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The Living Need Light, The Dead Need Music

Who?

Created by artist collective The Propeller Group

“The Propeller Group was established in 2006 as a cross-disciplinary structure for creating ambitious art projects. With backgrounds in visual art, film, and video, Phunam, Matt Lucero, and Tuan Andrew Nguyen created the collective to harness the synergetic spirit encountered in large-scale production efforts. Through multi-platform work, collaborations with other artists, and dual headquarters in Ho Chi Minh City, Vietnam and Los Angeles, California, The Propeller Group is able to integrate many resources and idiosyncrasies in their practice, which expose the strategies of the type of global agency their name suggests.” - Ethan Swan

http://www.the-propeller-group.com/about

Directed by    

Matt Lucero

Tuan Andrew  Nguyen

Phunam

  Writing Credits (in alphabetical order)    

Matt Lucero

Tuan Andrew  Nguyen

Phunam

  Produced by    

Tuan Andrew  Nguyen

  Cinematography by    

Phunam

    Film Editing by    

Matt Lucero

Tuan Andrew  Nguyen

Phunam

  Production Design by    

Matt Lucero

Tuan Andrew  Nguyen

Phunam

  Sound Department    

Manh Hoang  Tran

re-recording mixer / sound designer

 What?

 The Living Need Light, The Dead Need Music - Draws its title from a Vietnamese proverb.

The film is a romantic portrayal of life, death, and reincarnation, in a South Vietnamese context. The film is presented in three parts, loosely following a narrative of the wake, procession, and burial of an androgynous character. Poetic imagery is rapidly interspersed with bits of the documentary, suggesting an alternate perspective on funeral rituals, as that of a celebration of death instead of grief. The amalgamation of traditional symbolism accompanied by modern pop songs along with rich cinematography takes the viewer on an intense musical journey, in which he/she learns that the dead never truly stay dead, and that life is merely a never-ending cycle of death and rebirth.

The film captures the essence of traditional Vietnamese funeral practises. The propeller group intended to make a tribute to funeral processes in the region. While funerals are usually a solemn affair, the film showcases the celebratory nature of Vietnamese funerals. The intentional of pop music highlights this aspect of the funeral.

While we seem to think that life and death are opposite, they are in fact intertwined. narrative “I departed on a cold winter night and came back to life in the future/ With that, I’ll never die”.

 Symbolism

 In ‘The Living Need Light, The Dead Need Music’, symbolism is largely apparent throughout, in the forms of the snake and the skull of a cow. The symbol of the snake is incredibly significant specifically to the Vietnamese culture, as shown by the parts it plays in this film. Snakes are symbolic to the Vietnamese are they are viewed as the ancestors of the Vietnamese, as well as the gods of water, which ties in with the film’s multiple settings in water bodies (the sea, the swamp, etc.). Snakes also symbolise immortality The skull of a cow may seem to represent Death on the surface, but it is actually tied closely to Life and Earth as well, as cows are often regarded to represent Mother Earth due to their giving nature (milk, meat etc.) 

 Characters  

This film stars a number of characters, some of which are more dominant and help to construct a narrative that tells about the funerary practices of Southern Vietnam. The main character is an androgynous man who appears as both male and female

The next standout character is the little boy who is seen running around in what seems to be a school uniform. We think that the boy represents life, reincarnation and the vitality of the living. He could also be the main character’s younger self.

the band major and the brass band. They partly appear to be fantastical in nature, with funny-looking trumpets that add to the idea of a grand celebration in death.

 (Xuanfei, 2016)

 When?

2014

 Where?

 The colourful funeral procession travels from Ho Chi Minh City for a visual, musical tour of the eccentric funeral traditions and rituals of Southern Vietnam.

This film is set mainly in the housing residences of the deceased and their family. This is the place where the wake is usually conducted. The film is also set in the forest and lakes. These settings are used with reference to the Vietnamese idiom “being born from the earth, one must return back to the earth.” The procession brings the coffin through the lake and into the sea. In this case, the forest and lake are used represent the “earth”. The performance conducted by the funeral entourage is usually on the streets. This depicts the traditional nature of the practices carried out by the performers during the funeral.

