Camera Lucida: Sonochemical Observatory
Camera Lucida (chamber of light or lucidity) directly transforms sound waves into light emissions by means of a phenomenon known as sonoluminescence. After adapting to the darkness surrounding the installation, one gradually perceives the detailed configurations of glowing sound fields.


„*(Sternchen) ist eine Installation, die aus einem Armillarsphärenapparat besteht, der einen Apfel um 360 Grad dreht, und vier Kameras, die die Oberfläche des Apfels in Echtzeit omnidirektional scannen. Computer berechnen die Ähnlichkeit zwischen fragmentarischen Bildern des gegenwärtigen Apfels und Äpfeln, die ich zuvor gegessen habe, als wären sie meine Erinnerung an Äpfel. Die Berechnungen und verglichenen Bilder von Apfelfragmenten werden jeweils auf vier Displays angezeigt.“ Noriyuki Suzuki


Cuerpo eléctrico
Cuerpo eléctrico es una respuesta a nuestra creciente dependencia de la tecnología de la información; las prendas encarnan su naturaleza omnipresente pero intangible. Se establece un paralelo entre el uniforme en la ropa y la forma en que la tecnología se homogeneiza y aplana. Para revelar lo íntimo, lo único, debemos mirar dentro de la pantalla, a través de estas ventanas. Las piezas uniformes de la colección están inspiradas en prendas clásicas de trabajo, cuyas costuras, bolsillos, cuellos, se convierten en la base de las incisiones. Esta disección del uniforme revela el yo expresivo; un circuito electrónico bordado a mano: la fusión de anatomías humanas e informáticas.

Moritz Simon

Glitch Robot
The Installation consists of several robotic actors. When the actors make contact with their instruments, they produce a sonic impression of an omnipresent texture of modern life: electronic music. The music robots used in this performance consists of recycled and 3D-printed parts such as harddisks, relays, tongues, motors and solenoids. Glitch Robot connects mechanical, visible movements to audible sound by using small sound-producing robots. Thus, the installation highlights the origin of the sound in a way no conventional medium of electronic music production is able to. Typically, electronic music eliminates the haptic aspect of sound-generation, creating a void in understanding of how sound, and thus music, is mechanically created.

Noriyuki Suzuki

“*(asterisk) is an installation comprised of an armillary sphere apparatus rotating an apple in 360 degrees and four cameras omnidirectionally scanning the surface of the apple in real-time. Computers calculate the similarity between fragmentary images of the present apple and apples I’ve eaten before, as if they were my memory of apples. The computations and compared apple-fragment images are shown on four displays respectively.” Noriyuki Suzuki

Zaha Hadid

Opus Dubai Hotel
“O Opus segue à risca a principal missão da Omniyat, de tratar cada projeto como se fosse uma obra de arte única e exclusiva,” disse Mahdi Amjad, presidente executivo e CEO da Omniyat. “O projeto de arquitetura transparece a complexidade e criatividade do trabalho da ZHA; expressando uma sensibilidade espacial única, que transcende os limites entre o espaço interior e exterior, entre o cheio e o vazio e o que é opaco e transparente.”


Latent Space
In Latent Space fine lines weave virtual spaces around the viewers. The architecture that manifests is highly fragile — the space grows, shrinks, collapses. The acoustic dimension is also deeply spatial — slowly morphing soundscapes float around the dome, enveloping the observers in sound and image. The omnipresence of the virtual realm is transposed into the physical space of the dome to unmask the often proclaimed boundlessness of digital space. The work tests and investigates the spatial effects of the dome, which serves as a metaphor for the virtual net that always surrounds us.

Ray Kunimoto

REI – Listening to Silence
This work consists of a jet-black sphere containing 16 speaker units, six loudspeakers suspended from the ceiling, and a cubic structure. It creates an acoustic space by reverberating the sound of water from the sphere and the surrounding environment using four omnidirectional micro- phones installed on both the structure and the loudspeakers. The oceans evaporate, rain falls, and rivers continue to flow forever without any kind of consciousness. REI moves from the conscious to the subconscious by superimposing the sound echoing from one’s own body and the sound of water echoing from the sphere, which is a metaphor for this world.

