Blue
(2017) - performance / installation
The piece starts with a clip of a simulated face built from scratch, before it dives further into the future of the ‘real’ body in a digital space and the discrepancies that come with it.
With the coming of the digital era, a new paradox emerges. Being connected is paired with a certain dehumanisation. The more connected you are, the less human you will be. In Blue, the beauty and cruelty of this contradiction are equally displayed.
A stream of associative images (consistent of 3D animation, selfies, and live green-screen manipulation) is fired at rapid speed. The images are soundtracked by arpeggio’s, or broken chords - drawing parallels between the classical music of Philip Glass and 90’s trance/euro dance hits. It forms a whole that mirrors the enormous amount of data we consume on a daily basis.
The performance concludes with the projection screen rolling up, and the rapid images and music fading away. The protagonist finally reveals himself after controlling the show behind the screen for the entire duration. Dressed in a camouflaged ghilie suit, he is still not fully showing himself. Bird songs from the internet can be heard through the speakers. As opposed to the artificial digital world, nature is representing the serene, real or ‘natural’. Although still artificial in this case, the nature is offering a bit of solace after all the intense imagery.
(2017) - performance / installation
The piece starts with a clip of a simulated face built from scratch, before it dives further into the future of the ‘real’ body in a digital space and the discrepancies that come with it.
With the coming of the digital era, a new paradox emerges. Being connected is paired with a certain dehumanisation. The more connected you are, the less human you will be. In Blue, the beauty and cruelty of this contradiction are equally displayed.
A stream of associative images (consistent of 3D animation, selfies, and live green-screen manipulation) is fired at rapid speed. The images are soundtracked by arpeggio’s, or broken chords - drawing parallels between the classical music of Philip Glass and 90’s trance/euro dance hits. It forms a whole that mirrors the enormous amount of data we consume on a daily basis.
The performance concludes with the projection screen rolling up, and the rapid images and music fading away. The protagonist finally reveals himself after controlling the show behind the screen for the entire duration. Dressed in a camouflaged ghilie suit, he is still not fully showing himself. Bird songs from the internet can be heard through the speakers. As opposed to the artificial digital world, nature is representing the serene, real or ‘natural’. Although still artificial in this case, the nature is offering a bit of solace after all the intense imagery.
Blue was produced by Frascati Theater in Amsterdam in 2017, and has been shown at several theatres and festivals in the Netherlands, eg MOMO and Lowlands.
Concept, performance & music Marijn Brussaard
In collaboration with Barnaby Luke Savage
3D animation & poster Thomas de Rijk
Advice Bianca van der Schoot
Text Coen Cornelis
Lights Wouter Versteege
Coaching Quirine Racké, Helena Muske
Photo’s Bas de Brouwer
Concept, performance & music Marijn Brussaard
In collaboration with Barnaby Luke Savage
3D animation & poster Thomas de Rijk
Advice Bianca van der Schoot
Text Coen Cornelis
Lights Wouter Versteege
Coaching Quirine Racké, Helena Muske
Photo’s Bas de Brouwer
Press:
-'Blue is een performance die een prettig soort eigenheid en originaliteit heeft. Brussaard is het volgen waard.' *** - Volkskrant
-'Performancekunstenaar Marijn Brussaard zoekt in Blue naar het grensgebied tussen cultuur, natuur en technologie (...)
-'De voorstelling is een opwindend bewijs van Brussaards artistieke potentieel.' **** - Theaterkrant
-'Blue is een performance die een prettig soort eigenheid en originaliteit heeft. Brussaard is het volgen waard.' *** - Volkskrant
-'Performancekunstenaar Marijn Brussaard zoekt in Blue naar het grensgebied tussen cultuur, natuur en technologie (...)
-'De voorstelling is een opwindend bewijs van Brussaards artistieke potentieel.' **** - Theaterkrant