Его художественные проекты следуют морфогенетической концепции – биологическому процессу, который заставляет структуру развивать свою форму. В природе форма создается постоянно меняющейся окружающей средой и приспосабливается к ней. Капля – это источник колец на поверхности воды, межзвездные силы – это параметры, которые определяют положение звезд и так далее. Изображения и скульптуры Фредрика Скатара представляют собой моментальные снимки таких процессов, визуализирующие параметры и происхождение конкретных структур. Архитектура Фредрика Скатара, как и художественные проекты, сосредоточена на подчеркивании цели и происхождения пространственных компонентов. Они, встроенные в систему использования, обладают противоположными свойствами, которые подчеркиваются своими противоположностями. Круглые формы дополняются прямыми, порядок поддерживается хаотичной структурой и т. Д.
Milo Moiré’s Performance Mirror Box ist eine gesellschaftliche Reflexion der menschlichen Sexualität. Es ist ein erweitertes Reenactment des Tapp- und Tastkinos (1968) und eine Hommage an die aussergewöhnliche Künstlerin VALIE EXPORT, die mit ihren Kunstaktionen bereits in den 1960er Jahren für die Frauenrechte eintrat. Künstlerin Milo Moiré setzt ihren Körper als Instrument, gar als Waffe ein um Machtstrukturen darzustellen und aufzubrechen. Offensiv sucht sie nach dem weiblichen Ausdruck sexueller Selbstbestimmung und lotet die Grenzen der Kunst und der bürgerlichen Moral aus.
Located in Hackney, Dalston House by Leandro Erlich is a temporary installation comprising a reconstructed house facade lying face-up and a mirror positioned over it at a 45-degree angle. As a person walks over the surface of the house, the mirror reflects their image and creates the illusion that they are walking up the walls. Similarly, visitors can make it look like they are balancing over the cornices or dangling from the windows.
HUANG YI & KUKA
The work fulfills Huang’s childhood dream of having a robot dance partner and required development from scratch. After learning the mechanics of the industrial KUKA robot, he conceptualized the movements and programmed the machine to create the partner he wanted. He says of the experience, “Dancing face to face with a robot is like looking at my own face in a mirror… I think I have found the key to spin human emotions into robots.” It was developed into a full-length piece with two additional dancers as part of 3-Legged Dog Art & Technology Center‘s Artist Residency program and their 3LD/3D+ program.
Underwater Pavilions is artist Doug Aitken’s large-scale installation produced by Parley for the Oceans and presented in partnership with The Museum of Contemporary Art, Los Angeles (MOCA). The work consists of three temporary underwater sculptures, floating beneath the ocean’s surface that swimmers, snorkelers, and scuba divers swim through and experience. Geometric in design, the sculptures create underwater spaces synthesizing art and science as they are constructed with carefully researched materials and will be moored to the ocean floor. Part of each structure is mirrored to reflect the underwater seascape and create a kaleidoscopic observatory for the viewer, while other surfaces are rough and rock-like. The environments created by the sculptures will constantly change with the currents and the time of day, focusing the attention of the viewer on the rhythm of the ocean and its life cycles.
Kimchi and Chips
Difference and Repetition
The title references Deleuze’s thesis ‘Difference and Repetition’ – his attempt to understand reality without referring to identities. The artists aim to ‘unidentify’ the audience – to criticize the bubbles of reality which technology has helped us to build around ourselves. By allowing ourselves to remove our identity occasionally, we can better understand the thoughts of those we disagree with and therefore better work together to build a combined reality. Difference (in both senses) is generated by the motion control system which continuously changes the pose of the mirrors relative to the viewer. This movement disrupts space itself, creating a transformation similar to that of a Lorentz transformation when one travels close to the speed of light. This causes space itself to compress, twist and break, giving the viewer a tool for observing the non-absolute nature of time.
