bye bye butterfly
«ByeBye Butterfly（1965）8’00 “は、サンフランシスコテープミュージックセンターで作成された2チャンネルのテープコンポジションです。2つのヒューレットパッカードオシレーター、2つのラインアンプをカスケード接続、ターンテーブルとレコード、2つのテープレコーダーを遅延で使用します。 作曲家は機器を配置し、発振器を調整し、リアルタイムで作曲を演奏しました。「19世紀の音楽だけでなく、その時代の礼儀正しい道徳体系とそれに付随するものにも別れを告げます。 女性の性の制度化された抑圧。 タイトルは、当時スタジオで手元にあり、進行中の作曲ミックスに自発的に組み込まれた、ジャコモ・プッチーニのオペラディスク「蝶々夫人」に言及しています。」-PO»トランスペアレントテープミュージックフェスティバル、サンフランシスコ
Illusion Lens
French Artist Vincent Leroy has proposed a geodesic installation imagined to sit atop the Roppongi Hills Mori Tower in Tokyo. The otherworldly sphere takes on a similar form to that of a spaceship, with three strong industrial legs holding up its perch. Sitting 238 meters high in the center of the rooftop’s helipad, the installation quietly overlooks Tokyo’s sprawling cityscape. Leroy accurately refers to the sphere’s kaleidoscope effect as “a sampler of the sky,” as it captures its surrounding climate and twists the image into multiple pieces. The artist designed the proposed installation as an escape from the busy streets of Tokyo, a place to contemplate and reflect in peace either alone or with loved ones.
tube
‘combining a transparent, gentle, woven structure, devoid of any hard angles and surfaces, with unsettling heights/vistas and uncanny spatial sensations.’NUMEN/FOR USE
your unerasable text
“your unerasable text” is an interactive installation, dealing with the topics of data storage and elimination of data. The installation can be placed in an exhibition, but ideally it’s exhibited in a public space window, where it can be used by people passing by 24h a day. The participant is asked to send a textmessage to the number written on a sign next to the installation. “send your unerasable textmessage to +43 664 1788374”. The receiver mobile transfers it to a computer, which is layouting the message automatically. Then it is printed on to a DIN A6 paper, which is falling directly on to a papershredder. There the message remains readable for a few moments and gets destroyed then. The shredded paper forms a visible heap on the floor, which reminds of a generative graphic.
bell sculpture
Glass Houses: Self-Portraits In A Moving Mirror
“In this project, I confront questions of self-image and the ways in which our interior worlds conflict with our exterior form. How does the image that we present to the world differ from what we see when we look in the mirror? If our desires, fears, secrets and vulnerabilities were manifested physically, what might they look like?”
Structure volante
Thomas Lanfranchi uses lightweight materials to create environmentally responsive sculptures. Many of his projects have been wind blown, taking the form of kites or wind socks. He has installed these pieces at sites across France and on buoys at sea. On a recent visit to Australia he made a journey around the outback, creating and documenting a new airborne sculpture each day to suit the site. Working with a type of plastic commonly used for shopping bags, Lanfranchi is able to make very large structures that are capable of being supported by the lightest breeze. When they are destroyed after the exhibition an object the size of a blue whale collapses into a carrier bag.
Infiltrate The House of Art
Green Cloud (Nuage Vert)
The third edition of Nuage Vert (Green cloud) highlighted the cloud of vapour emitted by the largest waste incinerator in France, on the edge of Paris at Ivry-sur-Seine, using a green laser beam which draws the clouds outline in real-time. Beyond the spectacle of the projection onto a power plant emission, Nuage Vert is also an open space, a canvas onto which each individual can project their questions concerning our consumer-waste culture, adding a second level reading to a site which is both highly visible and ignored.
The work acts like a semantic parasite, an organism that takes cover and feeds itself by establishing a sustainable interaction with another organism, in a relationship that is not necessarily damaging for the host, but necessary since the emission cloud provides Nuage vert with its visibility. During two years the project generated a social-cultural process which attracted support from citizens and the power plant owner, but however led to political obstruction from the local authorities. Escaping from a political stalemate, the work was realised without institutional consent, from a secret location on a private rooftop with the cooperation of local residents.
The project was previously realised in Helsinki, Finland and in Saint-Ouen, France.
Silverfish Stream
file festival
The sound generated by the friction of the metallic robots against the floor, like that created by the contact between man and machine, is registered, altered and played in real time by the spheres, each with its own tonality, and amplified in the room. What is generated is a stream of multisensory information (visual, auditive, tactile), natural environment for mechanic creatures.
