Melissa Little – Fast Food for Political Change, 01:01 mins
An exercise in digital activism, Fast Food for Political Change appropriates historical political catch phrases and product photographs of fast food. Juxtaposing squeaky clean imagery with Australian campaign slogans creates a moving image work that re-examines their true nature of existence.
Tamara Whyte – Arnhem To Ice / Bush Baby, 00:55 secs
Bush Baby is an intimate conversation between a grandparent and a deceased child. Developed during a residency at the Gullkistan Centre for Creativity in Southern Iceland it is an exploration of death in the bush told through a different physical lense.
Translated from Aboriginal Kriol to English and then to Icelandic, it is a contemplation of how we care for the dead and how that is expressed within the natural environment. Bush Baby asks the viewer to bring their own understanding and ability to interpret death and the landscape..
Vanessa White & Born In A Taxi – Illuminated Angels, 02:00 mins
Let there be light!
Burdened with the safe-keeping of souls the Angels speak and listen only with their heart. Visually stunning, surreal and playful, these floating benevolent beings bestow light and joy where-ever they land.
Equipped with a sixth sense they can traverse from the profound to the hilarious. The Illuminated Angels create a sense of community amongst strangers through shared wonder and play.
Born in a Taxi is an award-winning physical theatre ensemble. Creators of unique performances for arts festivals and events. Born in a Taxi create theatrical productions for indoor, outdoor and site-specific environments that are absurd, comical, and physically driven.
Vanessa White is a visual and interdisciplinary artist. Her work traverses multiple disciplines predominantly working with, painting, animation, video and performance.
Emma Northey – Mesh The Place Up V2, 01:40 mins
Mesh The Place Up V2 is a moving image work created through the animation of analogue and digital media. These abstracted city visions and wobbly portraits envision the computerised flow of imagined beings in a morphing cyberscape; the squishy populace of a digital mesh.
REAL – Rare Earth: Vanishing Point, 06:20 mins
Accelerating within an unknown trajectory towards an uncertain fate, our dialogue has become conflicted and chaotic: scientific models battle with economic ideology and our unfettered addiction to consumption fed by mass media outstrips the earth’s sustainable limits. We ignore, at our peril, the ominous threat of environmental tipping points as simply ‘background noise’.
Through the overlaying of texts gathered from numerous literary sources and platforms, Rare Earth: Vanishing Point invites viewers to consider the quality of public discourse around our future on this unique planet.
REAL (Rare Earth Artists Lab), is a collaboration of three Adelaide artists, Georgina Willoughby, John Blines and Michele Lane. Their aim is to produce experimental works that explore contemporary themes around humanity’s existence on this unique planet.
Sarawut Chutiwongpeti – The Critical Time of the World Civilization, 03:49 mins
"ALL AROUND US ARE RACIAL AND TRIBAL, WAR, BORDER, PHENOMENON, TRAGEDY, VICTIM, CONFUSE AND CONFLICT. HOW ARE WE TO INTERPRET THESE -- SIGNS OF THE TIMES -- IN THEIR PROPER CONTEXT?"
My goal is to investigate the expressive possibilities of conceptual visual language and to develop Collaborative New Art as part of both Contemporary Art/Contemporary Global Structure and the Technological Civilization in which we live today. I am especially interested in finding out how contemporary art can enhance the distribution of information and foster a profound universality in the human nature and cross-cultural artistic and critical collaboration. The meaning of the very possibility to enrich contemporary art may also come into question. In my inquiry, I am guided by the following set of questions: Are sensations-reactions to contemporary art still significant today? In what way and how can contemporary art theory and practice address and help solve today’s global problems? And finally, Can contemporary conceptual art disclose the corrupted social values in mega policies and create a bridge between the present and the future generations?.
Today, the world comprises of uncertainties and ambiguities. Science and civilization are not able to yield all answers or solutions to our satisfaction. At times, knowledge may comprise of power with the impact that is beyond individual's intuition and intellect. Often advancement in science has challenged moral codes and ethics as well as faith and religion. When science and technology are utilized in appreciate. They being harm and threat to humanity.
The contradictory side of utopia is full of pessimism. Man's quest to conquer distant galaxies, the endless search for territories and colonies reflect his inner instinct for power, aggrandizement, and control. The imbalance of power between those who control and those under control has contributed to disorder and dilemma.
