КИМ СИМОНCСОН
El escultor finlandés Kim Simonsson lleva años mostrando su trabajo, basado principalmente en diversas colecciones de figuras humanas y animales, lo que lo ha consolidado como uno de los artistas más destacados de Helsinki. Con una fuerte influencia en el comic y el manga, Simonsson ha sabido recrear un mundo fantástico, donde la ingenuidad y la juventud parecen ser sus verdaderos protagonistas.
Mud
Nicole Clouston is a practice-based researcher currently completing her PhD in Visual Art at York University. In her practice she asks: What happens when we acknowledge, through an embodied experience, our connection to a world teeming with life both around and inside us? Nicole has exhibited across Canada in Montreal, Victoria, Edmonton, and Toronto. She is currently the artist in residence at the Coalesce Bio Art Lab at the University at Buffalo.
Фриц Панзер
In the 70s Fritz Panzer has started creating sculptures that were replicas of furniture and objects on a scale of one to one. His work offers an interesting experience that asks the viewer to rely on their own memory and recognition to complete the works, referring to outline drawings and to gestural drawings creating the volume of an object through his total silhouette. New spaces come into being, in which the artist makes an escalator, stepladder or desk grow out of the world and likewise into it, holding them poised between visibility and invisibility.
바트 헤스
巴特·赫斯
בארט הס
БАРТА ХЕССА
Heart to Mouth
Sheath your arrows: the voluptuous red heart, international symbol of love, is reimagined in this a visceral new short by genre-defying Dutch artist Bart Hess. With echoes of high-tech fetish fashion and Jeff Koons’ contemporary pop art classic “Hanging Heart,” Hess’ latest video stages a Sapphic encounter from within crimson latex balloons.
Empty City
Wim Wenders on the set of Million Dollar Hotel
Morning Glory
Behind the Mountian Another Mountain
大卫·罗克比
데이빗 로커비
رون جلعاد
罗恩·吉拉德
רון גלעד
ロン·ギラッド
РОН ГИЛАД
Ron Gilad mora e trabalha na cidade de Nova York. Os objetos híbridos de Ron Gilad combinam inteligência material com jogo estético. Eles ficam na linha gorda e deliciosa entre o abstrato e o funcional. Seus trabalhos tratam da relação entre o objeto e sua função, questionando nossas percepções. Variando de edições únicas a limitadas e peças de produção, as obras não têm “data de validade” e residem em coleções públicas e privadas em todo o mundo. Gilad faz perguntas incessantes na forma 3D e fabrica respostas que criam uma arena para dúvidas férteis. Metaforicamente, Gilad é um linguista, criando sua própria linguagem. Ele aprende a origem das “palavras” e desenvolve novos “sinônimos”.
Tree Logic
Pilgrims
Portraits of a Serialsammler
Auf dem ersten Blick sehen seine Aufnahmen wie klassische, nüchterne Portraits aus, doch dann sieht man einen Gewehrhalfter über den Arm, einen Mülleimer über dem Kopf. Er entstellt seine Objekte mit Flohmarktfunden, aber erschaft damit kein lustiges John-Bock-alle-müssen-lachen Gefühl. Die Atmosphäre ist düster und beängstigend. Masochistisch.
FRAGILE
Fragile is an audio-visual installation that aims to investigate the relationship between stressful human experience and the transformations that occur in our brain. Recent scientific research has shown that neurons belonging to different areas of our brain are affected by stress. In particular stress causes changes in neuron circuitry, impacting their plasticity, the ability to change through growth and reorganization.
Our process exploits the scientific data provided by the Society for Neuroscience and elaborates this information trying to show the effect of external interactions on our nervous system and ultimately on our relationship with the outside world. In order to achieve this we developed an artwork composed of different digital representations following one another, branching into 5 screen projections.
HYSTERESIS
FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Robert Seidel – HYSTERESIS – Germany
HYSTERESIS intimately weaves a transformative fabric between Robert Seidel’s projections of abstract drawings and queer performer Tsuki’s vigorous choreography. Using machine learning to mediate these delayed re-presentations, the film intentionally corrupts AI strategies to reveal a frenetic, delicate and extravagant visual language that portrays hysteria and hysteresis in this historical moment.
Bio
Robert Seidel is interested in exploring abstract beauty through cinematic techniques and insights from science and technology. His projections, installations and award-winning experimental films have been presented at numerous international festivals, art venues and museums, highlighting his innovative approach to visual art.
Credits
Film: Robert Seidel
Music: Oval
Performer: Tsuki
Graphics: Bureau Now
5.1 Mixing: David Kamp
Support: Miriam Eichner, Carolin Israel, Falk Müller, Paul Seidel
Financing: German Federal Film Board
埃琳娜卡利斯
エレーナカリス
Елена Калис
Desire of Codes
This interactive installation consisting of three parts is set up in YCAM’s Studio A, a space that is normally used for theatre performances.
A large number of devices resembling tentacles with built-in small cameras are placed across a huge wall (Part 1), while six robotic “search arms” equipped with cameras and projectors are suspended from the ceiling (Part 2). Each device senses with insect-like wriggling movements the positions and movements of visitors, and turns toward detected persons in order to observe their actions. In addition, a giant round-shaped screen that looks like an insect’s compound eye is installed in the back of the exhibition space (Part 3). Visual data transmitted from each camera, along with footage recorded by surveillance cameras installed at various places around the world, are stored in a central database, and ultimately projected in complex images mixing elements of past and present, the venue itself and points around the globe, onto the screen. The compound eye visualizes a new reality in which fragmentary aspects of space and time are recombined, while the visitor’s position as a subject of expression and surveillance at once indicates the new appearances of human corporeality and desire.
