the cave
洞穴是一个反向投影地图安装，是为伦敦地下村庄的Creative Review年度发布会设计的。
不寻常的画布是悬挂的激光切割浇铸的丙烯酸金字塔，上面覆盖有防冻膜。 我们想探索当一个小房间变成无限走廊时如何改变观看者的感知。

Embodied Simulation

‘Embodied Simulation’ is a multiscreen video and sound installation that aims to provoke and nurture strong connections to the global ecosystems of which we are a part. The work combines artificial intelligence with dance and research from neuroscience to create an immersive, embodied experience, extending the viewer’s bodily perception beyond the skin, and into the environment.
The cognitive phenomenon of embodied simulation (an evolved and refined version of ‘mirror neurons’ theory) refers to the way we feel and embody the movement of others, as if they are happening in our own bodies. The brain of an observer unconsciously mirrors the movements of others, all the way through to the planning and simulating execution of the movements in their own body. This can even be seen in situations such as embodying and ‘feeling’ the movement of fabric blowing in the wind. As Vittorio Gallese writes, “By means of a shared neural state realized in two different bodies that nevertheless obey to the same functional rules, the ‘objectual other’ becomes ‘another self’.”

Oracle Collection
The performance centered around ORACLE, a digital palm reading given by model and iconic muse Axelle Doué. The surrounding luminous dresses embodying the four elements— air, earth, water, and fire—come alive during the reading, with mirrors reflecting them into infinity. The pieces are crafted from diverse materials, both natural and synthetic. Well beyond typical textiles, Clara Daguin implements optical fibers, pleating, embroidered circuits, addressable LEDs, sculpted resin, home-grown alum stone crystals, Swarovski Elements, silk organza, microcontrollers and radio frequency modules.

DET LYTTENDE SPEJL
Visitors to DNV-Gødstrup, a new hospital near Herning, Denmark, are greeted at the main entrance by an airy, round pavilion. Two curved pipes, crossing one another perpendicularly, hold a large disc aloft at a slight angle. The reflective underside of the disc mirrors the semicircular pipes, creating the illusion of two complete circles passing through the ceiling and rising into an imaginary space above. As visitors enter the pavilion, they can gaze up at their own reflections in the mirror and see themselves incorporated, upside down, into the artwork, embraced within the globe drawn by the pipes. The tilt of the ceiling allows the reflections to be seen from the outside. As the viewer moves towards and around the pavilion, the rings appear to shift in shape, changing from ellipses to circles and back again.

БОХЬЮН ЮН
윤보현
To Reverse Yourself

FILE FESTIVAL

My work poses the question: how does reality becomes exquisitely animated by certain social control systems such as politics, mass media, technology, science, and etc. It is my artistic goal to reveal how human beings are fragile and delicate in these social environments. By living in Korea, Japan and the U.S, I have first-hand experience in diverse social systems and have come to view my life experiences as raw material for my research. With my research in mind, my art utilizes the body as the tool for an intensive investigation of the public and private; examining the relationship between how people understand their body and how this understanding represents themselves in the greater context.
Currently, I am curious about human perception developing parallel with the ever-evolving progression of technological world. Thus, I question technology’s relationship to reality and illusion; asking what is reality? My work takes advantage of illusion to explore and answer this question, and often my artistic materials consist of the body and mirrors. I use mirrors for integrating reality and illusion.

“Espills” is a solid light dynamic sculpture. Built using laser beams, laser scanners and robotic mirrors, it is inspired by crystalline formations. A set of geometric figures that float in the air and which suggest, in an abstract way, the transmutation of matter from chaos to order. Dust becoming crystal, being eroded and becoming sand again.

Darwinian Rotating Lines Mirror
Questo è il terzo pezzo della serie di Darwinian Software Mirrors. In queste opere la “pressione evolutiva” programmata spinge le opere d’arte ad assomigliare all’immagine speculare dello spettatore. Coinvolgendo lo spettatore con una risposta interattiva, ogni opera varia le proprietà formali di linea, luminosità e tempo, poiché le immagini basate sullo schermo sono costruite in modo improvvisato.

