לופט נוזלי / כריס הרינג
Talking Head

Akiko Nakayama

Lebendige Malerei
Ich male gerade. Ich möchte eine Szene zeichnen, die in Bewegung bleibt. Ich habe mit “ALIVE PAINTING” angefangen, mit Liquidität eine sich ständig verändernde Figur zu zeichnen. In “ALIVE PAINTING” zeichnen wir Bilder, indem wir mit Materialien mit unterschiedlichen Eigenschaften miteinander reagieren. Auf diese Weise versuche ich, die ästhetischen Freuden hervorzuheben, die durch den Fluss und die Farbe der Elemente und den rohen Fluss entstehen. Zusätzlich zu den chemischen Eigenschaften des Materials treten durch äußere Faktoren wie Wind, Schwerkraft und Vibration unerwartete Reaktionen auf, so dass die nicht reproduzierbare Szenerie langsam wieder erscheint und das Erlebnis selbst mit dem Betrachter geteilt wird.

Kaito Sakuma

Ether – liquid Mirror
Между вами и мной есть «что-то».
Это зеркало вибрирует и само звучит (как динамик). Биение сердца и звук воды синхронизируются с частотой пульса посетителей и взаимодействуют друг с другом. Система обратной связи будет отдыхать каждые 20 минут. Эта программа направлена ​​на то, чтобы дать «успокоение и пробуждение». В это время covid-19 мы теряем доверие к воздуху. «Эфир» будет напоминать посетителям о существовании чего-то невидимого между всем огромной волной сжатия и синхронизированным с ними искаженным изображением.


P_wall (the self-organization of material)
P_Wall (2009) was commissioned by the SFMOMA Architecture and Design Curator Henry Urbach for the exhibition Sensate: Bodies and Design. The wall, part of a series started with P_Wall (2006), is an evolution of the earlier work exploring the self-organization of material under force. Using nylon fabric and wooden dowels as form-work, the weight of the liquid plaster slurry causes the fabric to sag, expand, and wrinkle.

Yann Marussich

Bleu Remix
In his spectacle-installation Bleu Remix, Yann Marussich returns to a theme originally explored in Bleu Provisoire (2001), a spectacle in which a mysterious blue liquid oozes through the layers of his skin as though it were the final effect or by-product of his body’s inner processes. In Bleu Remix, the artist once more invites the viewer to experience an intimate journey through the corners of his body. Each time the spectacle is performed, a different (local) musician accompanies Marussich. This unique, singular confrontation establishes a new relationship between the sound and image. The meeting of the two artists brings an element of risk and uniqueness to the event, as if the music explores the spectacle repeatedly, resulting in new ways of perception.


Non posso fare a meno di me stesso
Costruito con un braccio robotico industriale Kuka, “Can’t Help Myself” è programmato per fare una cosa: contenere un liquido viscoso di colore rosso intenso all’interno di un’area fissa. Quando la sostanza simile al sangue si accumula troppo, questo attiva i sensori del robot facendo ruotare, flettere e spostare il liquido al centro, lasciando dietro di sé schizzi e macchie.

Studio Roosegaarde

Liquid Landscape
LIQUID LANDSCAPE is the permanent public artwork commissioned by the contemporary open air museum Arte Sella in Italy. Roosegaarde was asked to create something with a challenging framework: no use of electricity, no use of artificial light, low maintenance, robust for decades, yet interactive to people.

Juuke Schoorl

Liquid Skin
‘Liquid Skin’ is a visual research towards the changing boundaries between the physical world of the human body and the digital world. By borrowing techniques found in touch screen technologies, but instead of following the cold underlying logic of present day devices, it proposes a situation where this border becomes liquid and sensual with an emphasis on the fluidity of touch and movement. Turning the skin itself into a medium of visual expression without the constraint of the technical grid.


Synesthesia Machine
“Synesthesia Machine” is an artificial intelligence with synesthesia, it will emitting corresponding unique scents while perceiving human facial expressions. Through the facial expression recognition algorithm, it can analyze the facial expressions of the audience and output the values ​​of different emotions. At the same time, based on these emotional values, the installation is driven to extract different proportions of scent liquid and atomized and mixed to convert the audience’s facial expression into a unique smell.