In the era of confusion and distortion values of aesthetics and common sense have been greatly transformed At the end of the century we are facing the crisis of world civilization.
The Scale of Justice: Squeezers, 02:36 mins
The Scale of Justice: The Scale 2, 02:14 mins
Kawita Vatanajyankur’s art offers a powerful examination of the psychological, social, and cultural ways of viewing and valuing the continuing challenges of women’s everyday labour. In her videos, the artist undertakes physical experiments that playfully, often painfully, test her body’s limits—a challenge that is both unavoidably compelling and perplexing to watch.
The repetitive and arduous tasks that Vatanajyankur performs parody a pervasive slippage between human and machine, and spotlight the forgotten body within a technologically accelerating world. Beyond this literal translation, these gestures also make visible the invisible mechanisms that govern women’s everyday labour in her birthplace of Thailand. It is a place where, for many, daily chores aren’t always assisted by machines but are time-consuming, physically exhausting, and often the task of women.
Cynthia Schwertsik – Peri Urban Progress, 08:32 mins, video by Biscuit Tin Photos
On my open top two seater, un-motorised but elevated, I am a visitor, striding through the neighbourhood. Along the boundaries, fence-lines and roads, I circumvent Adelaide’s peri-urban and suburban districts. Here, where the landscape is begrudgingly slotted into the built environment, I laboriously make my rather lonely way. I wander through space that is claimed for human convenience, but, is there really anybody out here?
Rarely I cross paths with other people; mostly in a car pressing past. Maybe, If I’m lucky, I end up beyond these partitions and catch a glimpse of the vast, majestic landscapes of South Australia.
Grayson Cooke & Dugal McKinnon – This Storm is Called Progress, 15:00 mins
This Storm is Called Progress is a collaboration between Grayson Cooke and Dugal McKinnon. The project features motion-controlled footage of the Naracoorte Caves in South Australia juxtaposed against time-lapse video of Landsat satellite images of Antarctic ice shelves.
Thematically, the project pits the "deep time" of ancient geological formations against the time of the present, a technologically amplified time exemplified by the speeding-by of satellite images of ice shelves. The title of this project is derived from Walter Benjamin's "angel of history"; a tragic figure caught in the storm of progress, forced to unerringly witness the catastrophe of history.
This project has been produced with the support of the School of Arts and Social Sciences at Southern Cross University, and the New Zealand School of Music at Victoria University of Wellington. It has been generously supported by the Naracoorte Caves National Park and the State Government of South Australia. This project also makes use of Landsat images from the NASA/USGS MODIS image archive, made available by the National Snow and Ice Data Center in Boulder Colorado.
Sorcha Annette Wilcox –Emergence : Inference, 24:30 mins
Emergence : Inference ( E : I ) is an abstract photographic composition with an accompanying soundscape that is specifically designed to allow the viewer to experience the sensitivity of visual perception and how this affects us emotionally. Showing a series of photographs taken on 35mm film, a piece of textured glass slowly changes in hue, luminosity and definition over twenty-five minutes.
The underlying issues presented within E : I focus around vision: how we consider what we see, and how what we see affects us as an experience. E : I activates our perceived visual sensitivity not only through encounters with light and illusions created by light and colour, but also by challenging our recognitions and attentiveness in an attempt to stimulate our consciousness.
The repetitive imagery and impression of simplicity that E : I exudes is purposely calculated to create a refined piece with a methodology that is designed to subtly inflict itself upon the viewer. The consequence of the repetition of formlessness is that a higher organisation of matter is achieved that could not have been reached otherwise.
Elise Bonato – siren/saudade, 11:16 mins, single channel HD digital video installation, colour, 2.1 stereo sound
siren/saudade (2016) was first exhibited in May 2016 for SUPERNAL at Sawtooth ARI Gallery in Launceston, Tasmania. The work resides within the artist’s experimental art cinema lexicon for exploring the sublime, mysticism and the metaphysical within contemporary art contexts.
Featuring durational performance interventions and sensorial encounters with isolated landscapes, this work incarnates an interconnection between the lived body and the metaphysical mind. The intention is to activate and channel the liminal ‘other’ space that may exist between these transcendental human states. It explores the potential to evoke within the viewer the sensation of encountering ‘unearthly beauty’ — where the sublime may distort to become otherworldly.
