IGOR ZENIN
Игорь Зенин
John Clement
Fireflies
Marga Weimans
Groninger Museum
Mind = blown
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Grayson Revoir
Grayson Revoir (born 1983, USA) lives and works in New York City and Berlin, Germany. Exhibited at Thomas Brambilla Gallery, Bergamo, Italy (2013) and CEO Gallery, Malmö, Sweden (2012). Revoir has also exhibited his work at Zach Feuer Gallery, New York (2013), Oslo Kunstforening, Norway (2012), and Martos Gallery, New York (2011).
ANGELIKA MARKUL
ICEBERG
RYUE NISHIZAWA
Teshima Art Museum
KATE COOPER
Rigged
A hybrid of consumer associations, ranging from the glossy iconography of the TV commercial and the sterility of video game graphics to the luminosity of the department store poster and the smell of freshly opened cosmetics, create a subconscious lure. Her use of CGI technology in her artistic practice surpasses a simple study of digital textures (think nostalgic glitch-making) to occupy a full-fleshed, hyperreal space, usually reserved to corporate giants in advertising or entertainment.
LITA ALBUQUERQUE
Лита Альбукерке
stellar axis aligns 99 blue spheres to stars in the antarctic sky
The Stellar Axis land art project is currently being deployed in Antarctica, to be completed for the Southern hemisphere Summer Solstice on 22 December 2006.
Perhaps the largest and most ambitious arts project to take place in Antarctica, Stellar Axis is the work of the internationally known, Los Angeles based artist, Lita Albuquerque, and is sponsored by the US National Science Foundation and US Antarctic Programme.
The concept is to mirror the southern constellations through the placement of 99 blue spheres on the Ross Ice Shelf in Antarctica.
GEORGE YU ARCHITECTS
BLOW-UP
Bruce Nauman
Nature Morte
Nature Morte focuses on Nauman’s long relationship to his own studio, a variation on his four unique multi-projection videos, Mapping the Studio (2001). Three viewing stations, each consisting of an iPad linked to a wall-sized projection, provide an interactive exploration of the 3D studio space. Only now the artist is absent, and the participant becomes performer as he/she manipulates the large scale video projections on an iPad using touch control. The participant is free to navigate anywhere throughout the space, selecting broad vistas or individual objects. Using a hand-held 3D scanner, Nauman recorded hundreds of images that allow participants to select an object and locate close-up anything found there, and further reorient the image to see an object from above and below, and at times inside-out. The resulting mobility intensifies the experience of the viewer/performer. Presenting a static, but immersive re-creation of his studio space, Nauman’s pieces once again play at the tenuous lines between the body and space, perception and physical material.
Yann Nguema
Anato-me
Cette installation initie un cycle de recherche visant à augmenter ou détourner la notion d’écran par le biais de dispositifs additionnels transparents. L’image est ici constituée d’un masque gravé en 3D au laser dans 3 blocs de verre. Il est prolongé dans sa partie réelle par des impressions 3D. Une image interactive à l’arrière des blocs vient donner vie à l’ensemble. Le masque de Geisha fait référence au manga “Ghost in the Shell” de Shirow Masamune et à son adaptation en film réalisé en 2017 par Rupert Sanders.
Nhu Xuan Hua
Nhu Xuan Hua is a Parisian photographer based in London. Her work embodies a visual language that is cross-disciplinary in its approach, reflecting her artistic practices that extend beyond photography into mixed-media and sculpture. Nhu Xuan’s world is always on the edge, it catches the elusive moment when the perception shifts from real to surreal . This interests into arts led her to a signature which goes beyond fashion photography.
Eirik Branda
Dravb
dravb consists of an 8×8 LED matrix and two proximity sensors. It uses two ESP8266 microcontrollers as ADCs to map hand movement to the matrix, but could also be used for musical purposes. I wanted it to have the look and feel of an old analog computer, with a clunky interface and dubious visual feedback.