Sabrina Ratté

Aliquis (extrait)
Aliquid est une vidéo à canal unique où le signal électronique est manipulé numériquement pour se matérialiser en chair synthétique. Atterrissant lentement sur une architecture de verre, cette substance indéfinie est déchirée par des arêtes vives et finit par se désintégrer en particules qui se répandent dans l’atmosphère.

Ralf Baecker

A Natural History of Networks / Soft Machine
A Natural History of Networks / SoftMachine è una macchina algoritmica elettrochimica che sonda un regime materiale computazionale e tecnologico alternativo, informata dagli esperimenti di Gordon Pask sui meccanismi di apprendimento elettrochimico [↓1] e dalla ricerca attuale sulla biomimetica, sulla materia programmabile e sul liquido controllato spazio-temporalmente attuatori in metallo. Al suo interno, un apparato sperimentale elettrochimico costruito su misura (SoftMachine) crea un microcosmo fluido dinamico che compie un continuo divenire di forme, strutture e narrazioni materiche. La performance mira a provocare nuovi immaginari del macchinico, dell’artificiale e della materia. Una tecnologia radicale che collega il pensiero meccanico tradizionalmente discreto e i materiali morbidi/fluidi che consentono un comportamento auto-organizzato attraverso le loro specifiche agenzie materiali.

Sun Yuan and Peng Yu

Can’t Help Myself
Constructed of a Kuka industrial robot arm, ‘Can’t Help Myself’ is programmed to do one thing: contain a viscous, deep-red liquid within a fixed area. When the blood-like substance pools too much, this activates the robot’s sensors causing the arm to swivel, flex, and shovel the liquid back to the center leaving splashes and smudges in its wake.

Soft Bodies

In response to London’s pressing housing crisis Micro-Utopia proposes a shared, immersive and interactive version of a home, where space is born from the finely-tuned sensorial interplay between the body and virtual/physical objects connected to the Internet of Things. A chair invites us to stay with it for a moment; we crawl through a demanding fireplace; our hands are washed in a bowl of digital liquid – the highly speculative model of domesticity explores the architectural implication of co-inhabiting a minimal physical infrastructure within infinitely bespoke virtual worlds. Drawing on radical art practice, interiors in historical painting and contemporary product design, Micro-Utopia is the dream of a house that is nothing, but the parameters of our perception are triggered through the metaphorical dimension of the objects we interact with on a daily basis.

Ann Veronica Janssens

Hot Pink Turquoise
Janssens’ works range wide, but they can all be described as sculptures that use the space as a stage for sensory activity. The simple white architecture of Louisiana’s South Wing becomes a resonating surface for Janssens’ both fragile and dizzying art – fragile because the works and their components are very simple while their effect elevates them above the material. Janssens herself often uses the word fluid to describe the effect of her works – even for example when they consist of a 6.5 metre long iron girder polished at the top so the room is reflected and it is hard to fix your gaze on the object. Janssens seeks no control of either works or viewers, for as the Dutch theorist Mieke Bal has said, Janssens’ artworks are at one and the same time object and event. Many of the works in the exhibition can evoke the sensation of standing at the threshold of something. They stress transitions and transformations between on the one hand a material level – evoked by glass, colour, liquids and not least light – and on the other hand a dynamic experience of time and space.


Video pistoletto
“O projeto Vídeo Pistoletto me permitiu revisitar as performances de Michelangelo Pistoletto, fundador do movimento Arte Povera, quebrando não espelhos, mas telas de cristal líquido (LCD), usando um martelo e um cinzel. Aqui, os cristais se espalham dos pixels discretos da TV, embora permaneçam parcialmente sensíveis ao sinal de vídeo, para gerar composições orgânicas entre os fragmentos de vidro. Fiel aos princípios da Arte Povera, trabalho com um material tecnológico destinado ao empobrecimento, acompanhando os efeitos da obsolescência planejada. Uma vez danificados, estes são transformados em objetos concretos, como as ferramentas de Heidegger que só se manifestam à nossa consciência uma vez tornadas disfuncionais: as propriedades materiais dessas telas só são perceptíveis depois que eu interrompi sua função de abrir uma janela para o mundo.