Elise Bonato – dís/cerus/site, 3 x 30:00 mins & 3 x 05:00 mins, multi-channel High Definition digital video installation, colour, silent
A transcendent site-specific video installation, generated in response to the iconic architectural forms of the Adelaide Festival Centre and its surrounding natural-to-urban environment, during the occupancy as Artist-in-Residence. Incorporating durational performance and presented through moving image, the work intends to venerate the characteristic beauty of the landscape whereupon the Adelaide Festival Centre and Plaza resides, by means of an otherworldly reimagining of its architectonics. It crystallises at the nexus between the artist’s collective experience within the urban landscape through spatial embodiment, and in the evocations of individuals and communities who have engaged with its place, past and present.
The exhibition aims to create a cultural bridge between the urban and adjacent natural landscape of the Adelaide Festival Centre and Riverbank; whereby the large-scale media screens become an etheric window into the cross-dimensional environment of the Plaza. Besides iterating these mesmeric visuals and performative conjurations for a contemporary art framework, the artist welcomes the audience to acknowledge the entity-like presence that the Adelaide Festival Centre has established for itself within the Adelaide architectural fabric. The work invokes the viewer to reflect on the empiric relationship uniting the surrounding natural landscape of the Riverbank, with the diverse and iconic forms of the Plaza. The summation of this being a meditative video installation that reflects on the ever-evolving character of the Adelaide Festival Centre and its immediate surrounds — illuminating the complexity of cultural and spiritual heritage upon which it dwells.
白蕾 (Bai Lei) – 完形记 (Gestalt), 04:28 mins
Time retrogrades, everything goes into the past, it seems as the overwhelming power pulls them back when a beetle trying to be a human. We were born to be human who love coveting others, suspicion, asking for treasure, loving ourselves and destroying the rules of the world. We were wandering between good and evil, talking about death of others and fear of our decay. There is too much to describe how helpless and labouring to be a human.
Maybe the beetle has the heart of human that is supposed to match with a pair of human legs, and it even eager for human body, arms, face and brain. I can see our world destroyed and rebuilt, rebuilt and destroyed in an instant. I recorded the self-help and desire inflation of a beetle and expect someone may see themselves in this film.
Chris Herzfeld & Kyra Herzfeld, Stillness of Motion 1 & Stillness of Motion 2, 06:25 mins
We are so used to seeing dancers photographed on stage or shot in a photo studio that I really like the idea of seeing dancers in unfamiliar surroundings. I was interested in taking and placing the dancers in real life locations where the location was a character itself, and often almost at a contradiction to the dancers in the image. To help this transformation from stage/photo studio to location, I decided to lose the dance clothes and dress the dancers in everyday streetwear, the exceptions being the images of the Flamenco and Indian dance.
The aim was to light the dancers so at a first glance it looks like they are lit in studio but upon closer examination you might change your mind, again helping with the contradictions that appears in the image. All images are one shot one capture, no Photoshop cutting and pasting used in the composition of the images, no motor winder used on the camera, no trampolines or harnesses used for the jump shots.
The genres of dance represented in the slideshows are ballet, contemporary dance, Flamenco and Bharatanatyam (a form of classical Indian Dance).
Dancers/Collaborators include Riannon Mclean, Elise May, Janessa Dufty, Talia Fowler, Jessica Hesketh, Clancy Sullivan, Erin Fowler, Jessie Oshodi, Catherine Wells, Gabrielle Nankivell, Lina Limosani, Sam Harnett Welk, Hayley Kollevris, Catherine Ziersch and Seeta Petal.
Emma Monceaux – River Reflections, 10:06 mins
City lights reflected on the River Torrens by night are abstracted by using in-camera effects to create dreamlike imagery.
王睿涵 (Wang Ruihan) – No Image Available, 02:41 mins
Shooting without objects? This shooting has no object; it is merely a repetition of actions. The camera captures every single detail from the emptiness. Every single shot is the re-shooting of the last piece, and repeat it. Here the Moiré patterns are no longer interferences to images, they yet become images themselves.
This is seemingly object-less, end-less shooting, but eventually forms colour, light, and space over the emptiness. This is the photography of photography, to shoot without an object.