 (Xuanfei, 2016)

 How?

 Shot in ultra-high-definition video, and produced with the technical sophistication of a Hollywood film, it immerses viewers in a lush and captivating dreamlike atmosphere.

The hypnotic pace intended to ease viewers in slowly, “as opposed to bombarding you, like so much imagery does today,” Lucero says. Key to this effect is the Group’s choice to shoot every scene in the film, from its documentary passages to the staged tableaus, using overcrank—essentially capturing more frames than necessary so that the footage can unfold in slow motion without losing its sparkling, cinematic quality. The effect is such that you are lulled into a state of near-sublime visual pleasure, only then to realize the incipient sadness of what you are watching.’’

(E-flux.com, 2015)

 Why?  

Originally commissioned for the Prospect 3 arts festival in New Orleans, the film conjures a spatial confluence of the Mekong River and the Mississippi Delta, places that are similarly grounded in swampy landscapes and processional music traditions

The practice of hiring the funeral band and performers was actually a sense of consolation to the family members (“The living need light”) and entertainment to the dead (“The dead need music”).

 The professional challenges surrounding the making of the work  

The amount of research that the propeller group had to do in order to  find the right locations, Hiring of actors and fully immerse themselves into Vietnamese culture

      Level of professionalism needed in order to show decorum to family of the deceased 

         SOURCES

 E-flux.com. (2015). The Propeller Group: The Living Need Light, The Dead Need Music - Announcements - e-flux. [online] Available at: http://www.e-flux.com/announcements/1044/the-propeller-groupthe-living-need-light-the-dead-need-music/ [Accessed 17 Oct. 2017].

·         Xuanfei, V. (2016). 2: The Living Need Light, The Dead Need Music – It's hard to explain.. [online] Oss.adm.ntu.edu.sg. Available at: https://oss.adm.ntu.edu.sg/xng027/2-the-living-need-light-the-dead-need-music/ [Accessed 17 Oct. 2017].

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Photography equipment

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Photography Terminology

Aperture

the size of the opening in the lens.

A wide open aperture = will let more light into the image for a brighter photo

Smaller aperture = lets in less light.

Aperture is one of three camera settings that determine an image’s exposure, or how light or dark it is. Aperture also affects how much of the image is in focus

Aspect Ratio

Aspect ratio is simply the ratio of the height to width. You can change the aspect ratio in your camera 

Burst Mode

You can take photos one at a time. Or, you can turn the burst mode on and the camera will continue snapping photos as long as you hold the button down

Exposure

Exposure is how light or dark an image is. An image is created when the camera sensor (or film strip) is exposed to light

Focus

Something that is in focus is sharp, while an object that is out-of-focus isn’t sharp. Different focus areas determine if the camera is focusing on multiple points or one user-selected point.

Auto focus = camera automatically focuses on object

ISO

The ISO determines how sensitive the camera is to light.

 Rule of Thirds

This compositional rule suggests imagining the image has been divided into three parts both horizontally and vertically.

Shutter Speed

The shutter is the part of the camera that opens and closes to let light in and take a picture. The shutter speed is how long that shutter stays open, written in seconds or fractions of a second

Camera modes

 Modern DSLR cameras typically have several shooting modes: Program mode (P) - Camera intelligently chooses shutter speed and aperture to achieve correct exposure Shutter priority (S) - User sets shutter speed, camera chooses appropriate aperture Aperture priority (A) - User sets aperture, camera chooses appropriate shutter speed Manual mode (M) - User sets both aperture and shutter speed

Incident light meter:

is a handheld device separate from your camera that measures the amount of light falling on a subject (as opposed to the reflective reading your camera takes which is light bouncing off the subject back to the camera). 

Speedlight 

 small portable flash which can attach to your camera’s hot shoe, or stand alone if activated remotely.

Soft light 

 diffused light such as from an overcast sky, north facing window with no direct light, or a large studio softbox. This type of light produces soft shadows with soft edges, lower contrast, and less texture

Scrim 

a translucent device used to diffuse and soften the light, could be a reflector with a translucent panel or option.

