The Man from the 9 Dimensions

The Man from the 9 Dimensions

Based on the latest scientific data and hypotheses, Takashi Shimizu, the pioneer of horror movies, visualizes the world as theoretical physicists see it in order to create a new kind of science movie. The world’s first 3D full-dome movie on the “Theory of Everything”; the ultimate goal of physics to describe all natural phenomena by a single, consistent theory. Physics is in crisis. Our understandings of the microscopic world of elementary particles and of the macroscopic world of the universe are in contradiction. Scientists are striving to resolve the contradictions and construct the Theory of Everything. Be ready to be surprised by the new world of vibrating strings and hidden dimensions predicted by the most promising hypothesis, the Superstring Theory.

Scientific Advisor: Hirosi Ooguri

Director: Takashi Shimizu

Mohamadreza Tazari

HYPER FRACTAL

When I was a child I had some vivid dreams. They felt like I was falling and flying into an infinite multi-dimensional environment. They were satisfying and terrifying at the same time but I couldn’t find any explanation for them. 6 years ago I read about Benoit Mandelbrot’s theory, the fractals, and it changed my perspective. I realized that my dreams were fractals. So I tried to remake my dreams as a visual VR experience. According to Benoit Mandelbrot’s theory, Fractals are the mathematical\visual explanation of the nature’s structural geometry. Geometry for irregularity.

Michaela Pnacekova

A Symphony of Noise
Created by Michaela Pnacekova, Jamie Balliu
Herbert’s everyday sound sources are the inspiration for A Symphony of Noise VR. This interactive virtual reality experience is a journey through four sonic landscapes. The first centers on breathing, which immediately makes you focus on listening to the world differently. This is followed by an arctic environment full of scraping and crunching sounds, and finally a shop interior. Using the controllers or by blowing or singing, you can add sounds to the audio palette, which is visualized as waves and colors in three-dimensional space. In the fourth and final landscape, all the sounds are combined in an ultimate symphony.

JEONGMOON CHOI

Three-Dimensional UV Thread Installations
El artista Jeongmoon Choi utiliza la luz y el hilo para crear instalaciones que juegan con los aspectos de la perspectiva y la ilusión. Con reminiscencias de algo producido en un espectáculo de luces láser, sus campos tridimensionales formados por líneas lumínicas, están instalados en un espacio ultravioleta para crear entornos interactivos.

YOICHI YAMAMOTO

Japanese firm yoichi yamamoto architects has completed ‘2D/3D chairs’ for tokyo fashion labels issey miyake store. featuring a series of traditional dining chairs, the installation transforms from a two dimensional graphic into a tangible piece. The perspective is manipulated creating a unique appearance from different vantage points for onlookers. graphics of legs in varying perspectives are printed onto a horizontal plane while the chair backs rest upon the surface. The seat backs maintain a seamless transition from the graphics by utilizing assorted sizes, heights and placed at diverse angles.

RYOJI IKEDA

Micro Macro
micro | macro trasforma il padiglione E del MuseumsQuartier in un enorme mondo di immagini e suoni in movimento. Nella sua installazione immersiva, l’artista multimediale Ryoji Ikeda crea un campo di immaginazione tra fisica quantistica, sperimentazione empirica e percezione umana. In collaborazione con scienziati nucleari del CERN, Ikeda ha tradotto complesse teorie fisiche in un’esperienza sensoriale. La scala di Planck viene utilizzata dagli scienziati per indicare lunghezze o intervalli di tempo estremamente ridotti. Concetti come spazio e tempo perdono il loro significato oltre questa scala e la fisica contemporanea deve fare affidamento su teorie speculative. E sull’arte. Visitatori di micro | macro entra in un mondo di dati, particelle, luce e suono che rende gli estremi dell’universo percettibili all’occhio e all’orecchio. Nel micro mondo penetriamo nelle più piccole dimensioni dell’irrappresentabile, mentre nel macro mondo decolliamo in distese cosmiche che ci permettono di sperimentare lo spazio infinito oltre l’universo osservabile. In questo vortice di dati, un fuoco d’artificio acustico e visivo colma il divario tra la comprensione teorica e la percezione sensuale.