The mechanical mirrors are made of various materials but share the same behavior and interaction; any person standing in front of one of these pieces is instantly reflected on its surface. The mechanical mirrors all have video cameras, motors and computers on board and produce a soothing sound as the viewer interacts with them. Troll Mirror was commisioned by Traget and is made of pairs of pink and blue troll dolls. Every troll doll pair can rotate so that the pink or blue troll face the front. The result is a colorfull reflection of the viewer’s outline and playfull colorfull transitions
Grössling City Bath
Maria’s photographic work is both non-sentimental and emotionally powerful at the same time. In one of her latest projects, the photographer has produced a range of portraits in the Grössling City Bath. The images are characterized by some kind of mirrored symmetry of unspoken tension.
Between the finite and the infinite, these mirror structures are reflecting the outside world until they are set in motion to unveil a moving and infinite interior. Hidden inside are superimposed diagrams reinterpreting certain theories or hypotheses related to our apprehension of the world. Between transcendental geometry, higher dimensions, finite and infinite, these structures arise as objects of reflection on what one understands, what one believes to understand and what one does not understand. The structure is thus referring to the finite physical structure that is encapsulating the infinity of intellectual structures created by the humankind.
This work attempts to express that premonition as an immense “floating vacant throne”. If instances of power and authority have ruled since ancient times, and the pyramids provide one example—we must ask what the future will hold. Created with reference to the forms of festival floats and portable shrines that appear in the rituals and festivities of the East, the sculpture fuses today’s 3D modeling techniques with gold leaf applications that date back to ancient Egypt. In the frontal center is an empty room, space enough for a 2 to 3-year-old child to sit, suggesting that the new intelligence is still in a young state. Shining, spherical mirrors placed at the center in front and back. Made of platinum foil, they represent “the eyes overlooking the world”, where the frontal one faces the future and the back reflects into the past.
Jonattas Poltronieri, Luis Mello, Pedro Venetucci & Rofli Sanches
Just like the original box, the installation is a rectangular unit where the user inserts his arm and is urged to move it in different ways. The similarity with the original object disappears as, instead of having a mirror to provide the image that motivates the interaction, there is a screen that mediates the user’s view and the place where his arm actually is. The displayed image of the user’s arm can be reversed, distorted and coloured, among several modifications to simulate in a rich way the strangeness of not having control over a member, and to question whether what is seen is an accurate portrayal of the real body. Although deep and subjective, the topic addressed in this experience is easy and accessible in its interaction, offering various sensory feedbacks to the user. Through it, it is proposed that we experience and reflect upon the disconnection between thought and body, intention and action, sensation and reality.
It is an interactive performance and installation that attempts to display invisible human emotion and physiological changes into auditory representations. The work uses a commercial brainwave sensor to visualize and musicalize biological signals as art. The real-time detected brain data was used as a means to self-monitor and to control. The installation is comprised of 48 speakers and aluminum dishes, each containing a pool of water. The layout of “Eunoia (Vr.2)” was inspired by an Asian Buddhist symbol meaning ‘balance.’ The motif of number 48 comes from Spinoza’s ‘Ethics’ (Chapter III), classifying 48 human emotions into three categories – desire, pleasure, and pain. In this performance, water becomes a mirror of the artist’s internal state. It aims to physically manifest the artist’s current states as ripples in pools of water.
Breath from Pineal to Hara
Coloured neon rings light up in a specified sequence behind a two-way mirror, layered with reflections of the visitors and the surrounding space. Starting with the inner ring, the individual rings light up one after the other. Once all rings are illuminated, they switch off again from the outer ring to the inside. The sequence and colours are reminiscent of the breathing technique from Pineal to Hara and the artwork invites the viewer to breath accordingly. Combined with the two-way mirror in front of it, it seems to awaken viewers to the present moment and make the usually unconscious process of breathing conscious for a while. Breathe in. Breathe out.
The Imaginarium of Doctor Parnassus
The Imaginarium of Doctor Parnassus is a 2009 fantasy film directed by Terry Gilliam and written by Gilliam and Charles McKeown. The film follows a travelling theatre troupe whose leader, having made a bet with the Devil, takes audience members through a magical mirror to explore their imaginations and present them with a choice between self-fulfilling enlightenment or gratifying ignorance.
