KRZYSZTOF WODICZKO

images with the courtecy of the artist

CONTRACT:

I ……………………………………………
give permission for the image taken here at the iCount stall, on 20th December to be used in the Public Art Piece proposed to me by Molly Blair, Stephanie Richardson, Glenda Xavier, Tara Weilesley. This will involve a photographic portrait of myself being projected onto the clock face of Big Ben. The artists own the copyright of the image, but do not have permission to use it on projects other than the iCount project.
Signature………………….
Date……………………..


I ……………………………………………
give permission for the image of my child/children ……………………………..
taken here at the iCount stall, on 20th December to be used in the Public Art Piece proposed to me by Molly Blair, Stephanie Richardson, Glenda Xavier, Tara Weilesley. This will involve a photographic portrait being projected onto the clock face of Big Ben. The artists own the copyright of the image, but do not have permission to use it on projects other than the iCount project.
Signature………………….
Date……………………..

Richard Demarco
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Richard Demarco (born Portobello near Edinburgh, 1930) is a Scottish artist and promoter of the visual and performing arts.

He was co-founder of the Traverse Theatre in Edinburgh in 1963. Three years later he and other organisers of the gallery space left the Traverse to establish what became the Richard Demarco Gallery.

For many years, the Gallery promoted cross-cultural links, both in terms of presenting artists such as Marina Abramovic within Scotland and in establishing outgoing connections for Scottish artists across Europe.

His involvement with Joseph Beuys led to various presentations, from Strategy Get Arts in 1970 to Beuys' hunger strike during the Jimmy Boyle Days in 1980.

Also particularly notable were the presentations by Tadeusz Kantor's Cricot 2 group during the 1970s and 1980s. An unofficial performance of The Water Hen at the former Edinburgh poorhouse during the Edinburgh Festival in 1972 was a notable success. Cricot 2 returned to Edinburgh in later years. Demarco introduced Beuys and Kantor to one another and in one performance of Lovelies and Dowdies Beuys performed under Kantor's direction.

For many years the Gallery led a financially-straitened existence. Since the early 1990s, Richard Demarco's activity has been through the Demarco European Art Foundation.

Richard Demarco has attended every Edinburgh Festival. He has attended or been extensively involved with the Edinburgh Festival Fringe, the largest arts festival in the world, since its inception. His current involvement at the Fringe is in collaboration with Rocket Venues.


[edit] External links
Studio International article by Demarco on Edinburgh
[1]
A biography of Richard Demarco by Charles Stephens [2] Charles Stephens
Retrieved from "http://en.wikipedia.org/wiki/Richard_Demarco"

Enlightenment in the darkness of the unknown
VISUAL ART
DUNCAN MACMILLAN

LUMEN DE LUMINE *****
TORNESS POWER STATION

MODERN ART was born of a conundrum: if you are part of the world how can you describe it? It was formulated by David Hume thus: "It is absurd to imagine we can ever distinguish betwixt ourselves and external objects." The truth of this was particularly critical for artists because in the previous century art had joined with science and philosophy with precisely that ambition, to understand the world by describing it. Painters soon realised that because objectivity is a paradox, the enterprise was doomed to fail. Rembrandt and Vermeer reflect on this, and Velasquez's Las Meninas is perhaps the greatest formulation of all of the impossibility of separating the observer from the observed.

Nevertheless, having recognised the problem, artists did not abandon the original ambition. They tried to incorporate the paradox into the solution and to describe the world from within; to proceed, recognising that they were inextricably part of any description and that they shape the world even as they describe it. Modern art was born, not from any perverse vision, but from the artists' increasingly acute awareness of the elusive complexity of what at first seemed so simple.

Science, meanwhile, ignored Hume's conundrum and maintained instead the fiction of the detached and objective observer. This worked very well until scientists came to quantum physics, the study of the fundamental particles from which our world is built. They discovered that on that level objectivity is impossible - the observer and the observed are locked in a dance that alters both. So, has science caught up with art?

It is an intriguing question. But first consider an apparently very different dance. On a dark, cold and windy night a girl in a red dress dances in the dark, projected on a vast screen on the East Lothian coast. As she dances, she is illuminated fitfully by the light from a single bulb that she whirls around her head on a long flex, like a cowboy with a lasso. The image flickers for a few minutes against the night, then disappears.