ISSEY MIYAKE

ايسي مياكي
איסי מיקים
イッセイミヤケ
이세이 미야케
HOMME PLISSÉ

Im Zentrum von Miyakes Philosophie der Kleidung steht die Idee, ein Kleidungsstück aus einem Stück Stoff zu kreieren. und die Erforschung des Raumes zwischen dem menschlichen Körper und dem Gewebe, das ihn bedeckt. Sein Fokus auf Design war immer, ein ausgewogenes Verhältnis zwischen Tradition und Innovation aufrechtzuerhalten: handgefertigte und neue Technologie. FOLDING BITTE wurde 1993 geboren und ist eine radikale, aber äußerst praktische Form zeitgenössischer Kleidung: Sie kombiniert eine alte Idee, eine dreidimensionale Figur mit zweidimensionalem Material unter Verwendung von Falten zu verbinden, mit neuer Technologie, Funktionalität und Schönheit . 1998 kehrte Miyake zu seiner ursprünglichen Liebe zur Forschung und Erforschung zurück und startete mit dem Mitarbeiter Dai Fujiwara ein neues Projekt namens A-POC (One Piece of Fabric). Durch die Erforschung der Möglichkeiten zwischen Kreativität und digitaler Technologie hinterfragt Miyake die traditionellen Methoden, mit denen wir Dinge tun.

OUCHHH

Sagen Sie Superstring
Ouchhh wird sich von den im Universum vorhandenen Noten inspirieren lassen, während Mikroketten in Echtzeit vibrieren (subatomare Teilchen), und die von den Noten erzeugten Melodien als “Materie” und die Symphonien dieser Melodien als „Universum“ definieren. Mit Dastrio wird Ouchhh in der hochgradigen Gravitationstheorie 11 Dimensionen in abstrakten Richtungen aufnehmen und sie in Echtzeit über den Raum hinaus bewegen. Die im Wohnraum intuitiv erfassten Dimensionen ändern sich ständig und werden Wirklichkeit.

Yuge Zhou

Midtown Flutter
Midtown becomes a flattened, uniform construct for this play of texture, rhythm and interruptions.My installation is inspired by the concept of architectural relief (a technique where the sculpted elements remain attached but raised above the background plane). Audiences experience a gradual shift in the appearance and depth of the installation from a flat image to a three-dimensional view with protruding geometric shapes.

EMILIJA ŠKARNULYTĖ

Mirror Matter
In the neutrino observatory rendered in Mirror Matter, slow panning movement gives a sense of the immensity of the nearly 13,000 photo-multipliers that inhabit this strange vessel – their ‘eyes’ engineered to watch light. Another frame depicts the Hadron Collider at CERN; its architecture envisioned through lidar scans, producing a dynamic, transparent imprint in three dimensions. Described as a vision that flows through the body, it is imagined by Škarnulytė as alien archaeological vision’ with the ability to see through, and as the experience of sight farthest from the human realm. Through simultaneous perspectives, the constant surveying motion that weaves a continues thread through each video narrative, and the immersion generated by the reflective black ceiling, the viewer is imparted with this panoptical mode of perception.

JOHN MCCRACKEN

ДЖОН МАК-КРАКЕН
约翰·麦克拉肯
ジョン·マクラッケン
STAR, INFINITE, DIMENSION, AND ELECTRON

John McCracken’s work embodies a threshold of physical matter and infinite mind/space. In his own words, this ‘character,’ of his work has been indefinable and difficult to write about as an integral whole. Typically referred to as one of the leading West Coast counterparts to the Minimalist regime of Donald Judd, Carl Andre, Robert Morris, Dan Flavin, Sol Lewitt and Robert Bladen, McCracken’s work extends the architecture of Minimalism, complicates the surface of simulated or real machine production, and reflects a mysticism of transcendence.

PLATONOV PAVEL

بافيل بلاتونوف
帕维尔·普拉东诺夫
Павел Платонов

Platonov Pavel é um fotógrafo e designer russo conhecido por suas esculturas. Seus trabalhos são principalmente compostos por objetos tridimensionais utilizando materiais como madeira, metal e espelhos. Também possui séries fotográficas de modelos sendo adornados com mascaras tridimensionais feitas de papel.

