Mariana Telleria
Días en que todo es verdad
Mariko Mori
ماریکو موری
森万里子
Мори, Марико
Infinite Energy
Redefining the architecture of the space Louis Vuitton are eight monumental pieces by internationally-renowned japanese artist mariko mori. The exhibition ‘Infinite Review’ amasses sculptures and experiential installations in a series of works that metaphorically reflect the never-ending circulation of life and death as well as fragments from the artist’s personal experiences. Towering above visitors and traversing the space between the floor and ceiling are a triptych of luminous spirals. The soaring ‘infinite energy’ series is a visualization of an invisible force, felt and seen through their unseen participation with gallery entrants.
HENNING LARSEN ARCHITECTS
ヘニング·ラーセン·アーキテクト
헤닝 라슨 건축가
亨宁·拉森建筑师
المهندسين المعماريين هينينغ لارسن
Wave in Vejle
In 1959, Henning Larsen founded his own architectural practice, where he was active for more than 50 years. Henning Larsen designed a vast array of important works of architecture in Denmark and abroad. He was often described as the “Master of Light”.
RIRKRIT TIRAVANIJA
Reflection
KAWS
Chum
A carreira de KAWS começou como grafiteiro em Nova York, NY, no início dos anos 1990. Suas imagens foram vistas em outdoors, pontos de ônibus e cabines telefônicas. Ele obteve seu BFA da School of Visual Arts de Nova York. Imediatamente após a formatura em 1996, KAWS começou a trabalhar como artista freelance para a Disney, criando fundos animados. Algumas de suas obras mais populares incluem suas contribuições para 101 Dalmations, Daria e Doug. Assim que o KAWS começou a ganhar popularidade, seus anúncios de graffiti tornaram-se muito procurados. Ele viajou extensivamente para trabalhar em Paris, Londres, Alemanha e Japão. Em 1998, recebeu o Prêmio Pernod de Arte Líquida, que oferece uma bolsa para novos artistas.
JEREMY SHAW
Verso Il Riconoscimento Universale
“Shaw presenta Towards Universal Pattern Recognition, una serie di fotografie d’archivio incorniciate sotto acrilico prismatico lavorato su misura. Le opere, che lui chiama sculture ottiche, raffigurano persone in stati trascendenti a cui si accede attraverso la preghiera, la danza, lo yoga e simili. Fungono da anteprima per i video, che vengono proiettati in spazi meticolosamente costruiti, ciascuno con otto sedie da ufficio che si affacciano su un unico schermo “. Diana Hiebert
THERON HUMPHREY
ثيرون همفري
汉弗莱·塞隆
セロンハンフリー
테론 험프리
Терон Хамфри
Martin Hesselmeier and Andreas Muxel
The weight of light
Light, as we usually interpret it, is an element without mass and gravity. For “the weight of light” a physics engine simulates the kinetic forces of a moving object. This mass is projected on a wave shaped structure in virtual space. The moving object is represented as a light particle in physical space. Gravity, mass, density and friction affect velocity and acceleration of these light particles. As the particles movement is based on a simulation, it does not have to adhere to the physical realities we know from everyday life. Therefore the installation goes beyond expected behaviour. Thus the matter of light traverses a reinterpretation of our known reality.
CARSTEN HÖLLER
Escorregador
“Quando as pessoas estão descendo um escorregador, muitas vezes gritam de pura alegria. Estou interessado no aspecto de deixar ir. Uma vez que você se solta, você viaja sem motivação para algum lugar específico. É um estado de espírito muito especial. Talvez “felicidade” (ou “prazer”) não seja a palavra certa, mas tem a ver com alívio ou mesmo liberdade.”
Sara Sadik
Ultimate Vatos
Les vidéos, performances, installations et photographies de Sara Sadik prennent la forme de mangas, de jeux vidéo, de docu-fictions ainsi que de films d’animation CGI. Ce faisant, l’artiste aux racines maroco-algériennes explore les manifestations de ce qu’elle appelle « Beurcore« – la culture des jeunes qui a émergé parmi les membres de la classe ouvrière de la diaspora nord-africaine. Beurcore définit à la fois une identité hybride et un mouvement collectif constitué à travers la musique comme le rap et le hip-hop, la langue, la mode, des symboles spécifiques et les médias sociaux.
DORIAN GAUDIN
обряды и последствия
Дориан Годен обычно предпочитает игру соответствий между органическим, психическим и материальным мирами. Как продолжение его предыдущих проектов, машины и социальные ритуалы, визуальная иллюзия и физическое присутствие, здесь запускается механизм чувств, циклическая темпоральность которых делает его драматургический пик непостижимым. Основываясь на сущности машины – инструмента, сообщающего движение – и чтобы показать, как объекты могут создавать повествование, Дориан Годен напоминает нам о том, как фетишизм объектов и технологий управляет нашими отношениями с миром.
Alexandra Bircken
Turbine
Hito Steyerl
Power Plants
Hito Steyerl’s series of projects at the Serpentine Galleries is positioned around ideas of ‘power’. Beginning from the premise that ‘power is the necessary condition for any digital technology’, the artist considers the multiple meanings of the word, including electrical currents, the ecological powers of plants or natural elements, and the complex networks of authority that shape our environments. She addresses the notion of power through three interrelated research strands and projects: Actual Realityos, a collectively-produced digital tool; Power Walks, a series of guided walks and a tour that draws upon conversations with campaigners, community groups and organizations in the local area surrounding the Serpentine, and finally this exhibition, Power Plants, which features new video installations created using artificial intelligence trained to predict the future.
Cerith Wyn Evans
СЕРИС ВИН ЭВАНС
ケリス·ウィン·エヴァンス
Form in Space…By Light
‘Cerith’s installation sits beautifully within the space, unfolding as you walk through,’ explains Clarrie Wallis, Tate’s Senior Curator of Contemporary British Art. The neon experience builds, from a single ‘peep hole’ ring in the South Duveens, through which you can glimpse swirls of radial light and an imposing octagon in the central gallery. The fractured neon fragments look like frantically drawn sparkler-lines on fireworks night.But there’s method and logic within these celestial scribbles. Hidden in the design are references to a host of highbrow sources, from Japanese ‘Noh’ theatre, to Marcel Duchamp’s The Bride Stripped Bare by her Bachelors, Even (The Large Glass), 1915-23. Don’t worry if you missed them. The beauty of rendering precise (verging on obscure) references in such a celebratory neon explosion allows for multiple – if not endless – interpretations.Each way you look at the sprawling 2km of neon tubing, a different shape or symbol emerges. No small thanks to the elegant way in which the structures have been painstakingly suspended. ‘There were over 1000 fixing points, and obviously we couldn’t drill 1000 holes in the Grade II listed building,’ Wallis explains. ‘We had to work with structural engineers very intensely, so as to be completely happy and convinced that we would be able to remove it without damaging the fabric of the building.’Though it seems too soon to be discussing the installation’s removal, Wallis has a point. It’s a visibly fragile, delicate sculpture – whose impermanence makes it more intriguing. As it is a site-specific sculpture, it can’t be recreated elsewhere. What’s more, because the neon tubes are filled with a constantly moving stream of pulsing, vibrating gasses, visitors will never see the same sculpture twice.
