LEO VILLAREAL

CYLINDRE
Dans cette installation étincelante intitulée Volume, l’artiste Leo Villareal a pris une poignée d’étoiles scintillantes et les a ramenées sur terre. La partie cylindrique était suspendue au plafond et contenait plus de 20 000 lampes LED en acier inoxydable réfléchissant et hautement poli, qui créaient un espace tridimensionnel dans lequel la lumière pouvait prendre vie. Les modèles d’éclairage, contrôlés par la conception du code logiciel de Villareal, se déplacent à différentes vitesses, cycles d’allumage et d’extinction et vagues de luminosité et d’obscurité. Selon un critique, « la pièce est un poème d’argile éblouissant qui attire le spectateur dans un espace abstrait profond tout en déformant la perception temporelle et visuelle. » Villareal n’est pas un débutant en matière de sculptures lumineuses étonnantes. Découvrez ce tunnel de spectacle de lumière de 200 pieds qu’il a installé sur l’allée du hall des bâtiments est et ouest de la National Gallery of Art. L’espace entre les installations de Villareal et son public est un facteur important car les spectateurs sont entrelacés avec les lumières qui pulsent tout autour.

Ed Fornieles

Test Studies
In the 20th century, the film industry largely monopolized the representation of human feelings, whereas in the 21st century, the video game industry engages our emotions through participation. At least that is what Ed Fornieles is trying to demonstrate with his video installation Test Studies in which three-dimensional simulations of a role-playing game are juxtaposed with the emotional comments of those who experience it.
video

UVA UNITED VISUAL ARTISTS

Tolles Tierorchester
Die Fondation Cartier lud United Visual Artists ein, an der Ausstellung The Great Animal Orchestra mitzuarbeiten, in der die Arbeit des Musikers, Bioakustikers und Wissenschaftlers Bernie Krause gefeiert wird. Krause zeichnet seit 45 Jahren Tiere auf und hat eine Sammlung von mehr als 5.000 Stunden Klängen von über 15.000 einzelnen Arten in ihren natürlichen Lebensräumen aus aller Welt zusammengetragen. Der kreative Ansatz von UVA verband die verschiedenen Elemente des Ausstellungsinhalts im gesamten Kellerraum – Klanglandschaften, Spektrogramme und Kunstwerke – zu einer zusammenhängenden, eindringlichen Erfahrung, die Krauses Aufnahmen dreidimensionalisiert und Szenen aus der Natur vorschlägt. Die Spektrogramme bilden eine abstrakte Landschaft, eine Interpretation der verschiedenen globalen Orte und Tageszeiten, zu denen Krause die Originalaufnahmen auf eine Weise gemacht hat, die das Publikum einhüllt und es ermutigt, im Raum zu verweilen.

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.

FONG QI WEI

퐁 치 웨이

‘Time is a Dimension’

The beauty of photography, in its essence, is conveyed by capturing a moment in time and freezing it out of its context. Singapore-based photographer Fong Qi Wei, however, uses photography to show the passage of time. In his time lapse series called ‘Time is a Dimension’, Fong doesn’t use a typical long exposure trick. He captures the passing time by layering different photos of the same spot with clear edge lines of each frame. Each collage is digitally cut and created from pictures Fong takes within 2 to to 4 hours. Fong usually works at sunrise or sunset, as the light and color palettes are most varied at those times.
“The basic structure of a landscape is present in every piece. But each panel or concentric layer shows a different slice of time, which is related to the adjacent panel/layer. The transition from daytime to night is gradual and noticeable in every piece, but would not be something you expect to see in a still image. Similarly, our experience of a scene is more than a snapshot,” explains Fong.