Peristaltic Skin
Questo era un progetto di collaborazione con Lucy McRae creato per il Transnatural Festival nel 2010. La Peristaltic Skin Machine è una sperimentazione sul corpo con liquido, aria, velocità e colore.

shiro takatani


Die Wassermatrix (Matrice liquide 3D, auf Französisch) ist eine Robotermaschine, die in Echtzeit Wasserskulpturen erstellt und eine kontinuierliche Entwicklung von Formen und Bildern zum Leben erweckt. Diese Installation schafft vergängliche Skulpturen, die der Betrachter in ständiger Beobachtung und Überraschung festhält, fast eine Metapher des berühmten Flusses Heraklit, in dem „alles fließt, alles sich ändert, nichts übrig bleibt. Tore. Die Idee der 3D-Flüssigmatrix wurde 2001 bei einem Besuch in Lille, der Kulturhauptstadt Europas, geboren, wo Shiro Takatani einen Roboterbrunnenschreiber projizierte, der seine Botschaften übermitteln sollte, indem er eine Reihe flüssiger Buchstaben auf den Teich fallen ließ. Leider existierte die Technologie noch nicht und er musste warten, um einen zuverlässigen technischen Partner mit umfassender Erfahrung im Bau digitaler Wasservorhänge als Lumiartecnia Internacional zu finden. Zwei renommierte Digitalkünstler haben während der Roboterkunstausstellung die Kunstwerke für die Wassermatrix entwickelt: Shiro Takatani und Christian Partos. Shiro Takatanis Kunstwerk schafft eine räumliche Erfahrung, die mehrere Schichten paralleler Tröpfchen erzeugt, die auf magische Weise in der Luft zu schweben scheinen, und für Momente, in denen sie sich aus dem Teich erheben und wieder fallen, in sich unmöglich entwickelnden Kreationen, die der Schwerkraft zu trotzen scheinen. Christian Partos Kunstwerk schafft Sequenzen von Wasserskulpturen, die die Fähigkeit der Wassermatrix zeigen, sofort vergängliche Wasserformen zu erzeugen, die im Teich unten verschwinden, um eine neue zu gebären, und auf diese Weise ein konstant fließendes Video von 3D-Skulpturen zu erstellen, als ob sie es wären waren Fotogramme aus einem Film.


A vaporização é sobre a mudança de estado, transformando assim o líquido em vapor onde ocorre em nosso corpo. Nós respiramos; nós suamos; batimentos cardíacos batem e o sangue flui. É assim que funciona a circulação interna e regular a temperatura corporal. O calor evapora através do suor, portanto, para o resultado. Nosso corpo funciona como uma orquestra, os micro sons são incríveis.


Inspired by the color blue’s calming qualities, Aqueous is a deep dive into our water-filled surroundings. Whether looking out at the vast horizon of the ocean or listening to the bubbling flow of a stream, water instills a sense of peace and relaxation. Through exploring the textures of liquid in all its states, this immersive installation seeks to soothe the spirit and inspire action to preserve this natural resource.


Utero Termico
“Thermal Womb, una scultura di figura sospesa a testa in giù che richiama la pratica della crioconservazione. La struttura è infatti una replica del meccanismo utilizzato da aziende come Alcor, che prepara i corpi prima che vengano immersi nell’azoto liquido, figure congelate a tempo indefinito, in attesa che la tecnologia le raggiunga e le faccia rivivere. La componente cinematografica del lavoro rivela un paio di luminosi occhi blu, la cui unica animazione è battere le palpebre, aggiungendo uno strato basato sul tempo alla natura altrimenti statica del pezzo. Stephanie Cristello


«Biomatrix» est une installation d’extrémités scycles de bulles de cellules éruptives émergeant à la surface de l’huile de silicone liquide. Cette circulation du liquide coloré évoque le comportement du magma ou du sang et, en raison de la viscosité élevée de l’huile de silicium, illustre le mouvement du matériau à une vitesse faussement plus lente que l’attente du spectateur. La piscine à commande électrique devient une interface qui amplifie l’impact visuel et produit à l’infini des motifs cellulaires. Une formation de grille ordonnée apparaît comme une matrice numérique, tandis qu’une observation plus approfondie révèle des irrégularités telles qu’une effervescence sporadique et simultanée et des sons plosifs brisant la tension superficielle.


Fountain with Red
Stainless steel, water pump, red liquid, urethane paint. Ujoo+limheeyoung is the husband and wife team of media artists Ujoo and Limheeyoung. Since first working together in 2004 in preparation for design competition, they have been involved in projects that use a variety of means of visual expression – kinect expression sculpture, drawings, real-time interactive videos – to address the theme of absurdity of reality.


