September is Childhood Cancer Awareness Month … but it’s difficult, even for sufferers, to drum up the wherewithal to begin broaching the subject. Having cancer as an adult is scary, and fraught with murky medical obstacles. Imagine how it feels when you’re a kid. This is why, on behalf of the Pediatric Brain Tumor Foundation,…
Justin Bennett, Multiplicity, 2017. Photo via Justin Bennett
If you ever find yourself in or around Brussels and are interested in art that explores technology in a meaningful way, then do visit the exhibition The State of Things 2017 at iMal, the center for digital cultures and technology.
The art center has invited Werktank and Overtoon to take over its galleries and present four installations developed by artists who work or have worked in their studios. Overtoon shows ‘Multiplicity’ by Justin Bennett and ‘Polyhedra’ by Floris Vanhoof. Werktank shows ‘The White’ by Kurt d’Haeseleer and Franck Vigroux, as well as ‘Search for the frame’ and two new site specific works by Johannes Langkamp.
Overtoon is based in Brussels and is dedicated to the research and production of sound art. Werktank is based in Leuven and produces installation art that explores the relationship between technology and perception. While the two platforms have different concerns, they both value an experimental and sensory approach to image, light and sound.
I’ve always have a soft spot for sound art so i’ll kick off my walk around the exhibition with the sound installations:
Floris Vanhoof, Polyhedra, 2017. Image courtesy of iMal
Floris Vanhoof, Polyhedra, 2017. Image courtesy of iMal
Floris Vanhoof, Polyhedra, 2017. Image courtesy of iMal
While at Overtoon, Floris Vanhoof created a symphonic orchestra composed of 40 loudspeakers of various geometrical shapes. Because they have different sizes, shapes and spatial placement, each sculpture translates sounds in a specific way. The listening experience takes on an additional visual but also sensorial dimension as you walk around and inside this cloud of speakers and discover how the natural movements in the sounds seem to morph and move from one sculpture to another.
Justin Bennett, Multiplicity, 2017. Image courtesy of iMal
Justin Bennett, Multiplicity, 2017. Image courtesy of iMal
Justin Bennett, Multiplicity (Filters for listening to the city), 2017
Justin Bennett, Multiplicity, 2017
During his residency at Overtoon, Justin Bennett built an array of listening devices -like a miniature microphone inside a trumpet or a wooden stethoscope- to explore the acoustic territories of Brussels. He then went on to uncover and record the voices and narratives of people, the sounds of work environments, of the fauna, of underground tunnels and passageways, etc. The artist manipulated the sounds he encountered, traced out narrative paths across the Belgian capital and explored the visual and spatial forms of the city in drawings and sculptures.
The exhibition detailed Bennett’s research into the sirens of emergency vehicles whose presence in Brussels’ soundscape increases with each terrorist threat or attack. The sound of various types of sirens and signals weaves into the urban fabric as they move through it. Bennett observed how the siren sounds bounce off the large glass facade of office buildings, giving the impression that there are several emergency vehicles instead of just one. And as the vehicle recedes into the distance, its direct noise fades out and leaves more space for its reflections which will, eventually, be covered by more powerful urban sounds.
The first result of Bennett’s research is a multi-trumpet sculptural installation that evokes the distorted and multiplied echoes produced by emergency sirens in urban space.
Kurt d’Haeseleer & Franck Vigroux, The White, 2017. Image courtesy of iMal
Kurt d’Haeseleer & Franck Vigroux, The White, 2017. Image courtesy of iMal
Kurt d’Haeseleer & Franck Vigroux, The White, 2017. Image courtesy of iMal
Kurt d’Haeseleer & Franck Vigroux, The White, 2017. Image courtesy of iMal
Kurt d’Haeseleer & Franck Vigroux‘s audiovisual installation recreates a technique that first appeared as a stage illusion in the mid-19th century. The Pepper’s ghost used a glass plate placed between spectators and the scene to create a ghost apparition on stage. The ghost was in fact an actor kept invisible for the public. In other cases, ghostly objects were made to ‘materialize’ then fade out of existence or to magically transform into different objects. The technique is still used nowadays in theatre, amusement parks, museums, television, and concerts. Teleprompters are a modern implementation of Pepper’s ghost. The technique was also used recently for the appearance of Tupac Shakur onstage with Dr. Dre and Snoop Dogg at the 2012 Coachella Festival and Michael Jackson at the 2014 Billboard Music Awards.
In ‘The White’, which was produced at Werktank, two white TV screens are reflected. The reflecting glass plate doesn’t show the expect white image but two eerie streams of moving images on each side of the plate.