Video Pistoletto
FILE-FESTIVAL
The latest of Oli Sorenson’s remix series is directly inspired by Michelangelo Pistoletto’s (1933) celebrated shattering of large mirrors.

Squint
file festival
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.

IN MEMORIAM
Joachim Sauter

1959-2021

R.I.P

ART+COM Studios

MOBILITY
THE INSTALLATION SPANS A CORRIDOR OF 7-METRES WIDTH. ON THE LEFT WALL ONE HUNDRED PROSTHETIC HANDS ARRANGED IN A MATRIX REVOLVE AROUND THEIR OWN VERTICAL AXIS, THE MOVEMENTS BEING CONTROLLED BY MOTORS. THE MIRRORS THEY HOLD REFLECT THE BEAM OF A STRONG LIGHT ACROSS THE SPACE AND ONTO THE OPPOSITE WALL. WHAT INITIALLY SEEMS LIKE AN ASYNCHRONOUS, CHAOTIC PATTERN OF MOVEMENT SOON REVEALS ITSELF AS A COMPLEX, COMPUTATIONAL
.
流动性
该安装跨越了7米宽的走廊。在左墙上，排列成矩阵的一百个假肢手绕其自身的垂直轴旋转，其运动由电动机控制。他们持有的镜子将强光光束反射穿过整个空间并射向对面的墙壁。最初看起来像是一个异步的，混乱的运动模式，很快就显示出一种复杂的计算编排：首先，一百个光点围绕一个中心点移动，类似于行星的天体动力学或昆虫群的飞行模式。并创造出三维空间的印象。然后突然之间，这种有机振动会聚成一个表示运动和动作的汉字。

Mixed Mirrors
Mixed Mirrors es una instalación para crear un lugar para reunirse y pasar un buen rato con un grupo de personas que funcionan como un todo para crear una identidad. Especialmente en estos años, la mayoría de nuestras interacciones son puramente digitales y frías en la distancia. Por eso, queríamos crear un espacio que, explotando estos mismos recursos digitales, quiera crear una conexión más física y real. Un foco, una chimenea, un faro que ilumina y atrae a personas que no se conocen que pueden interactuar reflejando sus rostros en un espejo que fusionará todos los rostros en uno.

Mirror Armor
Being entrapped in narcissism is like a “self-jail”. Placing the mirror armor fixtures over my nude body causes the viewer to see the pixelated and fragmented image of myself. Usually covering, hiding, pretending to be a version of myself on the outside, therefore, “good looking” seems more of decoration or in itself a type of armor suitable for public viewing. Will these mirrors of self reflection cause me to wonder who I am on a deeper level? To discover who I truly am, what I am afraid of, why I waste my life without discovering my inner self. I constantly struggle with how I can break this boundary because I want to wake from this oblivion.

Valla claimed to have collected a series of 60 “surrealistic” images, or that, at least, give that impression, during a long period “playing” in Google Earth.“The images are a kind of mirrors for a fun house.They are strange illusions and reflections of the real ”Despite the strong distortions, which easily resemble a surrealist painting, the images of the work do not have any manipulation of tools like Photoshop, for example.”The images are screenshots of Earth with basic color adjustments”, “This is a construction of 3D maps on two-dimensional bases, creating these fabulous and unintended distortions”.

s.asmbli[wall]
Get immersed by 360° projections on a gigantic cube at OCT Loft Creative Festival and surround yourself with the power of nature. Thanks to a well-chosen combination of front and rear projection screens, you can enjoy the immersive fabric projections from every possible angle. To enhance the immersive 360-feel, several mirrors were placed around the eye-catching sculpture, reflecting the high-quality video mapping beautifully.

Geometric mirrors
Geometric Mirrors is a series of mirror angles, each comprised of two mirror surfaces intersecting at a 90° angle. While a perpendicular viewpoint simply reflects the viewer and the opposite space, an interesting visual phenomenon occurs when the viewer faces the corner angle directly. The right angle causes a duplicate reflection, as both mirrors reflect not only the space but also each other. Their widths become extended into the adjoining side, thus appearing to the viewer as a mirrored cross rather than a mirrored angle.

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.

Troll Mirror
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

Throne
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.

