Escorregador
“Quando as pessoas estão descendo um escorregador, muitas vezes gritam de pura alegria. Estou interessado no aspecto de deixar ir. Uma vez que você se solta, você viaja sem motivação para algum lugar específico. É um estado de espírito muito especial. Talvez “felicidade” (ou “prazer”) não seja a palavra certa, mas tem a ver com alívio ou mesmo liberdade.”

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
Ball on Pedestal

Growth Pattern

罗杰·海恩斯

珍妮•霍尔泽
ג’ני הולצר
ジェニー·ホルツァー
제니 홀저
ДЖЕННИ ХОЛЬЦЕР
For more than thirty years, Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including 7 World Trade Center, the Reichstag, the Venice Biennale, the Guggenheim Museums in New York and Bilbao, and the Whitney Museum of American Art. Her medium, whether formulated as a T-shirt, as a plaque, or as an LED sign, is writing, and the public dimension is integral to the delivery of her work. Starting in the 1970s with the New York City posters, and up to her recent light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor, kindness, and moral courage

سيباستيان ارازوريز
塞巴斯蒂安·埃拉苏里斯
the journey

Gourmet

VANITAS MACHINEの設置は、永遠の命への欲求と延命措置の可能性に対応しています。技術的介入によって非常にゆっくりと燃え尽きるろうそくに基づいて、VANITAS MACHINEは、科学技術の助けを借りて人間の寿命を延ばす努力に現代的なアナロジーを作成します。 古典的なヴァニタスのシンボルの1つである燃えるろうそくは、瞬間の無益さ、人間の生活の一時性、そしてすべての存在の終わりの確実性を思い起こさせます。しかし、この目的は本当にまだ避けられないのでしょうか？ 過去2世紀の間に、工業国では平均余命が大幅に伸びました。さらに、科学的研究の文脈では、老化の生物学的原因が調査されています。老化の多くの理論は、生理学的要因と環境要因の両方に向けてすでに開発されています。 老化の最初の理論の1つは、いわゆる「生存率理論」でした。これは、生物の寿命がエネルギー代謝回転に相互に関連しているため、カロリー摂取量、酸素消費量、心拍数に関連していると主張しています。代謝率、生物の寿命が短くなります。 VANITAS MACHINEでは、実験装置の中央にキャンドルが置かれています。人間の呼吸プロセスと同様に、燃えているろうそくは酸素を消費し、二酸化炭素と水を生成します。酸素とエネルギーの代謝回転が高いほど、キャンドルの燃焼時間は短くなります。 VANITAS MACHINEは、制御された条件下でキャンドルを「生きた」状態に保つために特別に開発されました。環境要因からそれを保護し、酸素供給を正確に調整することによって、キャンドルの「代謝」、したがってその「寿命」に影響を与えることができます。

КАЙЛ ДАНН

Les 7 pêchés capitaux

Journal

#define Moon_
[#define Moon_ ] consists of 9 rotating kinect light installations. It presents different postures of moon shape, exerting new sense experiences. The audience is allowed to explore through various ways of looking and bring curiosity to the installation by watching from different angles. By thinking of the science spirit, once again, viewer can define and understand the concept of this work of their own.

Романа Зигнера
Table
Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category. It is often being described as following the tradition of the Swiss engineer-artist

Idol
Nick Paparone functions within the systems of mass culture and the marketplace in order to satirize and expose their inner-workings. Employing a variety of media from video, installation, and performance, the artist states that his work “is slathered with evolving iterations that anatomize branding idioms and client dynamics.more…

Founder, designer and artistic director Alan first started experimenting with pneumatic sculptures in the I980s and has since developed his own language of form in this plastic medium. In 1992 he established the company to build and tour his luminarium designs. Since, Architects of Air, a Nottingham based company has made over 500 exhibitions in more then 40 countries.

TOGETHER APART BILLUND
Together Apart Billund consists of 375 coated mesh fabric ribbons stretched between the roofline of the Billund community building and the ground. Connected to the ground along an undulating line that curves in on itself, the ribbons create a series of cellular spaces. While the surface generated by the ribbons separates the individual spaces, its porosity provides visual interconnectivity between them. With the top and bottom anchoring patterns aligned symmetrically to the building facade, the installation is situated to have an axial relationship with surrounding buildings. The interplay between the linear top anchor positions and curved ground anchor pattern gives rise to differentiated and complex conditions of visual overlap, density, and transparency. The bright orange color of the installation creates a focal point and invites curious passers-by to interact with the work.

フィリップ·ラメット
ФИЛИППА РАМЕТА

Dead Reckoning

habitat

The Petal Room
The Petal Room consists of 3,500 real flowers, 6 million paper petals designed to fall with beautiful trajectories, a signature scent, and sensor-activated lighting that incorporates microscopic scans of flowers. These elements stimulate the senses and allow visitors to feel physically connected to flowers and nature.

كلوديا روج
克劳迪娅·罗格
クラウディア·ロゲ
클라우디아 로게
Клаудиа Рогге

Body Paint
File Festival

The interaction is simple, movement creates paint. Hidden in the simplicity are layers of subtle details. Different aspects of the motion: size, speed, acceleration, curvature, all have an effect on the outcome: strokes, splashes, drips, spirals; and is left up to the users to play and discover. The installation is designed to work with any number of people and is scalable to cover small or large areas. While the installation is suitable for a single user, when multiple users are present a new dynamic emerges. A user-to-user interaction is born when the audience starts playing with each other via the installation, throwing virtual paint on each other, trying to complete or destroy each other’s paintings.