Dmitry & Elena Kawarga

Down with Wrestlers with Systems and Mental Nonadapters!
file festival

“The work of Dmitry Kawarga normally deals a lot with ideas of biomorphism. A term and a small branch in art history that was very much influenced and formed by Hans Arp. Not just remaining in biomorphism, like Arp, Kawarga adds a whole new social and urban dimension to the works that make us think of terms like ”rhizome” developed by the post-structuralists Deleuze and Guattari. For Dada Moscow, Kawarga invented a totally new work, which seems to be quite different from the abstract biomorph works he normally does. It is an interactive installation that brings up a very powerful sense of the machine and technology fascination the society before the WWI had and it also shows the brutal consequence this fascination had. Kawarga creates a machine that brings the ideas of social models totally to the absurd.” Adrian Notz

JEFFREY SHAW

The Legible City

In The Legible City the visitor is able to ride a stationary bicycle through a simulated representation of a city that is constituted by computer-generated three-dimensional letters that form words and sentences along the sides of the streets. Using the ground plans of actual cities – Manhattan, Amsterdam and Karlsruhe – the existing architecture of these cities is completely replaced by textual formations written and compiled by Dirk Groeneveld. Travelling through these cities of words is consequently a journey of reading; choosing the path one takes is a choice of texts as well as their spontaneous juxtapositions and conjunctions of meaning.

DUMBTYPE

LIEBHABER (LOVERS)
Computergesteuerte Fünfkanal-Video- / Toninstallation mit fünf Videoprojektoren, einem Achtkanal-Soundsystem und Diaprojektoren […] Als Bild  schlägt ein Liebespaar häufig eine Burg der Ausgrenzung vor. Mit der sexuellen Befreiung der letzten Jahrzehnte hat das Wort nun mehr mit körperlicher Kopplung zu tun als mit der Erhabenheit der „wahren Liebe“. AIDS hat dieser Paarung eine neue Dimension der Vorsicht hinzugefügt. Die lebensgroßen Tänzer in Lovers haben kein Leben mehr. Die nackten Figuren werden auf die schwarzen Wände eines quadratischen Raums projiziert und haben eine spektrale Qualität. Ihre Bewegungen sind einfach und sich wiederholend. Sie gehen hin und her, laufen und rennen mit tierischer Anmut. Ihre Handlungen werden im Laufe der Zeit vertraut, so dass es eine Überraschung ist, wenn zwei der durchscheinenden Körper in einer virtuellen Umarmung zusammenkommen. Diese angeblichen Liebhaber – mehr überlappend als berührend – sind physisch nicht miteinander verflochten.

ASTRID KROGH

Mare Tranquilitatis

Mare Tranquillitatis – the title of this optical fibre sculpture of cosmic dimensions refers to a lunar mare that is situated within the Tranquillitatis basin on the moon. Very slowly and barely perceptible, this work takes on varying hues of yellow and white, creating the strange and poetic impression that the work is actually breathing,imitating the sensation that the moon is actually alive in the night sky.

Ouchhh

SAY SUPERSTRINGS

Ouchhh will take inspiration from the notes that exist in the universe while micro-strings vibrate (Subatomic Particles) in real time and define the melodies created by the notes as “Matter” and symphonies of these melodies as “Universe”. With dastrio, Ouchhh will take 11 dimensions in abstract directions in super grade gravity theory and move them beyond space in real time. The dimensions captured intuitively in living space will constantly change and turn into reality.

dastrio:
Bernhard Metz – Violin
Manuel Von Der Nahmer – Violoncello
Suyang Kim – Piano

Ryoji Ikeda

micro | macro
micro | macro transforms Hall E in the MuseumsQuartier into an oversized world of moving images and sounds. In his immersive installation, multimedia artist Ryoji Ikeda creates a field of imagination between quantum physics, empirical experimentation and human perception. In collaboration with nuclear scientists at CERN, Ikeda has translated complex physical theories into a sensory experience. The Planck scale is used by scientists to denote extremely small lengths or time intervals. Concepts like space and time lose their meaning beyond this scale, and contemporary physics has to rely on speculative theories. And on art. Visitors to micro | macro enter a world of data, particles, light and sound that makes the extremes of the universe perceptible to the eye and ear. In the micro world we penetrate the smallest dimensions of the unrepresentable, while in the macro world we take off into cosmic expanses that allow us to experience the infinite space beyond the observable universe. In this maelstrom of data, an acoustic and visual firework bridges the gap between theoretical understanding and sensual perception.

clement valla

Valla claimed to have collected a series of 60 “surrealistic” images, or that, at least, give that impression, during a long period “playing” in Google Earth.“The images are a kind of mirrors for a fun house.They are strange illusions and reflections of the real ”Despite the strong distortions, which easily resemble a surrealist painting, the images of the work do not have any manipulation of tools like Photoshop, for example.”The images are screenshots of Earth with basic color adjustments”, “This is a construction of 3D maps on two-dimensional bases, creating these fabulous and unintended distortions”.

