what I can only describe as a down-the-rabbit-hole experience; from walking in the door, past crowds of people, art was found in the corners stairwells, in the basement, in the attic. At one point, I wasn’t sure if I was standing in line for the bathroom or for an art installation. Not only did I double take at the art, but at UM faculty milling about past students: not an everyday occurrence outside of the classroom, at 10 p.m. on a Friday night. Synesthesia featured the work of dozens of students; mediums ranged from sculpture to photography, from painting to video installation.

fullsizerender-4 — Image from @umicharts

The space itself was immersive; as I stood looking at sculptures in a basement where exposed cement walls and open staircases were not an artistic design choice, I began to fear for the strength of the structure as I could hear every footstep and movement above me. The element and adventure of risk became a theme as I climbed past people up steep stairs not equipped for a dual-flow of traffic. As I sat on the floor of an attic, staring at an image projected onto a sheet asking myself when the show was going to begin or when the technical support was going to arrive, I realized it already the show had already begun. The fuzzy image on the screen was the art, the music in the back the focus. It was then I began to question whether or not I am equipped to “get” art. Regardless, my favorite piece of the night, a readymade (which is the embodiment of comedy gold in the art world; an artist with a sense of humor) consisting of a Virgin Mary figurine titled Abstinence. Lesson learned: you do need to be literate in the ways of painting/drawing/sculpting to be considered an artist, merely innovative.

fullsizerender-3 — Image from @umicharts

If Synesthesia intended to create an experience, an art piece in itself, it succeeded. At one point, while standing in a hallway waiting for a mass of people to pass by, a person crawled out from behind a black sheet, pulling themselves up from what I can only hope was a work of experiential art. Some say you can find yourself through art; if this holds true, I’ve come to find I am the equivalent of a suburban mom of the art world. I may not understand what’s going on, but I am so ready to cheer on every student out there making, creating, and putting their work and themselves out there.

REVIEW: Moonlight

November 20, 2016November 20, 2016 kjwuzhere Leave a comment

Moonlight is a beautiful movie. This is indisputable. In terms of color, the movie is full of scenes that are bright and bold without also being oversaturated or unrealistic. They emphasize the color of a moment in a believable way, as if this color wasn’t cultivated, wasn’t deliberately placed before our eyes–instead, it is a kind of color that looks like it belongs in the world. There is, however, a special emphasis on the color blue, with a multitude of scenes throughout the movie highlighted by it.

Beyond color, Moonlight’s visuals also stand out because of the bold cinematography. From the dizzying opening scene that has the camera spinning on an axis and takes viewers in a whirl around the ghetto as two characters carry a conversation, to a later scene where the camera follows one character on his march around the school yard, deliberately concealing the true nature of the scene until it pans back but still building tension, every shot of this movie is clearly, carefully set. A scene is not dictated only by the action and dialogue of the characters but also by the framework–and here, the framework is itself a masterpiece.

Moonlight is divided into three parts, each corresponding to a different name of the main character, and thus a different period in his life. Each thus has distinctive themes and overtones, but the true beauty of the film is how they interweave together to create a story that is connected, almost obvious, yet still persistently, consistently tragic. Viewers watch as the protagonist of the film follows a path thrust upon him by the forces which surround and entangle him. What makes the movie remarkable, however, is how we don’t see it like that exactly. We don’t look at this character as a victim to a collusion of forces and wills; we don’t see him as someone with the odds slated against him (though they are); we see only the life he leads, one singular life, and though in the aftermath it is obvious how his life was destiny, as we watch it, the moments remain individual. There is no will he won’t he in regards to whether he will be able to escape “the life,” but there are little will he won’t he moments, there are questions of words and kisses, of fists and money. Due to this, the tragedy of Moonlight is grand, but not artificial, not needless, not overblown.

The movie is still playing at the Michigan Theater. Student tickets are $8.

