วันเสาร์ที่ ๓๑ ตุลาคม พ.ศ. ๒๕๕๒
Soul Leaves Her Body
Peter Flaherty (Creator/Director) is a video artist and director whose work has been seen in theatres, galleries, and museums internationally. His most recent large-scale video installation, Pass Back a Revolver, premiered at the Institute of Contemporary Art in Philadelphia. Select theatrical video design work includes: Francois Girard's Flight of Lindbergh & Seven Deadly Sins at Opera National de Lyon; The Builders Association's Continuous City, SuperVision, Alladeen, and Avanti (international touring); Chen Shi-Zheng's My Life As a Fairy Tale at Lincoln Center Festival; Bang On a Can's Lost Objects at the Brooklyn Academy of Music; Basil Twist's Dogugaeshi at The Japan Society (NY); and Complicite's The Elephant Vanishes (international touring). Recent video installations have been shown at: Nexus Gallery (Philadelphia), Fleisher-Ollman Gallery (Philadelphia), the home of Agnes Gund (President Emerita of MOMA, NYC), and MIT Media Lab. In 2000-1 he was a Harvard University Artist-in-Residence. He has taught Directing for New Media at Yale School of Drama (Fall '05), as well as intensive new media workshops at NYU, CalArts, and Carnegie-Mellon.
Jennie MaryTai Liu (Creator/Choreographer, Performer, & Film Actor – Chien–nu) is a dance-theater maker whose work has been presented at Dance Theater Workshop, Joyce SoHo, PS 122, Galapagos Art Space, The Bushwick Starr and the now defunct Red Humor Salon in Bushwick. She has had the pleasure of performing with Big Dance Theater, Witness Relocation Company, Cathy Weis Projects and Nellie Tinder. She trained as an undergraduate at the Experimental Theater Wing at NYU, and is currently pursuing her MFA in Dance at Hollins University/American Dance Festival.
A multi-media ensemble performance loosely inspired by Ibsen's Lady from the Sea, Sounding synthesizes cinematic POV and live feed video with original dialogue, songs and music. Leda – once New York City's art rock goddess — is now wife to a psychiatrist on Cape Cod. But a Dionysian figure from her past, a musician known as The Stranger, refuses to release her. As she mourns the death of her infant child, Leda confronts the disorder and outsized desire The Stranger brings.
วันพฤหัสบดีที่ ๒๙ ตุลาคม พ.ศ. ๒๕๕๒
Ash LaRose's photos explore the beauty--and vulnerability--of young women
How do we develop a media theory that's adequate to account for all the forms of media and cross-mediation that we experience today? This seminar will provide an overview of contemporary theories of media, communication, semiotics, and visual culture to allow for an integrative viewpoint. Our themes will include the cultural encoding of the material forms media, mediation and cultural transmission, the rhetoric of communication and information technologies, and the institutional and social contexts of media and the visual arts.
Readings will include seminal works in semiotics and discourse analysis, rhetoric, cultural theory, the sociology of media and technology, post-postmodern cultural theory, and contemporary theory in the visual arts. We will look closely at the work of Regis Debray and the model of mediology, which has attempted to describe a metatheory of communication and media. We will expand the application of mediology to contemporary media and visual culture.