Sarah Sze

Shorter than the Day
The New York-based artist captures the sky as it changes from cerulean blue morning to a colorful sunset to the many shades of night through nearly 1,000 photographs of the sky. Each printed image is fastened to the aluminum and steel with alligator clips and is revealed as viewers move around the massive work, just like the earth circles the sun to mark a day.

robert seidel

Vitreous
The nine virtual sculptures underlying vitreous resulted from experimental setups by Robert Seidel for generating three-dimensional clusters of fibrous refractions, as well as the gravitational lensing of different volumetric and chromatic densities. Singular elements gravitate towards each other, accumulating in a gigantic sculptural system, where each entity exists with its own visual axis and vanishing point. The impalpable luminous formations create prismatic interactions between the ridges and plateaux of the main colours floating in front of the infinite violet background.

Katharina Grosse

It Wasn’t Us

A painting by Katharina Grosse can appear anywhere. Her large-scale works are multi-dimensional pictorial worlds in which splendid color sweeps across walls, ceilings, objects, and even entire buildings and landscapes. For the exhibition “It Wasn’t Us” the artist has transformed the Historic Hall of Hamburger Bahnhof – Museum für Gegenwart – Berlin as well as the outdoor space behind the building, into an expansive painting which radically destabilises the existing order of the museum architecture.

Stillness

THINK AND SENSE

Under the theme of Zen, this artwork represents a part of the philosophy of Zen with three-dimensional data created with photogrammetry technology composed of the most minimalistic landscape of “dots” and the soundscape of “undulations,” with the cooperation of Toryo Ito, vice priest of Ryosokuin, Kennin-ji Tacchu temple, Kyoto. The generated image reflecting the environmental information of the exhibition space creates “interaction between the environment and the image,” just like the trees and leaves swinging in the silence in the garden of a Zen temple.

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Credit Concept / Technical Direction: Shuhei Matsuyama Point Cloud System Design:Takamitsu Masumi Sound Design: Intercity-Express (Tetsuji Ohno) Photogrammetry Shooting: Naoya Takebe Photogrammetry Engineering: Katsuya Sakuma

Signe Lidén and Espen Sommer Eide

Vertical Studies
Vertical Studies: Acoustic Shadows and Boundary Reflections; Water Tower Sint Jansklooster In their new collaborative work, Vertical Studies: Acoustic Shadows and Boundary Reflections, Signe Lidén and Espen Sommer invite participants on a journey to a 46-metre-high abandoned water tower in Sint Jansklooster. The tower has been re-imagined as a vertical field-lab where Lidén and Sommer discuss their ongoing research into connections between sound, history, wind and weather. To this end they have constructed a range of special instruments to record and playback sounds in the vertical dimension. The participants on this journey will experience live outdoor vertical studies and a vertical soundscape shaped by Eide and Lidén that ascends the tower’s spiral staircase.

Refik Anadol

Machine Hallucination
Refik Anadol’s most recent synesthetic reality experiments deeply engage with these centuries-old questions and attempt at revealing new connections between visual narrative, archival instinct and collective consciousness. The project focuses on latent cinematic experiences derived from representations of urban memories as they are re-imagined by machine intelligence. For Artechouse’s New York location, Anadol presents a data universe of New York City in 1025 latent dimensions that he creates by deploying machine learning algorithms on over 100 million photographic memories of New York City found publicly in social networks. Machine Hallucination thus generates a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques. The resulting artwork is a 30-minute experimental cinema, presented in 16K resolution, that visualizes the story of New York through the city’s collective memories that constitute its deeply-hidden consciousness.

Ying Yu

airmorphologies

Humans, as social beings, use language to communicate. The human voice, as a biometric authentication mechanism, is constantly used throughout daily life applications, such as speech recognition, speaker verification, and so on. Currently, language-based communications mainly fall into two categories: voice over air, and voice over internet protocol. Can we add a new dimension for voice communication such as a wearable material? If so, how could we shape matter in order to physicalize vocal information?

airMorphologiesis an interactive installation that uses soft materials, such as silicon, fabric, and air, to realize these physicalizations. The human voice controls the actuation of a soft wearable structure, changing the appearance of the human body.