This happened on Thursday. The screen was the enormous blank north wall of Torness nuclear power station. Even though it is huge, both it and the dancing girl projected on to it were dwarfed by the much greater vastness of the night. It was easy to see this dance as an image of an individual human life: brief, shadowy, no more than a flicker in the darkness of the great unknown.

Equally, perhaps, it symbolised the strange dance of observer and observed - the quantum physicist and those elusive fundamental particles - for this film, made by artist Ken McMullen, was commissioned by CERN, the giant European particle accelerator. The film was made in one of the CERN accelerator tunnels. On one level at least, quantum physics is its subject.

The film also proposed a dialogue between Torness, where it was projected, and nearby Skateraw farm, where the projector was - between science and agriculture. At Skateraw, thanks to farmer John Watson's extraordinary generosity, one of the barns is home to Richard Demarco's collection. So, in this dialogue, Skateraw represents art as well as farming. However, that is no big step, as Watson reminded us, quoting Hume's friend Lord Kames, that farming itself is the chief of all the arts.

Whether you like it or not - and most distrust it profoundly - the technology harnessed at the power station is testimony to the way scientists have penetrated to the very heart of matter itself. And so the finger of light across the dark and windy space between the farm and the power station was reaching out from art to science. Projecting the fragile image of a dancing girl as a metaphor for a single human life, it was also emphatically restating the centrality of the human to the business of science. Without that it breeds monsters that may devour their creators. So, art has something crucial to offer science.

The idea of the film was Neil Calder's. He had been employed by CERN to make meaningful to the public what the organisation does, to tackle mistrust of science and the scientists' own lamentable lack of skill in explaining what they do. In this instance, as Calder remarked, McMullen shows a remarkable, intuitive grasp of science. The figure with her tiny light in the greater darkness could stand as a metaphor for what we have only recently understood, that the most of the universe is invisible to us - dark matter and dark energy. These are truths we can barely grasp except at this metaphorical level and which, thus far, the light of science itself cannot penetrate any more than the girl's swinging light bulb could illuminate the landscape.

This kind of profound reflection is not new to Skateraw, however. The coast there is the site of James Hutton's "nonconformity", the place where the strange configuration of the rocks provided Hutton (another farmer) with a key part of his proof of the nature of the earth's geology: that even the rocks themselves change constantly, but the expanse of time in which they do so is unimaginably vast. It extends "till a' the seas gang dry and the rocks melt wi' the sun." Burns was a visitor to Skateraw.

That fragile figure was dancing to a tune first composed by Hutton, therefore, or perhaps even to a song by Burns. Watson reminded us of these Enlightenment links and, as he did so, argued passionately that in the predicament in which we now find ourselves, we should reach back to the Enlightenment to relearn the convergence of the arts and sciences and the shared human focus that brought such strength then. The message from all the other speakers was the same. We must not repeat the mistakes of the 20th century, seeing the arts and sciences in opposition. They need each other. If we are to survive our environmental crisis, they must work together, and the dialogue proposed by that beam of light must be meaningful. Science needs the humanity symbolised by that dancing figure and that only the arts can bring, and we now need science to solve the problems that, unchecked by that sense of humanity, science has itself created. Art, farming, quantum physics and nuclear power seem unlikely bedfellows but they need each other. Their conjunction here, perhaps, points to the only possible way forward.

• An agreement is currently being sought to screen Lumen de Lumine for a 28-day period.

This article: http://living.scotsman.com/index.cfm?id=228152006

Last updated: 14-Feb-06 11:59 GMT

These are examples of what the childrens drawings could/would look like after the work shop:

Hi had a look for projtion equipment and stuff, found quite a few sites but no prices were attached..... so not sure how we would find this out?
http://www.deepvisual.com/africa.html

South Africa Freedom Day

15,000 people braved the freezing rain to see REM

play a tribute for Nelson Mandela

Trafalgar Square, London, March 2001

Projection by deepvisual











back to gallery

Home

http://www.ukbanners.com/

internet marketing uk & website promotion uk, website advertising, internet advertising.

IDEA.

http://www.justgiving.com/charity/donate.asp?FRSId=201947
The Climate Group is an international charity working to cut greenhouse gas emissions, the principal cause of climate change/global warming. It gathers and shares the knowledge of global leaders who have already acted to reduce their emissions, proving that taking action on climate change is not only possible, but is in many cases highly profitable. Your support will enable it to identify and create new leaders, a massive priority if we are to avert dangerous climate change.