Remix Blu
Nella sua installazione-spettacolo Bleu Remix, Yann Marussich ritorna a un tema originariamente esplorato in Bleu Provisoire (2001), uno spettacolo in cui un misterioso liquido blu trasuda attraverso gli strati della sua pelle come se fosse l’effetto finale o un sottoprodotto di processi interni del suo corpo. In Bleu Remix, l’artista invita ancora una volta lo spettatore a vivere un viaggio intimo attraverso gli angoli del suo corpo. Ogni volta che lo spettacolo viene eseguito, un musicista (locale) diverso accompagna Marussich. Questo confronto unico e singolare stabilisce una nuova relazione tra il suono e l’immagine. L’incontro dei due artisti porta un elemento di rischio e di unicità all’evento, come se la musica esplorasse ripetutamente lo spettacolo, dando luogo a nuove modalità di percezione.


The Immortal
A number of life-support machines are connected to each other, circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering.
A web of tubes and electric cords are interwoven in closed circuits through a Heart-Lung Machine, Dialysis Machine, an Infant Incubator, a Mechanical Ventilator and an Intraoperative Cell Salvage Machine. The organ replacement machines operate in orchestrated loops, keeping each other alive through circulation of electrical impulses, oxygen and artificial blood.
Salted water acts as blood replacement: throughout the artificial circulatory system minerals are added and filtered out again, the blood gets oxygenated via contact with the oxygen cycle, and an ECG device monitors the system’s heartbeat. As the fluid pumps around the room in a meditative pulse, the sound of mechanical breath and slow humming of motors resonates in the body through a comforting yet disquieting soundscape.Life support machines are extraordinary devices; computers designed to activate our bodies when anatomy fails, hidden away in hospital wards. Although they are designed as the ultimate utilitarian appliances, they are extremely meaningful and carry a complex social, cultural and ethical subtext. While life prolonging technologies are invented as emergency measures to combat or delay death, my interest lies in considering these devices as a human enhancement strategy.This work is a continuation of my investigation of the patient as a cyborg, questioning the relationship between medicine and techno- fantasies about mechanical bodies, hyper abilities and posthumanism.

Takuya Matsunobu and Yasuaki Kakehi

Coworo is an installation with a shape changing liquid that loses its texture under a spotlight and looks almost solid. After a while, bubbles appear on the surface and disappear again, as if it were breathing. The waves gradually change their size, position, and frequency and develop into physical, continual, kinetic, three-dimensional animations that extend beyond the discrete 2D pixel pattern. Through the hybrid combination of the digitally programmed machine and the organic properties of the physical material, the object creates a constant flux of ephemeral shapes and patterns.

Mika Tajima

New Humans
In New Humans, emergent gatherings of synthetic humans rise from the surface of a black ferrofluid pool. Appearing to morph like a supernatural life form, these dynamic clusters of magnetic liquid produced by machine learning processes are images of communities of synthetic people–hybrid profiles modeled from actual DNA, fitness, and dating profile data sets sourced from public and leaked caches. The work questions how we can radically conceptualize the “user profile” to embody a self whose bounds are indefinable and multiple. Generative algorithm using machine learning (GAN, T-SNE) and fluid simulation (Navier Stokes), countour generation (OpenCV), user profile data caches (DNA, fitness, and dating), software production (Processing), ferrofluid, custom electromagnet matrix, custom PCB control system, computer, steel, wood, aluminum.


An interactive installation using naturally-generated power rather than man-made sources like electricity. Dandelion fluff (watage in Japanese) soaked in water to form drop-like shapes, untreated fluff, and so on serve as modules, bonded with liquid paste to be reconstructed. The fluff sways in response to viewers’ breath or movement, even in the absence of breeze, immaculately revalidating the viewer’s own existence by making their influence on surroundings visible without use of technology. Using its surrounding environment to send off its seeds, the dandelion has achieved a lightness and form in its fluff specialized to the purpose and sprouts up each year no matter how the world may change. Having been drawn into the quietly-paced world of plants, the artist looked to dandelion fluff for a new form of expression able to hold its own against showy, rapidly evolving technological expression.

