Collectif Scale
Hula Hoop
Depuis nos débuts, nous avons toujours conçu et imaginé des installation émettrices de lumière, que cela soit en utilisant la vidéo ou les leds. Avec Hula hoop, qui est une installation issue de la même technologie que Flux, nous voulons proposer notre premier objet non lumineux en utilisant un seul médium : le mouvement. C’est en multipliant un objet simple, un anneau, tournant sur lui même que nous proposons une oeuvre dynamique.
Sterling Ruby
ACTS/ALPHA BLOCKER
In ACTS—short for “Absolute Contempt for Total Serenity”—Ruby captures liquid dye inside clear urethane and balances these pure prisms atop scuffed, inscribed, and spray-painted Formica bases. These works expand upon his earlier Formica sculptures such as Big Grid/DB Deth (2008), a scratched-up monolith that exudes a cold, prisonlike institutional menace. In ACTS, the juxtaposition of unfeeling laminate slabs against vibrantly pigmented urethane is a potent one; it transforms the urethane from a passive, glassy vitrine into an active agent of incarceration that suffocates the blossoming furls of dye.
Quadrature
Positions of the Unknown
At the very beginning of space exploration the infrastructure to monitor the whole sky was not yet developed. So in order to find out whether foreign countries launched objects, the US government started to train citizens to observe and detect possible artificial satellites. Scattered over the allied world, these amateur scientists played a crucial part in keeping track of all men-made technology orbiting earth, until “Operation Moonwatch” was discontinued in 1975 […] “Positions of the Unknown” locates the current whereabouts of these mysterious objects by simply pointing at them as they revolve around Earth. Missing the legal proof, those unidentified artefacts remain entities of pure speculation, secret companions of us and our planet. Even so they have been sighted several times and their ubiquitous presence is therefore somehow validated, they linger in a state between existence and non-existence. Quadrature’s 52 small machines constantly follow their paths and serve as silent witnesses of the unknown.
CVV (SUICIDE PREVENTION CENTER)
HELP YOUR SELF
Leo Burnett Brasil
George Vantongerloo
“Vantongerloo, who ascribes to the abstract language of form after 1917, applies himself to Abstract Art in order to get control of rules by which he develops an interest in geometrical relationships and algebraic formulas. In addition to his artistic practice, Vantongerloo also writes theoretical work about his research. Primarily after the publication of his pamphlet L’Art et son Avenir in 1924, he creates new impulses for geometric abstraction with his writings. In this way, for example, he subjects three neo-plastic works of Piet Mondriaan (1872 – 1944) to an analysis in the French publication Vouloir. In this way he opens up the way for his own ‘mathematical’ abstraction.” Sergio Servellón
MYEONGBEOM KIM
МИЕОНГБЕОМ КИМ
김명범
tree boat
“I try to examine how my surroundings are perceived and remembered. To do this, I listen to a whisper from the objects within my surroundings. I attempt to have an intimate, private dialogue with the world, trying to concretely present the way things approach me, by using other mediums. To ask what an objects means to me is like asking what being I am. I have consistently experienced my surrounding objects from the perspective of life, growth, and decline, which lends vitality to my work.”
Maxim Zhestkov
Elements
Elements is an experimental art film by Maxim Zhestkov about nature, physics, art and love. More than 2 billion elements / particles governed by tensions and forces of nature were used to tell stories and show emotions through the motion of collective behavior.
The film is a trial to explore the idea that everything around us and inside us is made from simple elements / blocks which can be arranged in complex relationships and become compound structures. We could project this idea into emotions, behaviours, thought processes, relationships, life, planets and the 23.
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.
Sam Mohan & Param Sahib
Grapheme-Color Synesthesia
Kcho
Rectifying the Course
Los botes constituyen el eje fundamental de su trayectoria, de su itinerario, de su experiencia como hombre-artista, como hombre-remo, como hombre-balsa que navega: “Un bote es un invento ancestral. Yo no creo que haya otro medio de transporte que diga tanto sobre la gente”.
JULIA RANDALL
Джулия Рэндалл
Blown
Julia Randall is in love with drawing, and uses her seductive technique to craft images that subtly challenge assumptions about corporeality, desire, and the natural world. Intersecting sensibilities activate her work; images are simultaneously erotic and humorous, beautiful and repulsive. Although she clearly operates in the realm of fantasy, Randall uses observation-based drawing and hyperrealistic technique to create images that are surreal and suggestive.
RYOICHI KUROKAWA
黒川良一
Rheo-5-horizons
File Festival
日本を代表する映像/音響アーティストの黒川良一。1999年より映像および音楽作品の制作を開始して以来、メディアアートをとりまく国内外の様々なアート・フェスティバルにおいてインスタレーション展示、オーディオビジュアル作品の上演を行う。過去の展示、上演には、イギリスのTate Modern、イタリアのVenice Biennale、ドイツのTransmediale、そして本国バルセロナのSonar等がある。またヒューマン・オーディオ・スポンジ(元YMO: 現Sketch Show + Ryuichi Sakamoto)などのミュージシャンの為にライブビジュアルの上演も行っている
TASHA KOLESO
Таша Колесо
PROXY DESIGN STUDIO
mechaneu v1
我們知道 3D 列印可以模擬人體器官、食物、建築物等各種繁複的物體，但這些大多為靜態物件，來自紐約的設計工作室 proxy design studio 則進一步挑戰精密的齒輪機械，印出一顆完整的球體齒輪群組，只要轉動其中一個，其他齒輪也會跟著被牽動，看起來超歡樂的！
《mechaneu v1》由 64 個齒輪組成，由球體內部的框架來支撐，設計師先用電腦軟體想辦法排入大小各異的花形齒輪，再透過 3D 列印印出來，《mechaneu v1》上的每個齒輪都能互相牽引作用，達到牽一髮動全身的效果，看著齒輪各自轉動的模樣頗有點療癒放空的效果，proxy design studio 則希望能藉此研發出更多機械動能相關的設計。
Robert Flynn
راب فلین
רוברט פלין
Робб Флинн
Unstable Cube
Thomas Feuerstein
Psychoprosa
The exhibition PSYCHOPROSA focuses on mucus as a biochemical substance and sculptural material. The production of mucus takes place as a real process within the exhibition spaces, transforming the Frankfurter Kunstverein into an interconnecting ensemble of greenhouse, laboratory, walk-in refrigerator, cinema, and factory. Through tubes connected to one another, equipment and objects produce and transform their interior substances, refrigerators open and close automatically and transparent threads of mucus drip from expansive glass sculptures.
In close collaboration with biochemists, Thomas Feuerstein has developed the synthetic molecule Psilamin, derived from algae and fungi. In its production, large quantities of viscous biofilm are generated. If one were to take Psilamin, one would begin to feel psychotropic effects. Perception would liquefy, and objects in the room would appear soft and shapeless. Simultaneously, the flowing nature of the sculptural matter, which escapes solid form, externalizes an inner psychic process. At the end of the biochemical production process, which visitors can track in the different exhibition spaces, there is the expan-sive sculpture Accademia dei Secreti over whose glass containers vast amounts of mucus pour.