LEO VILLAREAL

레오 비야 레알
ЛЕВ ВИЛЬЯРРЕАЛ
Zylinder
In dieser funkelnden Installation mit dem Titel Volume nahm der Künstler Leo Villareal eine Handvoll funkelnder Sterne und brachte sie auf die Erde. Das zylinderförmige Teil hing an der Decke und enthielt mehr als 20.000 LED-Leuchten aus reflektierendem, hochglanzpoliertem Edelstahl, die einen dreidimensionalen Raum schufen, in dem Licht lebendig werden konnte. Die Beleuchtungsmuster, gesteuert durch Villareals Software-Code-Design, Bewegen Sie sich in verschiedenen Geschwindigkeiten, Ein- und Ausschaltzyklen und Wellen von Helligkeit und Dunkelheit. Einem Rezensenten zufolge ist „das Stück ein schillerndes Tongedicht, das den Betrachter in einen tiefen, abstrakten Raum zieht, während es die zeitliche und visuelle Wahrnehmung verzerrt.“ Villareal ist kein Anfänger, wenn es um erstaunliche Lichtskulpturen geht. Schauen Sie sich diesen 200 Fuß langen Lichtshow-Tunnel an, den er auf dem Concourse-Gehweg der Ost- und Westgebäude in der National Gallery of Art installiert hat. Der Raum zwischen Villareals Installationen und seinem Publikum ist ein wichtiger Faktor, da die Zuschauer mit den Lichtern verflochten sind, die ringsum pulsieren.

Collectif Coin

Abstract
Movement, sound and light interweave in Abstract. It presents a repeating 20 minutes loop inspired by the concept of relativity. Time can be perceived as a vertical dimension in which the pixels travel. This movement will be used to freeze time while the audience keeps their feet firmly on the ground.

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.

HC GILJE

En transit
Deux faisceaux de lumière rapides traversent une pièce, créant des ombres infinies sur une série de cadres blancs flottants. Il s’agit d’In Transit X, une installation sombre et basée sur une pièce qui fait allusion à un vide sans fin. Les effets vertigineux d’In Transit X placent le spectateur dans un espace artificiel monochromatique. L’installation lumineuse animée de 15 mètres de large de l’artiste Hc Gilje a été réalisée à l’origine pour les Wood Street Galleries de Pittsburgh en 2012 et a récemment été exposée le mois dernier au Kulturkirken Jakob à Oslo. En utilisant des cadres en forme de blocs et de la lumière comme supports, Gilje crée des dimensions visuelles dynamiques qui se prêtent à une expérience noirâtre fascinante.

CAO YUXI

Dimensionale Abtastung
Dimensionale Abtastung ist ein digitales Projekt für zeitgenössische Kunst, das 2019 von Cao Yuxi Studio gestartet wurde. Das Kernkonzept des Projekts basiert auf dem digitalen Totem des Totems der Ära, das durch den QR-Code-Bildstil dargestellt wird, und untersucht das digitale weiter Zeitalter der neuen Ära. Diese Installation der AudioVisual-Version ist ein Gemeinschaftsprojekt, das mit dem in Hongkong ansässigen Klangkünstler Lawrence Lau erstellt wurde.

YANG Minha

Accumulation The LED light tunnel expresses the accumulation of time. The composition of the frames concretes continuity and shows the locational context. “Accumulation” has six sequences and each movie has the original theme like “Rise”, “Flow”, Accumulation”, “Dimension”, “Light” and “Overlap”.

Michele Spanghero

Dià
Dià (from greek διά, through) is a sculpture installed on a piece of no man’s land on the top of mount Pal Piccolo on the border between Italy and Austria, where World War I was fought. The double-trumpet shaped sculpture symbolically connects, both visually and acoustically, the first lines’ trenches. Two arched doors, that refer to the entrance of the shelters and trenches, turn into cavities to listen or observe the surrounding landscape. The work, conceived as a symbolic link between the two fronts, combines the dimensions of silence and sound: dià is indeed a device that invites audience to interact with the two cavities as a megaphone or a peephole, to start an intimate dialogue through the sculpture.

Maxim Zhestkov

Pulsar 2021
“New dimensions inside monuments. An excerpt from my art project Pulsar 2021..”⁠ Maxim Zhestkov

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.

Cao Yuxi

Dimensional Sampling
Dimensional Sampling (Series) is a digital contemporary art project started by Cao Yuxi Studio in 2019. The core concept of the project is based on the digital totem of the era totem represented by the QR code image style, and further re-examine the digital age of the new era. This AudioVisual version installation is collaborative project that created with Hong Kong based sound artist Lawrence Lau.

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.

