존 코플란즈
Джон Копланс

Green Spectrum

루드 반 엠펠
Рууд ван Эмпель
Van Empel’s working method is a complex one. He photographs 4 or 5 professional models in his studio, and takes many series of detailed photos of leaves, flowers, plants and animals. Having gathered hundreds of pictures in a database, he selects those images with which he can achieve the best results. The models are mixed in the Photoshop program, clothes are photographed separately on a tailor’s dummy. In this way he creates new images of mainly children, black or white, set in a paradisaical environment.

firewall

plastic water pistol sculpture

Chronicling America

Mimosa

وليام مورتنسن
威廉·莫滕森
ויליאם מורטנסן
ウィリアム・モーテンセン
Уильям Мортенсен

Cloud installation

FILE Electronic Language International Festival
CCBB BH
Frederik Duerinck & Marleine van der Werf
Be Boy Be Girl

Sonik Cube

483 linhas
A obra de arte 483 linhas amplia esta imagem de vídeo analógico até que ela tenha 16 metros de largura e, em seguida, dobra essa imagem várias vezes para que ela se encaixe verticalmente no espaço da galeria, adicionando aí oscilações de profundidade na imagem que podem ser ativadas por ‘ajuste’ do vídeo projetado para corresponder a essas ondas. As linhas estritamente organizadas podem ser ilusórias, criando uma arquitetura confusa de horizontes, enquanto o vídeo reproduzido mostra um passado, presente e futuro paralelos.

街头艺术新作

breed

Shower

아말리아 피카
АМАЛИИ ПИКИ
Catachresis 36

inertia collection

Энджи Хисл
x-mal Mensch Stuhl
Konzentrieren Sie sich auf den x-mal Mensch Stuhl, die Installation der deutschen Künstlerin Angie Hiesl! Jedes Mal erfordert diese Arbeit eine Person im Alter von 60 bis 70 Jahren, einen weißen Metallstuhl, der an der Seite eines anderen Gebäudes befestigt ist, und natürlich ein Publikum, das nur überraschen kann! Die sitzenden Menschen üben weltliche Aktivitäten wie Zeitung lesen oder stricken aus, außer dass sie sich hier 6 Meter über dem Boden befinden und für alle um sie herum unpassierbar bleiben. Der Wunsch und das Aber des Künstlers ist da, um eine andere Vision eines Ortes zu vermitteln, den Passanten zu gut kennen, und das Mindeste, was wir sagen können, ist, dass es funktioniert, der Beweis …

Atmospheric Wall
Atmosferische golfmuur, een nieuw cultureel monument en de eerste openbare kunstinstallatie in Chicago van de wereldwijd geprezen kunstenaar Olafur Eliasson. Prominent weergegeven aan de buitenkant Jackson Blvd. muur, het originele stuk is speciaal gemaakt voor Willis Tower. Atmosferische golfmuur biedt een gratis en toegankelijke manier om kunst van wereldklasse buiten in de Loop te ervaren.

Soft Manipulator
A playful interactive installation where the audience experiments with rhythms, mechanics and objects. Everyday items like glasses, pots, as well as small music instruments are placed on a light plattform. Seven robotic mechanic devices can be manipulated interactively by the audience, manipulating the sound of the objects. The six robotic mechanics beat the objects, creating a constantly changing polyrhytmic web of sound and rhythm.

Reality is not Always Probable
‘Reality is not Always Probable’ is constructed from tens of thousands of colourful dice and is generated, line by line, by manually emulating the rules of a simple computer binary program. Its title references a quote by Jorge Luis Borges and men’s disquiet towards a lack of controllable or predictable events and the belief that complete knowledge is impossible.

Sunset
“Sunset” ist Teil einer fortlaufenden Reihe von computergenerierten Animationen, die mit einem Fraktalgenerator erstellt wurden. „Sunset“ besteht aus mehreren Animationsebenen und simuliert die Tiefe atmosphärischer Wolken, die an erhabene Untersuchungen in der Romantik erinnern.