Ronan and Erwan Bouroullec
РОНАН И ЭРВАН БУРУЛЛЕК
Palanco Double Sided Mirror
A delicate mirror pane hangs suspended from cables and pulleys. Designed by Ronan & Erwan Bouroullec, the Palanco is a double-faced mirror which hangs from the ceiling from a clever system of cables, pulley and counterweights enabling easy adjustment of it’s height. The counterweights themselves are a large design feature, available in red, brown or neutral. A fascinating and industrial style design.
The Dalston House resembles a movie set, featuring the façade of a late nineteenth-century Victorian terraced house. A mirrored surface is positioned on the on the ground lying life size façade, in a 45-degree angle. Visitiors apppear to be hanging of the building or sitting on window sills, by sitting, standing or lying on the horizontal surface. The audience plays an important and active role in the installations for Erlich. By altering the viewer’s relationship with familiar spaces, he playfully disrupts our own notion of reality,through the mirrored projection of the image, creating new possibilities and situations.
I discuss how the poem controls the reader’s experience and how this control affects its possible interpretations. The control is mostly executed by limiting the reader’s freedom over reading. Reading time, direction and duration are determined by the poem. It is only possible to start the poem, but not rewind, stop or fast-forward it. Furthermore, the manipulation of speed affects reading in many ways. In the fast extreme the effect is illegibility, but more subtly used speed creates varieties of emphasis and de-emphasis. The effect of emphasis of this kind, I argue, creates different layers of readings and invites re-reading. These different readings require different cognitive modes, which mirror our contemporary reading habits. Not being in control of the reading process also leads to a scattered sense of unity, one of postmodernism’s essential traits. While reading the poem I also question why I read as I do, and by doing so I hope to present more general traits of how to approach digital literature.
Each of olafur eliasson’s seeing spheres supports a flat, circular mirrored face, framed by a ring of LED lights, which is oriented inward to reflect the mirrored faces of the surrounding spheres. Together they produce a surprising environment of multilayered, reflected spaces in which the same people and settings appear again and again, visible from various unexpected angles. Tunnel-like sets of nested reflections open up in the mirrors, repeating countless times and disappearing into the distance.
LA SOCIETE DE LA PLACE DES SPECTACLES
FILE SAO PAULO 2015
Inspired from the live works of Italian artist Michelangelo Pistoletto (1933-) of meticulously ransacking large mirrors, Sorenson revisited the classical traditions of vanitas under the materiality of video, and generate his creative process from the destruction of consumer components.
I was inspired by how the sunlight bounces around in our artificial forest.
“Squint” is a kinetic light installation consisting of 49 mirrors that reflect lights in a bright space. The mirrors track and reflect lights on audiences’ face with composed patterns of movements. It extends the generated perception by focusing on how lights pass across our visual senses physically, and combines with our perception of images through flickering. “Squint”, which extracts various daily experiences to an abstraction brings the audience to expand their interpretation of lights and perceived imagination into a non-linear experience.
“Squint” simulates light source and intentionally shines lights on audience’s faces. Bright light is projected in the gallery, a clean bright space.
Everyday people are dynamically moving around in the city. Sunlight reflects and flickers even when it is indirect and hidden behind the artifacts. While we are traveling, we are experiencing motion. We are also experiencing the shift of light intensity, visual patterns and textures. The varieties of light forms inspire the artist to explore the potential of light textures, select and sort out the combined complexity in urban space. The artist turns them into a minimal form of light experience, while maximizing its diversity of perception.
Studio Bigert & Bergström
The egg is made out of stainless golden mirror sheeting, its multifaceted form breaking up the surroundings that it reflects into a multiplicity of different mirror images. Landscape, mine, town, sky, sun and snow are here combined into a fragmented image that can evoke associations with the complexity spanned by today’s discussion about climate and sustainable community development.more…
NPS TCHOBAN VOSS
nhow hotel berlin
Extreme cantilever alert! A four-storey block with a mirrored underside juts out from the top of a Berlin hotel, 25 metres above the ground (photos by Roland Halbe). The huge cantilever comprises the upper floors of the eleven-storey NHow Hotel, which was designed by German architects NPS Tchoban Voss. The end of the cantilever is fully glazed whilst the underside is clad in polished aluminium, creating a mirror that reflects the hotel roof below. Part of the NHow chain, the 310-room hotel contains music facilities that include a ballroom and a sound studio.
