“Mirror-Mirror” is a dynamic kinetic installation created by German lighting / visual artist and imagineer Christopher Bauder from WHITEvoid, featuring contemporary dancer and crossover artist Qiu Jirong … and one of seven provocative stand-alone segments making up Apologue 2047/2, directed by Chinese film director, producer, writer and actor – and former cinematographer – Zhang Yimou.
The work was produced by L!VE Kingway at the National Centre for the Performing Arts (NCPA) in Beijing in June and will tour China in August allowing a wider audience to experience how Zhang Yimou breaks the form of traditional stage presentation by blending Chinese folk arts with modern technology, creating a unique performance concept in the process.
For Mirror-Mirror, Christopher utilised 30 x Robe Pointes as his primary lightsources, which worked in unison with 102 x KINETIC LIGHTS WinchLEDpixels and 34 x Mirror Disc lighting fixtures.
Each mirror is controlled by three winches which give 7 metres of up / down plus pan / tilt, so they can move incredibly smoothly on XY and Z axes making their movement fluid and three dimensional. The mirror movement is controlled via ArtNet by Kinetic Lights’ proprietary KLC software platform and the whole system is networked.
Christopher devised a storyboard for the eight minute piece and completed a previsualisation of the kinetic elements which included moods emotions, feelings, atmospherics … while Zhang Yimou and his team directed the overall show, composed the music, and both of them suggested certain positioning and chorography for the dancer.
It was an evolutionary process which suited the development of all movement – from the dancer to that of the mirrors and lighting technology.
The Pointes are arranged on ladders in three layers, each with five Pointes, running upstage / downstage. Utilizing these traditional dance performance lifting positions was one thing, but the technique was fully subverted with the mirrors which were able to bend, reflect and refract the light beams in any direction in mid air.
Combining the side-rigged Pointes with the moving mirrors massively increased the flexibility of the precisely positioned lighting fixtures.
Christopher first worked with Zhang Yimou on “Weaving Machine” another large scale kinetic installation that was staged as one of the eight sections in Apologue Part 1, presented a year ago in the same venue. This involved 640 internally lit balls on the same winch system and a solo female dancer, Rose Alice from London.
This was very successful, so all eyes were on the second edition of 2047 Apologue. Christopher wanted to retain elements from Part 1… so the fluid, seamless movement of the mirrors via the custom winches were the continuity, and the experimentation came with the moving lights and treatment.
