Joshua Davidson
glitch portrait
SUZAN DRUMMEN
kaleidoscopic crystal floor
dutch artist suzan drummen’s large-scale floor installations are mesmerizing and complex circular patterns made out of mirrors and brightly colored glass. the fractal-like arrangements feature ornate and elaborate circles growing exponentially out of each other and vibrant rings of spiraling colors winding into the surface of the floor. they are composed of crystals, chromed metal, precious stones, mirrors and optical glass. a sensory experience, and visually stimulating, the glittering installations play with the architecture of the space — climbing up walls and sweeping across the surfaces — examining the idea of illusion and optical effects.
Robert Rauschenberg
Mud Muse
One of the show’s highlights is Mud Muse (1968-71), which is 1,000 gallons of bubbling Bentonite clay in a 12ft by 9ft (365cm x 274cm) tank.The work is also something of a technical feat in that it is listening to itself. The mud’s bubbles and spurts are measured by microphones, which in turn trigger a complex series of pumps to release more air and create more bubbling.
Shiro Takatani
ST/LL
ST/LL opens on a stage with a long set table, perpendicularly to the orchestra, under the eyes of the audience; on the sides of the table there are some chairs. On the background, coinciding with the inner extremity of the table, there is a projection screen developing vertically, like a painting that evokes the Japanese pictorial tradition. The perimeter of the stage is covered with a veil of water, in which everything reverberates. The whole visual structure of the work develops all around this diaphanous dimension. A man enters the scene and carries out actions on the table: he moves the cutlery, changes the position of the chairs, makes tiny gestures, which let the audience foretell that an action played on the visible will develop. To the sound of a metronome, two women and then a third one enter the scene and sit at the table making gestures that imitate a meal without food.
BILL DURGIN
Studio Fantasy
By manipulating the human body into contorted geometries and abstracted formations, american photographer bill durgin plays with the observers perception of the scene. the curled up, fractured anatomies — some semi-concealed behind boxes and wooden blocks – study the corporal limitations from a fresh angle, resulting in a series photographs that are both fascinating and slightly disturbing.
NICK KNIGHT
ニックナイト
НИК НАЙТ
ניק נייט
닉 나이트
Nick Knight is one of the most sought after fashion and editorial photographers in the world today. His first photographs however were focused on an entirely different field. In the 1970s, he took a documentary approach in recording the Skinhead movement popular among youths at that time. He also has a keen interest in pressed flowers and plants
MATTHEW HART
Light Paintings
DAVID BALULA
Echo Kicked Drum
Hear, feel, see this time which cannot be defined. Such is one of Davide Balula’s concerns, behind the apparent poetry of a practice which fixes itself no limits, neither in its domains nor in its processes. His work is not experimental in the sense of the practices of the sixties or seventies, but has integrated the polyphony of mediums from the very start, with the naturalness of a multiform practice.
Kurt Hentschlager
ZEE
Expérience immersive forte alliant approche méditative et implication physique, Zee s’inscrit dans le travail sur la représentation humaine et ses ressorts psychologiques poursuivi par Kurt Hentschläger. Une expérience qui se suit comme un véritable fil d’Ariane.Savez-vous vraiment ce que signifie faire l’expérience physique d’une œuvre numérique immersive ? Ceux qui ont eu la chance d’expérimenter le Feed de Kurt Hentschläger, plongée radicale au cœur d’une matière instable de brouillard artificiel dense, de lumières stroboscopiques et de fréquences sonores électroniques pulsatives répondront sans doute par l’affirmative. Pour les autres, l’épreuve de rattrapage ultime aura pour nom Zee, pièce rare et prolongement de Feed, présentée au Centquatre parisien dans le cadre de l’exposition Trouble Makers, fil rouge de Némo, le festival arts numériques d’Arcadi Île-de-France. Ancienne moitié du duo de défricheurs numériques extrêmes Granular Synthesis, Kurt Hentschläger cultive le goût des environnements déstabilisants et trouve dans Zee le dispositif déambulatoire idoine pour nous prêter au jeu. « Zee fait partie de la même série de travaux que Feed, mais en format installation », explique l’artiste autrichien basé à Chicago. « Zee fonctionne en mode huis clos, dans un espace totalement fermé. Dès que l’on entre, le brouillard est déjà là. Il remplit l’espace dans lequel vous êtes invitez à vous déplacer. Par rapport à Feed, où le public reste assis à un endroit précis, il y a donc davantage de flexibilité dans l’expérimentation du dispositif. Cette idée de déambulation dans l’espace induit un climat différent. C’est peut-être encore plus intimidant pour certains mais pour moi cela donne à Zee une connotation plus méditative. »Procéder à l’expérience nécessite véritablement de se prendre en main.