ANN HAMILTON

アン·ハミルトン
앤 해밀턴
Filament

This piece consisted of a high curtained structure which circulated the material around in one space. It stopped every 15 seconds or so, enough time for one or two people to enter into the spinning vortex of linen material. Whilst standing inside the whirlwind of fabric I felt as though I myself were almost flying or being transported to another dimension or something (ok, this description might be slightly exaggerated, but I have quite an ambitious imagination!) Either way, I fully enjoyed the experience of the piece immensely.

Michael Manning

迈克尔·曼宁
Most known for his series Phone Arts and Microsoft Store Paintings, these works explore the boundaries and limitations of stock image making software like Microsoft Paint. Manning uses these technologies to create his digital works, that are Abstract Expressionist in nature but persistent in their idiosyncratic Manning aesthetic. While these works begin as JPEGS, they are then printed onto canvas and brushed with a clear acrylic for texture, able to transcend the screen into the three dimensional gallery.

Atsushi Koyama

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What exactly is METAMACHINE? The metaphor comes from the artistic path of Atsushi Koyama, one of the participating visual artists. While emphasising the aesthetic qualities of machines and mechanical drawings in oil paintings, Koyama merges the human body with mechanisms, creating a man-machine (similar to the notorious Tetsuo, but in a more sublimated way). As if to incorporate the beauty of the human body, Koyama’s mechanisms break away from their earthly nature. They take us to another reality, beyond utilitarian usage or function itself. Koyama’s machines act more like ‘mechanical’ (‘mechaaesthetical‘) keys to another dimension, existing outside of the physical reality and its laws.

 

Random International

Fragments

Almost two hundred identical, small mirrors are arranged in a grid to form a flat, homogenous surface. Hung against the wall, the mirrors are closely spaced and apparently static; but they possess the ability to move in harmony with one another. Approaching the artwork, the individual mirrors turn together to face the onlooker, following as he or she moves. The plane of the surface distorts into varying, three-dimensional forms — perhaps a wave, or a curve, or a circle. The reflection becomes fragmented and the apparently inanimate object becomes akin to something organic and alive

DUMBTYPE

LOVERS
Computer-controlled, five-channel video/sound installation with five video projectors, eight-channel sound system, and slide projectors […] As an image, a pair of lovers often suggests a castle of exclusion. With the sexual liberation of the last few decades, the word now has more to do with physical coupling than with the sublimity of “true love.” AIDS has added a new dimension of wariness to this pairing. The life-size dancers in Lovers are drained of life. Projected onto the black walls of a square room, the naked figures have a spectral quality. Their movements are simple and repetitive. Back and forth, they walk and run with animal grace. Their actions become familiar over time, so that it is a surprise when two of the translucent bodies come together in a virtual embrace. These ostensible lovers–more overlapping than touching–are not physically entwined.

Diana Thater

“Science,Fiction”

Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. Natural diversity, wildlife, and conservation have been persistent themes in the artist’s work, and she has dedicated herself to an examination of the varied kinds of relationships humans have constructed with animals. While her in-depth studies of ecosystems and animal behavior propose observation as a kind of understanding in itself, her ethical position is implicit in the work, which, while subtly political, provides views of the sublime in all its incarnations—stunning, beautiful, and simultaneously terrifying.

KURT HENTSCHLAGER

Zee
File Festival 

Immersive Audiovisual Environment Artificial Fog, Stroboscopes, Pulse Lights and Surround Sound, 2008

ZEE proposes a state of tabula rasa and unfolds without a narrative or reproducible imagery.The audience wanders freely in a space filled with extremely dense fog that fully obscures all of its boundaries. Stroboscopic- and pulse lights illuminate the fog, in a softened and evenly dispersed manner, creating kaleidoscopic three-dimensional structures in constant animation. An ambient and minimal sound-scape connects to the imagery, without directly synchronizing to it.The core visual impression of ZEE is of a psychedelic architecture of pure light, an abstract luminescent landscape enveloping the visitor. Time appears to stand still.

Robin Baumgarten

line-wobbler
file 2019
‘Line Wobbler’ is a one-dimensional dungeon crawler with a custom controller made out of a steel spring and a five-metre long LED strip display. The entire game runs on an Arduino, with sound, particle effects and 120+fps. ‘Line Wobbler’ is an award-winning experiment in minimalism in game design, making use of novel input mechanics, retro sound, and the incorporation of physical architectural space into the game. In the game, players navigate obstacles and fight enemies to reach the exit, in a series of increasingly difficult levels. Movement is controlled by bending the Wobble controller forward and back, while enemies are attacked by flicking the spring at them. Obstacles such as lava fields, conveyor belts and slopes challenge the navigation skills of the player.