Futures
Futures uses the optical illusions created by light, sound and mirrors to transport audiences to a place where good things have happened and the future we want exists now. Futures is an immersive space in which audiences experience illusions that can reveal everything from how they process space and time to their perception of consciousness. It is a modular light installation that takes a number of forms. It is shown here as a walkway of mirrors and lights, tunnelling inwards towards a vanishing point.

사라 오펜하이머
D-33
NYC-based artist Sarah Oppenheimer‘s work blurs the line between sculpture and architecture. Her amazing installations usually involve moving walls, slanting floors, and creating apertures—sometimes symmetric, sometimes asymmetric, and often with mirrors—that would mesmerize (and confuse) the most resistant of gallery/museum guests.

reawaken
Reawaken is a kinetic sculpture with 55 robotic arms, powered by 55 servo motors. The lowering of the arms causes an abstract print on paper. Technology mirrors humanity, and vice versa. In addition to creating beauty, technology is there to meet our needs. We, and our needs, have evolved to a point where we are so integrated that we consume technology on autopilot. We live in a time of mass production in which our daily devices increasingly mimick each other. A smartphone is a small tablet, a tablet a small computer and a computer a small television. The question of what this does with our imagination, together with the increasingly invisible technological progress such as algorithms and artificial intelligence, have been my starting point for Reawaken.

YOU WOULD COME BACK THERE TO SEE ME AGAIN THE FOLLOWING DAY
This installation utilizes mirrors and video cameras combined with various types of frame, a motif often discussed in the context of the history of painting and film. The title is a typical English sentence in free indirect speech (by what is normally a third-person subject). With the object of “there” and “following day” varying with the context, this title reflects the experience of viewers, whose relationship to their image and to the space raises questions about the meaning of “here” and “now.”

Halo
99 robotic mirrors continuously move throughout the day to follow the sun like sunflowers. These mirrors, arrayed across two 5 meter tall towers and one 15 meter long track, each emit a beam of sunlight into a cloud of water mist. The beams are computationally aligned so that together they draw a bright circle in the air. Dependent entirely on the presence of the sun for its completion, the work explores the possibilities and limitations of technology to capture what is out of reach, to harness nature and bring the sun down to earth. Collaborating with the natural fluctuations in the climate, Halo appears only for moments when the wind, sun, water, and technology coincide, creating a form which exists between the material and immaterial.

skalar

SKALAR is a large-scale art installation that explores the complex impact of light and sound on human perception. Light artist Christopher Bauder and musician Kangding Ray give an audio-visual narration of radiant light vector drawings and multi-dimensional sound inside the pitch-dark industrial space of Kraftwerk Berlin. By combining a vast array of kinetic mirrors, perfectly synchronized moving lights and a sophisticated multi-channel sound system, SKALAR reflects on the fundamental nature and essence of basic human emotions.

Fragments

Almost two hundred identical, small mirrors are arranged in a grid to form a flat, homogenous surface. Hung against the wall, the mirrors are closely spaced and apparently static; but they possess the ability to move in harmony with one another. Approaching the artwork, the individual mirrors turn together to face the onlooker, following as he or she moves. The plane of the surface distorts into varying, three-dimensional forms — perhaps a wave, or a curve, or a circle. The reflection becomes fragmented and the apparently inanimate object becomes akin to something organic and alive

Seeing spheres
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.

Using a hand-picked assortment fashion stills, Venezuelan Art Director Gilber Franco manipulates the oft-generic photo form into a slurred revision that invokes the spirit of carnival mirrors.

Saturn Submerged

Saturn Submerged is part of an ongoing series of infinite boxes that creates an expanded infinite space within itself. The sculpture is composed of multiple mirrored surfaces and LEDs, which are fused to create the illusion of infinite depth and imagery. Mirrors include convex domes and walls; LEDs are programmed to continuously change in randomized combinations of almost infinite colors and sequences based on several variables.

Periplo (detail)
Based in Bogotá and represented there by Casas Riegner, Leyla Cardenas engages with the remnants and artifacts of destruction, the seen and unseen, the visible and invisible. Working with found object and images from archives, often her process mirrors that of an archeologist since she procures fragments such as walls, ceilings and floors to produce her work.