United Visual Artists

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
our time

Our Time (2016) is the latest large-scale installation by United Visual Artists investigating our subjective experience of the passing of time. How long is a moment? At what rate does time actually pass? The work joins a series of kinetic sculptures that began with Momentum (2013); an installation designed as a ‘spatial instrument’ that was to reveal the relationship between expectation and perception when intersected with a physical space.
Our Time defines a physical environment where pendulums swing at a pace apparently unhindered by the laws of nature and where no single time measurement applies. The installation combines movement, light and sound as a multi-sensory, multi-dimensional canvas the visitor can enter. Pendulums swing, each to their own rhythm, as time flows through the grid. With light tracing the path and sound its echo, the passing of time becomes almost palpable.

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.

Asao Tokolo

ppp-creatures-generator
Asao Tokolo studied at the AA School of Architecture in London following graduation from Tokyo Zokei University in 1992. His decorative patterns based on the concept of ‘connection’ stem from September 11, 2001, and he continues to work in fields straddling art, architecture, and design. He designs and creates simple geometric crests and patterns that can be drawn with a ruler and compass, and three dimensional forms using the same principles.

Ryoji Ikeda

池田亮司
이케다 료지
РЕДЗИ ИКЕДА
Data-verse
Ryoji Ikeda’s new trilogy data-verse, commissioned by Audemars Piguet, is an audiovisual symphonic suite that attempts to encompass the tiniest (elementary particles) to the greatest (Universe) scale in Nature.Data-verse is the ultimate chapter of Ikeda’s audiovisual series that first began in 2000, which focuses on his own data-driven research and aesthetics.Through his mathematical composition and aesthetics, massive scientific data set will be processed, transcribed, converted, transformed, de/re/meta-constructed and orchestrated to visualize and sonify the different dimensions that co-exist in our world between the visible and the invisible.

Silvia De Gennaro

Travel Notebooks: Perugia
FILE SAO PAULO 2015
FILE VIDEO ART
“Perugia” is part of a series of works titled “Travel Notebooks”.
Perugia is a magical three-dimensional chessboard where rods of light alternate with cones of shadow and show the soft pink of the stone or the dark humidity of time.

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

Jennifer Steinkamp

Jennifer Steinkamp uses computer animation to create video projections and immersive installations, dynamic works that explore the relationship between architectural space, motion, and perception. When projected, Steinkamp’s dimensionally modeled images create the illusion of receding space, generating a dialogue with the real space occupied by the viewer. Steinkamp’s imagery ranges from abstract undulating forms to subjects drawn from nature, such as the cascade of flowers in her 2008 series, “It’s a nice day for a white wedding.”

Vittorio Giorgini

Walking Tall
Walking Tall was a skyscraper designed for New York in 1982-1983. The building, which was intended to rise to a height of more than 250 meters, employs asymmetric tetrahedral elements and is structurally reminiscent of utopian blueprints of the Soviet constructivist architectures of the 1920′s. Giorgini kept long-lasting friendships with the artists Jean Arp and Roberto Matta. The former artist may have left his biomorphic influences on Giorgini’s early topological architectures, while the latter artist’s dynamic three-dimension ‘inscape’ spaces may well be connected to Giorgini’s later angular works.

michael maltzan

Bettina pavilion
The Bettina is a limited-edition architectural pavilion designed for REVOLUTION that debuted at Design Miami in 2015. It is simple in silhouette yet also a complex three-dimensional form. Recalling the iconic style and pyramidal form of the classic white tent, the contemporary pavilion is simultaneously geometrically taut and sensually draped across the structural frame. Each profile peak is extruded diagonally making a roof of two ridges that appear different from every angle.

MICHAEL GOTTE ET VELDANA SEHIC

Clavilux
Clavilux 2000 is a subtle music visualization installation that represents the playing of sounds by way of a simultaneous animation that can be interpreted. For every note played on the keyboard, a stripe appears of which the dimensions, position and color correspond to the way the particular key was stroke.

JONATHAN WOOD

Suspension Dimension
Jonathan Wood’s wearable installation Suspension Dimension is an example how you can make an actual object that looks like 3D spacey data visualization… Suspension Dimension was awarded in 2008 at the awe-inspiring Montana World of WearableArt™ Awards Show in Wellington, New Zealand.

JOHN MCCRACKEN

ДЖОН МАК-КРАКЕН
约翰·麦克拉肯
ジョン·マクラッケン
Untitled (Black Block)

John McCracken (1934-2011) developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s. While experimenting with increasingly three-dimensional canvases, the artist began to produce objects made with industrial materials, including plywood, sprayed lacquer, and pigmented resin, creating the highly reflective, smooth surfaces that he was to become known for.