Callum McGrath – River Torrens, 08:10 mins
Callum McGrath’s River Torrens was filmed on the banks of the Torrens River in Adelaide, at the exact site where gay academic Dr George Duncan was murdered in 1972. Duncan’s alleged murder by three police officers—who were never charged—was a catalyst for homosexual law reform in Australia. McGrath uses his work to mediate his cultural inheritance of homosexual male narratives; River Torrens operates as a sombre reflection on the history of queer experience.
Informed by queer history and experiences, McGrath’s practice disrupts and negotiates representations of the queer male identity. His work has been featured in various group and solo exhibitions including: River Torrens, Green Screen: Institute of Modern Art, Brisbane, Passing, West Space, Melbourne; HATCHED, Perth Institute of Contemporary Arts, Perth; Rose Tinted, FELTspace, Adelaide; and Site (re) Constructed, Bus Projects, Melbourne. He is a founding co-director of Cut Thumb ARI. McGrath has obtained a Bachelor of Fine Arts (Visual Art) with first class Honours at the Queensland University of Technology (2016) and was awarded the Eyeline Prize for an Outstanding Visual Arts Graduate.
Salar Niknafs – Adrift, 03:30 mins
"We came whirling
out of nothingness
the stars made a circle
and in the middle
we dance" - Rumi
The music of Adrift is a simple generative system, built around unsynchronized melodic passages to create a constantly changing wash in B minor. Electric guitar recordings are accompanied with field recordings and undercurrent drones to create a non-linear immersive listening that slowly drifts in and out of phase.
Video footage is of a ceremonial parade in Ubud, and a Pahlevani ritual at a Zurkhaneh (or Zoorkhaneh; English: “House of Strength”) in the historical city of Yazd, in Iran. Pahlevans are performing the whirling exercises (Persian: Charkh), which is believed to be derived from the Sama dance of whirling dervishes.
James Murphy – Everyday, 01:49 mins
Current practice involves a lens study of the everyday. It highlights the quotidian rituals that allow a foundation for our hopeful longings. These video meditations of simple human movement against static objects are rendered monochrome, with intent to return attention to the everyday that has been relegated.
Awarded the Silver Medal at the 2017 Royal Ulster Academy exhibition, Ulster Museum in Belfast, Northern Ireland.
Unbound Collective – Bound and Unbound: Sovereign Acts II, 12:34 mins
The Unbound collective is Ali Gumillya Baker (curator), Simone Ulalka Tur, Faye Rosas Blanch and Natalie Harkin.
Ali Gumillya Baker shifts the colonial gaze through film, performance, projection, and grandmother-stories. Simone Ulalka Tur’s performance and poetics enact an intergenerational transmission of story-work through education. Faye Rosas Blanch engages rap theory to embody sovereignty and shedding of the colonial skin. Natalie Harkin’s archival-poetics is informed by blood-memory, haunting and grandmother-stories.
Bound and Unbound: Sovereign Acts II, originally exhibited in October 2015, builds on the success of Act I, extending these ideas and their expression through embodied projection and performance. Both Acts engage Aboriginal community members who have historically been contained and excluded within and beyond the mortar and boundaries of Adelaide’s so-called ‘cultural precinct’. When our ancestors’ voices are heard and listened to, this compels a call and response engagement with the broader Aboriginal community.
We can all speak back through individual and collective Sovereign Acts.
Dan Monceaux – Giant Australian Cuttlefish, 04:37 mins
Video of Giant Australian Cuttlefish during the 2009 breeding aggregations. One-shot film, as shown at the Port Pirie Regional Art Gallery in 2017.
Recorded near Point Lowly, South Australia.
Jane Skeer – Film, 15:38 mins
I work predominantly in sculpture and installation, responding to observations of people, objects, and materiality. I seek to prove that the unwanted is in fact useful and that it might prompt us to rethink our relationship with it. Respecting the life and qualities of the material, my aim is to work collaboratively with material agency to activate it in some way.
Film was created as an extension of the work Quiet Square. I used my iPhone to capture the light reflecting from the VHS ribbon and onto the floor. I was mesmerised with this experience and found the ribbon to be both visually seductive and secretive, reminiscent of the anticipation we feel staring at the stage curtain waiting for a performance to begin. This work Film could add a layer of suspense to your building progress, as we anticipate the completed Adelaide Festival Centre.