วันจันทร์ที่ ๒๖ ตุลาคม พ.ศ. ๒๕๕๒
Directed by Claire Denis (2005-1h24)French film with English subtitles
“This film is a story about encounters and exchange, encounter and exchange between two forms of art, cinema and dance. And especially between two women, Claire Denis and Mathilde Monnier, who in their mutual way of apprehending the Body, of magnifying its movements and placing it at the center of the world, are alike. At the heart of the film, a film director’s gesture, to catch work being made, the movement of Mathilde’s thoughts, her thoughts on dancing, the body, the company. In order to grasp what happens when the body is set in motion, beyond the stakes of the performance, at the time when it is written, when it is elaborated. And at the moment where we expect it the least, also filming gestures at the edge of the dance, at its borders, in the cracks that it opens on life, throughout encounters. Mathilde’s trust. And the film tried to catch work being created he movement of Mathilde’s thoughts, her thoughts on dancing, the body, the company, that is to say the mise en scene”. (Claire Denis)
วันอาทิตย์ที่ ๒๕ ตุลาคม พ.ศ. ๒๕๕๒
“ในเดือน พฤศจิกายนที่แล้ว ประตูบ้านหมายเลข ๕ ถนนมาร์โซได้เปิดไปสู่สถานที่ลับ : บ้านของอีฟ แซง โรลองต์ ผู้ยิ่งใหญ่ ตลอดสามเดือน เราได้ฝังตัวเองอยู่ในคฤหาสน์ที่สร้างตั้งแต่สมัยนโปเลียนที่สามท่ามกลาง สิ่งรายล้อมที่สวยงามเพื่อถ่ายทำหนังได้ตามอำเภอใจ ในจักรวาลของกระจก ของความวุ่นวายแต่รู้งาน ความเครียดและการวัดสัดส่วนอย่างถ้วนถี่ ผมได้รู้จักช่างตัดเสื้อทั่วโลก คนจัดหาอุปกรณ์ ช่างตัดเย็บและเจ้าของห้องเสื้อที่ได้มาร่ายมนตร์ให้ชีวิตชั่วขณะกับโรงละคร ” เดวิด เตอบูล“แฟชั่นก็คืองานเลี้ยง การแต่งตัวก็คือการเตรียมแสดงบทบาท ผู้หญิงจะเร้าอารมณ์ก็ต่อเมื่อเธอหลอหลวงหรือแสร้งเป็นคนอื่น ผมไม่ได้เป็นช่างเสื้อ แต่เป็นช่างฝีมือ เป็นผู้ที่สร้างความสุขให้กับผู้คน” อีฟ แซง โรลองต์
วันอังคารที่ ๒๐ ตุลาคม พ.ศ. ๒๕๕๒
The Associate Artists Scheme is a programme for artists' development at The Substation.
The Substation's Performance Lab Presents :Circular Ruins by Raka Maitra (ASSOCIATE ARTIST) & Bambang Besur Suryono
Circular Ruins is a dance performance that explores the concepts of reality as a response to the text “Circular Ruins” by Argentinean writer Jorge Luis Borges. The short story describes a wizard who retreats from the world to the circular ruins, a location with strong mystical powers. There, the wizard creates a human being while he dreams and he eventually creates a boy. He asks the God of Fire to bring his creation to life. When Fire agrees the boy is sent to a distant temple and becomes famous because he can walk through fire unharmed. The wizard hears of this but wakes up to find the circular ruins ablaze. He walks into the flame and realises that his skin doesn’t burn. “With relief, with humiliation, with terror he understood that he too was a mere appearance, dreamt by another.”
The Javanese and Indian contemporary movement is a response to the story, illustrating the elements of mystery and the strong images from the text. Besur’s voice is like an instrument and will be accompanied by live violin, gamelan and percussion played by Danis Sugiyanto. Even the lighting is almost a “performance” as some of it will be improvised on stage by lighting designer Yeo Hon Beng. Besur’s costume is made out of tree bark and he wears a wooden mask so he looks reminiscent of the walls of a ruin. The text itself is a metaphor for artistic creation and the objective of this dance theatre project is to represent the intensity, truth and humanity of creative work or artistic work on stage.
Since a trip to Java in 2007, one of The Substation’s Associate Artists, Raka Maitra has been working towards a collaboration with renowned performer and choreographer Sardono W. Kusumo and his student Bambang Besur Suryono. Emily J Hoe talks to Raka about her performance this month called “Circular Ruins”.
Circular Ruins is a dance performance that explores the concepts of reality as a response to the text “Circular Ruins” by Argentinian writer Jorge Luis Borges. The short story describes a wizard who retreats from the world to the circular ruins, a location with strong mystical powers. There, the wizard creates a human being while he dreams and he eventually creates a boy. He asks the God of Fire to bring his creation to life. When Fire agrees the boy is sent to a distant temple and becomes famous because he can walk through fire unharmed. The wizard hears of this but wakes up to find the circular ruins ablaze. He walks into the flame and realises that his skin doesn’t burn. “With relief, with humiliation, with terror he understood that he too was a mere appearance, dreamt by another.”
What drew you to this text in particular?
I was drawn into the layers of meaning of “Circular Ruins” when I read a book on the recommendation of a friend and realised it could inspire a performance. The story is a metaphor for creation, which is what I do every day. It deals with with dilemma, pain, doubt about what one does and this is very similar to an artist’s experience.”
How has the text inspired the perfomance?
