MARKETS

_Synopsis

My Identity Is This Expanse! is a film and installation in virtual reality, where is told the story of a child which is resilient to despair, seeking for freedom through his own memories, his imagination and especially the strength of the poem If I Were Another by Mahmoud Darwish. This poem rebuilds him little by little in the face of exile, of violence, of confinement in a wooden box - his hiding place and transportation as a refugee child.

Karolina MARKIEWICZ & Pascal PIRON

Authors & film directors

  • Karolina Markiewicz and Pascal Piron’s collaborative work creates links between film, visual arts and theatre. At the center is the individual person as part of a human community, oscillating between resignation and hope. Karolina Markiewicz studied political science, philosophy and theatre and works as a film and theatre director. Pascal Piron studied visual arts and works as an artist and film director. Both work as teachers.

    Their cooperation started in 2013 and allowed Pascal Piron to take a step away from painting and to look at image from a different way, not only when it comes to two-dimensional perspective, but also space. For Karolina Markiewicz, it was an occasion to come back to research about directing and literary writing as well as to finalise a documentary project from 2008. The result was their documentary video installation Les Formidables (2014), which tells the story of five young migrants in Luxembourg. In 2014, they founded the video blog kulturstruktur.com. In 2015 they worked on the project Philoktet, which includes the homonymous play by Heiner Müller and an exhibition relating the Greek tragedy to Robert Oppenheimer and the atomic bomb. As part of the preparations for this work, Karolina Markiewicz participated at a workshop held by Romeo Castellucci organised during the Theatre Biennale in Venice in 2015. At the same time they released their second documentary Mos Stellarium, produced by Tarantula and supported by Film Fund Luxembourg. The documentary (52 minutes) follows six young refugees in Luxembourg. Part of this project is the installation of Mos Stellarium, which offers different parts of the movie simultaneously, thus giving a non-linear reading of the film. Karolina and Pascal have participated at the 56th Venice Art Biennale in 2015, with this video installation. The documentary premiered in Luxembourg in 2015 and was shown at different festivals (Festival du film de la ville de Québec, European Film Weeks (Helsinki), One World Film Festival (Bucharest), 4th Silk Road Festival, (Dublin)).

    The most recent works are a series of short films entitled Side-Effects of Reality, shown in a solo exhibition at Casino Luxembourg - Forum d’art contemporain in Luxembourg (2016), at Rencontres Internationales in Paris (2017) and Argos Centre for Art and Media in Brussels (2017). They explore history in a poetic way, creating myths of the present by transforming the past of certain locations into a metaphorical narrative. Upcoming exhibitions include Vienna, Bejing and Taipei.Karolina and Pascal are currently working on a feature film in Virtual Reality. 

Karolina Markiewicz and Pascal Piron’s collaborative work creates links between film, visual arts and theatre. At the center is the individual person as part of a human community, oscillating between resignation and hope. Karolina Markiewicz studied political science, philosophy and theatre and works as a film and theatre director. Pascal Piron studied visual arts and works as an artist and film director. Both work as teachers.

Their cooperation started in 2013 and allowed Pascal Piron to take a step away from painting and to look at image from a different way, not only when it comes to two-dimensional perspective, but also space. For Karolina Markiewicz, it was an occasion to come back to research about directing and literary writing as well as to finalise a documentary project from 2008. The result was their documentary video installation Les Formidables (2014), which tells the story of five young migrants in Luxembourg. In 2014, they founded the video blog kulturstruktur.com. In 2015 they worked on the project Philoktet, which includes the homonymous play by Heiner Müller and an exhibition relating the Greek tragedy to Robert Oppenheimer and the atomic bomb. As part of the preparations for this work, Karolina Markiewicz participated at a workshop held by Romeo Castellucci organised during the Theatre Biennale in Venice in 2015. At the same time they released their second documentary Mos Stellarium, produced by Tarantula and supported by Film Fund Luxembourg. The documentary (52 minutes) follows six young refugees in Luxembourg. Part of this project is the installation of Mos Stellarium, which offers different parts of the movie simultaneously, thus giving a non-linear reading of the film. Karolina and Pascal have participated at the 56th Venice Art Biennale in 2015, with this video installation. The documentary premiered in Luxembourg in 2015 and was shown at different festivals (Festival du film de la ville de Québec, European Film Weeks (Helsinki), One World Film Festival (Bucharest), 4th Silk Road Festival, (Dublin)).

The most recent works are a series of short films entitled Side-Effects of Reality, shown in a solo exhibition at Casino Luxembourg - Forum d’art contemporain in Luxembourg (2016), at Rencontres Internationales in Paris (2017) and Argos Centre for Art and Media in Brussels (2017). They explore history in a poetic way, creating myths of the present by transforming the past of certain locations into a metaphorical narrative. Upcoming exhibitions include Vienna, Bejing and Taipei.Karolina and Pascal are currently working on a feature film in Virtual Reality. 