Backdrop

A vertical surface with painted designs/ or blank which is used to form the background

Back Light

Used behind the subject and pointing toward the camera for visual separation of subject and background.

Diffuser

Generally, something made of diffusion material that softens the quality of the light passing through it to produce a more flattering light with less noticeable shadows.

Snoot 

 a tube or similar object that fits over a studio light or portable flash and allows the photographer to control the direction and radius of the light beam. These may be conical, cylindrical, or rectangular in shape.

Filter 

A term that refers to color media, diffusion material, light blocking or neutral density.

Flood Light

A light source consisting of a rectangular lamp and sometimes a single lens, used to direct a large amount of light on a relatively large area.

BEAUTY DISH

A medium-sized lighting modifier that’s shaped like a dish and made of metal or plastic. The inside of the dish is usually white or silver and reflects light onto the subject. The size softens the light and the shape gives it a crisp quality. Beauty dishes can be used with grids or diffusion socks to further modify the light

TRIPOD

A three-legged stand for a camera, used to stabilize cameras. Tripods are one of the most cost-effective tools to increase your capabilities with a camera

FLASH

A light source with a short duration — typically just a fraction of a second. A flash unit stores energy in a capacitor and lets it out very quickly as a burst of light to affect exposure

GRID

A piece of metal or plastic with a grid pattern, placed over a light source, to decrease the angle of output and to control light spill. Grids are labelled by the angle of their output.

HAIR LIGHT

A light directed from behind a subject that creates a glow around the rim of their head. Also called a rim light.

COLOR BASICS

CMYK – CYAN, MAGENTA, YELLOW, BLACK

The four colours used in the standard printing process to reproduce full-colour images. Cameras record images in RGB (red, green, blue), so images must be converted to CMYK before printing to retain accurate colours.

COLOR TEMPERATURE

A scale used to measure the colour of light in degrees Kelvin, ranging from warm (about 800 – 3,200 K and yellow/orange) to cool (7,000 – 10,000 K and blue). 

DESATURATED

A photograph that has the saturation (colour) fully or partially removed.

GRAYSCALE

Also known as a black and white image, grayscale contains multiple values of grey but no colours

RGB – RED, GREEN, BLUE

The colours that comprise a full-colour image with an image sensor. Different combinations of each of the colours make up all the colours that can be seen on an LCD, monitor or other display.

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Humans. Capable of the worst, and capable of the best. We just don't realize it, till circumstances force us to

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Blurry Process pictures

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Artist Statement

...

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Idea(s) Generation

plan: * to use air dried clay 

         * maybe incorporate video

         * installation piece

          I had an idea that was influenced by the ‘’Moby - in this world’’ music video whereby little alien creatures come all the way to earth to make contact and find a friend amongst the humans - but nobody stops or notices them. The video made me want to explore what it means to be human or what makes us human - by making ‘alien’ or ‘foreign’ creatures with clay and having them experience everyday human activities. This would be documented as a video piece

I then decided to explore deeper. I had an idea where I explore what it means to be human/ what makes us human - and I started to look/play with the idea of ‘dissecting’’ humans. I wanted to make figures and place them in glass jars.

are we looking in from the outside? are we looking out from the inside? 

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Tips with clay

1. Use wax paper.

 Air dry clay will stick to whatever surface you are working on. I did my project on wax paper to protect my table and to make it a little easier to remove the clay from my work surface.

 2. Put lotion on your hands first.

 Again, clay is sticky! My putting lotion on your hands helps keep the clay from sticking to your fingers while you’re working with it. I wish I would have known this tip ahead of time!

 3. Do not make the clay too thin.

 Rolling the clay out too thin can lead to cracking and breaking once dry. I have found that about a quarter inch thick works well. It is thick enough that it is less likely to break, but still thin enough that it won't increase drying time too much. 

 4. Use toothpicks.

 If you are creating something with multiple pieces, it can be difficult to get the parts to stay together.

