Freya Olafson
MÆ Motion Afterefffect
MÆ – Motion Aftereffect explores motion-capture, ready-made 3D models and monologues found online, ranging from experiences with virtual reality in live gameplay to out-of-body experiences and astral projection tutorials. The work addresses the impact of emerging consumer technologies associated with AR – Augmented Reality, VR – Virtual Reality, MR – Mixed Reality, XR – Extended Reality and 360° video. Monologues sourced from the internet provide the infrastructure for the work; an in-ear monitor feeds Olafson the monologues onstage, challenging her to listen and speak simultaneously. This dual action of listening and speaking enables her to embody a state of presence that references data streaming, live processing, and gaming. As a performer she becomes a conduit, medium, or interface, broadcasting edited monologues from the internet to the audience. The action of performing the work becomes like playing a video or VR game.
RAFA ZUBIRIA
no way home
GENERAL IDEA
General Idea nasce nel 1969 dalle menti di Feliz Parts, Jorge Zontal, e AA Bronson […] Il loro approccio è virale, raccontano l’esasperazione della società, modificando vecchi codici per fornire una nuova versione della realtà. I temi chiamati più spesso in causa sono la cultura di massa, il linguaggio dei media, architettura, archeologia, sessualità, i programmi tv e l’Aids, motivo di scomparsa di Parts e Zontal nello stesso anno, il 1994.
ONISHI YASUAKI
vertical emptiness (organic parabola)
Onishi Yasuaki uses wire, glue line and crystallized urea for this installation. The wire makes organic parabola line from the ceiling. He dripping glue through it, and vertical thin glue line is connecting our ground. Crystallized urea appears on glue line and wire. Empty space are filing some phenomena which is gravity, time, action, heat, crystallization. We can discover new landscape in it.
Tatiana Plakhova
Antrum
The installation looks like a grotto of the membrane, the surface of which is inhabited by strange creatures. It’s complex structure causes association with living creatures, space objects and architectural constructions. In this frontier word pure mathematical abstractions are mixed with natural shapes, resulting in formation of new entities. Viewers can push the membrane and try to contact with them.
NANINE LINNING
zero
Nanine Linning behoort tot de beste Nederlandse choreografen. Na de succesvolle voorstelling ‘Synthetic Twin’, het zinderende ‘Requiem’ en het apocalyptische ‘Voice Over’ pakt ze opnieuw groots uit. ‘ZERO’ is een opwindende cross-over, waarbij dans, spel, film, muziek en kostuums — van Iris van Herpen — zorgen dat u ogen en oren te kort komt.
Milena Naef
Morphing
Milena Naef questions ‘existing’ structures that are inherent to herself. The work tries to create the right manifestation of the assumed duality between body and mind. She translates characteristics of a subjective experience into material, transforming the mental into physical to find a new relation between the two. Once tangible, the interaction with the concrete material allows for a space to ‘open’ in which a given context can be changed. The body itself with its physical presence and its absence becomes a vital aspect of the work.
GIUSEPPE RANDAZZO
Джузеппе Рандаццо
LIN YUN CHENG
ЮНГ ЧЕНГ ЛИН
يونغ تشنغ لين
The photographic experiments of the Taiwanese artist Yung Cheng Lin, aka 3cm, who confronts the human anatomy to external elements such as red thread or simple fruits, imagining surreal and geometric compositions. Some intense and disturbing conceptual photographs, which question our relation to the body and organic matter.
STEFAN BENCHOAM
Ejercicio de Dibujo
His work as an artist is multifaceted, with at least two distinctive lines of research: one which is developed in the public realm through actions and interventions, and another one which uses informality to question the myths of authenticity, of the artist, and of art itself, which he hopes will help blur the lines of work of both the artist and the curator.
Mischa Kuball
speech – speed
С 1984 года Миша Кубалл (* 1959 в Дюссельдорфе) работает в общественных и институциональных пространствах. Он получил заметные награды и стипендии, а с 1991 года преподает в различных университетах и художественных школах. 1999/2000 он был приглашенным профессором Академии визуальных искусств в Лейпциге, работая над темой света и пространства, с 2004 по 2008 год преподавал медиаискусство в Университете искусств и дизайна Карлсруэ. С октября 2007 года он был профессором медиаискусства в Академии медиаискусств Кельна и основал там «-1 / MinusEins Experimentallabor». Используя средство света – в инсталляциях и фотографии – он исследует архитектурные пространства и вносит свой вклад в социальные и политические дискуссии. Он отражает различные грани культурных социальных структур вплоть до архитектурных вмешательств, которые либо подчеркивают, либо перепрограммируют характер и архитектурный контекст. В политически мотивированных и совместных проектах общественное и частное пространство пересекаются. Они делают возможным общение между участниками, художником, произведением искусства и публичным пространством.
JASON PETERS
제이슨 피터스
ジェイソン·ピーターズ
visceral paradigm
In my work I attempt to trigger and explore both intellectual and emotional reactions to the ways in which objects interact with their surrounding environment. I try to set up a situation where nothing is as it seems, and our notions of reality are exposed as mere assumptions, based on perceptions and experiences that may or may not bear any actual relationship to the way the world works.
Merce Cunningham
简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
МЕРС КАННИНГЕМ
« Scenario » de Merce Cunningham
Rei Kawakubo’s humorous costumes toy with the idea of physical distortions, such as humps and big rear ends. They are in mostly vertical blue stripes on white, or in pale green and white-checkered patterns. For much of the dance, five or six dancers twist and pose, each in his or her own space, with a rush of additional dancers to the stage toward the end of the performance. The bold electronic musical score is by Takehisa Kosugi.
Paul Cocksedge
Shade
La magie de Shade est obtenue en évitant la manière conventionnelle d’utiliser l’alimentation secteur à partir du plafond, et avec elle des raccords et flexibles intrusifs. Au lieu de cela, l’alimentation provient d’un luminaire de sol à LED qui fait briller une lumière vers le haut dans l’abat-jour en papier, qui à son tour est suspendu au plafond avec des fils capillaires minces presque invisibles.
MARINA HOERMANSEDER
Marina Hoermanseder developed her art throughout her time at Esmod Berlin International University of Art and mastered her handcraft at Alexander McQueen.”I go wherever my creativity takes me” says Austrian fashion designer Marina Hoermanseder. For her diploma collection she therefore did not hesitate to use discomforting inspirations such as orthopaedic devices and serious skin conditions. Vegetable-tanned leather is double-sided and painted red on the reverse to create patterns where sections are flipped over.
