Noesis
This project was made by inspiration from law of nature and cosmology such as, “View from Inner Earth” ”Wrapped up in Nothing” “Re-mix the Border” “Constructal Law” “Emerging Moments” “Universal Architecture”, and “Superstring Theory”.Science and art have been getting closer in media art scene. Visualization of data and visualization of wave shapes has been actively pursued.
Reverse Blinking
Imagine that your head is captured inside a photo camera. It is completely dark. Only when the shutter opens en closes, you see the world in a flash. The shutter moves so fast that nothing has time to move. Everything where you point your gaze at, becomes like a photograph. A memory. Something that has been, but isn’t anymore. You see people as frozen figures, whole streets as untouched moments. Life as a sort of dia show. “Reverse Blinking” creates this experience. It is a completely closed helmet with two shutters in front of the eyes. They are controllable by the user. Reverse Blinking works on batteries and can be freely used in or outside the museum. It is best used where there is a lot of movement and people. “Reverse Blinking” is part of a series of art works, through which the artist tries to add video and photographical effects to our natural way of seeing.
Hash2ash
Installation touches on the themes of selfie-culture, and the fear of permanently losing the digital records of our lives due to technical failures, impermanence of data storage, or simply because of the obsolescence of the old digital file formats. Even with such compulsive overproduction of the images of ourselves we might end up with nothing but the blank memories of our past. Even the data on ourselves will eventually fade away… The installation consist of the display that prompts you to take a selfie on your phone, which it renders in digital particles on its large 1×1 meter screen. Then a moment later, your face scatters and falls apart and the real black gravel starts to fall at the bottom of the screen in perfect synchrony with the digital simulation. Gradually a dark mound builds up at the foot of the construction.
A wall is just a wall (and nothing more at all)
In ‘A wall is just a wall (and nothing more at all),’ Canadian, Paris-artist, Kapwani Kiwanga explores disciplinary architecture and design by isolating the structural traits and intended psychological effects of different built environments, such as prisons, hospitals, and mental health facilities.
Prehysterical Machine
The Prehysterical Machine has a spherical body and eight arms made of aluminum tubing. It has a sensing system, a motor system and a control system that functions as an autonomous nervous system (entirely reactive). The machine is suspended from the ceiling and its arms are actuated by pneumatic valves and cylinders. Pyroelectric sensors allow the robot to detect the presence of viewers in the nearby environment. It reacts to the viewers according to the amount of stimuli it receives. The perceived emergent behaviors of this machine engender a multiplicity of interpretations based on single dynamic pattern of events.The aim of this project is to induce empathy of the viewer towards a “character” which is nothing more than an articulated metal structure. The strength of the simulacra is emphasized by perverting the perception of the creature, which is neither animal nor human, carried through the inevitable instinct of anthropomorphism and projection of our internal sensations, a reflex triggered by any phenomenon that challenges our senses.
FILE FESTIVAL
Taking in her paintings is like opening your eyes after a nap in the sand. The colourful masses on her canvas appear to be in motion, plunging the spectator into a semi-conscious state. Beyond the merely pictorial, Ana Montiel’s works read like spiritual, dreamlike invitations, that hit you with a feeling of satisfaction and involuntary entrancement. Any tangible form looks acid-washed; a silhouette or a ray of sun gives way to a sfumato of light and pigments. The artist is interested in the conceptual issues of perception and phenomenology, based on the premise that reality is nothing but a collective and controlled hallucination.
Ex-Nihilo
Nothing comes from nothing … With Alice Pegna, Epicure’s Latin phrase “Ex nihilo nihil fit” is at the heart of a design adventure as strong as it is elegant. Visual artist and interior designer, the young lady is inspired by this reflection on the source of the material to create arachnid sculptures between exoskeleton, armor and ornament.
Ada
File Festival
Similar to Tinguely’s “Méta-Matics”, “ADA” is an artwork with a soul. It acts itself. At Tinguely’s it is sufficient to be an unawarely struggling mechanical being. He took it wryly: the machine produces nothing but its industrial self-destruction. Whereas “ADA”, by Karina Smigla-Bobinski, is a post-industrial “creature“, visitor-animated, creatively acting artist-sculpture, self-forming artwork, resembling a molecular hybrid, such as a one from nanobiotechnology. It develops the same rotating silicon-carbon-hybrids, midget tools, miniature machines able to generate simple structures. “ADA” is much larger, esthetically much more complex, an interactive art-making machine.