“The performance “Circular Ruins” is not a direct narrative of the story, but a response to it. It is the first time I’ve used a story as an inspiration and it took months to figure out how to respond to it and how to translate it into a performance. Initially I was taking the story and trying to convert it into movment and it didn’t work. There are very strong images in the story and as soon as I stopped trying to narrate and simply moved in response to the imagery, it just started to flow naturally. The images in the story include ruins, walls, decay, statues, immortality and can be seen in the performance and this brings the story and movement of “Circular Ruins” together.”
You are collaborating with artists from Java. Can you tell us more?
Two years ago I went to Solo and saw Besur perform traditional and contemporary Javanese dance. I found this really interesting because he was doing exactly what I was doing with Indian dance. Besur is Sardono W. Kusumo’s student. Sardono is a highly-respected and well known Javanese classical performer who was classically trained and became a contemporary performer and choreographer. Since the first meeting, Besur and I have been thinking about how to collaborate together. Sardono helped us through the process, talked to us, and opened our minds to new possibilities through discussions. Initially our movements were developed in our individual training. There are many similarities in movement between Javanese and Indian dance but at the same time there are also differences, and this makes the combination so compelling. We created the piece in silence with just Besur’s voice and breathing. Then Danis Sugiyanto arrived and observed the performance and then gradually improvised the music. Besur and I improvise movements around the basic structure.
What can the audience expect in “Circular Ruins”?
We’ve used Besur’s voice like an instrument and will be accompanied by live violin, gamelan and percussion played by Danis. Even the lighting is almost a “performance” as some of it will be improvised on stage by lighting designer Yeo Hon Beng. Besur’s costume is made out of tree bark and he wears a wooden mask so he looks reminscent of the walls of a ruin. The movement is a response to the story. The elements of mystery and the strong images from the text are hopefully what will come through the performance even through the meeting of Javanese and Indian contemporary dance.
Headlong Dance TheaterPhiladelphia, Pennsylvania$20,000
to enable company members to participate in the XIII Annual Contemporary Dance Conference and Performance Festival in Bytom in summer 2006.
Patravadi Theatre is inviting you to Ratchaburi and enjoy a rare mix and blend of local and international performing arts.Patravadi Theatre’s Fringe Festival is now in its ninth edition. This annual showcase of contemporary dance and theatre, with some music and film programs, has breathed much life and vibrancy into the country’s performing arts scene. A new experiment this year: it’s not being held....
Interview with Maja Drobac: Dancing between East and West
Dancer and choreographer Maja Drobac could be with certainty described as multi-talented artist… she expresses herself, parallel with dance, in the fields of photography and writing, too…
Martha Graham Dance Company Opening Night Benefit Celebration
Wednesday, April 18In celebration of the MCA's Performance Programs, guests enjoy a cocktail reception, a private performance by the Martha Graham Dance Company, and a post-show dinner. The Martha Graham Dance Company is the oldest and most celebrated contemporary dance company in America. Sculptor Isamu Noguchi created the sets and visual designs.
The workshop for youth leaders, contemporary dancers and persons with disabilities on how to use contemporary dance in work with mixed-ability groups was held by dancers from CandoCo Dance Company, Victoria Malin and Elinor Baker. Our partners in this project were Group ‘Let’s’ and Cultural institute ‘Vuk Karadzic’.
The workshop lasted from 7-15 March 2009 with 30 participants from seven countries on the stage. At the end of the training, participants presented their work during the public presentation.
For further information about the workshop, please contact Ivana Djurisic in our Belgrade office.
Peter Chin's dance work resurrects Cambodia's lost arts
By Janet Smith
In just four years, Pol Pot’s brutal regime almost managed to wipe out centuries of Cambodian arts. From 1975 to 1979, he led a genocide that nearly obliterated the intelligentsia, with his Khmer Rouge killing off an estimated 90 percent of the country’s artists.
PuSh Fest 2009
Puppeteer Ronnie Burkett has the world on a string
Taylor Mac leads joyful revolt at Club PuSh
Club PuSh brings cabaret feel to arts festival
Andy Warhol's silent screen tests put to song
That Cambodia’s music and dance endure today is a testament to the will of the 10 percent who lived to pass on the ancient forms. And in that survival, Toronto interdisciplinary artist Peter Chin has found rich material for his multimedia work Transmission of the Invisible.
