A country-spanning, mobile exhibition of thought provoking, visceral work from renowned artists, projected from a modified Volkswagen.
THE REVOLUTION WILL BE STIGMATIZED.
In October 2012, the 2,500 mile stretch of Interstate 40 between Atlanta and Los Angeles will be transformed for 10 days into a corridor of art surfaces using the latest in projection image mapping techniques. From the back of a modified Volkswagen.
The exhibition will begin in Atlanta, GA in conjunction with an event by renowned painter Alex Gray and will end in Los Angeles, CA in a final, mass exposition during Gallery Row's LA Art Walk.
- A curated exhibition of visceral artwork will be projected onto the donated or hijacked facades of traditional exhibition spaces, urban landscapes and industrial ruins.
- Using a high-end projector, laptop and specialized software, the artwork will be bombed from the rear of a highly modified vehicle.
- The entire process will be filmed, photographed, blogged, and streamed live, culminating in a full-length documentary.
- Our crew is working with artists and collectives across the country to engage with during stops and organize viewings in addition to our more clandestine displays.
FUNDING & REWARDS
So what do we need $3,000 for?
That's right. We've handled everything else already. But the kind of projector we need to be bright, clear and large enough to do this exhibition justice as well as handle the complex programming costs nearly $3,000 after taxes.
What would we do with more money?
Gas, for one thing. Ouch.
One projector is what we have to have to do this at all. Two projectors would expand our capability to much larger and more complex surfaces. More money would also mean more exposure, increased production quality for our documentary, more and better rewards, future events and more opportunity for more artists.
REWARDS FOR CONTRIBUTORS
Prints from Aesthetic Cataclysm
Wheatpaste Posters and Slap Tag Stickers
THIS IS US VERSUS: BORDER LINES has more artists enlisting each week! Please check http://www.thisisusversus.com/artists/ for an up-to-the-minute roster!
For submission info, visit: http://www.thisisusversus.com/submissions/
Jeremy Geddes, Melbourne AU
Mark Powell, Melbourne AU
William Zdan, Los Angeles CA
Mimi Yoon, Los Angeles CA
Danielle Tunstall, UK
Fragilemuse, Toronto Canada
Aesthetic Cataclysm, Atlanta GA
Sandra Yagi, San Francisco CA
Stephanie Bennett, Costa Mesa CA
Vincent Castiglia, New York
Maya Kulenovic, Toronto Canada
Scott Holloway, Worcester MA
Santiago Caruso, Buenos Aires, Argentina
Aegis Strife, Madrid, Spain
Dan Harding, Keansburg New Jersey
Jim Kazanjian, Portland OR
Paul McCarroll, Belfast UK
Matt Hughes, Atlanta GA
Risks and challenges Learn about accountability on Kickstarter
For one thing, this exhibition will occur with or without permission from the owners of the surfaces we decide to project upon. Ambient light, odd angles of projection, and difficult surfaces present many challenges, but authority is going to be our primary roadblock with this project. Many municipalities have vastly different regulations concerning the emission of photons in public space. But much like the wheatpasting and tagging and street art we will be creating over the course of our journey, it's far easier to just do it without securing permission. We expect to be threatened with arrest, and we're okay with adding that to our resumes.
The name of the collective is This Is Us Versus. We resent the contemptuous and immutable edicts of authority figures. Whether it's galleries or the police, the King of Candy Land or the Mayor of Modern Art (who, incidentally, looks a lot like Mayor McCheese), This Is Us Versus being told to turn off our projector.
In the world of digital performance art and stage/event production design, a technique called "Projection Mapping" is used to project a two dimensional image (either static or moving) onto a surface in three-dimensional space. In traditional projection, an image is projected onto a clean, bright, flat surface placed directly in front of the projector. But wrapping a building in a projected image is a very different task. The real wold has obstacles that make it difficult to have an ideal angle to project from. Ambient lighting and surfaces with irregular shapes and textures make projecting a clean image almost impossible without some computer sorcery. Using specialized software, an image can be manipulated in the computer and sent to a stationary array of digital projectors so that the image is cleanly projected onto an irregular surface as if it were flat. It's a bit like wrapping a present, but instead of cutting paper, we manipulate an image. Here's a video with more information!