Yihan LI

Since the emergence of time as a concept, the circle has been a graphic representation that registers and measures the passing of seconds, minutes, hours, and even decades. . . . The torus may be seen as a three-dimensional form utilized to represent time as it travels through a cyclic loop. The geometric shape of the torus speaks of duration, of looped time, and of transformations along and in time. In this project, Boolean operations between varying tori in multiple dimensions indicate the interaction between durations—possibly time in addition to time, or interactions diluted by time—that reveal a new architectural realm featuring free curves which direct visitors’ movements inside flowing spaces. People will lose the perception of direction or time and find themselves worshipping in open and serene volumes.

olga kisseleva

anthropOcean

AnthropOcean, interactive project created by the artist-researcher Olga Kisseleva, brings the public to question its implication in an environment which we keep adjusting to our aspirations, with a particular focus on the ocean. At the heart of this project is an online database dedicated to climate change and to the broader ties between ocean, climate and society. This database is the source of all visual displays seen by the public and it also has an interactive dimension: the public itself is able to feed the database thanks to a specific barcode. In other words, the art piece takes the shape of a visual display installation composed of digital objects that it visually maps and connects to one another.

Alma Haser

birdgirl
It’s hard to pin down what media German artist Alma Haser actually works with: Her series involve photography, cut-up collages, rephotographing prints, and weaving together multiple images to strike a balance of time and space. Take I Always Have To Repeat Myself, for example. Each piece layers two or more prints either physically (weaving or overlaying strips of different photographs to add a sense of depth and dimension) or within a new frame—a number of the pieces feature sitters manipulating photographs of themselves, playing with perspective to offer and dizzying and disorienting fresh take on portraiture and image making.

GREYWORLD

The Source
The Source, an eight storey high kinetic sculpture, is the new symbol for the London Stock Exchange. Every morning, millions of viewers around the world will watch the installation come to life, signifying the opening of the London Markets.
“The Source is formed from a grid of cables arranged in a square, 162 cables in all, reaching eight stories to the glass roof. Nine spheres are mounted on each cable and are free to move independently up and down its length. In essence the spheres act like animated pixels, able to model any shape in three dimensions a fluid, dynamic, three dimensional television.Visitors to the atrium are greeted by this motion: its particles rising and falling, generating an infinite range of figurative and abstract shapes that rise, dissolve and reform at different heights in the atrium. The shape of the sun rising on a new day of trade, the names and positions of currently traded stocks, the DNA helix at the center of life formed by the work, and floating in the 32m void of the atrium.”

Luiz Olivieri

Espaco Ressonante
…immersive and interactive, in which the public can enter bodily. Each work has dimensions of 150 x 120 x 60 cm, and is composed of wood, speaker, magnifier, acrylic and a 10-minute audio.

Juliana Mori & Matteo Sisti Sette

timeLandscape woolrhythms

“timeLandscape – wool rhythms” 2010. Part of timeLandscape series, 2009 – 2010. Video, audio, projector, speakers, custom patch (PD-Gem), sensor, wool engine. Variable dimensions and duration, loop. “timeLandscape – woolrhythms” is an interactive audiovisual installation in which a landscape is depicted from its multiple time possibilities and [re]composed through users’ real time interaction. The installation was developed in Biella, Italy, an area economically attached to textile industry, and deals with the cyclical perception of time and human, linear, interference on it. It gathers nature and artefact, by connecting a physical wool engine to digital imagery of daily cycles. By turning the wheel crank, users generate movement starting the engine. Through a sensor attached to the machine, software calculates the rotation speed, altering parameters for mixing audio and video fragments in real time. Every turn of the machine leads to different time thread combinations in response to the rhythm and speed of each interactor.