Mitch Hearn – Beaming, 04:10 mins
A visual rollercoaster of symbolic (and non-symbolic) imagery, the viewer is left to interpret the piece how they wish, with vibrant shapes and symbols and characters moving around the screen and only barely colliding and interacting with each other. Some scenes are taken from personal stories and other were imagined concepts, and the viewer can relate to the media or be a spectator.
Susan Bruce – Collage Dystopia, 04:00 mins
I have cut, glued, drawn, painted and trimmed to produce a dystopian landscape. Collage Dystopia is a reimagining of orginal texts from newspapers and magazines. Using distortion and fragmentation I have created new queer bodies in a menacing environment, where surveillance is just around the corner.
Brydee Rood – Survival River Series - Whanganui Gold Waters, 05:54 mins
Floating with a composition of survival blanket pieces on the Whanganui River, I became a caretaker and guardian of the river, seeking balance within a fragile relationship between man and river, the precarious materiality of the pieces an ever-shifting dialogue. Survival River Series speaks to the state of emergency faced by many rivers across the world and our complex role as poisoners and potential saviours. There is something fascinating that exists in the murkiness between ritual and habit; of the things we do habitually versus a ritual act of act of care - the conscious, unconscious, practiced and learnt knowledge that inherently develops our belief.
Man’s contemporary relationship with water is questionable, underscored by geopolitics; viewed as a resource to be used, polluted, wasted and consumed at a price albeit economic, social and environmental. The work seeks to quiet the imposed value of water within a capitalist structure, to evoke an alternative value and express a reverent positive memory exchange with the body of water existing within us and connecting us to the earth’s rivers.
Dan Monceaux – Southern Fiddler Ray, 02:03 mins
Southern fiddler rays in seagrass meadows at Port Broughton, South Australia.
As previously displayed at Port Pirie Regional Art Gallery in a projected loop.
Deborah White – Possums In The Roof, 03:32 mins
Possums in the Roof is a video that honours the possums that share my urban space. Typically regarded as a nuisance, possums are the ultimate survivalists that cling to their habitat in the face of urban development. Their powers of vigilance and making-do serve as a guide to trust your instincts and discover the genius of a simple life. Surrendering to the notion of living harmoniously with the harmless animals, I have drawn inspiration from animism that reveres the spiritual essence of animals and regards their habitat as precious.
The humour of the ritualized performance, highlights the eccentric position of humans in the natural world. The performance-as-possum serves to negate the assumption that holds humans in a superior, privileged position.
James Hornsby – Trapped, 04:41 mins
Trapped is a video that explores and presents ideas of intimacy in a digital age. Driven by the artists own experiences as an adolescent, coming of age at a time when mobile devices and the internet were rapidly becoming an important part of the lives of the people around him.
“Societies’ widespread adoption of the internet has made computers the main platform for social interaction. I seek to throw aside any digital interaction and reconnect with “real life” experiences but can’t help but find myself feeling left out and disconnected in an age where the internet and digital technology is rapidly transforming life, work and politics. I am trapped, relying on technology to connect with others but only find the interactions to feel empty”
The work takes a critical stance on the contemporary image and how people and things are perceived on the internet. Showing fragmented, paper thin, cut out slices of physical materials and body digitally manipulated and assembled together. The work reflects the contemporary human experience living with “technology reliance” and our relationships with digital technology. The aftereffect, a hyper coloured, perplexing mashup of digital and “real”.
James Kurtz – Eye TV2: James The Hedgehog, 08:03 mins
Eye TV2 is a mixture of real life, video gaming and animation. It stars and is told through the eyes of Dexter, my black cat, as we are thrust into a 1980s Sega video game.
Dexter loves me, James, and “really hates it when I go away”. We live at the beautiful white sandy beach at Seacliff in South Australia. Dexter follows me onto the beach and suddenly we both find ourselves in a retro video game. Our plane flies to Yogyakarta Indonesia where we are contrasted by a live volcano. I am woken from what was a dream by my parents and Dexter tapping me with his paws.
Anne Glam – AI, 09:39 mins
Glam is an Australian video artist whose work appeared as a finalist in the Waterhouse Natural Science Art Prize Exhibition. This piece, AI, relates to Artificial Intelligence. An autofocus camera was used to film jellyfish which, reputedly have no brains, yet have influenced the design of this artwork.
