NAM JUNE PAIK
백남준
白南準
Нам Джун Пайк
نام جون بايك
נאם ג’ון פייק
Piano Piece
Krijn de Koning
Bekannt für seine architektonische Skulptur, umfasste die Ausstellung „In Here, For This“ Möbel wie Skulpturen und eine grafische Innenausstattung. Die Arbeit ist als manipulierte Form von funktionalen Möbelstücken konzipiert, die fünf architektonische Elemente wie einen Tisch, eine Bank oder ein Bücherregal umfassen. Diese Einheiten sind zu stapeln, auf jeder Seite zu drehen und zu trennen oder miteinander zu verbinden. Es wird darauf geachtet, Farben zu formen und zu blockieren, damit die Schönheit der Form sprechen kann, während die formalen Qualitäten von Kunst und Architektur berücksichtigt werden. Negativer Raum und positive Form werden so interessant und dominant wie einander.
Mathias Gartner & Vera Tolazzi
THE TRANSPARENCY OF RANDOMNESS
“The Transparency of Randomness” gives insight into the world of randomness. In this interactive installation, visitors can directly experience the significance of the complex interplay of randomness and stochastics in current mathematical and physical research. 27 transparent boxes, floating in space, continuously generate random numbers by using the well-known medium of the dice.The process of random number generation is influenced by the complexity of nature and its structures, using a variety of natural materials. The ensemble of all generated random numbers forms the basis of a real-time calculation and comprehensibly demonstrates the impressive role in scientific research.
DAVID BALULA
Echo Kicked Drum
Hear, feel, see this time which cannot be defined. Such is one of Davide Balula’s concerns, behind the apparent poetry of a practice which fixes itself no limits, neither in its domains nor in its processes. His work is not experimental in the sense of the practices of the sixties or seventies, but has integrated the polyphony of mediums from the very start, with the naturalness of a multiform practice.
BART HESS
바트 헤스
巴特·赫斯
בארט הס
Барта Хесса
Bart Hess (1984) explores several fields combining material studies, animation and photography. Bart has a very personal and recognizable signature. With his designs he is able to use new and existing materials in a very innovative way and he seems to tap into new worlds. His work is of international stature, he finds and creates its own stage and international collaborations with prestigious names.
Sasha Waltz
insideout
Mit „insideout“ verwirklicht die deutsche Choreografin Sasha Waltz ihren lang gehegten Traum (ein Großprojekt), eine Produktion zu machen, die den Zuschauern uneingeschränkte Bewegungsfreiheit bietet. Unzählige Aktionen in Tanz, Musik und Bild finden gleichzeitig und auf verschiedenen Ebenen statt. Es liegt an den einzelnen Zuschauern, ihren eigenen Kurs zu bestimmen. Ein sehr unterhaltsames und aufregendes Abenteuer vor Ort! Jede Szene erzählt eine bewegende Geschichte, manchmal lustig und grotesk, manchmal autobiografisch. Der Choreograf ging wie immer von einer intensiven Sozialforschung aus. Dieses Mal führte sie Interviews mit ihren eigenen Tänzern und fragte sie nach ihren verborgenen Geschichten, nach ihren Familien und Hintergründen. Die Produktion bietet ein Kaleidoskop von Lebensgeschichten, Emotionen und Erinnerungen. Die Originalkomposition von Rebecca Saunders wird live von musikFabrik, dem renommierten deutschen Ensemble für zeitgenössische Musik, aufgeführt.
Verena Friedrich
VANITAS MACHINEの設置は、永遠の命への欲求と延命措置の可能性に対応しています。技術的介入によって非常にゆっくりと燃え尽きるろうそくに基づいて、VANITAS MACHINEは、科学技術の助けを借りて人間の寿命を延ばす努力に現代的なアナロジーを作成します。 古典的なヴァニタスのシンボルの1つである燃えるろうそくは、瞬間の無益さ、人間の生活の一時性、そしてすべての存在の終わりの確実性を思い起こさせます。しかし、この目的は本当にまだ避けられないのでしょうか？ 過去2世紀の間に、工業国では平均余命が大幅に伸びました。さらに、科学的研究の文脈では、老化の生物学的原因が調査されています。老化の多くの理論は、生理学的要因と環境要因の両方に向けてすでに開発されています。 老化の最初の理論の1つは、いわゆる「生存率理論」でした。これは、生物の寿命がエネルギー代謝回転に相互に関連しているため、カロリー摂取量、酸素消費量、心拍数に関連していると主張しています。代謝率、生物の寿命が短くなります。 VANITAS MACHINEでは、実験装置の中央にキャンドルが置かれています。人間の呼吸プロセスと同様に、燃えているろうそくは酸素を消費し、二酸化炭素と水を生成します。酸素とエネルギーの代謝回転が高いほど、キャンドルの燃焼時間は短くなります。 VANITAS MACHINEは、制御された条件下でキャンドルを「生きた」状態に保つために特別に開発されました。環境要因からそれを保護し、酸素供給を正確に調整することによって、キャンドルの「代謝」、したがってその「寿命」に影響を与えることができます。
Joe Diebes
Oyster
oyster is a new opera (in progress) about a surprising precursor to last.fm and Pandora. In the 1960’s, renowned American folklorist Alan Lomax developed a wildly ambitious system called cantometrics for coding and analyzing folk songs from every corner of the world. The opera is structured as a public lecture of Alan Lomax’s folk song analysis as demonstrated by four singers, who embody the IBM360 mainframe computer used to correlate his vast amounts of data. Working with the BOTCH vocal ensemble, I am reconstructing the folksong styles from regions as disparate as Bali, West Africa, and Central America using only the data from Lomax’s study. Things like melodic complexity, vocal blend, and nasality, are adjusted by the singers as they circumnavigate the globe. This data vocalization is further mediated by the ensemble’s distinctive extended vocal techniques, and is accompanied by a film narrative that unravels connections between cybernetics, surrealism and ethnography. The film also features a wide range of material drawn from the Alan Lomax archive at The Library of Congress.