Krista van der Niet
КРИСТА ВАН ДЕР НИЕТ
The work of Krista van der Niet (1978) emerges from a dreamlike state of mind, whereby her imagination brings the things around her to life. She seems to glide along the lightness of things and grasps the beauty of the pure object. During the making process objects gain a metaphysical layer of meaning. She is the guiding factor for the viewpoint of her audience, in order to convey her perception.
QIU HAO AND MATTHIEU BELIN
邱昊
When two talented people meet, an edgy fashion designer and an unconventional photographer, an astonishing project, intriguing in many levels, originates. The Serpens collection lookbook is the product of the collaboration between the Chinese fashion designer Qui Hao and the Shanghai based, French photographer Matthieu Belin. Named after the constellation of the northern hemisphere – the reptile, the mythological symbol that represents both good and evil – Serpens is as mysterious, futuristic and compelling as its name implies. An extravagant collection in which the size is the absolute dominant. Oversized clothes touched by the magic wand of minimalism.
Hrafnhildur Arnardóttir
chromo sapiens
Icelandic artist Hrafnhildur Arnardóttir / Shoplifter has transformed a warehouse in Giudecca into a multi-sensory, cavernous environment with a cacophonous amount of her signature material, synthetic hair. Color, sound and irresistible textures guide visitors through three distinct chambers provoking an immersive experience of visual and auditory stimuli.
Georgina Santiago and Guillermo Mora
ギジェルモ・モラ
VITRINE
VITRINE is a collaboration with artist Guillermo Mora, with who Georgina Santiago has a speciall creative connection. The idea behind it was to merge the two creative worlds in the way that the essence of a gallery is translated to the clothes and sorround them with a sculpure. The boundaries between art and fashion get blurry and the body become a sculpture itself. The surroundings of the body become part of it and all mutate into one. The body became a vitrine were the art is exposed.
Iart
Light Cloud
The Light Cloud at the Merck Innovation Center detects visitors’ movements in the room and translates them into many different moods. The generative sculpture stimulates and facilitates intense encounters between people and technology. The room-filling installation consists of four curved strands that are concentrically superimposed and slightly shifted in relation to each other. OLED elements that are attached to the strands and controlled by sensors react to the visitors’ movements and to sound compositions. In combination, this generates a complex mosaic in which sound and light interact playfully and the viewers leave traces.
MARTIN HESSELMEIER AND ANDREAS MUXEL
Il peso della luce
La luce, come la interpretiamo abitualmente, è un elemento senza massa e gravità. Per “il peso della luce” un motore fisico simula le forze cinetiche di un oggetto in movimento. Questa massa è proiettata su una struttura a forma di onda nello spazio virtuale. L’oggetto in movimento è rappresentato come una particella di luce nello spazio fisico. La gravità, la massa, la densità e l’attrito influenzano la velocità e l’accelerazione di queste particelle di luce. Poiché il movimento delle particelle si basa su una simulazione, non deve aderire alle realtà fisiche che conosciamo dalla vita di tutti i giorni. Pertanto l’installazione va oltre il comportamento previsto. La materia della luce attraversa così una reinterpretazione della nostra realtà conosciuta.
Norimichi Hirakawa
Datum
Any pixel in a digital movie file can be described as a point in 6-dimensional Euclidean space [x,y,R,G,B,t]. the rotations in 6-dimensioal space converts curve in form to gradation in colour, colour to motion in time axis, motion to curve and curve to colour. relations beween all of pixels are mathematically conserved through the conversion.
this visual object is “mathematically” digital colour movie data itself as sequence of numbers. it’s a nature of data.