FREUDENTHAL AND VERHAGEN

Horse And Rider
“The images are, over the years, diverse in discipline and form, but always show a sense of disturbance and a multi layered story. This has resulted in a body of work with an unique personal handwriting and markable face.
Carmen and Elle have created all look-books and art-directing several shows for Bernhard Willhelm from 2001 till 2007. For recent exhibitions they integrated photography with 3-dimensional installations, projected video on photographs and printed photographs on draped silk sheets.”

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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MANFRED MOHR

Reflexions sur une esthetique programmee

Influencé par son expérience de musicien de jazz et par les théories du philosophe allemand Max Bense sur l’esthétique rationnelle, Manfred Mohr a été un innovateur dans le domaine de l’art généré par ordinateur. Pour manipuler, par exemple, la myriade de variations de l’hypercube à 11 dimensions, Mohr a créé des algorithmes en langage de programmation FORTRAN et les a imprimés sur des traceurs à plat avant l’avènement des imprimantes laser. La série «Klangfarben» de Mohr (2008) présente des peintures et des animations numériques de lignes diagonales aux couleurs vives et de plans qui se croisent sur un fond noir mat. .

threeASFOUR

Human Plant 1

ThreeASFOUR (anteriormente conhecido como ASFOUR) foi criado em 2005 pelos designers Gabi, Ange e Adi. Inspirado pelo mundo natural e com uma visão de encontro entre moda e arte em mente, threeASFOUR emprega uma abordagem tridimensional para cortar e construir coleções que redefinem a alfaiataria clássica. O trabalho da threeASFOUR está nas coleções permanentes do Metropolitan Museum of Art Costume Institute e do Cooper Hewitt Design Museum em Nova York, bem como no Victoria & Albert Museum em Londres e no Musée de la Mode et du Costume Palais Galliera em Paris.

hc gilje

in transit
Two swift beams of light travel through a room creating infinite shadows on a series of floating white frames. This is In Transit X, a darkened, room-based installation that alludes to an endless void.The dizzying effects of In Transit X place the viewer into a monochromatic man-made space. The fifty-foot-wide animated light installation by artist Hc Gilje was originally made for the Wood Street Galleries in Pittsburgh in 2012, and recently went on display last month at Kulturkirken Jakob in Oslo. Using block-like frames and light as the mediums, Gilje creates dynamic visual dimensions that lend themselves to a mesmerizing noirish experience.

Breakdown

Interactive audiovisual dance performance
via highlike submit
Breakdown is an interactive audiovisual dance performance presented at the Ears Eyes and Feet event in the B. Iden Payne Theater, May 2014, UT Austin Texas.
Breakdown explores a 2 dimensional simulated world in which its physical rules are constantly being changed and manipulated by an external entity. An inhabitant of this world is in constant motion to adapt to its characteristics. He interacts with the physical rules and develops a dialogue with the entity who controls the forces. Eventually the inhabitant ends up breaking the world’s rules and release himself into a new world, a new dimension.

Alicja Kwade

a table is a table
Alicja Kwadeのミクストメディア作品は、身体が空間と時間にどのように生息しているかについての精神的知覚と身体的体験を操作します。 クワデは、練習で不完全なダブリング、鏡像、繰り返しを頻繁に使用します。 たとえば、Dimension + 1- + 9(2012)とDimension -1–9(2012)は、1秒よりも速く刻む時計のペアです。 日産(Parallelwelt 1 + 2)(2009)は、2台の日産車を鏡像として特徴づけています。 彼女の一般的な素材には、コイン、金属パイプ、鏡、ガラス、ライト、自転車などの日常生活で見られるアイテムが含まれ、それらを歪ませて錯覚を作り出します。 結果は、時にはしゃがんだり伸びたりして、擬人化されたように見えることがあります。

