visual representation of music

Kenor (Barcelona)- “Kenor’s organic, kaleidoscopic productions are geometric representations of sound and movement, visual interpretations of music and dance in two-dimensional form. Whilst the production of art must always be understood as a performative act then, Kenor’s images are saturated with this corporeal trace, artefactual remnants of his burning energy. Their multicolored, effervescent hues, their fluid, protean contours, mean we are forced to enter into, to travel into his paintings, to travel within his “abstract architecture”, his architecture “floating in the cosmos”.

Up until 2000, Kenor was focussed on more traditional urban art, obsessed with typography, logos, and textual experimentation. Yet as the Barcelona movement gathered pace, Kenor found himself wrapped up within the changes, forming designs which functioned as “parallel worlds, dreams, hopes, illusions, questions, options and exits”. His urge to transform the city, to counteract the ever encroaching grey with a wealth of colour, has been one which connects these two phases in his career however, an irrepressible urge to “decorate the dead cities”, to make the street a “gallery for everyone”. What thus moves him is the texture of the city, the “boundaries”, the “abandoned, damaged, worn” parts of the street. These sites call him, seduce him, they necessitate repair, resuscitation, reanimation. Kenor has thus become something of a spokesperson (through both his words and images) against the increasing commodification, the greyification of Barcelona, a spokesperson against the new laws which have come to repress so much of the cities previously active street-life. From skateboarding to performance art, break-dancing to busking, street practices have been curtailed whilst the city still attempts to market itself through its liberal, cultural heritage: “They made their own city, and their evolution goes the way they choose, yet it also contaminates the future, keeping marks for another kind of culture in our streets…They want to promote only for their interest. They support for a day the same people they punish to win the sympathy of the young people”.

Despite this, Kenor has continued to produce, to revivify the city, his works increasing to a now monumental size, covering walls all over the world. Yet he has also moved into new realms, not only installatory and sculptural, but a deeper progression into video and performance art. Films such as “Floating Points”, “Dentro de mi”, and in particular "Cualquier lugar, un dia cualquiera”, more readily display the connection between dance and inscription, the choreography of the image. Like a living organism, Kenor thus simply wants his work to keep constantly evolving, to “re-create spaces of freedom”, submitting the viewer to “endless options”. Whatever medium he works within then, he wants the recipient of the image to be a “free player”, a player “able to choose and imagine a new dimension that allows it to grow”, one unrestricted by the image, captured by infinite possibilities of the line.“

Title: Desconstruccion Energia 195 x 130 Barcelona





Why Elastic Heart Is The Most Powerful Video To Be Released In Recent History

Thousands of words have been written recently about Sia’s video for Elastic Heart, but for all the wrong reasons.

The song was first featured on The Hunger Games: Catching Fire soundtrack, with a guest appearance by The Weeknd. The track was created by renowned dance producer Diplo who has worked with M.I.A., Die Antwoord and many others. The song is about self-fulfilment and the external forces against someone trying to keep their life together. Sia’s songs are famed for being very quickly written but - as with her previous single Chandelier - also being deeply personal.

The video is a piece of art as a standalone effort, even devoid of music and context within a trilogy of videos (the first being Chandelier, and the last to be determined). It is a brave foray into challenging modern perceptions of music, dance and artistry and brings contemporary dance into mainstream view - to often misguided eyes.

The sheer skill alone shown by the dancers is enough to make you catch your breath - if you’re not confused by what’s going on or searching for a subtext that isn’t there. The blonde bobbed dancer is Maddie Ziegler, who was spotted from a reality show named “Dance Moms” which predictably centres around obsession with competitive dancing in a family. There can be many words written about that sort of relationship, but this isn’t the time to do so. Ziegler’s professionalism, enthusiasm and complete commitment to the character she plays is focused and driven, and seems far removed from what the reality show has warped her personality into (at least by what can be taken from her public appearances). 

On the opposing side of this young but highly skilled dancer is the new age oddity of Shia LaBeouf. Probably most famous for his role in the terrible Transformers series, he has recently been involved with art projects in what pundits might deem a “breakdown”. Actors pursuing their own goals and changing their philosophies is nothing new - especially for those who start so young (LaBeouf was a child actor in the children’s sitcom “Even Stevens”).  Quick research shows that his mother was a dancer, and so he may have inherited an interest in it. The dancing undertaken in the video not only requires strength, but rhythm and grace, and is not easily achievable without severe practice. It is obvious a natural talent lies within.

Breaking down the video, there are some key sections which really turn heads on what is deemed to be a modern music video:

Firstly, the artist is featured - but as an icon instead of physically being present in the video. The Sia bob is worn by Ziegler, as it was in Chandelier, and it has been adopted as the musician’s faceless trademark. Sia chooses not to associate her appearance with her music, and this is understandable in the shallowness of the entertainment world.

Visually; the camera warps and bends, creating unease and tension. This is almost subconscious as you concentrate on the characters. The setting is not fantastical or even grounded in reality, it is a representation of only one object (the cage) and the dance is the focus within it. The backdrop does not even hide reality by placing it in an abstract white space, instead it is clearly being filmed in a warehouse. The focus of the visual is the message.

The message of the video has been made clear by Sia in the furore following its release. It represents internal conflict inside the musician represented by two forces within her. There is no sexual, romantic or familial relationship being represented in the video. It is purely an inward look. The warring personality traits are portrayed emphatically, enthusiastically, dramatically and - most importantly - flawlessly.

