Word: projections
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Tamara Harel-Cohen: The previous two years Project East was held in tents with a raised runway. This year there will not be a formal runway—it will have a warehouse, industrial vibe, but a lot of the clothes we have are playful, resort collections. Two collections will have girls walking barefoot, so it will be a flirty feel. Our logo is red flowers so we are trying to bring that into the space—there will be a lot of flowers around and on the runway to create a floral, industrial chic feel...
...exterior of entire buildings—including a former munitions factory and a cathedral—focus on what has become a highly politicized issue: the battlefields of the Middle East and their casualties. Wodiczko’s focus has been on the dialogue of veterans; he will often project video of the veterans speaking, while broadcasting their words. His most recent work, created for and shown at the Institute of Contemporary Art (ICA) in Boston, is smaller in scale, but does not depart from the frank manner in which he addresses war. Wodiczko attempts to make his audiences understand...
Wodiczko’s piece, “...Out of Here: The Veterans Project,” on display until March 28, consists of two parts. The first, installed in a small dark room, contains screens that show similar installations Wodiczko has created. These works consist of video testimonies from veterans that are amplified and projected on various forms of architecture...
...introduces Wodiczko as an artist who has expanded the definition of a veteran to refer to any victim of war. With “...Out of Here: The Veterans Project,” Wodiczko attempts to transform the audience into veterans. He transports them into the center of the kind of confrontation that is an everyday reality for many. However, because audience members remain protected by the walls of the warehouse environment, and by the fact that they cannot directly participate in the narrative, they remain as spectators...
...this piece serves its function in the beginning, when it is simple and understated. However, as soon as the attack from the soldiers begins, the work veers into cliché. Wodiczko is at his best when he manipulates images and scale, instilling simple images with significance. His choice to project closed fists on a government building carries much more weight than the booming loudspeaker that often accompanies these images. Wodiczko shouts with all his strength to turn the audience’s attention to the horror of war, but the terrible images and stories he portrays hardly need amplification...