PETER FISCHLI AND DAVID WEISS

ПЕТЕР ФИШЛИ И ДЭВИД ВАЙС
ピーター·フィッシュリ·ヴァイス
彼得菲施利大卫韦斯
Equilibres / Quiet Afternoon
Peter Fischli (né en 1952 à Zurich) et David Weiss (né en 1946 à Zurich) produisent depuis les années 80 un œuvre protéiforme largement récompensée (Lion d’Or de la Biennale de Venise 2003). Le duo utilise de nombreux supports: installations, sculptures, photographies, vidéos… Entre humour et légèreté, métaphysique et ironie, le travail des deux artistes questionne avec distance le monde, s’interroge sur la difficulté à donner un sens à l’existence humaine. Leur art se situe dans la lignée de l’esprit dada en créant de légers décalages, des détournements propres à révéler la dimension incongrue et poétique du réel. Se jouant de l’attente du spectateur, ils interrogent les conventions de l’art en associant les références à la culture savante et à la culture populaire.
“Est-ce qu’il est possible de vivre sans le moindre doute, en ayant pourtant la possibilité de savoir quelque chose qui soit pertinent en ce qui concerne la vie ? ”

REYNALD DROUHIN

РЕЙНАЛЬД ДРУХИН
LANDSCAPE MONOLITH

MONOLITH is the title of French multimedia artist Reynald Drouhin’s latest art project which consists of a series of digitally manipulated images of stunning natural landscapes. In the middle of picturesque sunsets and serene Arctic landscapes, Drouhin pastes a mysterious prismatic shape and then flips it, thus creating a mind-boggling visual effect of an otherworldly transparent object hovering in desolate locations. The entire project is an ingenious appropriation of the famous monolith from Stanley Kubrick’s film ”2001: A Space Odyssey” where mysterious dark rectangular objects (dubbed as monoliths) were scattered across the solar system by an unknown alien civilisation which seemed to guide humans along a risky interplanetary journey. Reynald Drouhin’s MONOLITH series captures exactly the double nature of Kubrick’s monoliths: the inverted shapes in the photographs seem to be a window to another dimension, a physical anomaly which distorts the nature around it, and is both menacing and inviting.

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.”

JENNIFER STEINKAMP

Street Views

Jennifer Steinkamp uses computer animation to create video projections and immersive installations, dynamic works that explore the relationship between architectural space, motion, and perception. When projected, Steinkamp’s dimensionally modeled images create the illusion of receding space, generating a dialogue with the real space occupied by the viewer. Steinkamp’s imagery ranges from abstract undulating forms to subjects drawn from nature, such as the cascade of flowers in her 2008 series, “It’s a nice day for a white wedding.”

Gilles AZZARO – Voice Sculptor

질 아자로
BARACK OBAMA: NEXT INDUSTRIAL REVOLUTION
This monumental 3D Printed sculpture is the three-dimensional materialisation of President Obama’s voiceprint. The 3D voiceprint portrays an extract of President Obama’s February 2013 State of the Union Address. It represents the materialisation of the very thoughts and words of the President of the USA. The sculpture is interactive. A movement sensor activates the system and a laser beam scans the 3D recording to reveal the President’s words and message. The work was printed using a 3D desktop printer and the housing designed by Patrick SARRAN.

LORENZO OGGIANO

Quasi-Objects

ll works are printed using pigment-based inks on Hahnemühle archival paper, variable dimensions, edition of 3+1 ap.
“Quasi-Objects” is an art project consisting of 3d generated videos and prints, a practice of “organic re-design” – started in 2003 and still in progress – that aims to stimulate thought and dialogue on the progressive relativisation of natural forms of life as a result of techno-biological evolution.“Quasi-Objects” regards data actualization, the production of biologically non-functional organisms and ecosystems as transient output of an operative practice: aesthetics of process.
“Life is a real and autonomous process independent from any specific material manifestation.”

VOLKER KUCHELMEISTER

transmutation
In the weird and wonderful world of quantum mechanics, dimensional transmutation describes a phenomena which changes the state of a parameter by adding dimensions to its dimensionless condition. This experimental film applies this principle to visualize the complex interactions between atmosphere and climate. It utilizes a six-dimensional framework, comprised of regular space-time augmented with climate data collected between 1993 and 2011.Changes in global tropospheric temperature, mean sea level, and atmospherical co2 concentration are mapped onto the color palette, shape, and stereoscopic depth of a video clip, depicting a low-lying shoreline in Indonesia, threatened by rising sea levels.The film begins ‘flat’, but over time, with increasing co2 concentration in the atmosphere, its stereoscopic depth expands, and the landscape opens up to the observer, while temperature and sea-level changes modify color and shape.