The intensity that LaBeouf and Ziegler have for the performance is completely above what can be comprehended in just watching it. They throw themselves around the set, with the faux dirt covering the many bruises they would surely have. The level of commitment to the dance is transcendent - literally. Many dancers, singers, performers of all nature have described a meditative state where all awareness of surroundings is lost and the body or voice takes over completely with nothing but the performance in their mind. This is obviously shown in the video. And for something that would take hours to film from different angles, the level of commitment is intangible.

Certain moves are complex almost beyond belief. Ziegler runs backwards, bent over with her arm between her legs - showing astounding balance and grace. LaBeouf’s cage climb and hang is simply breathtaking, striking a balance between strength and artistry which is so important for many male dancers.  Ziegler’s flip onto LaBeouf’s back, followed by lifting herself onto his shoulders could only be performed by someone with incomparable skill.

Most importantly of all however is the emotion within. The curiosity, intimacy, anger and finally a powerful desperation bursts from the seams. Even the strange playful nature of pulling faces is comparable to doing so to distract and comfort a crying child. The final scene is the most intense of all; chilling, draining and unbearable to watch. The despair is heartbreaking.

Elastic Heart is a testament to what a visual for music should be. It is an uncompromising representation of a powerful art form and message, and should not be misrepresented.

(NB: The author spent eight years in various dance schools)


Watch: Keke Palmer’s new video for her single ‘I Don’t Belong To You’ has an amazing ending.

Song introduces their sister, the night sky, to River/Revuer, a growing god of dreams and stories.  Night Sky, and Song and Night Sky’s parents Dawn and Dusk, are Deaf, and River is mute.  Song thought it’d be a good idea to introduce their friend to people who knew sign language.

I’ve got a little story about Song going off across the world to find a gift for their little big sister, since she can’t hear the sounds they create.  They meet various gods and spirits, and ask their advice and help, and try to think of a grand project.  In the end, Song just makes fireflies, as a visual representation of music and an echo of Night’s stars.  

River, however, comes from my friend Laughingcrow/ThatDamnCrow’s head and has her own story.

Beyoncé created a one hour masterpiece of music and cinematography with stunning visuals and representation of black women calling her husband the fuck out for cheating on her and turned her pain into empowering art for the world. Meanwhile someone I know cheated on his girlfriend and she broke into his house and pooped on his bedroom floor. To each her own, I guess…

anonymous asked:

Why do you like kate bush so much? i think her early and mid 80s work is her only relevant one maybe the first album too

Oh, anon. Prepare yourself. 

I don’t know, to be honest, what it is about Kate that’s endeared me so much. Perhaps it’s the fact that I see myself in her– until I found Kate, I’d never had an artist I strongly felt attached to, and then, there she was, with my theatrical and dramatic sensibilities, and eccentricity that mirrored my own. But, my experience isn’t what has won her legions of fans– this is: 

Her music, no matter in which album, is audibly beautiful. On her more stripped-down piano tracks, her voice, with its epic range, is front and center, conveying emotion in ways few artists can; while on tracks with more varied instrumentation, she very carefully crafts entire soundscapes. Her attention to detail becomes obvious, especially on an album like 2005′s ‘Aerial’– the layers and layers of sounds, and the harmony of such carefully chosen sounds combine to tell a story in music– like any good piece of art, you hear something new, and see another dimension, on every listen. 

Lyrically, each song can stand alone as an entire, fleshed out story. This is seen throughout the entire tenure of her career, of which a good example is her second album, ‘Lionheart’. While she and others have regarded this album as being “rushed” and lacking in the musical quality of her debut, her storytelling is richer than ever: “Kashka from Baghdad” is the tale of homosexual lovers being spied on by the community, “Oh England My Lionheart” telling of a fighter pilot who’s crashed, reflecting in his last moments, and “Coffee Homeground”, in its Brechtian/carnival lunacy, is the narrative of someone who’s suspecting they’ve been poisoned by an over-zealous host. Later on, she used the likes of entire concept pieces, consisting of several tracks, to tell a story– see her magnum opus, “The Ninth Wave”, the tale of a woman who’s lost at sea and hanging between life and death; or her masterpiece “An Endless Sky of Honey”, which takes the pedestrian concept of a single day passing, and elevates it to dizzying and beautiful levels.

Kate has also always believed that visual representation went hand in hand with her music, crafting sweeping, cinematic music videos, and even orchestrating television performances with a firm artistic vision in mind. It’s long been mourned that Kate only did two live concert series, but surely part of this can be blamed on her attention to detail and nagging insistence to see her vision through. Her first tour, called “The Tour of Life”, was a two-hour spectacle full of music, dance, mime, and magic tricks– the culmination of Kate’s early work in a single, cohesive show. She took this to new heights in 2014′s “Before the Dawn”, which was an even-more realized concept fleshed out into a visually and musically groundbreaking show. Her performance art is, and has always been, entirely unique and unrivaled in its scope and power.

Perhaps something else that has won Kate so many devoted fans is her ability to evolve. Never sticking with one style for multiple albums, or even from song to song, she’s a virtuoso chameleon that’s been shoehorned into the image of a sex symbol, a hermit, or some crazy nymph whirling about on the moors. It’s important to listen to the entire body of her work– even in her weakest moments, musically, the least you can say for her is that she saw chances and dared to take them. Sure, there’s tracks that *don’t* work as well as others, even entire albums that fall short to some– but she’s always changing, always experimenting, and always staying true to a style that’s unmistakably hers. Much of her lasting power can be contributed to the fact that she’s never settled into a tired routine, and she’s certainly never sold out– her loyalty to her art always comes before what is popular or what will sell. 

THAT is why I love Kate. She’s not for someone who’s not willing to be adventurous, not willing to step out of their comfort zone, or not willing to accept what’s not the norm in music– and that’s what makes her brilliant.