Kohei Nawa

“Biomatrix” is an installation of endles scycles of eruptive cell bubbles emerging on the surface of liquid silicone oil. This circulation of the colored liquid evokes the behaviour of magma or blood, and due to the high viscosity of silicon oil, illustrates the movement of the material at a speed deceptively slower than the viewer’s expectation. The electrically controlled pool becomes an interface that amplifies visual impact, and infinitely produces cell patterns. An orderly grid formation appears as a digital matrix, while closer observation reveals irregularities such as sporadic and simultaneous effervescence and plosive sounds breaking the surface tension.

Kohei Nawa

FORCE is an installation work that provides a visualization of the force of gravity via the interaction between gravity and a liquid with carefully computed qualities. Black silicone oil, engineered to achieve the required viscosity, streams constantly from the ceiling under the influence of gravity, forming a black pool on the floor and blurring the distinction between the characteristics of solids and liquids as if it were a sculpture transformed into a liquid. The tightly configured space places the viewpoint in the interface between time, space, and matter, giving us a direct awareness of the reality of our existence within a continuous series of actual moments.


In I-Machinarius, Mexican artist Marcela Armas presents a map of her native country, which takes the form of machinery whose belts are continuously lubricated by oil. In front of the map, presented here in an inverted form, the black liquid flows towards the “north”, acting as a symbol of Mexico’s economic dependence on the United States.

Gustav Metzger

Liquid Crystal Environment

Liquid Crystal Environment is made using heat-sensitive liquid crystals that are placed between glass slides and inserted into projectors. The slides are rotated to create movement within the liquid, and as the crystals are heated and cooled they change colour. The patterns produced within the various slides are then simultaneously projected onto screens around the exhibiting space, all under the control of a computer program.

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

Tommi Grönlund-Petteri Nisunen

Twelve installation units formed a line across the exhibition space. Each unit consisted of a round-bottom flask in a stainles steel stand, with a vertical glass tube attached. Each flask was filled about a quarter-full with distilled water. When a resistance coil heated the air inside the flask, it expanded, forcing the water up into the glass tube. The level of the water rose when the air was being heated and began to drop slowly as it cooled down.

lauren dimaya krystal li heidy cordero arias

every time the stars align
“Every Time the Stars Align” fuses different natural elements of crystals, plasma and flowers in a lava lamp environment. Red crystals freeze with rigid edges and thaws into a relaxing mood. Plasma liquid rises and falls reflecting a lava-like quality. Flowers fluctuate between a spectrum of color symbolizing intense human affections. Contradicting and uniting flat and deep spaces, the three elements compose and decompose.

Stine Deja

“Thermal Womb, a sculpture of figure suspended upside down that recalls the practice of cryopreservation. The structure is indeed a replica of the mechanism used by companies such as Alcor, which prepares bodies before they are submerged in liquid nitrogen—figures indefinitely frozen, waiting for technology to catch up and revive them. The film component of the work reveals a pair of bright blue eyes, whose only animation is to blink, adding a time-based layer to the otherwise static nature of the piece.” Stephanie Cristello


Liquid MIDI
An experimental modular textile interface for sonic interactions, exploring aesthetics and morphology on contemporary interaction design. Trigger  pads and fader board are screen printed modules focused on AV performances, allowing the performer to build its set up regarding its needs.


Peter Kogler`s works belong to the developing “post medial paintings” (Peter Weibl) in the 80`s. Moulded by the new media, these took on the complex form of installations. One of the main questions was the mental relationship between virtual and real space, as well as the perceptive possibilities of connection. The work, which reminds you of chaotic structures and Baroque dimensions, is based on the circularly moment of repetition, that consciously corresponds to the position of kunst Meran (pedestrian zone).


فيليب الزجاج
פיליפ גלאס
필립 글래스
Филип Гласс
Songs from Liquid Days

Songs From Liquid Days became Philip Glass’ most popular and successful recording. The title holds the clue to the music’s accessibility: These are songs, providing a more familiar and comfortable format for appreciating the world of minimalism than Glass’ operas or instrumental pieces. Working with such lyrical collaborators as David Byrne and Suzanne Vega, he created art music which sounds radio friendly. There is also great variety displayed on this album.

