ANA TERESA BARBOZA
آنا تيريزا باربوزا
АНА ТЕРЕЗА БАРБОСА
Ana Teresa Barboza mixes embroidery and drawing within her collected works. Using the fur of animals as a perfect leeway for her stitching technique, Barboza layers thin strips of string expertly to imitate the texture of a creature’s fur. While animals and vegetation are richly detailed in her works, she chooses to display her human subject matter as basic, black stitched figures or graphite drawing. The end result is a texturized feast for the eyes.
SERGEI TCHEREPNIN
Ear Tone Box
“I am interested in transforming various mundane objects into speakers. Listening to sound through a cardboard box is very different from listening through a chair, which is very different from listening through computer speakers. In these works, I am attempting to expand aural dimensions by orchestrating flexible listening situations, which draw attention to the materiality and variation of sound as filtered through these objects.”
Pierre-Jean GILOUX
Metabolism _ Invisible Cities
Pierre-Jean Giloux’s first monograph, the publication extends the eponymous video tetralogy inspired by the Japanese utopian architectural movement: Metabolism (1960-70).
The films of the Invisible Cities cycle are portraits of Japanese cities, superimposing filmed and photographed images of everyday, social and urban reality, with virtual images.
The book explores the links in Pierre Jean Giloux’s work that connect four Japanese cities with a rich architectural past (Tokyo, Yokohama, Osaka, Kyoto). This jorney through Japan’s Megapolis traces the history of Japan and ends with the reconstruction of pavilions for the Osaka 70 Universal Exhibition and a virtual proposal for a smart city on the waters of Lake Biwa.
The metabolist utopia to which reference is constantly made in the work of Pierre Jean Giloux played a decisive role in the constitution of post-war Japanese cultural identity and had a notable influence on many contemporary architects.
SYLVIE GUILLEM
西尔维·纪莲
シルヴィ·ギエム
Сильви Гиллем
실비 기옘
6000 miles away
To the shock of the dance world she left the company at 23, citing a desire for more independence, and moved to the Royal Ballet as a principal guest artist. Unlike almost any other ballet dancer — only Mikhail Baryshnikov, and to some extent Nureyev, come to mind — she not only went on to have a superstar career as an interpreter of the classics but also made an apparently effortless transition into works by contemporary choreographers while remaining a big-name box-office draw.
RICH HOLLAND
skate sculpture
MARIO MARTINEZ
mars-1
SRULI RECHT
Masked – In Flight
“Masked in Flight” is a project by Iceland’s Sruli Recht that studies what kind of masks air travelers might wear — travelers that wanted to look like serial killers and creepy stormtroopers, that is. Would you feel comfortable on a plane with the person next to you wearing something like this?
Mariana Castillo Deball
Vista de Ojos
NIV ROZENBERG
The photographic images Niv Rozenberg creates allows us to see the urban environment through a new perspective. With New York City and Tel Aviv as his subjects, he “breaks the visual and spatial congestion of the city by constructing an archetypal form, isolated from function and separated from the city’s total urban structure.”
Jonna Kina
Arr. for a Scene
“The sonic force of cinema’s most famous murder scene is investigated.Two foley artists recreate Hitchcock’s shower sequence, deconstructing the associations of aural signifiers, and the synesthetic power of sound. Jonna Kina contextualize this uncanny phenomenon — the “trans-sensory” quality of sound – within both Kina’s oeuvre, as well as other historical and contemporary works inside and outside the realm of art. In Arr. for a Scene (2017), Kina explores the structures and forms of cinematic sound – transforming an iconic image — the horrific shower scene in Alfred Hitchcock’s Psycho (1960) – into the sonic frequencies of quirky, seemingly innocent, domestic objects.” Melissa Ragona
Katja Heitmann
Me, My Selfie and I
Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?
LASAL
Harmophon
This video only shows a short part of a longer incoming installation, which explores the relationship between 2 Harmonic waves in different graphical/musical ways.98 pair of points trigger notes depending on the collision position in the Y axis.Panning depends on the X position. For this piece the phase and velocity of booth waves are synchronised to collide in a harmonic chord.In the installation it would be possible to see/hear more complex relationships with longer running time.The chaotic converges in harmonic, the complexity converges in simplicity.
IRIS VAN HERPEN
Айрис Ван Эрпен
イリス ヴァン ヘルペン
„Mode ist für mich ein Ausdruck von Kunst, der sehr eng mit mir und meinem Körper verbunden ist.
Ich sehe es als Ausdruck meiner Identität, kombiniert mit Verlangen, Stimmungen und kulturellem Umfeld.
In all meinen Arbeiten versuche ich klar zu machen, dass Mode ein künstlerischer Ausdruck ist, Kunst zeigt und trägt und nicht nur ein funktionales und ohne Inhalt oder kommerzielles Werkzeug. Mit meiner Arbeit möchte ich zeigen, dass Mode sicherlich einen Mehrwert für die Welt haben kann, dass sie zeitlos sein kann und dass ihr Konsum weniger wichtig sein kann als ihr Anfang. Das Tragen von Kleidung schafft eine aufregende und zwingende Form des Selbstausdrucks. “Form folgt Funktion” ist kein Slogan, dem ich zustimme. Im Gegenteil, ich finde, dass Formen den Körper und damit die Emotionen ergänzen und verändern. Bewegung, die für und im Körper so wichtig ist, ist in meiner Arbeit genauso wichtig. Indem ich Form, Struktur und Materialien auf neue Weise zusammenbringe, versuche ich, optimale Spannung und Bewegung vorzuschlagen und zu realisieren. “
Danielle Wilde
LASERSPINE
A garment with lasers that project perpendicular to, and down the length of the spine. The complex technology in this interface is the body. Though it is not always evident, the range of movement of the spine is remarkable. Magnifying and making visible the relative position and dynamic tilt of the spine is sufficient to bring attention in an intense and unique way to this part of the body. That the wearer of the garment cannot see the lights projecting from their back serves to intensify this focus. The whole seems to enhance the poetic valence of movement of the entire torso, with the spinal column demarcated as the experiential, physical and energetic core.
Antoni Rayzhekov
10VE:SEQUENCE FOR TWO
10VE:SEQUENCE FOR TWO is a duet for two amplified bodies equipped with wireless biofeedback and movement devices, measuring the performers heart-rate, stress-level, breath and movement. The synchronizations and correlations of the signals generate a musical representation of the occurring processes between their bodies.
yin xiuzhen
Инь Сючжэн
尹秀珍
