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FESTIVALS OF LIGHT / LUMIERE, DURHAM, ENGLAND design file
Féte was inspired by a Féte du bley, a French countryside fair. “The idea came to me,” Ron Haselden says, “of using wood- en masts with 48 festoon lights strung between them.” This was complimented by the installation of loudspeakers, which played a mix of Dutch fairground music and French popular accordion music, matching the chase sequence of the multi-coloured lighting. When brought together, the strung lights create the outline of a tent while the music bounds around the empty space, creating a circus atmosphere, only with the performers missing.
For a piece that is fifteen years old, the work has shown a remarkable durabili- ty and it has recently been rebuilt, LED replacing the tungsten lights that had been used previously. “When you change the technology you lose something and you gain something. LED loses the glow that you used to get with tungsten lights, a tungsten light takes a millisecond to go off after you have flicked the switch, but when an electronic light goes off it’s off.” The work’s lightweight structure allows
DRESSES TAEGON KIM
Taegon Kim’s ethereal work first appeared at Lumiere in 2009. His new piece, which was shown in the cathedral’s cloisters, developed that original idea, with three shimmering dresses that appear to float in the darkness. Made from fibre-optic LEDs, each dress tells its own story, slowly changing colour and evolving over time. Their mysterious, ghostly shapes are inspired by Roland Barthes’ ‘A Lover Discourse’ and Kim’s fascination with relationships and love. Each dress, slowly changing colour, symbolises their evolve- ment over time, posing the question ‘Who would we want to be, if we could wear our own desires?’
A light artist of long-standing, Ron Haselden’s Féte is a tribute to the countryside traditions of his adopted Brittany.
it to be moved around and, aside from Durham, the art has been shown at the Serpentine Gallery in London, in Canary Wharf, Lisbon and in Derry’s Bogside. It was also presented in the Brittany countryside not far from Haselden’s home where pas- sers-by would stop their cars and waltz to the music underneath the festoons. Light is a material Haselden has consist- ently returned to throughout his career.
“I see light as a reaction against the big lumps of sculpture that just get dumped in a public space and left, that’s just not what I want to do. If you work with light it requires maintenance and care and if you don’t give it that then it just passes into history.”
www.ronhaselden.com
CROWN OF LIGHT ROSS ASHTON, ROBERT ZIEGLER, JOHN DEL’ NERO
Using images drawn from the powerful history of Christian- ity in the North East, the visual material of this large scale projection gave a glimpse of inside the Cathedral itself and one of the most richly decorated, and important books of all time, the Lindisfarne Gospels. ‘Crown of Light’, back by popu- lar demand after successful showings in 2009 and 2011, gave residents and visitors a final chance to explore the contents of this historic book in the year in which it returned to Durham for the first time since the 17th century.
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