images that haunt us
The images above are part of the exhibition: «Dansen har mycket gemensamt med arkitektur» / «Dance has a lot in common with architecture» (2013)
Arkitektur- och designcentrum / Center for Architecture and Design (Ark Des)
Both images above this line are uncredited in source: Dansmuseet (view post in this blog : Birgit Åkesson training), but we reckon that them could belong to the same photo-session with Sune Sundahl
All the images in this post are from the exhibition: «Dansen har mycket gemensamt med arkitektur» (2013). Some of the images are dated 1939-1947 but most of them undated.
«Dance has a lot in common with architecture» (2013)
Movement, rhythm, space and body in dance have much in common with architecture. Spatiality can only be experienced with the body, in movement. There are several good reasons to pay attention to the connections between the room shape and people’s movements in the rooms. Whether dancing or walking around a building, there is both flow and embodiment. Perhaps it was precisely these common denominators that made Birgit Åkesson choose the architectural photographer Sune Sundahl to document her early choreographies?
Photographing movement is a big challenge, a movement in a frozen moment can easily turn into a rigid pose without context or dynamism. In Sundahl’s collection there are, among other things, pictures from Birgit Åkesson’s own performance Blue Evening from 1946. The title was probably taken from the blue-painted Konserthuset in Stockholm, designed by Ivar Tengbom 1924-26. Here, Birgit Åkesson experimented with movements without music, which was unique for the time. She also studied during her lifetime the dances of other cultures, including dances African dances from the south of the Sahara and the Butoh dance from Japan.
The dancer, choreographer and dance researcher Birgit Åkesson (1908-2001) taught the viewer to listen to the sound of movement in the silence. It was about holding a dialogue, where the rhythm carried the form that left invisible traces in the air. Birgit Åkesson started her dance career in the 1920s and 30s when she studied with the German-born choreographer Mary Wigman. It was from her that the Swedish dancer found the expressionist language, the free dance. Birgit Åkesson was one of the leading avant-garde artists in free dance.
Lenita Gärde, Center for Architecture and Design (quoted from ArkDes)
Two theories: the second tornado snapshot (on the bottom) had a Canedy’s Camera Shop 1927 date stamp on the verso. Canedy’s was in South Dakota and sold local souvenir snapshots (Bad Lands, Black Hills, etc…) between the 1920s – 1940s. It is also probable that when 15-year old Lucille Handberg took this photo her neighbor, who was an engineer, recognized its importance and sent copies to scientists around the country and these could be two of those. text adapted from source : Billy Parrot
The images above this line are most probably scanned from newspapers of the time, we were not able to find the original source. The second image is from The Gallery of Natural Phenomena, where you can read more about the circumstances in which the photo was shot. [x]
Only the image below can be reached on the Library of Congress.
Controversy arises : Jasper tornado of 1927 is, according to South Dakota Public Broadcasting (based on information from Siouxland Heritage Museums), the Sioux Falls tornado of 1932…
… view two images below.
Watch the film on YouTube ~ link to this scene : here
Nevertheless, our favorite scene takes place a few minutes before during the night in Geoffrey’s ominous mansion. Geoffrey’s wife, an exotic Russian princess in exile (Lya de Putti) confess Prince Lucio that she married Geoffrey only to be near him (Satan). Geoffrey awakens and creeps down the stairs to find his wife throwing herself at Lucio’s feet. It’s a suspenseful sequence with shadowy shots of the mansion that looks menacing. Link to scene
Read the novel on Project Gutenberg : The Sorrows of Satan or, The Strange Experience of One Geoffrey Tempest, Millionaire, A Romance : eBook
Listen to «Bela Lugosi’s Dead» on Bauhaus Official YouTube channel
All the images in this post are from the exhibition: «Dansen har mycket gemensamt med arkitektur» (2013). Some of the images are dated 1939-1947 and most of them undated.
