ALICE HALDENWANG, LAURA COUTO ROSADO AND TINGTING ZHANG

Telepathy 2012-2112
“TELEPATHY” immerses the viewer in the heart of a fiction where telepathy would become the predominant means of communication at the expense of means of current communication. The ten glass helmets enable to visualize a telepathic communication, by definition invisible. “TELEPATHY” proposes to reverse the current trend which consists in basing its communication on technology, and in exchange it reveals the parapsychological and subjective communication of psychic phenomena.

YANN MARUSSICH

GLASSED A LA MUFFATHALLE

Auch in seiner aktuellen Performance „Glassed“ gibt sich Yann Marussich wieder nahezu bewegungslos und setzt seinen Körper Extremen aus. Ein riesiger, grünleuchtender Kubus beherrscht die Bühne. Begleitet durch die Live-Musik von Franz Treichel, dem Kopf der bekannten, Schweizer Post-Industrial-Band „The Young Gods“, erhebt sich dieser und gibt langsam den Blick auf den Künstler selbst frei. Marussich kommt, in einen feinen Maßanzug gekleidet, aber das Gesicht bis zur Gänze unter einer riesigen Halskrause verborgen, darunter zum Vorschein. Die Halskrause, die man eigentlich Hunden nach Operationen anlegt, ist bis obenhin mit 25 Kilo Glas angefüllt. Während der Performance versucht sich Marussich immer wieder unter großen körperlichen Anstrengungen dem Glas zu entledigen.

Hedi Xandt

PUNK’S NOT HEAD
The “Pilot” is a mask made from glass, porcelain, metal and leather. This experimental piece exists in a male and female version. It has been created exclusively for the TUSH issue 4/2012..

Simon Blackmore

Weather Guitar
Garland Fielder is a Houston based artist that received his MFA from the University of North Texas in 2005. He has exhibited regionally, nationally and internationally. His work is primarily focused on the interpretive components of visual art, bringing into question the act of “reading” a painting or object. Fielder is also a frequent contributor to Art Lies, ArtsHouston and Glasstire.

Sterling Ruby

ACTS/ALPHA BLOCKER
In ACTS—short for “Absolute Contempt for Total Serenity”—Ruby captures liquid dye inside clear urethane and balances these pure prisms atop scuffed, inscribed, and spray-painted Formica bases. These works expand upon his earlier Formica sculptures such as Big Grid/DB Deth (2008), a scratched-up monolith that exudes a cold, prisonlike institutional menace. In ACTS, the juxtaposition of unfeeling laminate slabs against vibrantly pigmented urethane is a potent one; it transforms the urethane from a passive, glassy vitrine into an active agent of incarceration that suffocates the blossoming furls of dye.

Erik Demaine and Martin Demaine

Waves in Glass
“Waves in Glass” is about the communication between two media rarely combined—folded paper and blown glass. The glass was initially made while blindfold, as shown in the video above, so that the communication with the 2000° material is purely through touch, matching the dominant mode of communication with paper.

Pierre Cardin

Palais Lumière
Pierre Cardin and his architect nephew Rodrigo Basilicati have axed plans for their 60-storey, three-finned Palais Lumière (Palace of Light) skyscraper, due to criticisms about how the building would fit into the Venetian landscape […] Opposition and criticism over the glass skyscraper began in 2012. Locals have been concerned over the impact the 245 metre-high structure would have on the Venetian landscape and its medieval city.

GARLAND FIELDER

Garland Fielder is a Houston based artist that received his MFA from the University of North Texas in 2005. He has exhibited regionally, nationally and internationally. His work is primarily focused on the interpretive components of visual art, bringing into question the act of “reading” a painting or object. Fielder is also a frequent contributor to Art Lies, ArtsHouston and Glasstire.