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oyster will be performed by BOTCH ensemble: Christina Campanella, Michael Chinworth, John Rose, and Saori Tsukada
Boris Hoppek
Rainbow Vomit
Marta Revuelta
AI Facial Profiling, Levels of Paranoia
Inspired by the recent psychometric research papers who claimed to use an AI to detect the criminal potential of a person based only on a photo of his face, and taking the world of firearms as a starting point, we present a “physiognomic machine”, a computer vision and pattern recognition system that detects the ability of an individual to handle firearms and predicts his potential danger from a biometric analysis of his face. The device is based on a camera-weapon that captures faces as well as a machine with artificial intelligence and a mechanical system that classifies the profiled persons into two categories, those who present a high risk of being a threat and those who present a lower risk .
Thibaut Sld
S1 Pendant Light
S1 is an interactive pendant light. Its brightness and height are adjusted according to human presence. Units can be combined to generate dynamic patterns.
CHRIS LABROOY
Aerobics
Labrooy αποφοίτησε από το RCA με ένα μεταπτυχιακό στο σχεδιασμό των προϊόντων και έκτοτε με τη χρήση διαφόρων εργαλείων 3D άρχισε να ανακαλύπτει τη διασταύρωση της τυπογραφίας, της αρχιτεκτονικής, το σχεδιασμό του προϊόντος και τις εικαστικές τέχνες. Το έργο του το έχει εκθέσει στο μουσείο design.
Laura Scozzi
Jean-Philippe Rameau
Les Indes Galantes
The first merit of this new production, streaming with intelligence, is that Laura Scozzi and Christophe Rousset have read Fuzelier’s verses deeply. And of Rameau, we must add, so much the composer, perpetually dissatisfied with his poets, harassed them word for word, when he did not take up the pen himself. In addition to lines which, like his contemporary Marivaux, seem to have been invented instantly, Fuzelier has built a dialectical finesse between peace and war, joy and hatred, pleasure and violence, the state of Nature and the state of society. The Gallant Indies according to Laura Scozzi are not a gigantic burst of joy. On the contrary, they reveal a perpetual and restless balance between shadow and light and are a look, less consensual but true and human, on the Age of Enlightenment. Here is a startling ideological reversal, without any forcing: Laura Scozzi has simply revealed the implicit nature of a libretto, so far read superficially.
YURI SUZUKI
尤里铃木
يوري سوزوكي
beatvox
File Festival
By EPFL + ECAL lab in collaboration with Yuri Suzuki Direction: Nicolas Henchoz Designer: Yuri Suzuki Engineering: Gavrilo Bozovic, Fanny Riedo Software development: Gavrilo Bozovic, Fanny Riedo, Eric Morzier A microphone-controlled drumkit. Renowned as an artist for his projects questioning the materiality of sound, Yuri Suzuki has his own way of looking at augmented reality. For Berlin, he is creating an installation which will enable anyone to control a set of drums with their own voice. He harnesses the principles of augmented reality to interpret them in the realm of sound.
MIKE KELLEY
eternity is a long time
Roberto Pugliese
Equilibrium Variant
This work has the purpose of exploring the occurrence of the Larsen effect (also known as feedback) through the use of mobile devices in a three-dimensional space. The distinctive screech of the Larsen effect typically occurs when a microphone catches the sound emitted by a speaker. It engages when the microphone is located too close to the speaker, and gets in the way of its frequency. The microphone amplifies and reproduces the speaker’s frequency with an ever-increasing width, virtually unlimited, in practice stopped by the amplifier’s clip. On a ground support, two mechanical arms are located. At the end of one arm there is a microphone, and on the end of the other there is a speaker. A software, created with this specific purpose, manages the position of the arms in a dynamic way, and provides that the distance between the microphone and the speaker never causes the amplifier to clip. This way, the system tends to reach an equilibrium that is physically impossible to attain. The struggle to balance creates an acoustic and visual dimension that is never the same: the frequency of feedback and the movements of the mechanical arms are always different and change in real time.
Barry Le Va
On Corner – On Edge – On Center Shatter
