THOM KUBLI

Zwart gat horizon
File Festival
De kern van de installatie is de uitvinding van een apparaat dat lijkt op een scheepshoorn. Bij het klinken van elke toon komt er een enorme zeepbel uit de hoorn. Het groeit terwijl de toon klinkt, van de hoorn afpelt, door de tentoonstellingsruimte blijft hangen en ten slotte op een grillige positie in de ruimte barst.

THOM KUBLI

FILE SAO PAULO 2017
BLACK HOLE HORIZON
The nucleus of the installation is the invention of an apparatus resembling a ship horn. With the sounding of each tone, a huge soap bubble emerges from the horn. It grows while the tone sounds, peels off the horn, lingers through the exhibition space and finally bursts at an erratic position within the room.

Jon & Vangelis

Horizon
In amongst the rings of confusion
Silencing the thought powers one by one
It seems all so incredible
Our own ability to confuse – to sacrifice
To enlighten like a shakespearian play
We foolish and happily hold on to sanity
While all around the pushing feelings
The twisting and turning of our hearts
Displaying an almost indefinable strength
Of purpose – a reason a reason a reason
Where no reasons seems to exist
Yet, as in a vision, a voice transcending
All our imagination, jewel of life
Guiding light heralding a joyous new dawn
Clear and gifted time
Divine nature – super nature
The supreme gift of knowledge and space
In this cacophony of life
Peace will come

Circus Family

Triph
“When left alone with no audience, the object glows dimly as if it were asleep. Yet when visitors approach, the installation slowly comes back to life. Colour gradients pour into each shape, whilst mirrored surfaces start reflecting light – all to the orchestra of an encompassing soundscape. This project invites visitors to become part of something. An immersive light experience in which the audience directs the intensity, audio and colour palettes simply by approaching, moving around in and between the large geometric shapes of the installation. Truly, a merging of art, interaction design, sound, tech and vision. As visual architects, our aim with ‘TRIPH” is to demonstrate that a number of different techniques can be combined into a mix of unexpected shapes and materials, that in turn help to create a new truly unique way of experiencing a story. Both in daylight condition and at night. With our self-initiated work, we aim to find undiscovered methods of narrative, questioning the ways people discover and open themselves up to new conceptual work.” Circus Family

Ameen Ul Insan

The Flat Arc
​Intent: Experimenting artistic freedom on data, a road to explore possibilities of telling abstract yet emotional stories not with literature but visuals corresponding to datasets. Method: Generative visual parameters based on World Urbanization Prospects data are governed by real time image/video synthesis, with the help of graphic manipulative software platforms and creative coding.

Studio Flynn Talbot

Horizon
Horizon recreates my favourite time of day – twilight – when the sun sets and daylight drops away. The surrounding scenery then darkens, leaving a soft gradient of colour that extends up into the sky. Horizon captures this moment in time, but re-imagines it as an ever changing, interactive light show.” Flynn Talbot

TERRY HAGGERTY

British-born artist Terry Haggerty, who currently lives and works in Berlin, is known for his paintings that express the formalist vocabulary of abstraction in a new way. Light-colored stripes alternate with darker ones to form regular, often horizontal arrangements, which also have a pattern like quality due to their dense structure. The special thing about them is, that Haggerty breaks this linear formation at the edges of the painting by bending the lines in a different direction as the boundaries of the painting would support. His method transforms the structure of the painting into a illusory perception of three-dimensionality within the image. The surface seems to continue beyond the boundaries of the picture and reflects the illusion of a third dimension back onto the pictorial motif.

Antony Gormley

Энтони Гормли
أنتوني غورملي
葛姆雷
アントニー·ゴームリー
Event Horizon, Hong Kong

“Event Horizon engages the desire to look up and look again at familiar places in a new way. Within the condensed environment of Hong Kong, the tension between the palpable, perceivable and imaginable is heightened. My intention is to get the sculptures as visible as possible against the sky, allowing each to be seen as a body against light and space, entering in and out of visibility to those walking the streets. The installation should have no defining boundary.”

Jakob + MacFarlane

Orange Cube
Le projet du Cube Orange est conçu comme un « cube » orthogonal, dans lequel les architectes ont découpé un grand vide qui répond aux besoins de lumière, de circulation d’air et de vues. Ce vide perce le bâtiment horizontalement depuis les rives de la Saône vers le haut jusqu’à la terrasse sur le toit.

LUDWIG ZELLER

CubeBrowser

CubeBrowser is a six display cube with digital screens that connects to online databases like Flickr.com. The owner is able to move through thousands of image-sets by turning and shaking the small cube in space. The pictures, which are streamed onto the cube from the internet, are grouped by tags. Horizontal turns change images, while vertical turns change to other tags and therefore associations. This creates a situationism-like “derive” in a collaboratively created archival architecture in your hands. What lies next to the mountains, what is next to the sky? CubeBrowser unfolds an awe-inspiring trip through the hidden realms of online databases. Originally, this project has been started with the help of Andreas Muxel and Charlotte Krauß.

EIJA-LIISA AHTILA

Vaakasuora-Horizontal
The artwork shows a 11-metre tall spruce, with its branches swaying in the wind, filmed at full scale in six parts. The soundscape consists of the sound of the wind, the creaking of the trunk and birdsong. The method of display is, however, unexpected: it is shown in a horizontal position.Vaakasuora-Horizontal is a portrait of a spruce. It is an interpretation of the essence of the spruce, and the difficulty of observing and recording the life of a spruce. How can one capture the very being of a spruce? Each viewer will see the reality differently and each one of them will see the spruce trough glasses tinted by their personal memories and experiences. The artist has wanted to use this artwork to represent the German biologist Jakob von Uexküell’s idea of the parallel and concurrent existence of time and spatial worlds. The work of art, on the other hand, also moves the focus from the human being as the centre of the universe to the greatness of nature; people play a minor part in the greater picture.

RAY KING

SolarSonic

Inspiriert vom alten chinesischen „Bi“, den neolithischen Jadescheiben mit einer zentralen Öffnung, die verwendet wurden, um über das Überschreiten der Erde zum Himmel zu meditieren, besteht “Solarsonic” aus 14 Linsen, die in der äußeren Glasdachstruktur des Terminals aufgehängt sind. Die Linsen – Eine einseitig mit holographischem lichtablenkendem Glas ummantelte Zugringstruktur – ist graduiert und durch 20 horizontale Kabel verbunden, die in einem Torroidmuster gewebt, gespannt und an beiden Enden an Verankerungen befestigt sind. Das gesamte 100 Meter lange Ensemble besteht aus King erinnert an einen segmentierten chinesischen Drachendrachen, der vom Rumpf des SST skaliert wurde. Bei der Entwicklung von Solarsonic wurde King an den Science-Fiction-Autor Sir Arthur Clarks Kurzgeschichte “Wind from the Sun” über ein Raumschiff erinnert, das von der Kraft von angetrieben wurde Sonnenlicht. Diese Methode der Raumfahrt wird Realität. Solarsonic gehört zu einer Reihe chromatischer Skulpturen von King, die für die Interaktion mit der Sonne entwickelt wurden. Die konkave holographische Linse der Skulptur Sie sind so positioniert, dass sie dem südlichen Meridian der Sonne zugewandt sind und nachts beleuchtet werden. Ray King ist ein Künstler, der die natürlichen Phänomene von Licht und Optik als Kunstmedium nutzt. Seit 1976 stellt er seine Arbeiten international aus. Große Installationen wurden in den USA, Europa und Asien in Auftrag gegeben – alle sind ortsspezifisch und vom umgebenden Raum und der Landschaft inspiriert.