Steve Reich
スティーヴ・ライヒ
סטיב רייך
스티브 라이히
СТИВ РАЙХ
Pendulum Music
Reich came up with the concept while working at the University of Colorado. He was swinging a live microphone in the style of the cowboy’s lasso, and noting the produced feedback, he composed for an “orchestra” of microphones.Three or more microphones are suspended above the speakers by means of a cable and stand. The microphones are pulled back, switched on, and released over the speaker, and gravity causes them to swing back and forth as pendulums. As the microphone nears the speaker, a feedback tone is created. Different lengths of cable will swing at different speeds, creating an overlapping series of feedback squeals. The music created is thus the result of the process of the swinging microphones.
edoardo tresoldi
ETHEREA
Coachella
Edoardo Tresoldi plays with the transparency of mesh and with industrial materials to transcend the time-space dimension and narrate a dialogue between Art and World, a visual summary which reveals itself in the fade-out of physical limitations. Mixing classical and modern language, he generates a third one, strongly contemporary.
ALEX STODDARD
Алекс Стоддард
亚历克斯斯托达德
Sonja Baumel
crocheted membrane
‘Crocheted Membrane’ experiments with creating a momentary fiction through fashion artifacts. Starting with the physical needs of one individual human body in an outdoor temperature of 10 degrees Celsius, seven hand-crocheted body forms were produced. The clothing’s texture got thinner or opened up completely on areas of the body that needed less warmth and were thicker where warmth was lacking. In this way, a fundamental change in the aesthetic and function of clothes was displayed. Fixed forms, such as trousers, were recreated into new, unique body forms. Instead of one uniform surface, the textures became alive and inimitable. “Her concept of clothing does not derive in the same way as most fashion design, from shape or historically patterned form with embedded social hierarchy and material richness, but is instead determined by the needs and sensations of the human body – performing in the same way that bacteria populations individually respond.” (Villeré 2014) The resulting fictional artifacts illustrate how we could use knowledge about our unique bacteria population to create a novel layer.
URS FISCHER
Урс Фишер
Problem Painting
Urs Fischer materializa la fantasía, da forma a motivos y acciones que rara vez ocurren en el mundo visible. Siguiendo un símil pictórico, su paleta es de las más variadas de cuantas pueden encontrarse hoy en el panorama internacional. El artista suizo es capaz de trabajar en ámbitos antitéticos y es, así, uno de los mejores referentes para entender la deriva que ha tomado la escultura en las últimas décadas, su heterogeneidad, su radicalidad, el enorme espectro de posibilidades físicas y objetuales que ofrece. La escultura de Urs Fischer camina entre diferentes estados físicos.
Tamires Para
The Flesh That Carries Me
NICK ERVINCK
Olnetop
OLNETOP has something monstrous, a hybrid shape in which one can recognize various elements. The work is not clearly defined but points in different directions. The imagery used is clearly inspired by macro photographic images of splashing water, and thus sculpturally interprets the encounter between nature and technology.
William Couig
four-g
LINCOLN HARRISON
Startrails
NIKI DE SAINT PHALLE
La Mariee
FRANCESCA FINI
My Memento Vid
MyMementoVid / Perception of the other. This video art work is part of the MyMementoVid on-going project. The project’s video installation took part at the Venice Biennale collateral event, and explore live interactive elements. MyMementoVid is an interdisciplinary collaborative on-going project involving artists and art students from world wide. we call for entries at all times.
RALPH KISTLER
La industria del ocio-The leisure industry
Die Freizeitindustrie schafft Illusionen und künstliche Räume, die sich an die Wünsche ihrer Verbraucher anpassen. Zwischen diesen beiden Extrempunkten der Achse von Tourismusnachfrage und -angebot werden erfundene Szenarien generiert, um das wirtschaftliche Wohlergehen der Region zu gewährleisten, in der dieses Wirtschaftsmodell umgesetzt wird.
