STEFANIE NIEUWENHUYSE
I have done my Bachelor degree at Amsterdam Fashion Institute (AMFI) in Amsterdam, the Netherlands 2010 and I recently finished my part-time Masters degree at Kingston University in Kingston upon Thames, Surrey, United Kingdom 2012.
JON MCCORMACK
flicker
Flicker is an immersive electronic environment of generative image and sound. A collaborative work with Oliver Bown. Based on biological models of firefly behaviour, Flicker generates an ever shifting rhythmic, meditative environment to the viewer. Flicker uses 4 channels of synchronised high definition video and 8 channels of sound to immerse the viewer in a phenomenologically rich environment of artificial life. The work is a large-scale agent-based simulation, with each agent providing a rhythmic pulse at regular intervals. Agents try to synchronise their pulse with other agents in their immediate neighbourhood. The collective pulsations of groups of local agents are spatially sonified with int exhibition space. Over time, large groups synchronise at different rates, leading to complex visual and aural structures, syncopating and constant shifting in to a long term complexity.
Thomas Struth
Tokamak Asdex Upgrade Periphery | Max Planck IP,Garching
Since the end of the 1970s Thomas Struth dedicates his work to the world of buildings and constructions as a visible, physical and sculptural symbol of our civilisation.
Struth’s earlier works mainly comprised architectural shots of deserted streets, squares and houses which he aimed to capture by the term unconscious places. His more recent work, however, reveals his interest in sites of high technology and places of exhibition and display. Both his work Tokamak Asdex Upgrade Interior 2 (2009) which was taken at the Max-Planck-Institute in Garching and his photography of a massive concrete construction at the Acropolis Museum, Athens (2009) bear evidence of this new focus.
This excellent selection of Struth’s works enables us to trace his development as a Photographer from small-sized prints from his time as a student of Bernd and Hilla Becher to large-sized photographic tableaus, and to experience Struth’s sculptural understanding of architecture. In addition to that the installation is supplemented by his largest work, a shot of visitors in front of the Aquarium, Atlanta, Georgia (2013) which follows the pattern of his Museum shots.
Martin Backes
Music Automats
‘Music Automats’ est une installation sonore robotique autonome. La pièce est composée de plusieurs instruments robotiques, construits à partir d’instruments acoustiques, d’objets du quotidien, de moteurs, de composants électroniques, de pièces en bois et en métal. Des LED sur les instruments visualisent le son. Le résultat est un monde sonore futuriste entièrement automatisé qui est également visuellement unique en raison des instruments et des robots auto-construits. L’œuvre explore la co-évolution de l’homme et de la machine, un avenir dans lequel nous nous trouvons déjà.
Emmanuelle Moureaux
ايمانويل مورو
IVAN TOTH DEPENA
Reflection
pixel art
Instalacija je postavljena na ulazu u metro u Miamiju, i to na glavnom ulazu u Stephen Clark Government Center Lobby. Svi posjetitelji moraju proći kraj ovih LED ogledala, a ako to požele mogu se i poigrati s njima. CIjeli sistem sastavljen je od niza infracrvenih kamera te LED panela koji zajedno rezultiraju onime što vidite na fotografijama. Za ovaj uberkul projekt zaslužan je umjetnik imena i prezimena Ivan Toth Depeña koji je instalaciju predstavio u sklopu inicijative Miami-Dade Art in Public Places.
Amanita Design
Samorost 3
Prague-based Amanita Design, creators of the award-winning Mechinarium, recently released what may be their best game yet: Samorost 3. This deeply immersive puzzle game spans the ecosystems of 9 unusual planets as you encounter strange inhabitants and unlock increasingly complex secrets to advance to the next level. Amanita Design’s approach to creating completely non-verbal/non-textual games relies heavily on intuition, sound design, and symbolism to create environments that are practically interactive artworks.
Sabrina Ratté
FLORALIA I
Inspired by the writings of Donna J. Haraway, Ursula K. Le Guin, and Greg Egan, the work plunges us into a speculative future, where samples of then extinct plant species are preserved and displayed in a virtual archive room. Through editing and visual strategies, this archive room is sporadically transformed under the effect of interference caused by the memory emanating from the listed plants, revealing traces of a past that continues to haunt the place. Floralia is a simulation of ecosystems born from the fusion of technology and organic matter, where past and future coexist in a perpetual tension of the present.