Брайан Ино
브라이언 이노
ブライアン·イーノ
בריאן אינו
براين إينو
Брайан Ино
77 Million Paintings

ماثيو اليوم جاكسون
Мэтью Джексон день

Re Rain
“Re-rain” is a sound installation expressing non-visible elements such as gravity, magnetic force, and sound as physical elements. This installation is created with the sound of rain sampled in Japan early spring of 2016.The sound of raindrops hitting an umbrella are recorded, and is then played back from a speaker. The umbrella is set on top of a speaker, and the vibration of the speaker is transmitted through the umbrella to make a sound. For example, an umbrella cannot vibrate if the magnetic force of the speaker is small or if the rain hitting the umbrella is either too high or too low in pitch extent. For this reason, this is a device picking out a state in which the magnetic force of the speaker, weight of the umbrella, and pitch extent of sound are all in a balanced state. Natural phenomena such as rain travels through an object and is emitted as sound to the air..

Брайан Гоггин

Lighting the Sails
Аудиовизуальная постановка Сиднейского оперного театра – это поэтическая дань уважения архитектуре и ее конструктивной концепции архитектора Йорна Утцона. Как сказал Утцон о своей архитектуре, он хотел придать ей человеческое выражение, проецируемый видеослой в том же смысле направлен на создание немедленного архитектурного выражения.

STRATA

Strata是一个始于2007年的正在进行的项目，它损害了一系列的胶卷，印刷品和针对特定地点的沉浸式装置。 “地层”一词定义了由多层岩石构成的地质构造。它特别是指相对时间的概念，即相对的每一层都通过其确定的特性，孔隙率，质地，颜色，组成与下一层区分开。简而言之，它定义了一种识别有机演化中断裂的方式，一种对历史的视觉隐喻，其含义不只是线性过程，而是随着时间的推移积累的指示符：在地质学中称为深层时间。正是在这种“深度”的探索中，“ Strata”项目得以形成，并结合了我们对古典艺术，建筑和肖像学的坚定认知的建构和解构。 在古典美学领域内运作；无论是文艺复兴时期的雕像背后的几何完美，巴洛克式的富裕还是哥特式建筑的严谨和完整，Strata都努力达到并揭示每个图标和结构的象征性复杂性背后的内容。它深入图像的表面，对图像进行解构，将其还原为必要的坐标，颜色，几何形状。剥夺它的象征功能。然而，通过这一过程，Strata也得以构建。生成地形图，线性路径和结构，它们从原点到另一原点的点脉动，散射，悬挂悬挂；生动的抽象景观的制作。通过这种变态过程，Strata不仅旨在改变人们对建筑中所包含的标志性象征的理解，还使人们对休眠在杰作细节背后的计算，生成和算术质量产生了兴趣。

loose cannon

“Poem for an artificial intelligence”

the sun is a beautiful thing

in silence is drawn

between the trees

only the beginning of light

this realm of rain

grey sky and cloud

it’s quite and peaceful

safe allowed

And, arguably, worse:

I am a coal-truck

by a broken heart

I have no sound

the sound of my heart

I am not

Brazil Now
BRAZIL NOW is a composition that addresses increasing militarization and surveillance within urban areas. Its geographical and acoustic reference is São Paulo, the largest megacity in Latin America. The piece is based on field recordings that capture the symptoms of a Latin American variant of turbo-capitalism with its distinctive acoustic features. Eruptive public demonstrations on the streets are often accompanied by loud, carnivalesque elements. These are controlled by a militarized infrastructure, openly demonstrating a readiness to deploy violence. The sonic documents are analyzed by machine learning algorithms searching for acoustic memes, textures, and rhythms that could be symptomatic for predominant social forces. The algorithmic results are then used as a base for a score and its interpretation through a musical ensemble. The piece drafts a phantasmatic auditory landscape built on the algorithmic evaluation of urban conflict zones.