REBECCA HORN
ريبيكا هورن
רבקה הורן
レベッカ·ホルン
레베카 호른
РЕБЕККА ХОРН
Unicorn
La obra de la artista alemana Rebecca Horn tiene algo en común con el arte feminista norteamericano, algo, pero no todo. Lo suyo es una sensibilidad más europea, en el sentido de que está abierta a sutilezas y, sean cuales fueren sus referencias a las políticas del cuerpo, al humor. El trabajo de Horn es oblicuo, mágico e irónico y no tiene nada de ese tono de queja que hace de la obra de sus hermanas transatlánticas un lamento monótono.
PAWEL ALTHAMER
帕维尔·阿瑟曼
Павла Альтхамера
SHEN WEI
Шен Вей
שן וויי
沉伟
Folding
沉伟的作品“折叠”（图为公园大道军械库）于2002年在纽约首次上演
胸白，胸甲白，脸白，并带有细长的发卷（头饰？他们的头是细长的吗？），第一批舞者从黑暗中冒出来，紧a在蓝绿色的阴暗地板上，拖着长裙摆，这些长裙摆的颜色各不相同。将它们分为两组：红色和黑色。红军们经常在国会中扮演举动，旋转，独立的生物，而黑军人则用布成双成对地密封在一起（例如令人毛骨悚然，悲惨地交织在一起的杰克和迪诺斯·查普曼的作品），并花费大量时间从事极其缓慢的性交活动。甚至是较慢的葬礼游行，将他们死气沉沉的双胞胎恋人拖走了。
看来，红军有个国王，而黑人则有一个皇后（最终他们一个人出现）。后来的动向发生了一个奇妙的变化，当红军发现团结一致时，讽刺的是，他们似乎拒绝了他们自己的一个（沉伟的王者角色，同样如此），而成对的黑人似乎找到了一个更开明的人。他们的配对斗争中的个性。另外，这标志着我第一次看到全身氨纶套装，它的穿着者是真人版的“角色”，我认为这是一个动员的浮雕，出现在背景中像是一些小故障。在这个二项式世界的软件中。也许这个不露面的角色是红色和黑色的合成，或者是崇拜者的至高无上的梦想，将两个部分折叠成一个整体。也许这个角色只是个次要角色，但是因为它脱颖而出，它具有波巴·费特的所有明星般的特质，并且陪伴着我进入了第二次中场休息。
最后的作品《未分割的分裂》上周在军械库中获得了世界首屈一指。舞蹈首先是近距离偷窥的一种练习。次要的是它关注性的各种表达方式-觉醒，压抑的范围，自由，偏见，模式和失败。我和其他人一起在网格上的60个单独的瓷砖上漫游，我的第一个想法（以及其他所有人）是我的上帝，舞者拥有地球上最不真实，雕刻最精美的尸体。我永远不会再发生性行为，直到我看起来像那样或与那个样子的人在一起。
我看过大约五十种以裸体为特征的舞蹈，几乎每次都在推动正式的脱敏或去性行为，有时是由编舞者或舞蹈家发起的，但主要是由我自己做出的，以便让我看到过去的裸体并与之交往。在不同级别上具有更高灵敏度的性能。这通常需要大约20秒钟的时间，然后舞蹈的表现力和运动学所伴随的抽象在一定程度上使身体脱性别-我认为这不是脱胶过程，而是更接近于暂时的集体异化。但是，有时候，我发现自己面对着滑稽表演的现代舞蹈表演，尽管观众之间的距离已定，但仍邀请观众保持性意识。这发生在未分割的分割中。
EPFL
Rohrwerk
El nombre de la palabra alemana para “tubos” (Rohre), el Rohrwerk realmente se presenta como un órgano futurista. Consta de siete nuevos “cuernos de retroalimentación” de diferentes tamaños, así como un “multitrombón” y otros instrumentos hechos a medida. Las tuberías suspendidas sobre el suelo con una grúa se agrupan y se estrechan en un punto. Desde la distancia, la instalación da la impresión de un lápiz invertido altísimo.
Studio Smack
Tribe City
Hundreds of beings and dreamlike and dystopian elements inhabit the digital and autonomous works that are part of this project. “It’s a portrait of the masses,” summarise the artists, whose fascination with group dynamics, technological phenomena and the ego are expressed in Tribe with an eclectic selection of individuals who bring to life deeply recognisable social attitudes. Collective behaviour and manipulation are recurring themes in SMACK’s work, which often uses popular visual references and light-hearted aesthetics to present us with an uncomfortable reflection of who we are.
