Benedetto Bufalino

LABY-FOOT

As part of the 1 + 1 biennial, organised jointly by the Casino Luxembourg and the Fonds Kirchberg, the artist Benedetto Bufalino (born in 1982 in Décines; lives and works in Paris) was invited to submit a work for the plant labyrinth of the Kirchberg Central Park. The artist’s approach consists of investing urban space, playing with the architecture of given places and offering, with his funny or poetic installations, an offbeat reinterpretation of reality.
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L’installation Laby-Foot de l’artiste Benedetto Bufalino se trouve à proximité du Centre National Sportif et Culturel d’Coque à Luxembourg-Kirchberg. Comme son nom l’indique, Laby-Foot est un terrain de football réinventé pour le labyrinthe végétal du parc central du Kirchberg. Ses formes et ses matériaux insolites permettent au public de l’explorer, de participer à des matchs de football et d’en repenser les règles.

DOUG AITKEN

Veränderte Erde
Aitkens Fokus liegt auf der Region Camargue in Südfrankreich, wo er monatelang die Schilflagunen, die herrliche Fauna und die leeren Panoramen einer Geographie einfängt, die seit der Römerzeit besiedelt ist und sich seitdem kaum entwickelt hat. Die Ausschnitte des Lebens werden als “Veränderte Erde: Arles, Stadt der bewegten Bilder” gezeigt, eine Ausstellung im Parc des Ateliers im historischen Arles. In der Hangar-ähnlichen Grande Halle des Parks schaffen Aitkens riesige Kinoleinwände eine fast holographische Sicht auf die physische Landschaft. Sie baumeln wie fantastische Kulissen in einem Hollywood-Tonstudio von der Gewölbedecke und ziehen den Betrachter in die Landschaft. Er nennt den Effekt “flüssige Architektur”, obwohl unklar ist, ob er sich auf den Veranstaltungsort bezieht, der im Hintergrund zu verschmelzen scheint, oder auf die labyrinthische Anordnung von Bildschirmen, die Besucher wie die Strömung eines gewundenen Stroms führen.

Yuge Zhou

Underground Circuit
Underground Circuit is a collage of hundreds of video clips shot in the subway stations in New York. Station to station, the movement of the commuters in the outer rings suggests the repetitive cycle of life and urban theatricality and texture. The inner-most ring includes people sitting on the bench waiting; the central drummers act as the controller of the movement, inspired by the concept of the Four-faced Buddha in Chinese folk religion, the god who can fulfill and grant all wishes of its devotees. For the installation, the video is projected onto the gallery floor and mapped onto a cube with relief in the middle of the projection area. The installation invites audiences to sit on the central cube as Voyeur-gods, to observe the anonymous characters in the projected urban labyrinth.

iris van herpen

sensory seas
runway LOOK 08

“The first threads of inspiration came from the Spanish neuroanatomist Ramón y Cajal. He wanted to uncover something that no one had yet understood.
Sensory seas’ holds a microscope over the indelible nuances between the anthropology of a marine organism, to the role of dendrites and synapses delivering infinite signals throughout our bodies. It enchants the attention of how two processes of torrential messaging exist in an uninterrupted state of flux. The collection consists 21 silhouettes that illustrate a portrait of liquid labyrinths, where dresses spill onto the floor in elegant train and pigments gather in cloudedpools of blues and lilac, leaking into one another like marble.” Joanna Klein

Peter Jones

colourscape
Colourscape is a large labyrinth of colour and light. It’s a sculpture of pure colour that the public actually go inside. Everyone puts on a coloured cape to become part of the colour experience and enters into a new world where one can freely explore the potentials of light, colour and space. There’s also music, dance and theatre taking place inside. Originally created by artist Peter Jones in the early 70s, Colourscape is a walk-in structure of nearly 100 interlinked chambers.

Robert Morris

Glass Labyrinth
“Setting up a maze with invisible walls may not seem like a challenge, but Morris’s creation harkens to ancient archetypes, while acting as a commentary on modernism and its reliance upon glass. Additionally, glass’s inherent reflections, refractions and other qualities promise to be as confusing to visitors as solid walls.” John Hill
video

RAYMOND QUENEAU

雷蒙格诺
レイモン·クノー
רמונד קנה
Раймонд Кено
OULIPO
Cent mille Milliards de poèmes
Since its arrival (the Oulipo), the rules of the group were set out as follows: “We define potential literature as the search for new forms and structures that can be used by writers in the way they will most like.” “Potential” refers to something that exists in power in literature, that is, that is found within language and that has not necessarily been explored. The favorite tool for study and production is the contrainte, an arbitrary formal restriction that can create new procedures, new forms and literary structures that can generate poems, novels, texts. Over the years, dozens of different contraintes have been explored, from those somehow related to the riddle, such as the palindrome, the acrostic, the lipogram, of which the playful aspect has certainly not been underestimated, with forms more directly related to the codes of exact sciences, such as combinatorial calculus, set theory or graph theory. Among the numerous definitions of the Oulipo provided by the members themselves, one is very elegant and significant: “An Oulipiano is a mouse that builds the labyrinth from which it is proposed to come out later”. Queneau often explained that some of his works might seem simple pastimes, simple jeux d’esprit (mind games), but he remembered that topology or number theory also arose, at least in part, from what was once called “funny mathematics“.

William Forsythe

ויליאם פורסיית
ウィリアム·フォーサイス
威廉‧科西
윌리엄 포사이드
УИЛЬЯМ ФОРСАЙТ
Swinging Pendulum

Suspended from automated grids, more than 400 pendulums are activated to initiate a sweeping 15 part counterpoint of tempi, spacial juxtaposition and gradients of centrifugal force which offers the spectator a constantly morphing labyrinth of significant complexity. The spectators
are free to attempt a navigation this statistically unpredictable environment, but are requested to avoid coming in contact with any of the swinging pendulums. This task, which automatically initiates and alerts the spectators innate predictive faculties, produces a lively choreography of manifold and intricate avoidance strategies.