Over the past few years she has been part of exhibitions at the Museum of Contemporary Art in Tokyo, Museu de Arte Moderna in Sao Paulo, the Soka Art Center in Taipei, and the Singapore Art Museum. In her series of works entitled reflectwo (2006–11), Kojin uses brightly colored plasticized fabric flowers to create a sense of disorientation by the use of mirror effects.
IVAN TOTH DEPENA
Instalacija je postavljena na ulazu u metro u Miamiju, i to na glavnom ulazu u Stephen Clark Government Center Lobby. Svi posjetitelji moraju proći kraj ovih LED ogledala, a ako to požele mogu se i poigrati s njima. CIjeli sistem sastavljen je od niza infracrvenih kamera te LED panela koji zajedno rezultiraju onime što vidite na fotografijama. Za ovaj uberkul projekt zaslužan je umjetnik imena i prezimena Ivan Toth Depeña koji je instalaciju predstavio u sklopu inicijative Miami-Dade Art in Public Places.
Mattia Paco Rizzi + Jessica Bergstein-Collay
‘Taumascopio’ is an art installation designed and realized by parisian architect-artist mattia paco rizzi for the 2014 kanal playground festival in brussels, belgium. the structure is completely covered with mirrors and as a result, offers a complete visual camouflage along the molenbeek’s canal. as its exterior panels fold, the overall massing creates a kaleidoscopic effect that reacts to heat. during the temperature’s evolution throughout the day, the surfaces present an ever-changing reflective effect. ‘the ‘taumascopio’ invites us to reflect in poetic vein on public space, like a box of delights that gives us multiple visions and allows us to see the city differently,’ says rizzi. ‘the mosaic of reflections sends our thoughts in new directions and invite us to create new ideas.’
Flying Stone No.2
Zhan Wang’s most celebrated work to date is his series of “artificial rocks” – stainless steel replicas of the much-revered “scholar’s rocks” traditionally found in Chinese gardens. The mirrored surfaces of these often monumental objects absorb the viewer and its surrounding environment, enticing them to become part of the work, an abstraction and distortion of reality, thus creating a visual interplay between positions of tradition and modernity.
FILE SAO PAULO 2015
Inspired from the live works of Italian artist Michelangelo Pistoletto (1933-) of meticulously ransacking large mirrors, Sorenson revisited the classical traditions of vanitas under new materials together with one of the more celebrated exploits of Arte Povera.
Please touch the art
Brooklyn park NYC
celebrated for engaging audiences in seas of sculptural, inventive and whimsical works, danish artist jeppe hein brings a series of participatory installations to new york city, situated around the waterfront brooklyn bridge park. from now until april 17, 2016, public art fund presents ‘please touch the art’, an exhibition of 18 interactive sculptures including ‘social’ benches, rooms made of jetting water, and a dizzying mirror maze.
At around 12 feet in diameter, each one is big enough to swim through, for divers and fish alike. Aitken sculpted the pavilions from mirrors and artificial rock, and collaborated with a range of specialists to submerge them in the local dive park and moor them to the ocean floor. But building and installing these structures wasn’t easy. Aitken wants his exhibit to raise awareness about the declining health of the oceans.
法国艺术家文森特·莱罗伊（Vincent leroy）为雷米·马丁（Remy Martin）实现了一件动感十足的作品，名为“红色波纹”。 艺术品由带有1.10直径镜子的铝制框架组成，该镜子由于电动发动机的作用而移动。 作品通过细腻的动作反映出动作的缓慢和分解。 圆形镜已被激光切割成十个同心环，将反射切成物体前后之间复杂而沉思的色彩。
The viewer activates the «Paranoid Panopticum» by entering its small corridor between two «walls». Recorded through the mirrored wall by a video camera, the viewer’s image is projected onto the opposite wall, where it becomes part of a story freely adapted by Alfred Kreijemborg in his play titled «An Echo Play» (1923), based on the Greek myth of Narcissus. Instead of returning the affections of the nymph Echo, the protagonist falls in love with his own reflection. Like with the image of Narcissus on the water, the viewer’s own reflection appears now – and the viewer observes only himself. The Panopticum, the terminus of a circulatory prison complex, is controlled from a watchtower not visible for the prison inmates. Having consciousness controlled here causes in effect the self-control among the prisoners. The paradox in this experience – control and society’s surrendering to its own mechanisms – forms the basis of Maat’s installation. Whether as the observer or observed, the viewer is consistently extradited to the panoptic omnipresence of his own all-pervading reflection.