сторм торгерсон
סטורם ת’ורג’רסון
ストーム・ソーガソン

via highlike submit

МИГЕЛЬ ШЕВАЛЬЕ
ミゲル·シュヴァリエ
מיגל שבלייה
미구엘 슈발리에
spreads magic carpets

Ah! Pain!
Always the fear of losing
Feel the fear of not being you
But now, I know and it hurts
And I will wander until you know too
I’ve always been a bad hero
Always being saved by you
But now that it’s gone
I know my best is gone too
Ah! Pain! Ah! Pain!
Don’t leave me, I beg you, stay
Surrounds me, comforts me, fixes me
Ah! Pain! Ah! Pain!
You were all that was left in me
It’s what makes me alive without you here
I always feel like it will be
Always time erasing you
And now it’s so late
And the longing comes, invades, burns
I always think about you
I always think to myself “What about you?”
And I don’t want to forget you
And the wound doesn’t close, doesn’t close
Ah! Pain! Ah! Pain!
Don’t leave me, I beg you, stay
Surrounds me, comforts me, fixes me
Ah! Pain! Ah! Pain!
You were all that was left in me
It’s what makes me alive without you here, here
Ah! Pain! Ah! Pain!
Ah! Pain! Ah! Pain!
Don’t leave me, I beg you, stay
Surrounds me, comforts me, fixes me
Ah! Pain! Ah! Pain!
You were all that was left in me
It’s what makes me alive without you here

丹尼尔·罗津
Даниэль Розин

Фред Уилсон
フレッド·ウィルソン
프레드 윌슨
فريد ويلسون
Drip, Drop, Plop

Biofeedback Artwork

Amy Karle connects her body and consciousness to technology to create art, repurposing a Sandin Image Processor as an electrophysiological visualization device. While meditating, Amy Karle inputs her biofeedback into the historically significant Sandin IP analog computer to generate the output of image and sound in real-time. The artwork is both the long-duration performance as well as the experimental video art that is created in the process.

РАЙАНА ДЖОНСОНА

日本建築師阪茂
坂茂
شيجيرو بان
שיגרו באן
시게루 반
Шигеру Бан

מונה חאטום
МОНА ХАТУМ
蒙娜丽莎哈透姆
منى حاطوم
pull

추 종 완

阿尔瓦伯娜丁
Альва Бернадин
“Há sempre um evento em minhas fotos, sempre há algo estranho, surreal ou peculiar ocorrendo. Minhas fotos sempre carregam uma ideia inconvencional. As cores são saturadas e sempre são tiradas em lugares, raramente uso estúdios.”

genius idea
Je porte une attention particulière à l’aspect fonctionnaliste de notre système d’organisation sociale en tant que modèle de société. Pour créer l’effet d’une tension entre ce qui est individuel et collectif, j’utilise des objets, mobilier et matériaux fonctionnels comme des indices de notre logique de vie. Mes installations, performances et objets questionnent des mouvements de masse (ex : prendre le métro) pour montrer du doigt notre société qui préfabrique et standardise nos désirs et nos besoins. Par l’accumulation, il se trame une matière première à partir de laquelle elle élabore des mises en scène minimalistes ou exubérantes qui questionnent nos moments collectifs (ex : pique-nique, mariage, réunion universitaire) tout en indiquant des préoccupations d’ordre politique et écologique.

Balance From Within
File Festival
Jacob Tonski is a pragmatic optimist whose work explores dynamic balance through kinetic metaphors.
A self-adjusting platform makes everyone the same height, probing ideas of equality and the origins of power. A larger-than-life top spins about the room, wobbling through themes of pleasure, danger, youth and decay. A sofa teeters, standing on one leg, musing on the stability of the social structures we build.
These and other human-scale objects, both amusing and threatening, find an uncanny identity between toys and tools. The forces of time and gravity serve in these works as foils for those things we are powerless to direct in our lives, and with which we must instead dance and negotiate.

messe basel hall

REMINISCENCE OF BEING A WOMAN
TRATO DE ABORDAR MI TRABAJO COMO LO HARÍA UN NIÑO, SIN NINGÚN PREJUICIO Y CON LOS OJOS COMPLETAMENTE ABIERTOS, SOBRE TODO BUSCANDO POSIBILIDADES OCULTAS RELACIONADAS CON FORMA, FUNCIÓN Y MI PROPIA FANTASÍA. ME INSPIRO EN MI CASA Y ENTORNO, QUE SE CONVIERTEN EN UN PATIO DE RECREO.

Brilho
Glow é um ensaio coreográfico esclarecedor de 30 minutos do Diretor Artístico Gideon Obarzanek e do criador do software interativo Frieder Weiss. Sob o brilho de um sofisticado sistema de rastreamento de vídeo, um ser orgânico solitário sofre mutações dentro e fora da forma humana em estados de criatura desconhecidos, sensuais e grotescos. Utilizando as mais recentes tecnologias de vídeo interativo, uma paisagem digital é gerada em tempo real em resposta ao movimento do dançarino. Os gestos do corpo são estendidos e, por sua vez, manipulam o mundo do vídeo que o cerca, não tornando duas performances exatamente iguais.