REVIEW: SMTD@UMMA

November 19, 2016November 19, 2016 Allie Scholten Leave a comment

fullsizerender-1 — Image from @ummamuseum on Instagram

I arrived early to the museum, and I watched the people slowly drift in, until all at once the chairs were filled and people were standing around the edges of the room. From the front of UMMA’s apse, it looked like any other performance, yet the back of the room resembled a concert pit; people standing, craning to catch a glimpse of what’s going on, resigning themselves to peering between heads. The performance, Image in Motion, attracted a diverse audience; there were groups of students to parents to faculty. The dances were choreographed by students themselves. As they were inspired by UMMA’s collection Europe on Paper, which consists heavily of line drawings (which were described as very graphic by the museum guide), I was interested to see how the dancers would interpret the art. I chatted with the girl sitting next to me as we waited for the performance to begin, and she expressed her worries that she would not understand what was going on in the dances, having not seen the art. Once the show began, though, it became evident that – had we not known the source of inspiration – it could’ve assumed this was another “dance for dance’s sake” show. While the dancers themselves likely saw the ties between movement and art, in my eyes they were two separate things.

I came to the unfortunate realization that not everything I love, when combined, becomes better. For me, art and dance seem to exist in two separate hemispheres; both forms of art, yet there is not a direct correlation. Separate, though, I loved both. I commend anyone who is willing to put their art and talent up for display, to make themselves vulnerable to an audience. The first couple of dances were costumed in nude colors, embodying the Greek statues situated behind them in the space. The dancers themselves, though embodying a completely different collection of art, came to embody the statuary, giving the solitary figures breath, movement, and life. Many dancers chose to highlight the color red, pulling the inspiration from the prints. I enjoyed that, while the focus of the performance was dance, they did not shy away from involving the audience’s other senses. Some dancers spoke during the dance, or used breathing as a form of accompaniment in itself; one performance studied the interplay between a solo French horn player and a dancer, this specific piece causing me to question which performer was inspired by which? Before this last piece began, the audience was asked to stand and rearrange themselves in the back of the apse, creating a circle around the room. I loved this; I felt as though I was in the piece itself, and it caused the audience to rethink the classic mode of watching a performance.

While Image in Motion intended to explore the relationship between art prints and dance, the relationships between the dancers and the space and the accompaniment was much more dynamic. One of the most meaningful moments of the night was when a member of the dance faculty, preluding the show, discussed the current tensions and fears within today’s recent culture, and how dance and art serves as a means of expressing and strengthening oneself in the midst of outside turmoil.

REVIEW: Helicon’s Synesthesia Exhibit

November 19, 2016November 19, 2016 kebishop Leave a comment

Attending Helicon’s Synesthesia Exhibit was definitely an experience. It was dark, cold, and stormy when my friend and I arrived outside 504 Catherine, which on its own appeared to simply be a crowded house. Then, suddenly, some unnerving music began to play, consisting of what sounded like wailing and sound static. It was hardly an enticing welcome, but we eventually decided to head inside.

Welcome to synesthesia... — Welcome to synesthesia…

There were fairy lights on the walls and the band was huddled on the ground in the corner of the main room. There was some art hung at eye level, including some installations that I enjoyed featuring bright colors that were nowhere to be found in the rest of the house.

We progressed upstairs, where we encountered an invitation to create some hands-on, spontaneous art by a window:

This was a part of the exhibit that I enjoyed. It claimed in the event description that this exhibit would be a safe space to create and appreciate art. The invitation to create something (or something more, in the case of the featured artists) was inspiring and made me feel like a part of the arts community.

Upstairs, however, was the opposite. We were guided into a small room draped with blankets and scattered with pillows. We sat down in front of a makeshift movie screen and watched what turned out to be one of the most unnerving films I’ve ever tried to see. The camera lingered on seemingly unimportant objects, such as an outlet plug on the wall and the (infuriatingly incomplete) shaving of a man’s head. We managed to escape once the narrator began discussing her wish to have her head stuck in a wood-chipper.

After that movie, we decided to skip the film with trigger warnings (“claustrophobia” & “bodily noises” among others) posted outside on the door. We headed down to the basement, which, after taking in the previous levels of the house, sounded rather ominous. To my surprise, however, the basement ended up being my favorite location.

This was our view when we had descended the (albeit creaky) stairs. The sheets and fairly lights gave the space a, for lack of a better term, very artsy personality. The lighting framed the artwork very well, casting a golden hue on everything. Despite this, the art here was definitely of a darker sort, featuring, for example, a “Self Portrait” sculpture by Jay Moskowitz.

A closer look at this sculpture, especially when you bent down to be at eye level with it, revealed the talent present in this installation. When you moved to look at the other side of the portrait, however…

…you were faced with something else entirely.