Liam Bosecke – Floating, 02:59 mins
Liam Bosecke is an emerging digital artist from Adelaide, South Australia. Bosecke is creating distorted virtual realities through mixed digital media, manipulating physical forms in a destructive and experimental fashion to investigate the extent of our emotional capacity through the manipulation of traditional perspective.
Bosecke’s work seeks to evoke an emotional connection from the viewer over anything else. Bosecke has been working actively in the 3D medium since 2016 and has exhibited in galleries internationally.
Peter Crnokrak – What Need Angel, 02:35 mins
What Need Angel is a synesthetic transcription of the brainwave response of a five year old boy while listening to music. The computational video uses dynamic particle animation segments that are woven together to form a seamless, though at times jarring, reflection of the music listening experience. Particle behaviours such as size, speed, colour and direction of movement are all determined by the user’s passive brainwave responses to music stimuli.
Vanessa White – 23° WEST, 05:00 mins
23° WEST explores ambiguous pathways representing the figure in the landscape. In comparison to more traditional dualistic views, for example in Caspar David Friedrich’s painting Wanderer Above a Sea of Fog.
In 23° WEST the performer and videographer work in dialogue with the intensity of nature, elements, and formation of the land. Investigating the boundaries of the body, self, and space, creating a combination of body and environment as one whole attempting to move in unison.
Anastasia Tyurina – Colour32, 02:06 mins
This project investigates how to interpret scientific images made by the Scanning Electron Microscope (SEM) of micro-scale drops of water after evaporation and thus turns to scientific photography as an art form. Exploring the idea of ‘interactivity’ for my project, I developed an algorithm which allows viewers to physically interact with my photomicrographs, becoming direct objects of manipulation. Thus, anyone who touches the screen can create, display and experience a ripple effect, which is very similar to the effect we can see and observe when we interact with water surface by touching or disturbing it.
Interacting with the scientific photomicrographs in this way offers a layered meaning and can enhance the audience's perception of scientific data, scientific photography, and water. It transforms the work into something that transcends disciplines and offers a layered meaning, providing audiences with the opportunity of experiencing the fluid and animated qualities of the effects that connects with these qualities in the subject matter: water. The addition of the interactivity and animation introduced by the ripple effect is the expanded mode of 'reading' or appreciation. As well as offering a visual engagement, the work offers an embodied engagement: an important connection to the material significance of water in our lives.
Anastasia Tyurina is a new media artist, currently an Associate Professor at the National Research University of Electronic Technology, Moscow. In 2017, she earned her PhD in the interdisciplinary field of Artistic Photomicrography from Griffith University, Brisbane.
Alinta Krauth – The River Enfolds, 09:59 mins
The River Enfolds (2018) is a site-specific data-generated work created specifically for the Adelaide Festival Media Screens. Inspired by movement data collected by the artist from the Karrawirra Parri, The River Enfolds creates a detailed yet abstract animation that visualises the river’s data, bringing that flow into the building itself. Curving with the building, and connecting to the movement and flow of the public through and around the space, this piece hopes to serve as a reminder of the connections between visitors and their natural surroundings, while communicating an insight into the science of water data.
Monika Morgenstern - Visitors of the Night, 06:55 mins
In my visual art practice I explore the very broad field of mystical experiences and encounters with the numinous. Through my work I hope to reveal how the mystical exists in contemporary society and how I - as an artist - can approach these issues through art making.
Still and moving images seem inexplicably connected to the mystical as some of the early spirit photographs and video works attest to. Photographs and video works furnish evidence. Something we hear about, but doubt, seems proven when we’re shown a video of it.
Emma Hough Hobbs – UMI, 02:52 mins
A 2D animation short portraying a surreal journey of self-discovery involving a girl and her mysterious elevator. A silent girl with blue hair and blue skin enters an elevator in a blank space; it teleports her to a variety of wondrous and weird areas and gradually she interacts with these scenes more and more until she leaves the elevator to sit in a small cinema and watch the waves go by.
Kristen Coleman – 35°03’28.1’’S 139°09’55.1’ E, 05:02 mins
35°03’28.1’’S 139°09’55.1’ E is a long, slowed-down shot of the wind blowing through an open grass field. Its thematic focus of stillness, silence, and duration aims to capture, at least temporarily, time and experience.
Filmed at Callington in South Australia, this video work is a contemplative piece that is positioned antithetically to the rhythm of the city, the screens functioning as a window to the field.