Sterling Ruby

In ACTS—short for “Absolute Contempt for Total Serenity”—Ruby captures liquid dye inside clear urethane and balances these pure prisms atop scuffed, inscribed, and spray-painted Formica bases. These works expand upon his earlier Formica sculptures such as Big Grid/DB Deth (2008), a scratched-up monolith that exudes a cold, prisonlike institutional menace. In ACTS, the juxtaposition of unfeeling laminate slabs against vibrantly pigmented urethane is a potent one; it transforms the urethane from a passive, glassy vitrine into an active agent of incarceration that suffocates the blossoming furls of dye.

Carlotta Bailly-Borg

A Liquid Company
Diplômée de l’École Nationale Supérieure d’Arts de Cergy, Carlotta Bailly-Borg a travaillé avec Marcelline Delbecq, Éric Maillet, Valérie Favre. À partir d’images préexistantes, Carlotta Bailly-Borg élabore un langage singulier aux accents surréalistes et développe ainsi une œuvre plastique où se télescopent des éléments empruntés à la mythologie, à la culture pop, au classicisme ou au document sportif. Carlotta Bailly-Borg procède sur le modèle du rhizome deleuzien où “tout élément peut affecter ou influencer tout autre”.

Dmitry Zakharov

Black Liquid

Black Liquid is an abstract 3D animation showing different aggregation states. Matter transforming from liquid into solid and shatterly.
The spectator is free to understand the video exclusively as an illustration of physical processes or as an metaphor for the human being. The interpretation of the Video is dedicated by Zakharov to the spectator himself.


רוס לאבגרוב
로스 러브그로브
Liquid Crystal

Inspired by the logic and beauty of nature his design possess a trinity between technology, materials science and intelligent organic form, creating what many industrial leaders see as the new aesthetic expression for the 21st Century.

lucy mcrae

לוסי מקריי
لوسي مكراي

Nelle sue produzioni l’artista australiana sfida, infatti, i confini del perimetro della pelle; li estende e li fonde con l’ambiente circostante. I suoi corpi ‘aumentati’ rivelano un’estetica low-tech, fatta di carta, colla, tubi, palloncini e liquidi, e sono spesso abitati da organi esterni ed effimeri, quasi a sottolineare la fragilità del corpo umano e dei suoi equilibri[…]


Broken Flower
Liquid Nitrogen

Throughout his career, Shireman has maintained a connection with flowers in decay; in other still lifes, he has cataloged the wilting of tulips and mums. This series, unlike those previous, is brutal and instantaneous. Where his other flowers underwent a slow, gradual death, these broken flowers are quickly frozen and violently ruptured. The process captured here is not a natural one but one that necessitates the use of a manmade element.


Liquid Sunshine


altered earth
Aitken’s focus is the Camargue region of southern France, where he’s spent months capturing the reedy lagoons, splendid fauna and empty panoramas of a geography that’s been settled since Roman times yet scarcely developed since. The snippets of life are werer shown as ’Altered Earth: Arles, city of moving images’, an exhibition at the Parc des Ateliers in historic Arles. In the park’s hangar-like Grande Halle, Aitken’s enormous cinematic screens create what he calls ’an almost holographic view of the physical landscape’. They dangle from the vaulted ceiling like fantastical backdrops in a Hollywood sound studio, drawing the viewer into the landscape. He calls the effect ’liquid architecture’, though it’s unclear whether he’s referring to the venue, which seems to melt away in the background, or the labyrinthine arrangement of screens, which guide visitors like the current of a winding stream.



A carreira de KAWS começou como grafiteiro em Nova York, NY, no início dos anos 1990. Suas imagens foram vistas em outdoors, pontos de ônibus e cabines telefônicas. Ele obteve seu BFA da School of Visual Arts de Nova York. Imediatamente após a formatura em 1996, KAWS começou a trabalhar como artista freelance para a Disney, criando fundos animados. Algumas de suas obras mais populares incluem suas contribuições para 101 Dalmations, Daria e Doug. Assim que o KAWS começou a ganhar popularidade, seus anúncios de graffiti tornaram-se muito procurados. Ele viajou extensivamente para trabalhar em Paris, Londres, Alemanha e Japão. Em 1998, recebeu o Prêmio Pernod de Arte Líquida, que oferece uma bolsa para novos artistas.


