As Arthur Jafa writes in his text “My Black Death,”, abstraction in early twentieth-century European art-dating back to Cubism and German Expressionism, which then evolved into Bauhaus teachings and International Modernism-was set in motion by the plundering of Sub-Saharan Africa’s many visual cultures. It should be noted while these references suggest a design intellectualism that possesses an entirely white lineage, there is more to the story. We see icons of architectural history (Mies van der Rohe’s Farnsworth House or Peter Eisenman’s House VI, perhaps) compressed and united in these shapes. A collaboration with the designer Griffin Frazer, these sculptures are abstractly imaged through simple geometry and a totalizing white finish. Set to an experimental music score, the video performance shows dancers in a bucolic hillscape punctuated by minimalist white sculptures. In April 2018, she partnered with Uniqlo to direct Metatronia (Metatron’s Cube), an interdisciplinary performance piece hosted by UCLA’s Hammer Museum. Solange, "Metatronia (Metatron's Cube)," 2018. As Solange stated in an interview about the piece, " The purpose for me is to create sound and movement and scenography to develop my own architectural language and to invite the right spaces to coexist with the work." The piece was choreographed for not only the place but also for the time of day, where nuanced warm colors are found in the museum’s limestone façade, the orange and brown costumes of the performers, and in the setting sun. ![]() There, bands of wind instruments were strewn about the site where acoustics had been calculated to converge at the terrace where dancers, singers, and instrumentalists performed. In November 2019, a large cast of dancers and musicians performed the piece titled Bridge-s at the Getty Museum in Los Angeles. (In an interview, Solange described how an experience with racism in Marfa inspired past work.)īeyond the first step of establishing her presence in these institutions, Solange also engages directly, intentionally, even pointedly, with their architectures. They’re also spaces where she has experienced institutional marginalization of non-white people firsthand. These places aren’t unfamiliar to her they are environments that Solange knows personally. It’s important to note that her task of world-making begins with making space for Black expression and existence where it hasn’t been openly offered previously. ![]() These locations aren’t just backdrops through spatial engagement, Solange’s work establishes herself and her performers in venues that are typically understood as fairly white institutions. Following were performances at the Guggenheim Museum in New York ( An Ode To, May 17, 2017) and the Chinati Foundation in Marfa ( Scales, October 8, 2017). A look at her music videos and set designs reveals this ongoing interest in architecture and urbanism, but also the historical and social contexts that shaped these fields.īeginning with her live performance of Scales at the Menil Collection in April 2017, Solange has produced events on location at some of the most impressive arts institutions in the country. So a lot of my work is really about creating universes, I’m trying to create cities on stage.īecause of this interest, Solange has a striking ability to pair works of architecture with music and choreography. ![]() A lot of the early years of my life were spent on tour buses and venues and airports and even paying attention to the architectural language in these spaces, these spaces became my home. I think so much of my work is about world-making. In a rare video interview with Trevor Noah on The Daily Show, Solange shared: She curates these spaces holistically, with diligence and a clear appreciation for the built environment. Solange is aware of how the environment surrounding her work and audience impacts her viewers. Similarly, the visual aspects of her work frame a clear aesthetic lineage while breaking new ground. The result is something familiar yet inventive. Musically, Solange takes classic tropes of soul and R&B and adapts them to her own style. We see natural landscapes-specifically the expansive deserts of West Texas and New Mexico-and stage sets that celebrate the reductive geometries favored by minimalist artists. In another there are dresses made entirely of leaves or yarn, monochrome costumes that unite a cast of dancers, and choreography that repeats simple gestures. In one of Solange’s music videos, we see a palette of muted colors blossom from a gentle lavender into a vivid shade of purple.
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![]() I completely understand, and agree with, the soft key lock out - god knows if you add more typing to the already text happy drivers out there it would wreak havoc. The only drawback is the need to completely stop the vehicle to set the navigation. Navigation - it is great to have a Garmin interface and most of its features, and this is another feature set that works extremely well. However, the flip side is that the Uconnect MyGig developers have not taken the time or effort to update the platform for support of the profile - this is further evidenced by the fact that other Uconnect MyGig units do support many of the aforementioned features with iPhones and iPads. Many have complained that Apple is to blame for issues in this unit due to the change in their Bluetooth profile. A more accepted and universally customer utilized "standard", such as ID3 tags, could be a suitable replacement - and would work with HDD, USB and possibly Bluetooth (AVRCP version). Regardless, with the limited support within the system - this feature, too, is worthless. I have also read that there has been a separation between Chrysler and Gracenote (Sony America), and as such there has not been an update to this feature in sometime. Gracenotes - as previously mentioned this feature works in a limited capacity. (ID3 tag support would be a wonderful replacement for Gracenotes). ![]() USB (Media) - this feature seems to be well thought out and works extremely well, except for the similarly aforementioned missing album art. if the media comes from iTunes, for instance, and copied to via the USB (Copy) input, no album art is displayed. Moreover, Gracenotes album art ONLY works if the media is ripped on the Uconnect system. Having voice command for the USB feature (an external device), but not for the internal HDD does not make sense. HDD - missing voice control for selection of artists, songs, playlists etc. Join Calls would be a nice feature too, but much, much lower on the priority list. I have tested both Ford and Chevy extensively. I realize they are completely different systems, but it does exemplify the point - other manufacturers systems seem to react much like the 8.4AN. I have tested on other Uconnect systems (8.4AN specifically) and they seem to have an immediate connection on all features. The Call Accept and Call End can take between 3-5sec after depressing the hard or soft keys. Phone Bluetooth Connect can take up to 15-20sec after the vehicle has been started. Phone Bluetooth connect, call accept and call end seem to have a lag. Additionally, a dial pad screen for manual entry of numbers is desperately needed. Phone - capabilities should include a visual A-Z listing of the phonebook entries, not just a voice replay of entries one by one. Software application version 44.00.01 Feature limitations: (50.00.07 update does not solve these issues) Hopefully these will assist in future updates to the system, and further customer satisfaction. These are just some observations I have collected now that I am an Jeep Wrangler owner, with the Uconnect MyGig 430N RHB. |
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