Nicolas Sassoon
Green Waves
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RUAIRI GLYNN
Fearful Symmetry
Taking its title from a line in William Blake’s poem “The Tyger”, the installation is inspired in part by the visceral description of an encounter with a creature in the night. So startling that the author questions the purpose and tools that could make such a life form. Intending to bring visitors to a primal state of hyper-awareness, the encounter of the work aimed to create such a visceral encounter.
CHRISTOPH HILDEBRAND
vortex
MICHELE DE LUCCHI
米歇尔·德卢基
ミケーレ・デ・ルッキ
Homage to the Imagination
Il paesaggio, le colline, le montagne, i laghi, le valli, i dolci declivi. La fantasia se ne va, non più trattenuta dalla ragione. Parte per un viaggio a occhi aperti, dove noi stessi, svegli e nel possesso delle facoltà mentali, decidiamo cosa deve succedere e con un semplice impulso mentale cancelliamo quello che non ci piace e non vogliamo vedere e vivere. È la forza dell’immaginazione. Senza, il mondo non avrebbe colori, l’esistenza non meriterebbe interesse’.
Collectif Coin
Abstract
Movement, sound and light interweave in Abstract. It presents a repeating 20 minutes loop inspired by the concept of relativity. Time can be perceived as a vertical dimension in which the pixels travel. This movement will be used to freeze time while the audience keeps their feet firmly on the ground.
ELIZA BENNETT
Элиза Беннетт
伊丽莎·贝内特
אלייזה בנט
イライザベネット
HERZOG & DE MEURON AND AI WEIWEI
THE SERPENTINE GALLERY PAVILION 2012
Segundo já anunciado pela Serpentine, o pavilhão deste Verão proporcionará uma viagem aos projectos dos anos anteriores. “Seguindo uma abordagem arqueológica, os arquitectos criaram um design que vai inspirar os visitantes a olhar para baixo da superfície do parque assim como a olhar para trás no tempo através dos fantasmas das estruturas antigas”, lia-se no comunicado da galeria londrina, que explicava que através da recuperação dos vestígios de intervenções de outros anos, vão ser construídas doze colunas, uma para cada edição. Apoiarão uma plataforma flutuante, a 1,5 metros acima do chão.
A cortiça surge como o elemento estruturante da obra por ser, segundo a dupla de arquitectos Herzog & de Meuron, um “material natural, com fortes mais-valias aos níveis do tacto e do olfacto, de grande versatilidade, permitindo ser facilmente esculpido, cortado, moldado e formado”.
Em comunicado, António Rios de Amorim, presidente da CA, escreve que esta “é uma oportunidade ímpar de demonstrar ao mundo que a cortiça não é apenas um produto único, criado pela natureza, mas também um material tecnologicamente relevante para o século XXI”. Carlos Jesus não tem dúvidas de que para esta aposta terá contribuído o sucesso do Pavilhão de Portugal na Expo 2010, em Xangai. “O pavilhão, todo revestido com cortiça, foi um dos mais visitados e acabou premiado”, disse Jesus, explicando que desde então a empresa se tem dedicado também a promover “estas particularidades técnicas”.
CARLO BERNARDINI
カルロ·ベルナル
卡罗贝尔纳迪尼
كارلوس برنارديني
Suspended Crystallizzation
Suspended Crystallizzation 2010, une grande intervention de la lumière dans l’espace extérieur, c’est un dessin spatial qui coupant le vide entre les bâtiments, s’impose au niveau de l’air comme une forme illusoire. Destiné à transformer l’espace du contenant de l’œuvre d’art en une forme ouverte et «perméable», le projet matérialisé par la lumière physique de la fibre optique est réalisé à travers le libre expressionnisme de l’espace dessinant les lignes de lumière en négatif dans une telle obscurité environnement comme sur une feuille sombre.
PHILIP GLASS
فيليب الزجاج
菲利普·格拉斯
פיליפ גלאס
フィリップ·グラス
필립 글래스
Филип Гласс
Songs from Liquid Days
Songs From Liquid Days became Philip Glass’ most popular and successful recording. The title holds the clue to the music’s accessibility: These are songs, providing a more familiar and comfortable format for appreciating the world of minimalism than Glass’ operas or instrumental pieces. Working with such lyrical collaborators as David Byrne and Suzanne Vega, he created art music which sounds radio friendly. There is also great variety displayed on this album.
Olivier Ratsi
FORM II
Form est un environnement immersif où la lumière, utilisée sous une forme minimale, simule une architecture virtuelle mouvante se déplaçant dans l’espace et jouant avec nos perceptions.
Oliver Laric
2000 Cliparts
Oliver Laric’s work seeks to parse the productive potential of the copy, the bootleg, and the remix, and examine their role in the formation of both historic and contemporary image cultures. This process is intimately tied to his intuitive, idiosyncratic brand of scholarship, which he presents through an ongoing series of fugue-like expository videos (Versions, 2009—present), and further elaborates through his appropriated object works, videos, and sculptures, all of which are densely conceptually layered and often make use of recondite, technologically sophisticated methods of fabrication. Straddling the liminal spaces between the past and the present, the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations, Laric’s work collapses categories and blurs boundaries in a manner that calls into question their very existence.
B720 FERMÍN VÁZQUEZ ARQUITECTOS
plaza del torico
JUSTIN SWINDLE
love shadow
LEYLA CARDENAS
Periplo (detail)
Based in Bogotá and represented there by Casas Riegner, Leyla Cardenas engages with the remnants and artifacts of destruction, the seen and unseen, the visible and invisible. Working with found object and images from archives, often her process mirrors that of an archeologist since she procures fragments such as walls, ceilings and floors to produce her work.
Manon Kündig
Bowerbird
Manon Kündig’s master 2012 graduate menswear collection called ” Bowerbird” is full of digital prints and acid colours. Photoshop is probably one of the most important tools of her collection and she confesses being completely addicted to online research. Like the bird, she was inspired by to create her collection, bird stealing rubbish to create its nest; Manon stole Google images to create her prints. We asked Manon about her work and the relationship between the Internet and her collections.
