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William Cobbing

Chang and Eng
William Cobbing is an artist living and working in London. Starting from a sculptural sensibility his artwork encompasses a diverse range of media, including video, installation and performance. In the artworks, people are often depicted as being fused with the surrounding architecture, or buried under layers of clay or concrete, from which they absurdly struggle to extricate themselves. The space in which he installs the artwork is where it take shape, often responding to the layout of a gallery or an external context such as the facade of a building, or through replacing manhole covers in the street

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Katja Heitmann

Museum Motus Mori
Een choreografie voor het sleutelbeen, een dans van navel, buikvet en ribbenkast, de anatomie van een zucht. De Duitse choreografe Katja Heitmann (1987) gaat met haar dansers voor Marres een fysieke tentoonstelling maken. Museum Motus Mori; een museum voor bewegingen die met uitsterven bedreigd worden. Heitmann is gefascineerd door het efficiëntie-denken.Voortschrijdende technologie stelt de mens in staat haar leefwereld verregaand te ‘optimaliseren’. Zal de mens uiteindelijk zichzelf optimaliseren? Zullen bewegingen die in onze controlemaatschappij nutteloos of inefficiënt zijn verdwijnen? Kunnen we die menselijke beweging vastleggen?

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Studio Flynn Talbot

Horizon
“Horizon recreates my favourite time of day – twilight – when the sun sets and daylight drops away. The surrounding scenery then darkens, leaving a soft gradient of colour that extends up into the sky. Horizon captures this moment in time, but re-imagines it as an ever changing, interactive light show.” Flynn Talbot

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HAUS-RUCKER-CO

하우스-루커-코
是由豪斯拉克科
“Climate Capsules: Means of Surviving Disaster”

In view of the advancing climate change, the exhibition “Climate Capsules: Means of Surviving Disaster” at the Museum für Kunst und Gewerbe Hamburg poses the question: “How do we want to live in the future?” and draws attention to the socio-political consequences of coexistence under new climatic conditions. In view of the fact that the politicians are hesitant to enforce strict measures for climate protection and the citizens very sluggish about changing their habits, the change appears inevitable. The world community is accordingly confronted with the challenge of investigating various possible means of adapting to the climate change. This exhibition is the first to bring together historical and current climate-related models, concepts, strategies, experiments and utopias from the areas of design, art, architecture and urban development – pursuing not the aim of stopping the climate change, but envisioning means of surviving after disaster has struck. More than twenty-five mobile, temporary and urban capsules intended to make human life possible independently of the surrounding climatic conditions will be on view – from floating cities and body capsules to concepts for fertilizing sea water or injecting the stratosphere with sulphur. A symposium, film programme, readings, performances and workshops will revolve around the interplay between design processes and political factors such as migration, border politics and resource conflicts, and investigate the consequences for social and cultural partitioning and exclusion.

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ELLEN JANTZEN

Эллен Янцен
Disturbing the Spirits

Disturbing The Spirits, explores the photographers recent interest in the healing power of nature. In her series’ statement, the St. Louis-born photographer questions, “As human actions impact the natural environment, can artists heal nature? Does art bring special powers to the table? If so, what are they? What is ‘art’? What is ‘nature’? What needs healing?”

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Gillian Wearing

Me as Eva Hesse
Throughout the past two decades, Gillian Wearing’s films, photographs and sculptures have investigated public personas and private lives. Since the beginning of her career, the artist has drawn from techniques of theater, reality television and fly-on-the-wall documentary-making to construct narratives that explore personal fantasies and confessions, individual traumas, cultural histories, and the role of the media. Anonymity through elaborate masks, costumes and role-play has remained a critical part of Wearing’s practice and influential investigation of the ways in which individuals present themselves to others when the self is temporarily concealed.

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ARVO PART

Арво Пярт
Fratres
Structurally, Fratres consists of a set of nine chord sequences, separated by a recurring percussion motif (the so-called “refuge”). The chord sequences themselves follow a pattern, and while the progressing chords explore a rich harmonic space, they have been generated by means of a simple formula. Fratres is driven by three main voices. The low and high voice are each restricted to playing notes from the D harmonic minor scale (D, E, F, G, A, Bb, C#); the middle voice is restricted to the notes of the A minor triad (A, C, E). The entire piece is accompanied by drones in A and E, which are primarily heard in the refuge between each sequence.The chords are created by the movement of the three voices: the low voice starts at C#; the high voice starts at E. Both the low and high voices are moved up or down the D harmonic minor scale at the same time, with the direction of the movement depending on the position within the sequence. The middle voice starts at A and plays a different pattern (A, E, E, C, C, C, C, A, A, E, E, C, C, A). The generated chords create harmonic ambiguity, since both C# and C are present, yielding an A major or A minor feel.