“The three basic themes of Orphée are:1-The successive deaths through which a poet must pass before he becomes, in that admirable line from Mallarmé, tel qu’en lui-même enfin l’éternité le change—changed into himself at last by eternity.2-The theme of immortality: the person who represents Orphée’s Death sacrifices herself and abolishes herself to make the poet immortal.3-Mirrors: we watch ourselves grow old in mirrors. They bring us closer to death.
MAR CANET & CARLES GUTIERREZ
The initial idea was to engage audiences with the classical paintings. The installation tries to transform the classical portraits into memorable and playful experiences. In short, by looking into a mirror a face of participant is captured by the system. Next, the captured face travels into one of the classical portraits. Hence, the viewer is invited into the gallery in order to recognize him or herself in one of the paintings. In other words, the art piece replaces the original painted faces by the faces of the audience. To be more specific, the authors have created an original face-morphing that integrates itself into the well-know portraits, like Meninas by Goya. To put in a nutshell, the common experience of modern art is replaced by a novel, playful and enjoyable encounter. The installation creates a framework of expression where audience spontaneously and freely interact in front of a mirror knowing that they are recorded. The results are experience by all audience in the gallery. The project was produced in 2011 as a commission of interactive art project for the new City Council of Madrid curated by Chema Conesa. “Videomaton” was presented in the opening of new City Council of Madrid located in the Cibeles square. The installation was exhibited for a year in the institution. The aim of the exhibit was displaying the famous art pieces of Madrid museums in a novel way.
stellar axis aligns 99 blue spheres to stars in the antarctic sky
The Stellar Axis land art project is currently being deployed in Antarctica, to be completed for the Southern hemisphere Summer Solstice on 22 December 2006.
Perhaps the largest and most ambitious arts project to take place in Antarctica, Stellar Axis is the work of the internationally known, Los Angeles based artist, Lita Albuquerque, and is sponsored by the US National Science Foundation and US Antarctic Programme.
The concept is to mirror the southern constellations through the placement of 99 blue spheres on the Ross Ice Shelf in Antarctica.
FILE SAO PAULO 2007
Capturing and tracking camera, animated image integration and projection
Created in 2007. Oups! was born from the wish to mix new technologies and classic animation in a playful and artistic way. Each animated sequence has a script and the visitor interacts and transforms himself into an actor of this story.
When the visitor enters in a defined space, a camera records his image and projects it on a screen in front (like a mirror) in real size and time. The visitor sees himself integrated to an animation setting that follow his movements. He founds himself immersed in a creative universe of images and sounds. The animation sequences that feed this universe are stored in a video library, new animations may be added to enrich the project. Oups! universe is playful and naive, accessible to all publics and ages.
MANUELA DONOSO AND LUISA PEREIRA
The Harmonic Series
Created by Manuela Donoso and Luisa Pereira, The Harmonic Series is a collection of mechanical devices , software, sculptures and prints that explore the relationship between musical and visual harmony.Inspired by the nineteenth century mathematician Jules Lissajous who invented a device to visualize sound vibrations using two tuning forks and a beam of light reflected from one mirror to the next to a screen, Manuela and Luisa have re-created and extended this experiment using recent tools. An electronic version of the device replaces the tuning forks with microphones and speakers, allowing people to sing different musical intervals, and contrast the resulting figures with the more chaotic ones generated by percussive sounds. An application plays groups of three notes and plots 3d Lissajous figures for their frequency ratios. The frequency ratios for major, minor and diminished chords are 4:5:6, 10:12:15 and 20:24:29 respectively. These chords were plotted using the app, and then printed as posters and sculptures that reveal a tight relationship between aural and visual harmony.