Moving into another room, we noticed a piece by Natalie Grove. “Sit in Me” was typed out on the label, so we obliged.

Turning to our right, there was yet another film playing. The film was exceptional at displaying continuous motion, every few frames featuring the cast in different or no clothing. Despite these changes, there was never any pause. The room itself was very thought-provoking as well, with wine and milk lined up in front of clothes in a pile on the ground.

My favorite piece of artwork at the exhibit was called “Suspended Thought” by Lorenzo Lorenzetti. I very much enjoyed the literal title and the suspensions themselves. It revealed, to me, how thoughts can manifest into something physical and indeed paralyze one’s mind. It was a very geometric sculpture that reminded me of certain renaissance sculptures I’ve encountered at art museums around the world.

I heard about this exhibit because my photographs were also displayed. Upon looking at all the other art present in the house, my friends joked that my prints were there to serve as a break from all other the more heavy, “tortured artist” installations. My only qualm with being featured is that the labels below all three photos were incorrect, but the working theory is that it was an intentional mishap to further provoke the disorganized, artistic mind.

REVIEW: Fantastic Beasts And Where to Find Them

November 19, 2016November 19, 2016 Phillip Wachowiak 1 Comment

Let’s make one thing clear. Although I have seen all the Harry Potter movies, and maybe I went to Barnes and Noble for the midnight premiere of books 1-6, I am not a huge Harry Potter fan. To me Harry Potter always seemed a little childish and derivative, like listening to top 40 music. That’s why Fantastic Beasts And Where to Find Them was such a pleasant surprise.

Newt Scamander arrives in 1926 New York, fresh off an expedition studying and cataloging magical beasts around the world for his book. While he plans to stay only long enough to release a particular creature back into the wild, a run-in with an a No-Maj (American Muggle) leads to a number of events that make the movie run 133 minutes.

Like all the other Harry Potter movies, FBAWTFT looks gorgeous. Combining wizards with 1920’s America was a fantastic idea and someone should give JK Rowling a high-five for that. It was so much fun to see spells flying inside speak-easy’s and upending Model T’s on the street–I only wish Newt’s travels had taken him to other American cities like Chicago and San Francisco as well.

Every actor fit seamlessly into their roles so well that I didn’t miss the Harry Potter characters one bit. Eddie Redmayne as Newt played the perfect awkward scientist, but it was Dan Fogler as Jacob Kowalski that stole every scene with his charm and naivety. Unfortunately, the female characters didn’t seem as well hashed out. Queenie Goldstein, one of the two female leads, is literally nothing but an attractive secretary at the American equivalent of the Ministry of Magic. Maybe it was to add the period feel to the movie, but this series deserves better than one-sided female characters.

JK Rowling took the dark elements from the latter half of the Harry Potter series and ramped them up for FBAWTFT. Unhealthy relationships, from a neglected son to child abuse, pepper the central storyline, which also includes the DEATH SENTENCE as a plot device. I enjoyed that JK Rowling decided to write a movie that was for older audiences, but wow the movie gets dark.

At the same time, there are moments of precious comic relief scattered throughout the movie. DC Comics should study this film in terms of how to balance the light and the dark, because FBAWTFT knows how to make the audience laugh in one scene, and then pull those smiles away in the very next scene.

I left with one question on my mind: how does the movie scale up from here? The final “battle” felt almost like the end of a movie series, leaving New York in tatters (a la The Avengers) and at least two surprises. It felt like JK Rowling pulled out all of the stops as the wizards struggled to contain a dark force attacking the city. Will it be possible to make the action more exciting, or will we start to get fatigued after seeing the same spells, the same special effects, and the same CGI-creatures every outing?

Preview: Women’s Glee Club

November 18, 2016November 18, 2016 Neha Srinivasan Leave a comment

The Women’s Glee Club Concert is tomorrow! This will be the second time I’ve been to a concert of theirs, and I’m really looking forward to it. The last time I went, I didn’t know what to expect, since I don’t attend choral concerts often, and I enjoyed myself very much. I have a few friends in the club, and I know they do really good work, so I can’t wait to see what they sing tomorrow. I’m also excited to hear the other choir they will be singing with, since I believe logistical issues prevented that from happening the last time.

The concert is Saturday, November 19, at 8pm in Hill Auditorium. Tickets are $5 for students and can be purchased at the door.