“As a dance artist, that’s very inspiring to me, because here in the West we are always trying to make a case for the arts, and there it’s a matter of life and death,” the artistic director of Tribal Crackling Wind tells the Straight from his office in Toronto, before heading to Vancouver’s PuSh International Performing Arts Festival for shows January 29 to 31 at the Scotiabank Dance Centre. “Everyone has lost someone. After the war was over, they sought each other out—even as Phnom Penh was in shambles.”
The direct inspiration for Transmission came in 2003, when Chin spent five months researching Cambodian art forms, and especially the revival of dance after the Pol Pot regime. Chin was in Phnom Penh, watching teachers showing young students the techniques of classical dance.
“You just knew that these older teachers were survivors. They were passing on much more than the steps or the choreography; they were passing on the spirit of the Khmer culture,” Chin says, referring to the ancient, advanced society best known for erecting the vast temple city of Angkor Wat. “That was interesting to me—to start thinking about the invisible ways that we pass things on to one another, things that are more spiritual, through dance.”
Chin set out to create a work that would combine two Cambodian dancers from Phnom Penh’s Amrita Performing Arts with three of his own, and made several more sojourns to the country in what would become a life-altering project for all involved.
Video artist Cylla von Tiedemann and sound artist Garnet Willis made trips to capture the images and audio that are integrated into the show. The dancers came to collaborate with Cambodian artists, visit places like the Tuol Sleng Genocide Museum, and perform a work-in-progress. All the while, they kept journals, whose entries have become spoken-word elements in Transmission.
“There was a lot of emotional reaction for them—everything on top of the usual culture shock,” Chin recalls. “I was really interested in the process of being a foreigner and trying to enter a culture as deeply as possible.”
The resulting show pays homage to Cambodia’s highly stylized dance and otherworldly music amid abstract contemporary movement. Chin, whose background spans composition, visual art, and dance, has created a multisensory pastiche of projected video images (dance teachers instructing students, jungle foliage) and recorded sounds (traffic noises, traditional drumming). “It’s outwardly high tech but the essence is something ancient,” Chin explains
Although it grew out of one of the 20th century’s darkest periods, Transmission of the Invisible ends up carrying a message of hope. “It’s not about genocide,” stresses Chin, who is in the midst of trying to raise funds to take the work back to Cambodia this fall. “It’s about rebuilding art and rebuilding culture after a rupture.”
Bangkok’s 11th Festival of Dance and Music—Thailand’s largest showcase of international opera, ballet, dance, classical music and jazz—is running at the Thailand Cultural Centre, and the focus, as highlighted in our preview picks in August, remains on the three dance productions from Taiwan and China. Apart from the fact that Bangkok has never seen contemporary dance from Taiwan or ballet from China,....
Avant-garde puppetry, breakdancing to Bach, and kids-friendly clowns keep audiences glued to the fest.After dazzling Bangkok spectators with its fantastical opening show “Lands’ End” early this month, stage works at La Fête 2009 have continued to sparkle with innovation, creativity and artistry, all of which constituted the hallmark of even the festival’s subsequent smaller-scale productions. P....
Ongoing until March 25, the world's leading dance troupes show off their best moves in Bangkok, Chiang Mai and Phuket as part of International Dance Festival 2009.“The past eight festivals have played a part, along with other dance activities in Thailand, in showing to the general public that contemporary dance is not that difficult to understand—for me, it’s easier than classical ballet,” says Varar....
Finally, another political upheaval is over—at least for now—, and so is what has turned a five-day Thai New Year weekend into a ten-day one, probably the longest consecutive holiday in the history of our, or any, country. It is indeed a piece of good news for all Thai people and a big sigh of relief is heard from the Ministry of Culture’s Office of Contemporary Art and Culture who’s about to hold th....
Pichet Klunchun continues to invest in contemporary Thai dance
December 2008 -
"What I am trying to do is to get people in Thailand to look at their own culture in a different way. That is no easy task, but things are continually improving." The Thai choreographer Pichet Klunchun won the first ROUTES Award in December 2008 with Pichet Klunchun and Myself, which he made together with the Frenchman Jérôme Bell. The prize is awarded by the European Cultural Foundation for cultural diversity.
Klunchun is very outspoken about what this means to him. "Cultural diversity is my work. I cannot imagine life without it. What I am doing with my own PK Lifework dance company is to link classical Thai dance from the Kohn culture – a traditional type of Thai dance – with contemporary dance. We are reaching a highly varied audience in Bangkok. For the traditional Thai, my performances are sometimes difficult to understand. The youth and foreigners, however, admire my work."