YVES MARCHLAND AND ROMAIN MEFFRE
The Ruins of Detroit
“Detroit, industrial capital of the XXth Century, played a fundamental role shaping the modern world. The logic that created the city also destroyed it. Nowadays, unlike anywhere else, the city’s ruins are not isolated details in the urban environment. They have become a natural component of the landscape. Detroit presents all archetypal buildings of an American city in a state of mummification. Its splendid decaying monuments are, no less than the Pyramids of Egypt, the Coliseum of Rome, or the Acropolis in Athens, remnants of the passing of a great Empire.” Yves Marchand & Romain Meffre
Stanza
The Nemesis Machine
via highlike submit
The Nemesis Machine è una grande installazione (adattata a ogni luogo in cui viene esposta) che è una città in miniatura. Visualizza la vita nella metropoli sulla base dei dati trasmessi da Londra. Quindi la città costruita a Bruges utilizzando componenti elettronici riflette in tempo reale ciò che sta accadendo dall’altra parte della Manica. Piccole telecamere mostrano le immagini dei visitatori in modo che diventino parte della città.Una mini metropoli meccanica funziona su dati urbani in tempo reale. L’opera d’arte cattura i cambiamenti nel tempo nell’ambiente (città) e rappresenta la vita mutevole e la complessità dello spazio come un’opera d’arte emergente. L’opera d’arte esplora nuovi modi di pensare alla vita, all’emergenza e all’interazione all’interno dello spazio pubblico. Il progetto utilizza tecnologie di monitoraggio ambientale e tecnologie basate sulla sicurezza, per mettere in discussione le esperienze del pubblico degli eventi in tempo reale e creare visualizzazioni della vita mentre si svolge. L’installazione va oltre la semplice interazione da parte del singolo utente per monitorare e rilevare in tempo reale l’intera città e rappresentare interamente le complessità della città in tempo reale come un sistema complesso in mutamento, i dati e le loro interazioni, ovvero gli eventi che si verificano nell’ambiente che circonda e avvolge l’installazione – si traducono nella forza che dà vita alla città elettronica provocando il movimento e il cambiamento – cioè, nuovi eventi e azioni – che si verificano. In questo modo la città si esibisce in tempo reale attraverso il suo avatar fisico o doppio elettronico: la città si esibisce attraverso un’altra città. Causa ed effetto diventano evidenti in modo discreto e intuitivo, quando determinati eventi che si verificano nella città reale fanno sì che certi altri eventi si verifichino nel suo doppio completamente diverso, ma perfettamente incorporato. La città avatar non è solo controllata dalla città reale in termini di funzione e funzionamento, ma anche completamente dipendente da essa per la sua esistenza.
THEO JANSEN
ثيو يانسن
西奥扬森
テオ·ヤンセン
Тео Янсен
תיאו ינסן
«Крылья двигаются вместе с ветром и нагнетают воздух под высоким давлением в бутылки с газировкой, это то, что я называю желудком ветра. Таким образом, они могут накапливать энергию и использовать ее для передвижения, когда нет ветра. Энергия, которую они потребляют, не такая, как наша; мы едим, а эти животные – нет. Они используют силу ветра; так что можно сказать, что они едят ветер ». Тео Янсен. Небо, песок и ветер детства Тео Янсена в Голландии породили идею. Позже эта идея стала новым образом жизни, рожденным на пляже и воплощенным в компьютерных программах.Художник исследует безграничные возможности и материализует только «самые подходящие» модели для движения по ветру. Трубы из ПВХ, нейлоновые нити и клейкая лента исполняют детские мечты Янсена с практикой, аналогичной методам, основанным на принципах биологической эволюции: каждый год он создает животное и каждый год объявляет его вымершим. Таким образом, он практикует «естественный отбор» лучших характеристик, которые будут унаследованы следующим видом. Когда эти существа движутся, кажется, что они живут своей собственной жизнью. Каждая нога совершает точное движение, благодаря чему тело остается устойчивым и ровным. Технология, с помощью которой построено каждое из «пляжных зверей», позволяет им менять направление, если они обнаруживают неустойчивую воду или песок, которые могут препятствовать их прохождению. Это также позволяет им сохранять давление воздуха и использовать его для передвижения в отсутствие ветра. «Animaris Sabulosa», например, вонзает нос в песок, чтобы закрепиться – если он обнаруживает, что ветер слишком сильный – и, таким образом, остается стоять.
Eyal Gever
Break Wall Sim
Eyal Gever is an artist who combines technology and art to create sculptures based off of 3D software technology that he uses to produce animations and 3D renderings to compliment his work. Gever has over 18 years experience implementing his ideas into 3D software technologies and server/web-based products, primarily in the area of interactive real time multimedia communication software as well as 3D creation and animation.
YE Cheng
野城
Kong Shanshui – 空山水
The base of the installation consists of layers of white stones which fill the ancient palace’s courtyard, echoing peaceful, meditative gardens. On top of the stones are piles or gatherings of petri dishes, some ten thousand in total, stacked in various forms, resembling miniature hills, mountains and rock formations.
PATRICK SCHUMACHER & ZAHA HADID
как Заха Хадид и Патрик Шумахер
The Vortex Chandelier
Le look du chandelier VorteXX est particulièrement futuriste, et a été décrit comme « une réminiscence de la double hélice avec l’apparence d’une forme fluide infinie, pulsant et luisant en apesanteur ». Cette lampe est fabriquée à partir de 60 moulages individuels et des tous derniers modules de LED permettant de générer de la lumière indirecte dans différentes teintes. Un système de gestion de la lumière imaginé par l’extra-terrestre le designer permet de programmer toutes sortes d’atmosphères lumineuses.