FILE FESTIVAL

numen / for use

tape sao paulo
file sao paulo 2016
Constant wrapping of pillars with a transparent adhesive tape results in a complex, amorphous surface through the process reminiscent of growing of organic forms. One line evolves into surface that forms an organic shape of extraordinary strength. The entrance of the audience inside the volume transforms the sculpture into architecture. It was practically “found” through the act of chaotic wrapping, where a one-dimensional line (“tape”) slowly turned into two-dimensional plane, which then finally curved into volume.

henrique oliveira

Xilempasto 10
“Oliveira’s installations, which he refers to as “tridimensionals,” have evolved into massive, spatial constructions that combine painting, architecture, and sculpture. In some installations he uses walls as supports, attaching and shaping lengths of PVC tubing to create enormous, protruding forms over which he layers thin sheets of wood.”more

E.V. DAY

Butterfly
E.V. Day ist ein in New York ansässiger Installationskünstler und Bildhauer, dessen Arbeit Themen wie Sexualität und Humor unter Verwendung schwerkraftwidriger Aufhängungstechniken untersucht. Sie hat ihre Arbeit als “futuristische abstrakte Malerei in drei Dimensionen” beschrieben. Day erhielt ihren MFA in Skulptur von der Yale University School of Art. Die erste Arbeit in ihrer Exploding Couture-Reihe, Bombshell, wurde in die Biennale 2000 des Whitney Museum of American Art aufgenommen und befindet sich jetzt in der ständigen Sammlung des Museums. Sie hatte zahlreiche Einzelausstellungen, darunter die Installation G-Force von 2001 im Whitney Museum in Altria, in der sie Hunderte von Riemen in Kampfjetformationen von der Decke hängte, und eine zehnjährige Übersichtsausstellung im Jahr 2004 im Herbert F. Johnson Museum of Art an der Cornell University. Bride Fight, eine Hochspannungsreihe aus zwei sich duellierenden Brautkleidern, wurde 2006 im Lever House als Teil ihrer Sammlung ausgestellt.

REYNOLD REYNOLDS

레이 놀드 레이놀즈
РЕЙНОЛЬД РЕЙНОЛЬДС
Secrets Trilogy
Secret Machine

Secret Machine is the second of the Secrets Trilogy; a cycle exploring the imperceptible conditions that frame life and is preceded by Secret Life (2008) and followed by Six Easy Pieces (2010)
In Secret Machine a woman is subjected to Muybridge’s motion studies. She is treated in the same fashion as in the original Muybridge photography: with Greek aesthetic in a Cartesian grid. A short time after Mybridge’s studies, Duchamp painted Nude Descending a Staircase, No. 2 (1912) attempting to show time on a flat surface. He is expanding cubism and painting into another dimension: time. Time is about movement and change, like our experience of reality. Without change life does not exist. Photography does not capture this experience. In Secret Machine different filming techniques are compared to the motion of the body. The film camera becomes another measurement tool in a way a video camera cannot. The intention was to make an art piece from the point of view of a machine, specifically a camera.
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Nieto Sobejano Arquitectos and realities:united

Contemporary Art Centre in Cordoba
BUILDING FAÇADE WITH AN INTEGRATED LIGHT AND MEDIA INSTALLATION

To transform the façade into a light and media display without fundamentally changing its solid appearance as envisioned by Nieto Sobejano turned out to be the biggest challenge in the project. The façade is accordingly designed to deliver a tactile and solid appearance in the daytime while it turns at night into a unique and dynamic communication wall that reacts very specifically to the architecture. The 100-meter façade consists of 1,319 hexagonal, recessed and pre-fabricated “bowls” on different scales. Each of the bowls serves as a reflector for an integrated artificial light source. The intensity of each lamp can be controlled individually, forming a huge irregular low-resolution grey scale display. The thorough immersion of the “pixel-bowls” – like negative impressions – in the volume of the façade turns the architectural scheme itself into a digital information carrier. During the day, the façade shows a three-dimensional landscape with no sign of being a media facade. Additionally, this tectonically modulated surface topography is characterized by a playful composition of light and shadow that constantly changes with the movement of the sun.