Pichet's dance art is highly aesthetic and links classical movements with modern dance steps and contemporary staging. Klunchun now works all over the world and is often involved in intercultural projects. "Working with various cultures is always the most exciting. In Bangkok this is a matter of course because so many Chinese, Indians and other foreigners live there. "
"There is virtually no contemporary dance tradition in Thailand, and I would like to help develop that. It is for this reason that I will certainly continue to live and work in Thailand despite the fact that I am often asked for projects in France and Germany. The award money, some 25,000 euros, is a godsend. We receive no subsidies, making it difficult to create new performances because I can pay the dancers so little. That will improve with the next production. I will be regularly working abroad, however. What I earn there will be invested in the continued development of my dance company."
Contemporary Lifeเรื่อง: ศรัญญา ภาพ: เกริกวิชช์คอลัมน์ : HIP Peopleฉบับ : September 2008 Vol.4
หากเทียบกับศิลปะแขนงอื่นแล้ว งานนาฏศิลป์ดีๆ ในเชียงใหม่มีให้ชมกันไม่บ่อย แต่ในความน้อยนั้นก็ยังคงพอมีกลุ่มศิลปินที่จัดงานอย่างสม่ำเสมอ เมื่อเดือนที่ผ่านมา มีการแสดงนาฎยเปิงใจ ครั้งที่ 2 เป็น การแสดง Contemporary Dace โดยคณาจารย์และลูกศิษย์ลูกหา คณะวิจิตรศิลป์ มหาวิทยาลัยเชียงใหม่ สาขาศิลปะไทย จัดทำขึ้นเพื่อตั้งใจสืบสานงานศิลปะด้านเต้นรำและส่งเสริมให้ศิลปินรุ่นใหม่ๆ ได้มีเวทีแสดงความสามารถ
ในบรรดาลูกศิษย์ที่กลับมาแสดงครั้งนี้ มีศิลปินชายร่างเล็กคนหนึ่งที่นำเอาพระราชนิพนธ์ในสมเด็จพระจุลจอมเกล้าเจ้าอยู่หัวรัชกาลที่ 5 มาเป็นแรงบันดาลใจในการคิดสร้างสรรค์ นำเสนอด้วยการเต้นแบบชวาผสมผสานกับการรำไทย ว่าด้วยธรรมชาติของมนุษย์ เขา คือ รณรงค์ คำผา หรือ อ๋อง ศิษย์เก่าคณะวิจิตรศิลป์ที่เพิ่งกลับมาจากการเรียนเต้น Javanese and Balinese Dances จากสถาบัน Institut Seni Indonesia (ISI) Surakarta Indonesia
และจากการคลุกคลีอยู่กับประเพณีพื้นบ้านของอำเภอปลง จำหวัดพะเยามาตั้งแต่เด็ก อ๋อง จึงมีความรักและสนใจการขับร้องจ้อย ซอ และ การฟ้อนรำ เมื่อมีโอกาสได้เข้ามาศึกษาต่อในระดับมหาวิทยาลัยก็ได้ศึกษาดนตรีล้านนาเพิ่มจาก วงช้างสโตน พร้อมกับออกเดินทางหาประสบการณ์จากหลายประเทศไม่ว่าจะเป็น สหรัฐอเมริกา ี่ปุ่น ฝรั่งเศส ล่าสุดเขาเพิ่งกลับมาจากการร่วมงานเทศกาล Dance in Riau Contemporary Dance Mart ที่เกาะสุมาตรา ประเทศอินโดนีเซีย
“ที่นั่นเขามีพัฒนาการเพราะว่า มีงานศิลปะแทบทุกวันครับ ทั้งการแสดงรำโบราณและการเต้นคอนเทมโพรารี่ เราได้มีโอกาสไปเห็นแล้วก็ทำงานกับศิลปินที่นั่น ก็คิดว่าน่าจะมาทำที่เชียงใหม่ ซึ่งสังคมเขาสนับสนุน ทำกันแบบจริงจังเป็นอาชีพ พอมีงานก็มีคนดู แม้แต่สื่อที่ออกมาก็มีทั้ง ทีวี หนังสือพิมพ์ มีนิตยสารเกี่ยวกับการเต้นโดยเฉพาะ
ซึ่งเขามีความต่อเนื่อง บ้านเราก็มีการแสดงเหมือนกัน ผมเชื่อว่าคนดูเขาก็มาดูนะ ถ้าเราผลิตงานออกไป ขอเพียงแต่มีคนที่ตั้งใจจะทำเท่านั้น ก็น่าจะมีฟีดแบ็คกลับมา” อ๋องเล่าให้ฟังถึงบรรยากาศการแสดงของประเทศอินโดนีเซีย พร้อมกับบอกว่าอยากกลับมาช่วยงานด้านการแสดงแบบคอนเทมโพรารี่ที่เชียงใหม่