Cassils
Inextinguishable fire
The title of the piece references Harun Farocki’s 1969 film of the same name, which approaches the impossible task of effectively depicting the horror of napalm on film. Cassils’s gesture of self-immolation speaks to both the desire for–and the impossibility of–knowing such horror, even while decisively aiming to approach it. Though the stunt is a simulation of violence, it still presents real danger. This possibly volatile situation–and the attempt to control it–is captured to create an image where danger, empathy for those experiencing violence, and the privilege of removal from such circumstance operate simultaneously in one transparent performance.
ALEXANDER KENT
알렉산더 켄트
亚历山大·肯特
الكسندر كينت
Александр Кент
Alexander Kent is a London based photographer shooting modern still life. In his studio in Bethnal Green, East London he makes his sets and experiments with things. He shoots both Advertising and Editorial, though many of his personal images are a result of his experiments. Currently Kent is experimenting with the idea of boundaries. Physical boundaries, visual boundaries and scientific boundaries, looking at how they can all intermingle in one photograph.
KRIJN DE KONING
laberinto cromatico
Dutch artist Krijn de Koning has created a labyrinthine walkway between brightly coloured walls on a terrace at the Turner Contemporary gallery in Margate, England.
The first public commission in England by De Koning, the Dwelling installation comprises a series of angled walls punctured with doorways and windows that create a trail for visitors to navigate through.Situated on the south terrace of the David Chipperfield-designed Turner Contemporary, the walls are positioned between the exterior of the gallery building and the site boundary.The elements slot between existing structures, incorporating changes in floor level and abutting permanent concrete balustrades.“The artist’s site-specific works – part architecture, part sculpture – challenge the viewer, offering new possibilities to navigate and experience the space the works inhabit,” said a statement from the gallery.Perpendicular surfaces, including door and window recesses, are all painted in different colours.The bright tones reference traditional seaside pavilions and beach huts, a common feature along the UK coast.The maze is open to the sky so shadows move across the surfaces of installation through the day.Architectural features including windows and doors are different sizes and positioned at various heights, allowing some to be clambered over or crawled beneath.
Arcangelo Sassolino
The way we were
Not only does Arcangelo Sassolino transform failure into art, but he manages to make the art of failing a profound part of the art of living. He goes even further in the awareness of risk. He is aware that his experiments may not hold up to the forces that he himself puts in place but this possible collateral damage wants to represent an additional value, becoming precisely the existential metaphor of the concepts of risk and failure. His installations explore the behavior and mechanical limits of matter, he forces their characteristics to distort their shape, gravity, pressure, friction, statics, and of each possibility Sassolino contemplates the risks of collapse with its precise timing and programming.
VADIM STEIN
Вадим Штейн
Vadim Stein is an Ukrainian artist resident in St. Petersburg (Russia). He worked as an actor and a lighting designer in the Theater of Plastic Drama and later on decorative sculpture and graphics. Taking photos of his own works he became keen on photography. His photos are able to recreate a parallel universe, to tell a story made of eroticism and mystery through a great mastery of the light and the elegance of bodies.
ANNA WILKINSON
Sculptural Simulacrum
“..Inspiration for this project comes from digital sculpture that created by sculptors who use specialized software to create their work.
In my literature review, I was fascinated to learn how much engineering and math are often involved in digital sculpture and to learn that the process of digital sculpturing has many similarities to pattern making which also relies heavily on mathematic, angles, and precise measurements…” “…One of the most inspiring digital sculptors for me was “Basheba Grossman”. I enjoyed many of his pieces, but was especially inspired from his digitally created bronze knots. In addition to the precise geometry of the knot sculptures, something which, even with the naked eye, it’s apparent that the knots are precise symmetrical pieces. What is also fascinating about the knots is that they exist simultaneously as different shapes that still occupy a single space! Collectively the knots form a sphere, or suggest a cycle or globe, yet the components of the knots are often more like bent stretching disc or arms. The knots have no visible foundation, it is impossible to see where the “starting point” and the “ending point” or even the edges of the sculpture exist..”
ROBERT XAVIER BURDEN
Star Wars
NANNA VAN BLAADEREN
Нанна Ван Бладерен
MATT PYKE
Мэтт Пайк
Supreme Believers
Sur l’écran de 25 mètres, des images très grand format de danseurs traversent l’espace immaculé. Ils luttent avec acharnement contre un ouragan infernal, matérialisé par des formes numériques arrachées au corps du danseur. On ne sait ce qu’il veut, gracieux et fragile, mais on comprend son besoin impérieux d’atteindre l’autre bout de l’écran. « J’aime le côté Sisyphe du personnage. Son incapacité à renoncer, s’amuse Pyke. Nous avions juste construit un plan incliné pour donner l’illusion que le danseur lutte contre le vent, alors qu’il ne fait que rechercher son équilibre. Je suis resté très old school. »