The installation tries to poke into the dark subconscious part of our mind. It confronts us with both our fear and resistance for what is strange and unknown as our fascination and attraction to it. White, a color associated with positivity and goodness, seems to hide a more troubled and complex reality. The sensorial experience of ‘The White’ is somewhere between ecstasy and fear, like that of a child that hides his eyes from something horrible he sees, but still glimpses through his fingers to see what is happening.
Johannes Langkamp, Search for the frame, 2011-2016
Johannes Langkamp, Pyramid of Vision, 2017. Image courtesy of iMal
Johannes Langkamp, installation view at iMal. Image courtesy of iMal
Johannes Langkamp is fascinated by the way camera operates and the gap between reality and its representation. I think Langkamp’s research would deserves a proper interview. Until this happens, i’ll gaily copy/paste the press blurb: ‘Search for the frame’ is a selection of sixteen video sequences from Langkamp’s archive of video sketches from the past five years. The compilation is a cumulative view of his research in which he is experimenting with the possibilities of the framed look. By playing with the perspective, he shows how the camera can manipulate reality.
The artist also presents two new creations at iMAL, in which he continues his research: the video installation “Pyramid of Vision” and a spatial intervention, inspired by the location.
The State of Things 2017 is at iMal in Brussels until 15 October 2017.
Related stories: Experiments in sound and perception. An interview with Aernoudt Jacobs and Listen to the sounds from the deepest hole ever dug into the Earth crust.
Could you even peel your eyes from that video to reach these words?
This mysterious “mermaid” Afghan dog has become a viral sensation, although he’s been around for more than a year now.
The great thing about Advertising Week is that everyone there is clairvoyant! Here’s a rundown of all the things we heard the future of advertising will be (drumroll please…):
Artificial intelligence that knows you, possibly too well. “I don’t think it will be too long, probably within the next five to 10 years, that you’re going to be able to talk to a voice assistant in the same way you would to somebody on a shop room floor, that knows all the information about the products, but more importantly knows everything about you, knows you as well as your own mom and dad does,” said Marc Lore, CEO of Walmart E-commerce for the U.S. during his Wednesday panel alongside Sridhar Ramaswamy, senior VP of ads and commerce at Google.
“The age of assistance,” said Allan Thygesen, president of Google Americas, in his panel by the same name, alongside Unilever Chief Marketing and Communications Officer Keith Weed. “I’m not talking about self-driving cars or contact lenses that project the internet. I’m talking about things that are happening today,” like Unilever’s voice-activated tips for stain removal served up via Google Home. Weed pointed to a Hellmann’s app in Brazil that delivers recipe ideas based on photos taken of what’s in a refrigerator.
The marketing cost-consciousness that started in the Great Recession has intensified with the past year’s uproar over production costs and “kickbacks.” Yet, so far, the industry conversation has missed a more fundamental problem that truly endangers brands: How we approach create commercials can’t sustain relevance, which is the epic challenge of our connected world.
Reaching potential customers with advertising that’s meaningful and compelling was the single biggest challenge cited by more than 300 advertisers in a poll this summer by Advertiser Perceptions.
To meet that relevance challenge, we need to overhaul a creation model that hasn’t changed fundamentally since the 1960s. You know, the agency, the client and the production company show up with a script and a shot-list, and execute it with an air date looming.
Time magazine’s just-released Oct. 9 covera photo-illustration by Brobel Designfeels spot-on and perfectly timed, but the animated version of it created for Time’s social channels, is just … amazing. (Click to play it.)
The static and animated covers front a story by Alex Altman and Sean Gregory, “Inside Donald Trump’s Latest Battle Against the NFL,” that reads, in part,
Hero Solutions, a fabrication shop in Chicago, worked on the extra-large ride, knee pads, helmet and thermos in the newest spot. “It’s one of the craziest things we’ve worked on,” owner/operator Jay Neander said as he put some of the finishing touches on the vehicle at his company’s workshop in September.
The main campaign comes from VML, while a companion Hispanic campaign is from Bravo. Spark Foundry is Wendy’s media agency.
An online video that came out in late August features the same characters in a throwback to toy ads from the late 80s or early 90s, and was more of a way to introduce the Giant Jr. name.
On November 15 and 16 in New York, Ad Age will host the first Next conference, bringing together marketers, strategists, technologists and futurists to debate what’s really next and break down industry obsessions such as artificial intelligence, virtual assistants and millennials.
Here’s a taste of what we’ve got lined up for the two-day event.
Marc Pritchard, chief brand officer of Procter & Gamble, made bold calls for digital players to clean up their act this year. At Next he’ll reveal who made the grade.
