PROJECTION MAPPING
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art installations and projection scenography for musical and dance performances since 2005. Desilence profess a love of painting and movement, the beauty hidden in a nascent idea and having the diligence to achieve balance. They combine research and creativity with careful attention to detail and elaboration of the creative processes of each project. Video mapping developed by the duo for the Municipal Library at 2024’s Signal is a monumental, dynamic fresco that depicts processes and rhythms in the depths of the ocean. Desilence invites viewers on a journey beyond the dark undercurrents that carry away vital resources at regular intervals. “It’s always scary when you do video mapping in city centres because light pollution can kill the contrast and the colour can look washed out,” highlights Søren Christensen, the Danish half of Desilence. “When we spoke to the guys at Signal, and having used Christie Digital projectors previously, when they mentioned getting them in we really pushed for that, as the colours are absolutely unbelievable.” Getting the colours right for The Rhythm of the Ocean in particular was of paramount importance. The projection was a visual concert and a dance riot of colours, accompanied by sound design from the analogue synthesiser of American musician Suzanne Ciani. Viewers are offered a captivating display of one of the most important factors in maintaining the balance of climatic parameters – necessary for maintaining living conditions on the planet – as a wild and unbridled element. Paradoxically, keeping the balance relies on having constant movement. Five-time Grammy Award nominee, and pioneer of electronic and synthetic music, Suzanne Ciani is one of the most distinctive creators of contemporary music. She composes and plays using the Buchla synthesiser, created in the sixties by Don Buchla.
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Laterna Magika’s Iron Horse: Fractured, displayed at Clam-Gallas Palace
Peppered among the swirling mass of colours was an array of powerful facts and statements relating to plastics in the ocean, such as ‘Plastics in the ocean are out of control’ and ‘Small changes can make waves of difference’. “We like to do abstract visuals,” explains Christensen, “and it might be that you have some kind of message. But sometimes you have to be a little
more literal – and Signal is an incredible opportunity to do this, with over 500,000 people passing through. “It was especially interesting because after Signal we got a lot of feedback over social media, with people saying they didn’t know about plastic islands and how it would cost less to clean them up than what the US spends on Halloween decorations each year.”
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