Neri Oxman
gemini
MAURIZIO CATTELAN
マウリツィオ·カテラン
Маурицио Каттелана
我的作品可以分为不同的类别。 一是我的早期工作，实际上是关于做某事的不可能。 这种威胁仍然影响着我的许多行为和工作。 我想这真的是关于不安全，关于失败。 我们在这里可以有一章称为“故障”。 对于Cattelan而言，艺术界是分析师的沙发。 自从1980年代后期开始从事艺术家职业以来，他自由地制定了自己的弱点，赋予了他们物理上的形式和独特的叙述方式。 卡特兰没有直接自传，而是根据自己的情感和心理经历进行了早期创作。 但是，他的目标不是唤起特定的事件或个人，而是召唤精神或情绪状态。 虽然作品与他并不直接相关，但他将自己当作一个角色，他的脆弱性和苦恼唤起了观者的同情心。
RICARDO BARRETO, MARIA HSU and AMUDI
feel Me tactile interactive bed
File Festival
“feelMe” is a work that for the first time remotely transmits the tactile sensation. Our work provokes the exploration of the sense of touch while promoting the interaction between two people mediated by a machine. The work is constituted of two surfaces, or “beds”: the first one (tactile transmission unit), in which one of the participants, layed down, imprints marks to its surface by pressing it with the weight and movement of the different parts of his/her body; these impressions will be captured and transmitted to the other participant, who lies in the second “bed” (tactile reception unit) and receives them simultaneously in the same positions and in proportional intensities, however, in negative, that is, when the surface in the first bed sinks, it rises in the second one, promoting a touch. The first body touches the second one, and the “beds” may be a few meters or thousands of kilometers apart from each other. Between the bodies, dozens of occult sensors, microcontrollers, engines (lineal actors), computers and a program that orchestrates that tactile communication. We allow the participant to experiment the possibilities of encounter between bodies through the digital world, with a different approach from the one provided by virtual reality. We want to explore the tactile perception separately in its “corporal way”, and only in future works to propose the expansion/extension of multimedia perception with the inclusion of tactile perception.
anthony howe
Cloud Light III
“Kinetic sculpture resides at the intersection of artistic inspiration and mechanical complexity. The making of one of my pieces relies on creative expression, metal fabrication, and a slow design process in equal parts. It aims to alter one’s experience of time and space when witnessed. It also needs to weather winds of 90 mph and still move in a one mile per hour breeze and do so for hundreds of years.” Anthony Howe
Gustav Metzger
Liquid Crystal Environment
Liquid Crystal Environment is made using heat-sensitive liquid crystals that are placed between glass slides and inserted into projectors. The slides are rotated to create movement within the liquid, and as the crystals are heated and cooled they change colour. The patterns produced within the various slides are then simultaneously projected onto screens around the exhibiting space, all under the control of a computer program.
Jirí Kovanda
Wait, please, she will come
ZAHA HADID ARCHITECTS
زها حديد
扎哈·哈迪德
זאהה חדיד
ザハ·ハディド
Заха Хадид
Roca London Gallery
“Nosso trabalho imbui a arquitetura com a complexidade e a beleza de formas naturais. Utilizando uma linguagem formal derivada do movimento da água, a Roca London Gallery foi erodida e polida por fluidez; gerando uma sequência de espaços dinâmicos esculpidos a partir desse jogo fascinante entre arquitetura e natureza”.
KOOROSH ASGARI
via highlike submit
mariana manhaes
Entao
Vaso Azul
我的工作包括发明和制作由动画对象视频命令的小工具。这些物品是从我的视觉日常生活中摘下来的：工作室中的门，客厅橱柜中的茶壶，母亲收藏中的碗和罐子。为了制作类似于人类和动物行为的卡通手势，所有这些人都被拍摄并在编辑过程中强调了他们的动作。视频时间的操纵对于图像的变形起决定性作用，而图像的变形不仅限于实物的表示。我将自己的声音传达给对象，并发明对象所使用的语言。视频还发出音符，当被安装在作品主体中的电子电路感知时，它们会协调声音，马达和使作品运动的电子肌肉。在FILE上展出的两件作品“ Liquescer（Jarrinho）”和“ Liquescer（Jarrinho Azul）”中，选定的对象是一壶水，它们的呼吸随着内部液体的进入和流出而具有节奏感。生物根据视频中对象发出的声音做出反应。就像水具有容纳容器的形状一样，作品的声音和运动特性也受到罐子语言的影响。机器中存在着一种自主权，这种自主权是由低端和高科技材料构成的，通过其各部分之间交互的不稳定和不确定的运动来表现出对话。与起初看起来相反，该机制仅对内部刺激作出反应。与公众之间没有直接的互动，而公众仍然是一个以特殊方式进行交流且对我们来说是无法理解的世界的入侵者。
Ned Kahn
Cloud Arbor
A 20-foot diameter sphere of fog forms inside a forest of stainless steel poles. High-pressure fog nozzles embedded in the 30-foot tall poles convert water into a cloud that appears and vanishes every few minutes. A collaboration with landscape architect Andi Cochran and the Pittsburgh Children’s Museum. Completed in 2012.