The digital ad industry has our collective knickers in a knot over the news that the next version of Safari will default to tossing cookies when they get stale. Chrome will soon follow suit with a built-in ad blocker, according to reports.
You can literally hear the heads exploding, can’t you?
This means marketers will now have one day to retarget someone around the web who has been cookied on a publisher’s website by a third-party ad tech company. After 24 hours, the cookie goes “Poof!”
Happy Friday, and National Coffee Day, which is convenient because everyone could probably use a little extra caffeine after the whirlwind of Advertising Week. Speaking of which, if you want a quick look back at the week, click here for our coverage, including our daily blog posts.
Now, before getting into this week’s Agency Brief, check out the photo below of Trevor Noah, host of Comedy Central’s The Daily Show, leading festivities for the 4A’s Centennial Gala on Wednesday night.
Don’t go breaking my heart
Outdoor
Corpus Academia
To promote prevention against breast cancer, posters have been created depicting the symbol of the fight against cancer by means of weights.
Advertising Agency:Carnaby, Curitiba, Brazil
Creative Director:Leandro Bonfim
Art Director:Leandro Bonfim
Copywriter:Leandro Bonfim
Film
Air France
Advertising Agency:BETC, Paris, France
Chief Creative Officer:Remi Babinet
Executive Creative Director:Ivan Beczowski
Creative Director:Margot Helfter
Art Directors:Hugo Cals, Antoine Montes
Graphic Designer:Samy Ghoumane
Web Designer:Samy Ghoumane
Copywriter:Julie Martin
Junior Copywriter:Charles Barraud
Strategic Planning:Sebastien Houdusse, Vincent Colonna Cesari
Social Media Planner:Constance Bonardi
Tv Producers:Sandy Semelin, Blandine Vives
Production Company:RITA Films
Director:Jérémy Charbit
Producer:Elodie Andurand
DoP:Axel Cosnefroy
Production Designer:Audrey Malécot
Choreographer:Cathy Ematchoua
Sound Production:Gum
Film
Art Fund
What is the perfect work of art? Is it by Rodin or Rothko? Is it a painting or a sculpture? More blue than red? Does it have a cat in it? Fred Rowson and 101 Agency, asked eight individuals over the course of a day at Dulwich Picture Gallery. Turns out one work of art can’t please everyone! See everything with Art Fund’s National Art Pass.
Advertising Agency:101, London, United Kingdom
Creative Director:Mark Elwood
Creative:Gavin Cumine
Casting Director:Kharmel Cochrane
Production Manager:Abi Jones
First Assistant Director:Kerry Green
DoP:Will Humphries
Art Director:Lucie Red
Wardrobe Stylist:Florence Jones
Editor:Sacha Szwarc, Speade
Edit Producer:Kristy Oldfield
Colourist:Edwin Metternich, Framestore
Flame Op:Katie Rhodes, Framestore
Post Producer:Chris Anthony
Sound Design:Neil Johnson, Factory
Sound Post Producer:Becs Bell
Cast:Cornelia Baumann, Michael Eaves, Andrew Francis, Colette Kelly, Pina Akin, Oziona Ihesiene, Paul Hattori, Martin Atkinson, Louvaine Inman, Mikey Bharj
Production Company:Colonel Blimp
Director:Fred Rowson
Executive Producer:Paul Weston
Producer:Corin Taylor
The television host and children’s book author “sleeps in” until 6 a.m., enjoys a hearty breakfast, and then hits the town with her family.
Black cab app, Gett, has launched a series of outdoor posters that takes aim at rival Uber.
Com capacidade para 15 pessoas, espaço de convivência é erguido por um guindaste
> LEIA MAIS: Lipton cria maior jardim suspenso de São Paulo
Ministro Coreano interpreta mensagens de Trump como uma declaração de guerra
> LEIA MAIS: Twitter se recusa a intervir nas provocações de Trump contra a Coréia do Norte
O Rock in Rio 2017 mal acabou e a edição 2019 já está em pauta. Durante o evento desse ano, o B9 conversou com Vanessa Brandão, diretora de Marketing da Heineken, que confirmou a parceria da marca e o festival para 2019. “Nosso relacionamento com a família Medina e com todo o time do Rock […]
> LEIA MAIS: Diretora de Marketing da Heineken confirma parceria com Rock in Rio 2019
Nova forma de publicidade é mais uma forma da empresa conseguir aumentar receita
> LEIA MAIS: Snapchat permite que marcas criem seu próprio Word Lens 3D dentro do aplicativo
Playlist leva em consideração idade e gosto musical do usuário
> LEIA MAIS: Spotify cria “Máquina do Tempo” com playlist nostálgica personalizada
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