“อยากทำงานเต้นที่นำเสนอในแบบโบราณก็ได้ ร่วมสมัยก็ได้ให้กระจายออกไปสู่ระดับสากล งาน Traditional เองก็เป็นจุดสำคัที่เราจะเอาไป ต่อยอดสู่ความเป็นอินเตอร์ ถ้าจะไปขายงานเมืองนอกแล้วจะมาเอิงเอยทุกงาน เขาก็ชอบนะ แต่ว่าจะทำเอิงเอยให้เป็นที่หนึ่งเข้าถึงใจของเขา เราก็ต้องทำให้มันร่วมสมัย ปรับ ท่าทาง แต่งานของผมก็ยังเอาความเป็นโบราณ เข้ามาใช้อยู่
“เห็นบ้านเมืองเขาเล็กๆ นะครับ ถ้าเทียบกับความทันสมัยแล้ว บ้านเราดีกว่าเยอะ แต่ทางด้านศิลปะแล้วพัฒนาการการเต้นของเขากลับดีกว่า เพราะบ้านเราขายวัฒนธรรมขายโชว์มากกว่า แต่ว่างานเผยแพร่ ศิลปวัฒนธรรมจริงๆ ยังไม่ค่อยมีใครทำ ก็เลยอยากกลับมาทำที่นี่ แล้วก็ยังมีรุ่นพี่ รุ่นน้องที่คิดช่วยกันทำอีก ก็ต้องทำน่ะครับ
Etc Links http://newdancetheatrethailand.blog.mthai.com/2009/08/28/public-1 http://wylliamshenry.org/home http://wylliams-henry.org/aboutus http://northernballettheatre.wordpress.com/tag/classical-training/
Contemporary dance performance set for Feb. 13-14
Feb. 11, 2004
Dance Program chair Jin-Wen Yu will perform in "Madison-Chicago," a cross-cultural and multimedia contemporary dance concert featuring Jin-Wen Yu Dance and Hedwig Dances Company of Chicago. Two shows will be presented in the Margaret H'Doubler Performance Space in Lathrop Hall on Friday, Feb. 13, at 8 p.m., and on Saturday, Feb. 14, at 5 p.m. Tickets are $15, $10 for students and seniors. Information, reservations: 262-1640.
วันอาทิตย์ที่ ๑๑ ตุลาคม พ.ศ. ๒๕๕๒
That’s just an estimate. Many more die uncounted. Most of the deaths are preventable with access to proper healthcare.
Photographer Susan Meiselas and reporter Dumeetha Luthra traveled to India for Human Rights Watch to retrace the steps of one
Access To Life / Mali. © Paolo Pellegrin / Magnum Photos
For 25 years, AIDS has ravaged the lives and livelihoods of millions of people. Since the early 1980s, nearly 30 million people have died from AIDS. But over the past few years, a quiet global revolution has enabled millions of people infected by HIV to live healthy lives.
In the early 1990s, when antiretroviral drugs became available, AIDS was transformed from a certain death sentence to a manageable chronic disease–but only for some. The expense of the drugs and their distribution prevented 95 percent of those living with HIV from getting access to them. International outrage that millions were dying because of economic disparity helped reduce drug prices and to create the Global Fund to Fight AIDS, Tuberculosis and Malaria in 2002. Through the Global Fund and the U.S. President’s Emergency Program for AIDS Relief, the world began to invest in a massive rollout of antiretroviral treatment in more than 100 developing countries. Doctors and healthcare workers around the world have adapted complicated procedures to settings where people often could not access even the most basic care. Already, millions of lives which otherwise might have been lost are being saved. Equally important, providing treatment is becoming a central part of the efforts to prevent further spread of the disease.