Kuldeep Malhi

Blush

Kuldeeps Wandinstallationen überschreiten die Grenzen zwischen Keramikkunst und Architektur. Die Inspiration stammt aus einer Mischung von Einflüssen von der erotischen Skulptur in alten indischen Tempeln bis zur modernistischen Architektur. Einige Stücke verwenden Softround-Formen oder Tentakel in sich wiederholenden Mustern, die mit experimentellen Glasuren versehen sind, um eine taktile und zutiefst sinnliche Umgebung zu schaffen, in der andere Würfel verwenden, um eine geometrische Schnittstelle zum Raumraum zu schaffen. Alle haben ein Gefühl von Bewegung und Wachstum, aber nicht nur von der Anordnung der einzelnen Komponenten, sondern aus der sanften Farbabstufung. Die Arbeit stellt eine Begegnung östlicher und westlicher Kulturen dar – die erotische Taktilität der orientalischen Kunst kombiniert mit dem mechanisierten Glanz des Westens. Die dynamischen Installationen entsprechen den vertikalen Ebenen in architektonischen Räumen und bilden eine Schnittstelle zwischen den Wänden und dem Innenraum des Raums. Bei der Arbeit geht es auch um Taktilität und Berührung. Optisch und kompositorisch kann es als Bild oder Komposition wie ein dreidimensionales Gemälde betrachtet werden, eine Kreuzung zwischen Malerei und Skulptur.

CLEMENT VALLA

Клементу Валла
Postcards from Google Earth
Valla behauptete, eine Reihe von 60 “surrealistischen” Bildern gesammelt zu haben, oder die zumindest diesen Eindruck während eines langen “Spielens” in Google Earth erwecken. “Die Bilder sind eine Art Spiegel für ein lustiges Haus. Sie sind es.” seltsame Illusionen und Reflexionen des Realen “Trotz der starken Verzerrungen, die leicht einem surrealistischen Gemälde ähneln, können die Bilder der Arbeit keine Werkzeuge wie beispielsweise Photoshop manipulieren.” Die Bilder sind Screenshots der Erde mit grundlegenden Farbanpassungen. ” “Dies ist eine Konstruktion von 3D-Karten auf zweidimensionaler Basis, die diese fabelhaften und unbeabsichtigten Verzerrungen erzeugt.”

JOHN MCCRACKEN

Джон Мак-Кракен
约翰·麦克拉肯
ジョン·マクラッケン
Star, Infinite, Dimension, and Electron

“The geometric forms McCracken employed were typically built from straight lines: cubes, rectangular slabs and rods, stepped or quadrilateral pyramids, post-and-lintel structures and, most memorably, tall planks that lean against the wall. Usually, the form is painted in sprayed lacquer, which does not reveal the artist’s hand. An industrial look is belied by sensuous color.His palette included bubble-gum pink, lemon yellow, deep sapphire and ebony, usually applied as a monochrome. Sometimes an application of multiple colors marbleizes or runs down the sculpture’s surface, like a molten lava flow. He also made objects of softly stained wood or, in recent years, highly polished bronze and reflective stainless steel.Embracing formal impurity at a time when purity was highly prized, the works embody perceptual and philosophical conundrums. The colored planks stand on the floor like sculptures; rely on the wall for support like paintings; and, bridging both floor and wall, define architectural space. Their shape is resolutely linear, but the point at which the line assumes the dimensional properties of a shape is indefinable.” Christopher Knight

DAITO MANABE AND MOTOI ISHIBASHI

particles at ycam

In this “illumination installation”, blinking lights floating in midair create a fantastic afterimage.

A giant rail construction with an organically spiral-shaped spatial structure is put up in the exhibition space. Rolling on that rail are countless balls with built-in full-color LEDs and communication devices. From terminals set up inside the venue, visitors can send commands to the balls to control the timing and coloration of their blinking, and thereby draw three-dimensional afterimage in the air. Through the fusion of a minutely designed rail construction and communication control technology, an unprecedented form of spatial expression was realized in the form of a flexible “light structure“.

HANNES VAN SEVEREN

“Hannes Van Severen makes the connection between reality and imagination in his work. The artist starts with an existing, everyday object, usually a piece of furniture, which he then transforms and changes. In this way, he deprives the object of its original functionality and allows its aesthetic value to prevail. As a result, the original usefulness of the everyday object no longer predominates, but his work nevertheless continues to be a visual reference to the original. With this paradoxical construction, Hannes Van Severen creates a fictitious world of images with alternative, intrinsic meanings and potential. The observer has to let go of the explanatory and allow his or her imagination to take flight. In combination with the personal experience of the observer, a richer dimension of the reality experienced will emerge with the new reading and interpretation of things that are apparently obvious. With this transformation, Van Severen wants to break down our recognition, to question the obviousness of our reality, and to show us the absurdity that surrounds us. Like the cubists and the surrealists, the artist divides into pieces and rearranges  an existing reality, which means that he can be described as a saboteur of the obvious.” Stef Van Bellingen