sleepwalkers
在她的作品中，艺术家Sonja Vordermaier（* 1973）研究了多种材料的特定特性和动态品质。 Vordermaier雕塑和房间装置令人不安的美感，无论是棱角形的或无定形的，晶体的或植物的，技术性的还是猖ramp的-Vordermaier雕塑和房间装置的令人不安之美都是基于将常见的建筑材料转变为具有令人着迷的刺激力和几乎无穷无尽的联想潜力的结构。
»材料的组合导致相反的共生关系：软变硬，固体变轻，柔韧性变硬。艺术家的以过程为导向的作品（…）也是雕塑概念的作品，通过对非典型材料的表演性处理加以扩展，这些非典型材料在它们的联系中达到了新的材料状态。物体变成了物体，不仅触发了观看者的肉体接触，而且触发了他们的情感接触。«（Wiebke Gronemeyer）

Born in the south of France, fashion designer Elodie Laurent obtained a Master in Marketing from the University of Toulouse Graduate School of Management before studing at Lasalle College of fashion in Montreal. She learnt her trades from canadian designers HELMER JOSEPH and MARIE SAINT PIERRE and she is now managing GARETH PUGH’s studio in London.

Camera Lucida: Sonochemical Observatory
Camera Lucida (chamber of light or lucidity) directly transforms sound waves into light emissions by means of a phenomenon known as sonoluminescence. After adapting to the darkness surrounding the installation, one gradually perceives the detailed configurations of glowing sound fields.

Transistor

ايموجين كننغهام
伊莫金·坎宁安
אימוג’ן קנינגהם
イモージェン·カニンガム
Magnolia Blossom

تيتسويا إيشيدا
石田哲也
테츠야 이시다
石田哲也

石田徹也は武蔵野美術大学を卒業した日本画家です。 彼の作品は、信じられないほどの才能と、おいしい批判的感覚を明らかにしています。 都市、技術、産業のシーンに強く影響を受けた彼は、現代社会に存在する窒息、苦悩、憂鬱の感情を可能な限り捉えませんでした。 彼の作品は、シュルレアリスムによる肖像画、痛みと鬱病の完全に悲観的な感情を反映しています。 石田徹也は、古典的なシュルレアリスム作品の特徴である想像上の強く抽象的なシナリオを作品から取り除き、しっかりとした線と提示されたテーマに強く存在する現実の文脈を挿入します。 残念ながら、彼は早死になり、2005年5月に鉄道事故で31歳で亡くなりました。 彼は素晴らしい芸術作品を残しました。それは再解釈するだけでなく、シュルレアリスムを更新します。この場合、これまで以上に現実的です。

ماثيو مازوتا
マシューマッツォッタ
open house

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Dinosaurs
Burden’s massive paintings are both an homage and condemnation to originality and newly formed mythologies.

Fanscreen
Fanscreen is comprised of several panels made up of computer fans which are linked together to form a larger ‘screen’. These screens are arranged side-by-side in a large circle that the viewer can enter. Each fan is programmed independently, creating an effect that mimics individual “pixels” on a larger screen. Moving in synchronicity, the programmed fans produce a kind of “film” of various abstract movements.

사이드레아
우리는 Great Attractor의 중심에 있는 우주의 외부 변두리에서 알려지지 않은 힘인 Siderea라는 중력 이상 현상에 대한 해석을 발표했습니다. 우리의 눈이나 마음이 상상할 수 있는 것 이상으로 기하학적 및 과학적 좌표를 사용하여 확장 가능한 만질 수 있는 세계를 만드는 것 외에도, 우리는 그러한 별 현상의 발견이 불러일으킬 수 있는 감정을 탐구하는 깊이 몰입형 이야기를 하고 싶었습니다. 천문학의 놀라운 발전과 탐험에서 자유롭게 영감을 받아 우리는 그 장소를 문자 그대로의 의미에서 이 특별한 천체를 관찰할 수 있는 지점으로 탈바꿈시켰습니다.

Titan, and Beyond the Infinite

Аарон Найс

Aqua Undulating Architecture

smoke bombs

cairn

Jump Cut II
En el segundo episodio de Jump Cut, disponible para ver arriba por tiempo limitado, Gingras se une a la música y productora de Montreal Marie Davidson y a la videoartista canadiense Sabrina Ratté, residente en París. La pieza de 25 minutos imagina el cuerpo como una escultura viviente, mientras las minucias de los movimientos corporales de Gingras se transforman de un lado a otro entre un cuerpo virtual animado por Ratté.