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MARIA MARTINS

“O impossivel”

They touch. They bite. They get warm. They penetrate. They are made. They get rid of. They stick their tongues in. They put the body in. They get body. They split up. They exist.
They want to be one. It is impossible (“O impossivel”). Which means that a single body, as you would like, is impossible. It can not. For a moment yes, for a moment they can. But no, they can’t. Impossible. They cannot be one. Despite the bites. Their bodies are different. They were born and will die self-absorbed, in themselves. Between them there is an abyss, a discontinuity. But they want to be continuous, they want their bodies to be one body. Since they cannot, they celebrate the sacrifice of the meat. “Essentially,” says Georges Bataille, “the field of eroticism is the field of violence, the field of rape.” Isn’t it violent, perhaps, to want to break the discontinuity of the other closed in on itself? Isn’t it violent to force the discontinuity of the other to be a continuous whole with him? O impossível by the Brazilian Maria Martins (1894/1973) shows the excesses of sex (take note: excess, sex). Or impossível is the moment in which the organs swell with blood and gush sexuality. The moment when animality makes us gloriously human.

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PETROS CHRISOSTOMOU

Петрос Крисостомо
Spondilos
Es difícil medir la escala en la obra de Petros Chrisostomou, los zapatos gigantes parecen tan detallados y las galerías con un aspecto casi inmaculado, pero la verdad es que sólo se trata de pequeños espacios, hechos a la medida excata y con grandes detalles para que esto nos haga dudar si lo que estamos viendo de verdad es enorme o es simplemente una ilusión. Chrisostomou utiliza pequeños objetos comunes como el centro de sus fotografías, él coloca los objetos en sus galerías en miniatura que como podrán ver están sorprendentemente detalladas. Petros presta cuidadosa atención a la iluminación, la escala, perspectiva y el detalle. El realismo de sus sets forza a la vista y mente para alternar entre pequeñas y grandes escalas, dudando de cada uno en el proceso.

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Barbora Kotěšovcová

IT’S A GAME FOR US
“How do we perceive mistakes and flaws and how important are those for us?” Barbora asks herself. “When a human being experiences and errs, they create a protective immunity for similar upcoming events, which they will, hopefully, solve better. Therefore, through these fashion pieces, I tried to communicate something that disrupts our personal comfort. Although we might not be fans, we need such disruptions because they push our comfort zone further and make us feel better in the long run.” Barbora Kotěšovcová

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KUNIHIKO MORINAGA

Anrealage
Kunihiko Morinaga, la directora creativa de la marca japonesa de culto Anrealage, siente algo por las sensaciones y las ilusiones ópticas. Su show debut en París la temporada pasada fue sobre luces y sombras. Hoy, su salida de segundo año se centró en la luz y la oscuridad. O, mejor, en las impresiones que obtiene al parpadear o proyectar luz en tono negro. Las siluetas escultóricas de Anrealage se cortaron en una tela negra especial que revelaba una textura impresa solo bajo luces ultravioleta, o tenían círculos blancos perforados con agujas, como la proyección de un foco, salpicados en el frente. Para enfatizar la profundidad de tal oscuridad, todo era negro, incluidos los rostros de las modelos, un trazo fuerte que hacía las cosas un poco demasiado dramáticas.

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Olle Cornéer and Martin Lübcke

Public Epidemic Nº 1 (Bacterial Orchestra)
Олле и Любке
FILE FESTIVAL

“Bacterial Orchestra” (2006), a self-organizing evolutionary musical organism where each cell lives on an Apple iPhone (it can be ported to any mobile phone, but the iPhone was chosen because it’s popular and the centralized App Store makes it easy for the epidemic to spread). That way, hundreds of people can gather with their mobiles and together create a musical organism. It will evolve organically in the same way as “Bacterial Orchestra”, but it will also be much more infectious. The installation and the ideas behind it can be traced from different areas such as chaos theory, self-organizing systems and neural networks. The goal? A world wide sound pandemic, of course.

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