Der Künstler Ralph Kistler visualisiert dieses Dilemma mit der Schaffung schwerer Maschinen, die von einem Phenakistiskop inspiriert sind, einem der ersten optischen Geräte, das die Illusion von bewegten Bildern erzeugt. Die ausgestellte Maschine besteht aus zwei 3,50 m breiten rotierenden Rädern mit einem Durchmesser Es gibt eine Folge von 64 Fotos, die eine Bewegtbildschleife von etwa 5 Sekunden erzeugt. Während auf der einen Seite die Sequenz einer Person zu sehen ist, die ein Bad am künstlichen Strand von Las Vistas in Los Cristianos genießt, zeigt sie auf der anderen Seite Bilder des Baus eines neuen Strandes in der Gemeinde Guía de Isora Insel Diese Bilder in Bewegung und kontinuierlicher Wiederholung kontrastieren mit ihren reduzierten Abmessungen mit der Größe der sich bewegenden Industriemaschinen, die diesen Teufelskreis von Produktion und Verbrauch erzeugen.
Die neue Nutzung des “touristischen” Territoriums wird sowohl durch seine räumliche Barriere als auch durch seine zeitliche Grenze definiert und steht im Gegensatz zum romantischen Konzept einer individuellen Erfahrung in einer Umgebung von erhabener Natur. Ob es sich um Vergnügungsparks, Einkaufszentren, künstliche Strände oder Sehenswürdigkeiten handelt; Diese neuen Verbrauchereinrichtungen lassen keine großen Spielräume für individuelle Maßnahmen und führen dazu, dass die Anweisungen zum Üben sich wiederholender Gesten freiwillig befolgt werden.
Corine Borgnet
I DOUBT ABOUT IT
Lebbeus Woods
The Light Pavilion
The Light Pavilion by Lebbeus Woods in collaboration with Christoph a. Kumpusch, in the Raffles City complex in Chengdu, China, by Steven Holl Architects.
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The Light Pavilion is designed to be an experimental space, one that gives us the opportunity to experience a type of space we haven’t experienced before. Whether it will be a pleasant or unpleasant experience; exciting or dull; uplifting or frightening; inspiring or depressing; worthwhile or a waste of time, it is not determined by the fulfillment of our familiar expectations, never having encountered such a space before. We shall simply have to go into the space and pass through it. That is the most crucial aspect of its experimental nature, and we – its transient inhabitants – are experimentalists.Lebbeus Woods and Christoph a. Kumpusch
Denise Ritter
Piccolo mondo
small world wide si basa sul fenomeno small world che dice che tutti nel mondo sono collegati attraverso una corta catena di conoscenze dirette. Nel 2013, l’artista del suono Denise Ritter ha assegnato 10 registratori audio a 10 persone in partenza, che dovrebbero dirigere i registratori a raggiungere 10 destinazioni pianificate tramite una serie di conoscenze personali. Tali luoghi e le tappe intermedie devono essere documentati mediante una registrazione sonora. Questi possono essere, ad esempio, suoni o suoni caratteristici della vita quotidiana o dello spazio abitativo. Ma non vengono fornite linee guida. È consentito trasmettere il registratore solo a conoscenti diretti. Non è consentito il percorso diretto alla destinazione tramite estraneo o non imparentato. Così sono state create 10 rotte in tutto il mondo e fino ad oggi l’artista ha ricevuto più di 30 ore di registrazioni sonore da tutto il mondo. Le registrazioni sonore mostrano somiglianze globali inaspettate nei luoghi di registrazione e nelle situazioni scelte dai partecipanti.
Jeff Shore and Jon Fisher
Cliff Hanger
Jeff Shore and Jon Fisher started their collaborative practice in 2002. Trained as a visual artist, Jeff Shore develops the visible sculptures and mechanisms, while Jon Fisher builds the electronics, writes the software, and creates the original soundtracks; for this he uses both digital and analog audio sources. The result of their collaboration is a series of kinetic devices and installations that generate live animated video and musical compositions. Similar to cinema storytelling, the movement in the pieces relate to the accompanying soundtrack or animation, and similar to a theater of automata, the pieces create precise and captivating sequential events. Bridging high and low-tech devices and instruments, the collaborative team creates mechanically activated moments of wonder, explores the relationship between automatism and chance, and comments on the impact of technology interfaces in our lives.