바트 헤스
巴特·赫斯
בארט הס
БАРТА ХЕССА
SIlVERNanine Linning
Nothing has changed as radically in the last few decades as the technology we surround ourselves with on a daily basis. Modern means of communication let the world shrink to a pocket size Global Village. Medical technology promises life beyond its natural limits. Robotics, cybernetics and developments in the field of artificial intelligence put the equally fascinating as disquieting idea of artificial life within our grasp. Nanine Linning’s new production SILVER addresses the intimate – and increasingly intrusive – relationship between the human and the technological, showing the beauty of its aesthetics, but also questioning its promise of ever increasing progress and self-improvement.
88.5° Arc x 8
Bernar Venet is a French Conceptual artist known for his curved, mathematically precise metal sculptures, and for his material exploration of coal, asphalt, and tar. “My work is self-generated. Nothing around me serves as a particular inspiration,” Venet said of his art. “I work, and I make discoveries while remaining open-minded to anything that might present a new possibility in the context of my work; this framework looks to enlarge its scope as a result of new formal and conceptual discoveries.” Born on April 20, 1941 in Château-Arnoux-Saint-Auban, the painter and sculptor studied at La Villa Thiole in Nice in 1958 for a year before pursuing a career as an artist. Friends with Arman, Jean Tinguely, Donald Judd, and Sol LeWitt, Venet worked within Minimalist and Conceptualist modes during the 1960s and 1970s.
video
wearable solar
There is nothing natural in nature; technology makes our humanness giving form to our surroundings. The human habitat reveals a techno-morphed structure that can no longer be hidden behind the vestiges of a natural world: technology has to be naturalized. Pauline van Dongen researches the body in a technologically textured space. After graduating from ArtEZ, Academy of the Arts in Arnhem, the Netherlands, she started her own womenswear label in 2010. Pauline operates a meticulous research of the behaviour of experimental and high-tech materials, combining new technologies with traditional techniques to constantly renovate craftsmanship. Working closely with companies from the field of science and innovation, Pauline aims to merge fashion and technology giving life to scientific creations.
The Inability to be Looked at and the Horror of Nothing to See
O vídeo de Zackary Drucker é a documentação de uma performance que explora a construção da identidade masoquista, a tirania da nova era e a experiência coletiva. Os espectadores foram orientados por uma série de exercícios respiratórios, visões e traumas, enquanto os participantes arrancavam cabelos do corpo andrógino e despido do artista.
Aether
Aether celebrates the five Platonic solids representing the elements of earth, air, water, fire and the heavens, without which there would be nothing. Using the Octave’s 14 projectors with a combination of projection mapping techniques, motion capture and wave field synthesis technologies to create an absorbing audiovisual space is to presented for and explored by a single vistor immersive single-person experience.
أندريه تاركوفسكي
塔可夫斯基
アンドレイ·タルコフスキー
Андрей Тарковский
nostalghia
From the opening images of Nostalghia (1983), Andrei Tarkovsky presents the two disparate worlds-the spare, monochromatic landscape of the Russian countryside and the lush, idyllic meadows of rural Italy-that collided within the soul of Russian author, Andrei Gortchakov (Oleg Yankovsky). Gortchakov has travelled to Italy on an extended research expedition to retrace the emigrant journey of an acclaimed eighteenth century Russian composer named Pavel Sosnovsky who, despite achieving international recognition away from his homeland, eschewed fame and returned to the humble life of a feudal serf, only to sink further into despair and commit suicide. Gortchakov, accompanied by his translator, Eugenia (Domiziana Giordano), has travelled to the hills of Tuscany to see Piero della Francesca’s Madonna of Childbirth, but upon arriving, becomes disinterested in the attraction, and forgoes the church visit. Left alone at the foothills as Eugenia ventures alone, Gortchakov quotes a resigned passage that reflects his own feelings of inertia: “I’m tired of these sickeningly beautiful sights. I want nothing more just for myself. That’s enough.”
cinema full
Тобиас Ребергер
‘nothing happens for a reason’
Tobias Rehbergerは、彼のインスタレーションで空間の知覚を巧みに操っています。理由は何も起こりません。 フィンランドのモダン家具メーカーとの2回目のコラボレーションでは、ArtekはLogomoCaféを作品の舞台として使用しています。 今回、レーバーガーはヴェネツィアビエンナーレのコンセプトを再検討し、同じくアルテックと共同で、エスポジツィオーニ宮の常設インスタレーションで最優秀アーティストのゴールデンライオンを獲得しました。 白い背景の黒い線がカフェの表面（床、壁、椅子）を蛇行しています。 カウンターや一部のテーブルでミラーを使用すると、オブジェクトが失われたように見える場所に作成された目の錯覚を反映および強化するスペースが複製されます。