«Dance has a lot in common with architecture» (2013)
Movement, rhythm, space and body in dance have much in common with architecture. Spatiality can only be experienced with the body, in movement. There are several good reasons to pay attention to the connections between the room shape and people’s movements in the rooms. Whether dancing or walking around a building, there is both flow and embodiment. Perhaps it was precisely these common denominators that made Birgit Åkesson choose the architectural photographer Sune Sundahl to document her early choreographies?
Photographing movement is a big challenge, a movement in a frozen moment can easily turn into a rigid pose without context or dynamism. In Sundahl’s collection there are, among other things, pictures from Birgit Åkesson’s own performance Blue Evening from 1946. The title was probably taken from the blue-painted Konserthuset in Stockholm, designed by Ivar Tengbom 1924-26. Here, Birgit Åkesson experimented with movements without music, which was unique for the time. She also studied during her lifetime the dances of other cultures, including dances south of the Sahara in Africa and the Butoh dance from Japan.
The dancer, choreographer and dance researcher Birgit Åkesson (1908-2001) taught the viewer to listen to the sound of movement in the silence. It was about holding a dialogue, where the rhythm carried the form that left invisible traces in the air. Birgit Åkesson started her dance career in the 1920s and 30s when she studied with the German-born choreographer Mary Wigman. It was from her that the Swedish dancer found the expressionist language, the free dance. Birgit Åkesson was one of the leading avant-garde artists in free dance.
Lenita Gärde, Center for Architecture and Design (quoted from ArkDes)
La sensualità è uno degli aspetti più indagati dall’arte e più presenti fra le sale dei musei. Lo scopriremo grazie a B-Side – Il lato nascosto dell’arte, viaggio intrapreso da Caroline Pochon e Allan Rothschild attraverso la storia della rappresentazione del fondoschiena, oggetto proibito del desiderio su cui si sono concentrati gli sguardi di molti artisti. (src Artribune)
La face cachée des fesses, documentaire diffusé sur Arte évoquera plus particulièrement les fantasmes et les tabous que suscitent nos postérieurs en s’appuyant sur ses différentes représentations à travers les siècles. Le film de Caroline Pochon et Allan Rothschild, deux passionnés d’histoire de l’art, proposera une étude des mœurs centrée sur les fesses et tentera d’expliquer les fantasmes collectifs au sujet de notre arrière-train. (link to source)
All the images in this post are from the exhibition: «Dansen har mycket gemensamt med arkitektur» (2013). Some of the images are dated 1939-1947 and most of them undated.
«Dance has a lot in common with architecture» (2013)
Movement, rhythm, space and body in dance have much in common with architecture. Spatiality can only be experienced with the body, in movement. There are several good reasons to pay attention to the connections between the room shape and people’s movements in the rooms. Whether dancing or walking around a building, there is both flow and embodiment. Perhaps it was precisely these common denominators that made Birgit Åkesson choose the architectural photographer Sune Sundahl to document her early choreographies?
Photographing movement is a big challenge, a movement in a frozen moment can easily turn into a rigid pose without context or dynamism. In Sundahl’s collection there are, among other things, pictures from Birgit Åkesson’s own performance Blue Evening from 1946. The title was probably taken from the blue-painted Konserthuset in Stockholm, designed by Ivar Tengbom 1924-26. Here, Birgit Åkesson experimented with movements without music, which was unique for the time. She also studied during her lifetime the dances of other cultures, including dances south of the Sahara in Africa and the Butoh dance from Japan.
The dancer, choreographer and dance researcher Birgit Åkesson (1908-2001) taught the viewer to listen to the sound of movement in the silence. It was about holding a dialogue, where the rhythm carried the form that left invisible traces in the air. Birgit Åkesson started her dance career in the 1920s and 30s when she studied with the German-born choreographer Mary Wigman. It was from her that the Swedish dancer found the expressionist language, the free dance. Birgit Åkesson was one of the leading avant-garde artists in free dance.
Lenita Gärde, Center for Architecture and Design (quoted from ArkDes)
un regard oblique 