1. Expanded Cinema: Live video/music performance

Angie Eng is a multimedia artist who works in video, installation and time-based performance since 1994. Starting out in New York working with tube cameras, wireless macro cameras, The Fairlight, cheap video mixers and  analogue cinema tricks with puppetry, Eng is best known for her live video performances.  She lives/works between Paris and New York City. 



Echodes ciné-concert with Rhys Chathm/Angie Eng

Live video music performance

May 24, 8pm
Les Voutes, Paris

Echodes is a audio visual performance with noise guitar, minimal composer, Rhys Chatham
and experimental video artist, Angie Eng. This collaboration began with
common interests such as improvisation, noise music, experimental video
and the theme of mysticism. Taking inspiration from the trumpet and
guitar of Chatham, Eng creates a series of videos based upon the
rituals, mysticism, illusionary divine. For this performance she will use her new Videobass instrument. 

Chatham’s trumpet sound is an amalgamation between Don Cherry’s free
way of playing combined with Jon Hassell’s modal and rhythmic approach,
all adding up to a sound that’s as fresh as early morning baked bread in
Paris. Expect down tempo, flexistential insanity, side by side with
hard driving stoner rhythms and the sweet sound of screaming black metal
riffs morphed into hydrogen jukebox delay trumpet.

Bacchus in Vegas is about illusions and was inspired by Leonardo DaVinci’s painting, Bacchus in a Landscape.
Deemed too sensual to be St. John the prophet by its owner Cassiano dal
Pozzo, he had it repainted as Bacchus,the pagan god of wine and lust.
The irony in this painting is depicted by live drawings of Bacchus
paralleled with photographs of Las Vegas and archival footage of
buildings being destroyed. She chose Las Vegas, as symbol for both
paradise and hell, as an analogy of the story with Leonardo’s painting.

In Matador’s Spin and Owls Know, she works with a mini-camera, props (a feather and tarot cards)  and the software, VDMX. These objects are transformed into windows for Quicktime loops. Owls Know takes
its inspiration from this symbol of wisdom and is mixed between parts
of the owl and the hebrew alphabet in reference to Kabbalah magic.

Matador’s Spin is based upon bullfighting as  a
quasi-religious ritual. The matador’s cape spinning “magically” turns
into illusion when the bull’s charge is meaningless. The set of passes
evokes a dilemma for the bull — is the experience: Real, Illusion,
Real-and-Illusion, Neither-Real-nor-Illusion. A scientist and a radio
broadcaster look down upon the bullfight as if higher deities observing
human acts.

In the piece Holy Groves fields of astrolabs are animated
and juxtaposed with mirrored images of people figures at the palace of
Versailles.  Astrolabs used for divinity purposes as well as astronomy
are contrasted with tourists that seem like ants gazing upon the gardens
of the ‘Sun King’, Louis IV.