What if we was to design a badge relating to climate change, sale them at the workshop event and raise money for charity.
Something that the kids can get involve creating.

photographer search

http://www.photographers.co.uk/

Find a PhotographerFind a Photographer takes you to a directory of photographers. There are around 2,000 members in the directory, covering all areas of the U.K. and all different types of photography.


This page is for photographers based in the South East of England
http://www.photographers.co.uk/html/PhotographersSouthEast.cfm

Greater London Press Photographers
http://www.photographers.co.uk/html/photographers-5.cfm?county=Greater%20London&speciality=Press

Probably the best-known product of her many photo-sessions is one particular still in which she is seen completely nude from behind, but turning her head back to make eye contact with the camera, thus permitting a simultaneous full view of her face, back and bottom, and a glimpse of one of her breasts from the side.


Porter projected onto Palace of Westminster in 1999.The image earned its near-iconic status due to the events of one night in 1999, when FHM famously beamed an enormous projection of it onto the exterior of the Houses of Parliament, with an accompanying message urging people to "Vote Porter". This stunt coincided with a period of plummeting turnouts in British elections, with particular concern being expressed about a so-called "lost generation" of young people showing themselves to be less interested in serious political issues than in the allegedly vacuous currents of modern celebrity culture, of which the seemingly unquenchable craving to see someone like Gail Porter without her clothes on was offered as a prime example. There were thus suggestions by commentators that FHM's stunt had a deeply symbolic significance, with the world of escapist celebrity-fetish managing to appropriate the very seat of power to exalt its triumph. Other commentators responded by suggesting that the political class, rather than simply bemoaning developments, ought instead to see if it could learn any lessons from the evident inclination of so many to accept the invitation to "Vote Porter".

Proposal/Presentation.

Aims and Objectives.

Aims:

• To raise awareness of global warming in the public and to associate this in part with the government, highlighting their need for action.

• Education for children, in the workshops where the images are made.

Why is it of interest?

• The subject of global warming is relevant to everyone, in this country and all over the world.
• As the projection is made on Big Ben, which is a national landmark, famous throughout Britain and the world.
  

Who is to be involved?

• In the work itself: ourselves, government (permission etc), icount (stop climate change), photographer, projectionist.
• In promotion: icount, the press, environmental agencies who are willing to sponsor..., arts council, green party.

Who will benefit and how?

• Mankind and the environment if the art piece has the desired effect, of bringing awareness and hopefully action.
  
• The organisatios involved through publicity.
• The people of Westminster because if the art itself on Big Ben.

How will these aims be achieved?
What is the process and how will you do it?

• We will be running a work shop at an Icount climate change rally. Here we will be achieving several things. Firstly this is where we will be taking the potraits of people for the clock face. We will be finding people from the rally who will be passionate about the cause and willing to be used in the images. Secondly we will be running an educational workshop for children, helping to teach them a little bit about climate change and what can be done. Also we will be providing drawing material for them to create images of what they believe the world will become if climate change is ignored, these images are for the body of the building.
  

What is the end product? e.g temporary, permanent, environment etc.

• The end product us a sight specific, temporary porjection onto Big Ben. We would be hoping for a press release and press coverage, we would also document the work ourselves.

Will there be contracts drawn up?

• There will be several contracts drawn up:- with the government about use of Big Ben etc., with Icount, with any other organisations sponsoring or helping with funding, the subjects of the potraits and the children who's drawings are used and a contract betweew ourselves and arts council.

Concept

A description of the peice with visuals drawings etc.

• Our piece consists of a porjection onto the face of Big Ben and the building itself. There will be potrait images projected onto the face of the clock for 10 seconds of each minute, changing regularly. This is to highlight the individuals place in the issue of climate change, although there is a lot for the government to achieve, it is also in the hands of the individual. Also the idea of each individuals image being used, fits with the concepts behind Icount, the individual having their say and impact.
• When the clock is striking an hour, for the duration of the strike and the bells, we will project one of the images created by the children onto the main body of the builing. The images created by the children will show what they believe the world will become if climate change is ignored. It is projectected onto the building as the image will have to be larger than the potraits to be seen in detail, also this is the real message to be put to the people and the government.

Materials

• projector (x2), materials for childrens drawings, photographic equipment, power.

Where will it take place.

• On Big ben and the body of the building.

Costs.

• projection (equipment/power)
• photographer (although could be one of us)
• Levee for big ben
• stall and childrens drawing equipment
• publicity- press conference, leaflets, posters
• paying ourselves
• Funding? - art council, sponsors

Time scale

• friday, saturday and sunday night- in run up to election.