רוס לאבגרוב
로스 러브그로브
Liquid Kristal Pavilion

Elizabeth Ogilvie

the liquid room

Elizabeth Ogilvie is a Scottish artist who uses water as a medium and as a research focus. Water is the obsession which returns in most of her works and it becomes experience through the use of installations and videos. Her work embraces universal and timeless concerns, offering her public an innocent pleasure and at the same time underlining philosophical and ecological issues.
Through her installations, the artist isolates water inside an artificial state, creating a process which highlights its fundamental qualities in order to return to its place of origin which is the natural habitat. Among her most important works there is Liquid Room realized in 2002. Inside a derelict warehouse the artist created basins with water which were crossed by a footbridge. By linking art, architecture and science, she realized an interactive installation where the visitor, walking on the footbridge, can touch the water, whose movement is reflected on the walls of the installation. In 2006 she created Bodies of Water, whose operation took over from her previous work.
Once again, through a series of installations, the public was able to share the experience of sensorial involvement within an environment dominated by water.

Brenna Murphy

Liquid Vehicle Transmitter
ポートランドを拠点とするアーティスト、ブレンナマーフィーは、彫刻、ゲームデザイン、インスタレーション、パフォーマンス、サウンド、インターネットに携わっており、人間の意識を結び付け、拡大するデジタルテクノロジーの能力に関心を持っています。マーフィーにとって、デジタルツールは、人間の経験の外にある異星人としてではなく、意識と認識を深める電子補綴物として機能します。迷路はマーフィーの実践における継続的なテーマです。彼女のインスタレーション、ウェブサイト、仮想環境は、放浪、移動、発見を促進する一連の連動スペースとして設定されています。彼女の作品で参照されている自然に発生する幾何学的形態のように、それらは展開構造の密な配列として互いに有機的に分岐しています。 YBCAでの彼女の展示会のタイトルであるLiquidVehicle Transmissionerは、マーフィーの作品の多くに見られる流動性をほのめかしています。
彼女の新しいインスタレーション、創発的な実体の聖歌の配列のために、マーフィーはさまざまなスケールで自己相似パターンを含む一種のフラクタルを設計しました。 3D印刷された彫刻、LEDライト、ライトボックス、木製のカットフォームの正確に構成された集合体から構築されたインスタレーションは、彼女の複雑で目がくらむようなインターネットベースの作品の実際のバージョンに似ています。マーフィーの仮想ビデオゲーム環境のように、創発的なエンティティのチャントアレイは、訪問者の空間と次元の両方の認識に基づいて再生され、意識の高い状態の探索を促します。


The Discovery
第1章–発見では、フェリックスルケは、視聴覚、彫刻、情報から物語のモードまで、さまざまな形式的な表現モードで遊んでいます。 技術の進歩をどのように制御できるかなど、本質的な哲学的質問に答えるのではなく、 その目的はどのような倫理的根拠に基づいて選択できますか? 機械の究極の使命を決定する資格があるのは誰ですか? 機械は私たちを破壊することができますか? –それどころか、インスタレーションは、SFの大衆文化や、人工知能に関するテクノユートピアや神話に関連する画像を使用して、これらの現代の哲学的問題を再構築することを目的としています


فيليب الزجاج
פיליפ גלאס
필립 글래스
Liquid Days
lyrics by Laurie Anderson, angelic vocals from Linda Ronstadt , Roches, and Kronos String Quartet


Liquid Sunshine


헬렌 채드윅
Хелен Чедвик
Piss Flowers
What will you do if it snows this winter? Throw snowballs? Get out the sledge? Or wee in the crisp cold whiteness as art? Helen Chadwick had an eye for the organic. She took closeup photographs of moist, freshly cut meat, superimposed images of her body cells over landscapes, and invented a unique winter methodology to create her Piss Flowers. Chadwick urinated in deep snow, then made casts of the interior spaces – instant caves – melted in the snow by the warm liquid. The resulting white forms of bronze and cellulose lacquer look like alien cities from a frozen planet, or fungal eruptions beneath the surface of the arctic ice. They are unique and haunting winter wonderlands.


زها حديد
זאהה חדיד
Заха Хадид
Liquid Glacial Table
Entitled ‘Liquid Glacial,’ the series’ four pieces each resemble plates of moving ice, complete with legs akin to furrowing tunnels of water, draining down from the surface. Crafted from a new-fangled acrylic resin in Italy, each table is smooth to the touch in spite of its illusionary rippled appearance.


Liquid Gold cabinet


מיגל שבלייה
미구엘 슈발리에
Liquid Pixel




liquid rainbow


liquid glass