JANA STERBAK
ヤナ・スターバック
« I Want You to Feel the Way I Do »
Le style de Sterbak est difficile à définir, tout comme les matériaux qu’elle utilise. Influencée à ses débuts par le minimalisme, elle choisit délibérément des matériaux souvent non conventionnels, guidée par son désir d’établir un rapport direct et frappant entre l’idée et la matière. Ainsi, elle utilise à plusieurs reprises du fil électrique, du ruban de couturière, du bifteck, ainsi que des matériaux plus traditionnels tels que le plomb, le verre et le bronze. Le résultat peut sembler menaçant et agressif, comme dans la robe électrique I Want You to Feel the Way I Do… (The Dress) (1984-85), ou témoigner d’une fraîcheur ironique, comme dans Generic Man (1987) ou Standard Lives (1988), dont le mordant est quelquefois accentué par l’utilisation de texte.
PETER VAN STRALEN
Питер ван Стрален
JEAN PAUL GAULTIER
Жан-Поль Готье
ジャンポールゴルチェ
ז’אן פול גוטייה
جان بول غوتييه
elle
Design I/O
Theo Watson, Emily Gobeille and Nick Hardeman
Connected Worlds
Connected Worlds is an immersive, interactive ecosystem that was designed for the New York Hall of Science. It’s an installation of six smaller ecosystems, actually—all of which are connected, much like real ecosystems are. The difference here is that the environments only exist on massive screens connected by a 3,000-ft² interactive floor.
Cosentino and Benjamin Hubert
Raytrace
“È il sogno di un designer. Il processo è altamente tecnologico ma anche abbastanza artigianale; è una divisione intrigante. E parte di questo processo consiste nel rimuovere ogni traccia di acqua dal materiale usando un calore e una pressione incredibili. L’idea dell’installazione era di reintrodurre l’acqua, o almeno i giochi di luce che si ottengono dall’acqua, l’effetto della luce che gioca su un ponte su un fiume. È qualcosa che cattura sempre l’immaginazione.’ Raggiungere questo effetto ha richiesto tempo, fatica e trucchi algoritmici. “Volevamo ottenere il massimo effetto dalla cosa più piccola”, afferma Hubert. “Inizialmente abbiamo provato a usare un sottile strato di acqua in movimento sul vetro, ma ci è sembrato troppo letterale. Poi abbiamo pensato al modo in cui una sfera di vetro può diffondere la luce.’
CHRISTIAN BOLTANSKI
基督教波尔坦斯基
בולטנסקי
クリスチャン·ボルタンスキー
Кристиан Болтански
Homage
R.I.P 1944-2021
Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”
FILE SOLO 2017
FILE SOLO – Electronic Language International Festival
LAWRENCE MALSTAF – The poetics of immersion
Barbara Herold & Florian Huth
VOID (Woodlands)
VOID (Woodlands) es un paisaje idealizado generado por computadora del que se han eliminado todos los rastros de civilización e individuos, cambiando el enfoque al escenario, la escena natural. La obra permite una experiencia virtual de la naturaleza, el espacio “hiperrealista” y completamente sin sentido de un idilio: ilusión, destino onírico, espacio utópico, escenario de quietud y contemplación. Woodlands también cita las pinturas de paisajes de los románticos y la noción religiosa o mítica de la Edad de Oro para trazar un viaje escapista desde lo real hacia el mundo artificial del juego virtual, que llega a parecer una nueva realidad.
The Farmhouse
Our Farmhouse runs on an organic life-cycle of by products inside the building, where one processes output is another processes input: Buildings create already a large amount of heat, which can be reused for plants like potatoes, nuts or beans to grow. A water-treatment system filters rain- and greywater, enriches it with nutrients and cycles it back to the greenhouses. The food waste can be locally collected in the buildings basement, turned into compost and reused to grow more food.Our Farmhouse is an attempt to reconnect people in the city with the process of growing our food.
Luca Pozzi
Cyclops Spring-8
Artista visivo, ricercatore culturale e mediatore interdisciplinare conduce un programma di ricerca teso alla formulazione di una visione onnicomprensiva dell’esperienza, capace di estenderne le possibili corrispondenze emergenti a una dimensione del sapere più ampia e libera da specificità del caso. Avvalendosi dei contributi teorici espressi da ricercatori e artisti coinvolti indirettamente nei progetti finora realizzati (mediante conversazioni in forma di intervista) e dell’impiego di media e materiali differenti, l’artista realizza insiemi installativi ibridi caratterizzati da un originale utilizzo della forza di gravità, intesa come strumento di riflessione sull’uomo e sulle misteriose leggi fisiche che sottendono ai processi naturali.
NINA CANELL
Temporary Encampment (Five Blue Solids)
The precarious installations of Nina Canell (born 1979 in Växjö, Sweden, lives and works in Berlin, Germany) could be read as essays on changeability and uncertainty. Hinged upon a fabric of electromagnetics, her communities of objects quietly interact with each other through modest arrangements, balancing careful ambitions to sustain certain frequencies, movements or altitudes. Electrical debris, wires and neon gas establish temporary, almost performative sculptural unions with natural findings such as water, wood or stones, yielding open-ended moments of synchronicity. An improvisational methodology and a flexibility of form highlight Canell’s quest for sculpture, which exists somewhere in between the material and the immaterial, forming and questioning the conductive relations between solid objects and mental events.
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