In Access to Life, eight Magnum photographers portray people in nine countries around the world before and four months after they began antiretroviral treatment for AIDS. Here are faces, voices, and stories representing those millions of people who by now would be dead if not for access to free antiretroviral drugs–people who are living with HIV, working, caring for their children, and experiencing the joys and struggles of being alive. But there are also the stories of those for whom treatment came too late or where tuberculosis or other diseases brought their lives to an end – showing how the fight to bring access to AIDS treatment is a difficult one, often filled with setbacks as well as success.
Today, three million people around the world are alive thanks to antiretroviral treatment for AIDS, up from 350,000 just five years ago. By 2010, more than five million people are likely to have been given access to these drugs. Yet there is a long way to go before all the people with HIV who need these life-saving drugs have access to them. Today, the need is for 10 million people, but until we can stem the growth in new HIV infections, that number will continue to grow.
There are other challenges. Even where those infected have access to antiretroviral treatment and their immune systems begin to recover, infections and illnesses they have already developed because of HIV may take their lives. Tuberculosis continues to be the leading cause of death among people living with HIV/AIDS, and hepatitis, liver diseases and HIV-related cancer also take their toll. Nonetheless, ARV treatment is generally successful: After two years on treatment, eight out of every ten people who started are still alive.
Free antiretroviral treatment is saving millions of lives, and that alone is reason enough to continue to widen access to it. But the main challenge in the fight against AIDS today is preventing new HIV infections. Worldwide, 2.5 people are infected by HIV for every person that begins treatment. To win the fight, we must turn those numbers around. Antiretroviral treatment helps in this struggle by turning a certain death sentence into merely a chronic disease. In doing so, fear and stigma is reduced, more people will dare to be tested for HIV, and it will become easier to talk openly about how it spreads how to protect against infection.
The success in rolling out antiretroviral treatment against formidable odds inspires us to do more. The stories portrayed here, just a small sample of the millions of people given a chance to rebuild their lives, offer a glimpse of what the world has achieved against the greatest public health challenge we have faced to date.
Access To Life Exhibition
Access To Life is on view at the Corcoran Gallery of Art in Washington DC, from June 14 to July 20, 2008. The exhibition will then travel to Mexico City, Paris, London, Berlin, and Rome throughout 2008 and 2009. http://www.theglobalfund.org/html/accesstolife/en/exhibition/
วันพุธที่ ๗ ตุลาคม พ.ศ. ๒๕๕๒
Once I finished Andy's book, I went straight into a critical study on Wong Kar-Wai that James bought me for Christmas last year. Simply titled Wong Kar-Wai, it features three essays on his films (though it was published before In The Mood For Love), each taking a different approach at dissecting his style, finding what makes him stand apart from the other Hong Kong directors and why it works. Perhaps the most interesting theory advanced was that Kar-Wai's films seem jumpy and a non-linear because his storytelling is in a constant state of revolt. Common moments are always attempting to subvert the mechanics of plot, and images are always trying to express themselves as they are, as opposed to what they might be made into. When you add all of his films up, Kar-Wai has only been making one movie all along, each an additional piece of a larger whole. Hence, despite the sequel to Days of Being Wild never being made, we do get the main character from that sequel invading the film's final scenes.
That's about the only theory the filmmaker himself seems to agree with. Wong Kar-Wai is rounded out with an interview with the man where he bats away any attempts at scholarly context on the part of the interviewer, and reveals himself as an unassuming artist who relies more on instinct and personal feeling than any grand scheme. He is also a true maverick in a film industry obsessed with the bottom line, bucking the idea that one flop should end your career. It's also refreshing to hear someone doesn't want to work in Hollywood.
My only complaint about the book is that, despite some nice, sturdy printing and a picture-laden layout, the proofreading was terrible. There was an inconsistency to grammar style and laziness in typesetting that seemed rather daft given the rather haughty approach of the work itself.http://confessions123.blogspot.com/2003_12_01_archive.html
http://thaiindie.com/wizContent.aspwizConID=610&txtmMenu_ID=7 http://archive.sensesofcinema.com/contents/directors/02/wong.html http://wkwai.free.fr/ http://culturazzi.org/review/cinema/film-reviews/chinese-cinema/fallen-angels-wong-kar-wai http://www.wongkarwai.net/forums/viewtopic.phpt=2254&sid=ec64f2acea9e3b94d3a008a4095481dc http://www.chinesecinemas.org/inthemood.html