Kapwani Kiwanga
A wall is just a wall (and nothing more at all)
In ‘A wall is just a wall (and nothing more at all),’ Canadian, Paris-artist, Kapwani Kiwanga explores disciplinary architecture and design by isolating the structural traits and intended psychological effects of different built environments, such as prisons, hospitals, and mental health facilities.
Michael Sedbon
CMD
Here are 2 artificial ecosystems sharing a light source. Access to this light source is granted through a market. Each colony of photosynthetic bacterias can claim access to light thanks to credits earned for their oxygen production. The rules driving the market are optimized through a genetic algorithm. This artificial intelligence is testing different populations of financial systems on these 2 sets of Cyanobacteria. Like so, the photosynthetic cells and the computer are experimenting with different political systems granting access to this resource. The system oscillates between collaborative and competitive states. The genetic algorithm pictures the rules of these proto-societies as genes. By breeding populations of societies, new generations of markets arise. Like so, the sum of microscopic series of events determines the status of the system at a macroscopic scale.
Coke Wisdom O’Neal
Squeeze box
FILE SÃO PAULO 2025: SYNTHETIKA – Michael Betancourt
Garden
Michael Betancourt
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – CGI VIDEOS
Electronic Language International Festival
Garden – United States
Garden is a generative glitches animation created by deliberately conflicting AI (LoRA) models. Using multiple LoRA models to generate images that evoke flowers in a garden, the work transforms traditional representations of plant life into a fluid and hallucinatory exploration of growth, decay, and metamorphosis. These transformations suggest alternative ways of understanding organic growth, where the boundaries between individual organisms become fluid and permeable.
BIO
Michael Betancourt is a contemporary Cuban-American critical theorist, filmmaker, and artist-researcher known for his pioneering work in the fields of Digital Capitalism, Motion Graphics , and Glitch Art . Since 1990, he has explored the intersection of technology, culture, and aesthetics in a diverse practice unified by a constant concern with the poetic potential of images generated by errors.
EJtech
Liquid MIDI
An experimental modular textile interface for sonic interactions, exploring aesthetics and morphology on contemporary interaction design. Trigger pads and fader board are screen printed modules focused on AV performances, allowing the performer to build its set up regarding its needs.
NATARAJ SHARMA
Air Show
Isaac Julien
Ten Thousand Waves
Os trabalhos de Isaac Julien são considerações críticas da globalização e representação. Ele nasceu em 1960 em Londres, onde ainda tem sua base, e se formou em São Petersburgo. Escola de Arte Martins, depois de estudar pintura e cinema. Ele foi reconhecido na década de 1980 por seus documentários poéticos e instalações de vídeo e hoje é um artista e cineasta de renome internacional.
WORAPONG MANUPIPATPONG
SPACE INBETWEEN
The series of spatial structures are a combination and overlapping of basic architectural-elements (roof, floor, wall, window, and ladder) and furniture feature (platform with different level for seating, laying, leaning). The shape and form represent contemporary architecture with simplicity of form but complex spaces. These structures can be seen as a transition between inside and outside. It provides variety of posture and different level with intimate space.
TOMMY INGBERG
Томми ингберг
HANS HEMMERT
한스 해머
ハンス・ハマート
Hans Hemmert is fascinated by air and latex balloons in a bright canary yellow. But these aren’t just your average latex inflatables, some fill entire rooms while others surround Hemmert himself. Posing as a giant elongated egg, he performs dances or interacts with the objects outside his elastic bubble.
LAB[AU]
f5x5x5
f5x5x5 is a kinetic light sculpture conceived of and realized by the belgian design studio lab[au]. the project was most recently installed in the basilique de saint denis in paris for nuit blanche 2009. the design consists of fixed and kinetic aluminum frames that can move randomly or be programmed for use as a low resolution display. the piece is designed as a framework, taking inspiration from software development
frameworks. in the case of the project, the framework is a five by five module which is repeated five times to create the final form. one side of the work is white, while the other is black. the 125 pixel screen works on binary language and can transform captured data from the physical environment into kinetic actions.
CHRISTIAN BOLTANSKI
基督教波尔坦斯基
בולטנסקי
クリスチャン·ボルタンスキー
Кристиан Болтански
Homage
R.I.P 1944-2021
Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”