Tamiko Thiel was awarded the 2018 iX Immersive Experiences Visionary Pioneer Award by the Society for Art and Technology Montreal for over 30 years of media artworks exploring the interplay of place, space, the body and cultural identity in political and socially critical artworks.

She was lead product designer on the Connection Machine CM-1/CM-2 (1986/1987), the first commercial artificial intelligence supercomputer, and in 1989 the fastest computer in the world. CMs are in the collections of the Museum of Modern Art New York and the Smithsonian Institution.

Her first work in virtual reality (VR) was as creative director/producer of Starbright World (1994-1997), an online virtual playspace for seriously ill children, in collaboration with Steven Spielberg. An early pioneer of VR addressing social and cultural issues, her Beyond Manzanar (2000, with Zara Houshmand), in the permanent collection of San Jose Museum of Art in Silicon Valley, overlays the Internment of Japanese Americans in WWII with later threats to intern Iranian Americans. The Travels of Mariko Horo (2006), supported by Japan Foundation and MIT fellowships, is a “reverse Marco Polo fantasy” colliding Dante’s Christian universe with Buddhist cosmology to question our religious visual iconography. Virtuelle Mauer/ReConstructing the Wall (2008, with Teresa Reuter), supported by the City-State of Berlin and winner of the 2009 IBM Innovation Award in Art and Technology, examines East versus West German experiences of the Berlin Wall. As GoogleVR Tilt Brush Artist in Residence she created Land of Cloud (2017/2018). Winner of the 2018 People’s Choice award at the VRHAM festival in Hamburg, this is a 3D “whisper garden” populated by cloud people repeating mantras from their Cloud Deities – soundbites from the 2016 Trump vs. Clinton campaigns.

She is founding member of augmented reality (AR) artist group Manifest.AR, participating in their path-breaking AR intervention at MoMA NY in 2010 with ARt Critic Face Matrix, which seems to question the validity of AR as an art form, and main curator/organizer of their intervention into the 2011 Venice Biennial with Shades of Absence, a work on censorship of artworks. These interventions brought commissions for further AR installations, such as the Whitney Museum NY commission in 2018 for Unexpected Growth (with /p), that puts the Whitney underwater, populating it with a dystopian coral reef formed of (virtual) plastic waste that bleaches as people view it. Unexpected Growth will enter the Whitney permanent collection in 2020.

Tamiko THIEL

VR artist

  • Tamiko Thiel was awarded the 2018 iX Immersive Experiences Visionary Pioneer Award by the Society for Art and Technology Montreal for over 30 years of media artworks exploring the interplay of place, space, the body and cultural identity in political and socially critical artworks.

    She was lead product designer on the Connection Machine CM-1/CM-2 (1986/1987), the first commercial artificial intelligence supercomputer, and in 1989 the fastest computer in the world. CMs are in the collections of the Museum of Modern Art New York and the Smithsonian Institution.

    Her first work in virtual reality (VR) was as creative director/producer of Starbright World (1994-1997), an online virtual playspace for seriously ill children, in collaboration with Steven Spielberg. An early pioneer of VR addressing social and cultural issues, her Beyond Manzanar (2000, with Zara Houshmand), in the permanent collection of San Jose Museum of Art in Silicon Valley, overlays the Internment of Japanese Americans in WWII with later threats to intern Iranian Americans. The Travels of Mariko Horo (2006), supported by Japan Foundation and MIT fellowships, is a “reverse Marco Polo fantasy” colliding Dante’s Christian universe with Buddhist cosmology to question our religious visual iconography. Virtuelle Mauer/ReConstructing the Wall (2008, with Teresa Reuter), supported by the City-State of Berlin and winner of the 2009 IBM Innovation Award in Art and Technology, examines East versus West German experiences of the Berlin Wall. As GoogleVR Tilt Brush Artist in Residence she created Land of Cloud (2017/2018). Winner of the 2018 People’s Choice award at the VRHAM festival in Hamburg, this is a 3D “whisper garden” populated by cloud people repeating mantras from their Cloud Deities – soundbites from the 2016 Trump vs. Clinton campaigns.

    She is founding member of augmented reality (AR) artist group Manifest.AR, participating in their path-breaking AR intervention at MoMA NY in 2010 with ARt Critic Face Matrix, which seems to question the validity of AR as an art form, and main curator/organizer of their intervention into the 2011 Venice Biennial with Shades of Absence, a work on censorship of artworks. These interventions brought commissions for further AR installations, such as the Whitney Museum NY commission in 2018 for Unexpected Growth (with /p), that puts the Whitney underwater, populating it with a dystopian coral reef formed of (virtual) plastic waste that bleaches as people view it. Unexpected Growth will enter the Whitney permanent collection in 2020.

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WITH THE SUPPORT OF