5. Remove imperfections with water.

 When you work with clay, your fingerprints will make imprints on your project. You also might have some pieces you want to fit together. To smooth out imperfections or adjoining areas, use a small amount of water on your fingertip.

 6. Flip your project over during drying.

 Air dry clay is slow drying. Depending on environmental conditions, it can take 24-48 hours to dry. If part of your project is against your work surface the entire time, moisture is trapped underneath and it will take even longer to dry. Be sure to flip your project over to ensure all parts get exposed to air and dry thoroughly.

 7. Use the oven to speed up drying time. (optional) 

 . Turn the oven on to its lowest setting and bake for a couple of hours.

 8. Store clay in an airtight container.

Your leftover air dry clay can be saved and used again! Keep it in an airtight container to help it retain moisture.

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human form references 

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 Spanish artist Cristina Carbero believes that every individual needs their own vital space; create a bubble where they can be protected from their fears and problems. Each one may be very different and unique, yet united they form society and the cities that we live in.

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Term 3 holiday sculpture project: research / inspo images

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Daniella Mooney

Biography 

Daniella Mooney was born in Nelspruit, South Africa, 1986, and now lives and works in Cape Town, South Africa. She completed her BAFA at the University of Cape Town in 2009 following which her work has been placed in the permanent collections of the 21C Museum in Kentucky, The Ellerman House Collection and the Zeitz Collection. 

Solo Exhibitions 

2014 Golden Age Rising - Golden Age Rising, WHATIFTHEWORLD, Cape Town 2011 Maybe Your Magic is Working, WHATIFTHEWORLD, Cape Town 2009 A Rainbow in Curved Air, Michaelis Graduate Exhibition, Cape Town

About

Through her work, Mooney engages her responses to lived experiences, interactions and events, looking at how her interpretations of these are predetermined by imposed belief systems, mythic archetypes and personal histories. Attempting to eschew these constraints, she is driven to intuitively pursue an intangible unknown through her poetic connections between nature, psychological perception and the metaphysical. Ranging from delicate smaller works to large-scale sculpture and installation, Mooney’s meticulously crafted works are never overwhelmed by the astute observations which they channel. She is dedicated to the expansion and mastery of her craft, and has a profound respect and reverence for the tools and materials used to shape her work, actively engaging with the histories of these objects.

http://daniellamooney.tumblr.com/about

“Daniella creates sculptures that in her own words “explore religious beliefs and the natural world, light and natural phenomena” – a place where “the ritual act of sculpture-making becomes a ceremony in itself.” 

‘I was born on a farm just outside of town. After school and a gap year, I came to Cape Town to study art at Michaelis. I didn’t realise the impact growing up on a farm would have on my work, but the memories continue to be a big source of inspiration for me.’

http://elledecoration.co.za/qa-with-daniella-mooney/

Carving Processes 

Daniella makes use of intricate carving within her works -  the process of shaping her materials into sculptures simultaneously serves as a means of forming her subjective understanding of being in the world; the two are intrinsically linked.

‘Romance of Many Dimensions’

‘This piece was a simple study on rendering light as a tangible substance, taking an everyday object like a desk lamp and capturing the ‘invisible’ light it emits. I enjoy working with wood and thought that as a natural material, the different qualities and grains would work well with the idea of artificial light.’

Daniella Mooney, Three New Wands, 2017

My Winter, Your Summer.

Jelutong, American Poplar, Walnut, Slate. Dimensions variable.

2011

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Rowan Smith

Biography: 

Rowan Smith was born in 1983 in Cape Town, South Africa and has been hailed as one of the country’s ‘Bright Young Things’ by Art South Africa, the continent’s leading art publication. Smith completed his BA in Fine Art at the Michaelis School of Fine Art in 2007 (winning the Michaelis Prize for top graduate) and received his MFA degree at the California Institute of the Arts in 2012. Upon graduating he was awarded the prestigious Joan Mitchell MFA Grant. 