Jacob’dream: a luminous path
San Francisco-based electronic-media artist Jim Campbell creates work that combines film, light emitting diodes (LEDs) and sculptural elements. His choice of materials is often complex, and he uses them to create imagery that is allusive and open-ended. His exploration of the distinction between the analog world and its digital representation metaphorically parallels the difference between poetic understanding versus the mathematics of data.

Golden Snake

Tableaux vivants

Camille Claudel
cinema

magical contamination

Педро Рейес
Disarm

이형구
Хюнгко Ли
8E-P

백남준
白南準
Нам Джун Пайк
نام جون بايك
נאם ג’ון פייק
Piano Piece

What might be

Ikarus

Des éléments qui semblent essentiels à la pratique de De Boer sont présentés aux algorithmes, aux fonctions de lecture aléatoire, aux randomiseurs ou à d’autres structures codées. En soumettant son propre matériel à ces facteurs décisifs, l’œuvre est réarrangée en permanence selon ces chemins algorithmiques en constante évolution.

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FILE SAO PAULO 2015

ريتشارد وينتوورث
リチャード·ウェントワース
ריצ’רד וונטוורת
Ричард Вентворт
Wentworth’s sculpture takes as its subject the semantics of the everyday world, taking readymade and frequently incongruous objects and arranging them in a fashion that forces us to recognise the drama inherent in that which we too easily dismiss as routine. His photography captures the unusual or counter-intuitive behaviour of things, treating the (generally urban) landscape as consisting of readymade works that merit the same attention as more traditional art objects.

smoke

Father In Law

도시의 흔적
“”새로운 도시화가… 더 이상 다소 영구적인 배치에 관심을 두지 않고 … 결정적인 형태로 결정화되기를 거부하는 … 그것은 더 이상 세심한 정의, 한계의 부과가 아니라 개념 확장, 경계 거부, 개체 분리 및 식별이 아니라 하이브리드 발견에 관한 것입니다. 그것은 더 이상 도시에 집착하지 않고 끝없는 강화와 다양화, 지름길과 재분배를 위한 기반 시설의 조작 – 심리적 공간의 재창조.”, 네덜란드 건축가 + 하버드 교수, Koolhaas 959, Deliious New York의 작가. URBAN IMPRINT는 우리가 정의하는 이 새로운 도시주의, 증강된 물질성을 디자인하는 방법입니다. 미래의 나에 의해 재구성되는 ‘빈 캔버스’인 환경.

ЯКОБ ДАХЛГРЕН
雅各布·达尔格伦
ジェイコブダールグレン
야곱 달 그렌

“O impossivel”

They touch. They bite. They get warm. They penetrate. They are made. They get rid of. They stick their tongues in. They put the body in. They get body. They split up. They exist.
They want to be one. It is impossible (“O impossivel”). Which means that a single body, as you would like, is impossible. It can not. For a moment yes, for a moment they can. But no, they can’t. Impossible. They cannot be one. Despite the bites. Their bodies are different. They were born and will die self-absorbed, in themselves. Between them there is an abyss, a discontinuity. But they want to be continuous, they want their bodies to be one body. Since they cannot, they celebrate the sacrifice of the meat. “Essentially,” says Georges Bataille, “the field of eroticism is the field of violence, the field of rape.” Isn’t it violent, perhaps, to want to break the discontinuity of the other closed in on itself? Isn’t it violent to force the discontinuity of the other to be a continuous whole with him? O impossível by the Brazilian Maria Martins (1894/1973) shows the excesses of sex (take note: excess, sex). Or impossível is the moment in which the organs swell with blood and gush sexuality. The moment when animality makes us gloriously human.

goma bags

versuch unter kreisen

This is the artistic result of a residency spent at CERN, where particles circulate on rings at great speed. The four lamps that are suspended from the ceiling also describe circles, but at varying speeds. Starting from there, every imaginable choreography is possible as well as every interpretation. The lamps describe figures that imperceptible transitions trigger one to the other. According to the artist, it’s only a question of mathematics here, though one asks oneself which one of the four incandescent lamps directs the others. And just as quick as they come into alignment as though linked by invisible ties, there is one that seems to accelerate while another can’t manage to keep up with the group. You can watch them for hours on end, hypnotised by the aesthetic beauty of physical laws. The artist, Julius von Bismarck, when receiving his prize admitted to having learned a lot at the CERN. It is likely that the scientists were also marked by his presence.
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