COW
Ekman talents extend to the lighting and stage design and his eye for structuring an environment is unerring. There is no set as such, excepting the plaster cow which dangles overhead, but the stage surface has its share of movement as little island-blocks rise up and pits sink down. The extreme tilting of the stage at one point causes unfortunate Bauch to roll, cow-like, almost into the pit. COW has its iconic Ekman moment in the scene that opens on a stage full of swirling dancers in white skirts set in a magical silvery mist. Mikael Karlsson, whose music partners the piece provides a subtle and evocative soundscape. He offers a hint of percussive rhythm picked up by the dancers who launch into an ecstatic dance: a stage full of whirling dervishes, until they collapse exhausted.
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Ekmans Talente erstrecken sich auf die Beleuchtung und das Bühnenbild, und sein Auge für die Strukturierung einer Umgebung ist unfehlbar. Es gibt kein Set als solches, außer der Gipskuh, die über ihnen baumelt, aber die Bühnenoberfläche hat ihren Anteil an Bewegung, wenn kleine Inselblöcke aufsteigen und Gruben sinken. Das extreme Kippen der Bühne an einer Stelle führt dazu, dass der unglückliche Bauch kuhartig fast in die Grube rollt. COW hat seinen legendären Ekman-Moment in der Szene, die auf einer Bühne voller wirbelnder Tänzer in weißen Röcken in einem magischen silbernen Nebel beginnt. Mikael Karlsson, dessen Musikpartner das Stück ist, bietet eine subtile und eindrucksvolle Klanglandschaft. Er bietet einen Hauch von perkussivem Rhythmus, der von den Tänzern aufgenommen wurde, die einen ekstatischen Tanz beginnen: eine Bühne voller wirbelnder Derwische, bis sie erschöpft zusammenbrechen.
Cybill Shepherd/Phone Sex
Robert Heinecken is an artist who is hard to pin down. A photographer who rarely used a camera, he founded UCLA’s photography department in 1964. Skeptical of the documentarian role of photography, he mined images from mass media, prefiguring the appropriation strategies of Pictures Generation artists like Richard Prince and Sherrie Levine by at least a decade. Despite this, he was never able to achieve the notoriety accorded these artists.
Tattooed Babies
Morphing
Milena Naef questions ‘existing’ structures that are inherent to herself. The work tries to create the right manifestation of the assumed duality between body and mind. She translates characteristics of a subjective experience into material, transforming the mental into physical to find a new relation between the two. Once tangible, the interaction with the concrete material allows for a space to ‘open’ in which a given context can be changed. The body itself with its physical presence and its absence becomes a vital aspect of the work.
جينكس سام
duo
Jinks vytváří sochy pomocí osvědčené kombinace silikonu, pigmentu, pryskyřice a lidských chlupů a vlasů. Díky pečlivé práci a modelování vytváří nejprve samotnou sochu tvarově a poté patologickou prací domodelovává jednotlivé sochy a vpravuje jim chlupy i vlasy pod kůži. Jde v podstatě o ukázku zručnosti a posunutí vnímání sochy do jiné rovy už samotnými materiály a postupem.
キャサリンウェールズ
Project Dna
El trabajo de esta diseñadora es un modo de expresión que oscila entre el arte objeto, el diseño y la moda. Con el afán de ampliar los límites de producción digital, la diseñadora londinense conjuga ciencia y tecnología para crear piezas que reflejan los cambios tecnológicos que se viven a diario.
Car Park Tower – проект автопарковки в Гонконге от архитекторов из Mozhao Studio. Уникальная спиральная архитектура башни это совокупность пространств, атриумов и помещений, которые будут выполнять различные цели. К примеру, в выходные дни территория первого уровня здания будет функционировать в качестве временного рынка.
nhow hotel berlin
Extreme cantilever alert! A four-storey block with a mirrored underside juts out from the top of a Berlin hotel, 25 metres above the ground (photos by Roland Halbe). The huge cantilever comprises the upper floors of the eleven-storey NHow Hotel, which was designed by German architects NPS Tchoban Voss. The end of the cantilever is fully glazed whilst the underside is clad in polished aluminium, creating a mirror that reflects the hotel roof below. Part of the NHow chain, the 310-room hotel contains music facilities that include a ballroom and a sound studio.
Digits
File Festival
“Digits” is a single player wall projection installation game using a multi-touch tablet (iPad) as a controller. The game consists of moving a puppet using a set of dials.
The player can manipulate the dials on the tablet by performing a rotational gesture with the finger, which will rotate the joints of the puppet on the wall projection. Multiple dials can be rotated at the same time.
If the player lifts his fingers from the touch screen, the joints and limbs of the puppet will gradually fade and loosen his articulations. Because the puppet is subject to gravity, the player has to time the joint rotations in order to coordinate the movements of the puppet.
Crooked House