Smith presented his acclaimed debut solo exhibition Future Shock Lost at WHATIFTHEWORLD in 2008, followed by If You Get Far Enough Away, You’ll Be On Your Way Home in 2009 and No Everything in 2014. He has also exhibited a solo presentation with the gallery at VOLTA NY in 2012. Smith has appeared in a number of group exhibitions internationally, including COME ON YOU FUCKERS. The artist’s work is included in the Hollard Collection in Johannesburg.

Artist Statement:

“Rowan Smith’s work takes the form of a multidisciplinary semiotic investigation into the ways in which cultural signs and signifiers can be read as artefacts. He examines how the meaning embedded in these artefacts fluctuates (and frequently deteriorates) in relation to ever-shifting sociopolitical contexts; often assuming a self-critical position which responds to his locality. Most recently, Smith has focussed this lens on the complexities and contradictions of post-apartheid South Africa in terms of class, capitalist economy, nationalism, globalisation and the relationship between the pervasive legacy of the past and the undefined present. He examines these concepts through acts of appropriation, defacement, destruction and reparation. By visualising the destruction of a society in this way, he intends to highlight the flaws embedded in its underlying structures that they may be acknowledged and confronted. Crucially, the physical materiality of the works is as important to his investigation as the concepts informing them; the two work in tandem in order to extrapolate the themes inherent to the artwork.’’

https://www.whatiftheworld.com/artist/rowan-smith/

Carving processes 

Rowan uses mold-making as a key practice in his work - he plays with the idea of being able to re-create objects multiple times and using different materials to create different things, Materiality also forms part of the meaning in most of his works. 

Accidental Geography, 2016.

 Enamel on ceramic, cardboard, packing tape, polystyrene chips, rubber stamp

34 3/10 × 32 7/10 × 20 1/2 in87 × 83 × 52 cm

Nothing Last Forever Cecil, 2014

Bronze, powder coated mild steel, tempered glass, swarm of bees

Fuck Your Beach House

artist profile video 

https://www.youtube.com/watch?v=7Uiftz43Z6g

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Bridgewater Studio Visit

On Friday the 4th of August my art class and I visited the shared studio of Rowan Smith and Daniella Mooney – both of whom acted as our guest lecturers for the term for sculpture.

During the studio visit I noticed a few things:

 Studio space

The studio space was located in the industrial area known as Paarden Eiland and, like many of the surrounding buildings; the studio was factory like in its presence. The size of the shared studio was quite large – there were many rooms and a substantial amount of garden/outside space in the back and front of the studio. The studio reminded me of a house, which is why I probably felt a bit at ease being there and had enough room so that one didn’t feel stifled (either in a claustrophobic or creative sense). The studio space is divided into sections; there is the main room where the equipment is stored and the artist’s studios. Rowan and Daniella (and other artists that we didn’t meet) have their own rooms within the studio space – Rowans studio/room was filled with new pieces that he was working on for future shows so we were lucky enough to gain a sneak peek. Daniella’s studio looked less like a work-in-progress but was filled to the brim with some of her works over the years. The sizes of the rooms are quite small-scale but they are perfectly adequate. A space is what you make it.  

Equipment

The main room (or the biggest and middle room in the space) was filled with various tools and work stations.  The equipment from my observation seemed to be divided into sections; one being for wood carving or shaping of various materials, one for miscellaneous tools, storage of materials and so forth. I was amazed by the amount of materials on hand but then I realized their collection was needed due to the amount of tools required to produce art – or more how tools help creating/finessing art to a high degree.   The maintenance and storage of the materials and tools was very impressive.  Due to the space being quite large it is important to keep the myriad of tools safe and organized so that they are easily accessible.

Ethos

The ethos within a studio space or especially within a shared studio space is of high importance. It is important to have mutual respect within a shared space and a system of rules to make sure that everyone complies. In the studio it was clear that there was mutual respect amongst the artists, and there were rules regarding keeping their spaces neat and returning tools and so forth.  I like seeing artists coming together and making art in a creative environment where they feel comfortable enough to be vulnerable with others – it is somewhat inspiring and creates hopes for me, who shies away from people seeing my art in its beginning processes, that maybe I can to be comfortable within a shared studio space in the future.