Anne-Sarah Le Meur & Jean-Jacques Birgé

Omni-Vermille is based on computer-generated real-time 3D images. The programmed code allows light spots to oscillate against a dark background. The colors sometimes move dynamically, sometimes calmly across the projection surface; sometimes they evoke plasticity, sometimes depth. This continuous metamorphosis endows the contents of the images with a sensual, even lively quality. The metamorphosis designed by algorithms opens up a new time-based morphology of colors and forms for painting. The play of colors is accompanied by a stereophonic sound composition by Jean-Jacques Birgé (*1952, France). The sounds follow the shapes of the colors, only to stand out again the next moment: the combination of sound and image results entirely from the laws of random simultaneity.

Liu Xiaodong

Weight of insomnia
With his new series of paintings, Liu uses a machine programmed to capture movement in public spaces and translates this to marks on canvas. The machine has no heart, no desires, no ulterior motive. It does not sleep but obeys its instructions for as long as the artist decides. And yet the results have a strange power to move us. It seems that, despite all efforts, subjectivity can never truly be extinguished. Join Liu as he discusses this latest painting project, the conflict and changes in Chinese society that have influenced his artistic approach and how we might all be affected by the ‘weight of insomnia’.

vivian xu


The Electric Skin explores the possibility of creating a wearable that extends the functionality of the skin to sense electromagnetic fields (mostly within the radio spectrum) and translate that information into touch sensation. The wearable consists of two main functional parts: 1) A matrix of omnidirectional antennas that act as sensors and probes and 2) corresponding electrodes that stimulate the skin of the wearer. Through this artificial “skin” or “exoskeleton”, the wearable changes our experience, perception, and understanding of space and movement, and in doing so, our interactions. The project speculates on the possible co-evolution of man and technology and draws attention to the role of environmental influence on our own bodily development and behavior.

Romain Laurent

Ромен Лоран
Ромаин Лаурент
Comfort Zone
Artist Romain Laurent is a conceptual photographer, director, and everything in between. From high-concept ideas to fresh energetic portraits, his quirky and fantastical perspective is omnipresent.

Iris van Herpen

イリス ヴァン ヘルペン
Autumn/Winter 2019
This season van Herpen collaborated with American kinetic sculptor Anthony Howe, whose pieces are powered by the wind. His spherical Omniverse sculpture had pride of place in the Élysée Montmartre venue. The designer said she was compelled by the way its arching vertebrae, spinning on a curving axis, simultaneously expand and contract. Her finale dress was made in the image of Omniverse, with rotating wings constructed of aluminum, stainless steel, and feathers.


イリス ヴァン ヘルペン
Autumn/Winter 2019
This season van Herpen collaborated with American kinetic sculptor Anthony Howe, whose pieces are powered by the wind. His spherical Omniverse sculpture had pride of place in the Élysée Montmartre venue. The designer said she was compelled by the way its arching vertebrae, spinning on a curving axis, simultaneously expand and contract. Her finale dress was made in the image of Omniverse, with rotating wings constructed of aluminum, stainless steel, and feathers.

Mari Velonaki

Diamandini is a 155cm tall custom-made humanoid robot incorporating an omni-directional wheeled motion platform; cameras, laser scanners and computers for real-time tracking and installation control. The humanoid robot is being developed through a five year research project between Mari Velonaki and robotics scientists at the Centre for Social Robotics, Australian Centre for Field Robotics, the University of Sydney.


Waking Up in News America
The room-sized installation investigates two of Heinecken’s deep concerns: mass media and the affects of one particular form of mass media–the television. “Waking Up in News America” is a room in which every surface–the walls and floors, the figure sitting in a chair and the range of household objects that make up this odd ‘domestic’ environment–are completely covered in images shot from the TV. The effect is to suggest that we are formed–in every way–by the omnipresent medium.

Zhu Pei and UNRBANUS

Digital Beijing
The Digital Beijing building begins to explore what will occur in the digital epoch. The building served as the control and data centre for the 2008 Olympics. The concept for Digital Beijing was developed through reconsideration and reflection on the role of contemporary architecture in the information era. Resembling that omnipresent symbol, the bar code, the building emerges from a serene water surface. The façade itself is detailed to resemble an integrated circuit board.



Daniel Léveillé

Solitudes duo
Solitudes duo est la prolongation de Solitudes solo, sa plus récente création, couronnée par le Prix de la meilleure œuvre chorégraphique 2012-2013 par le Conseil des arts et des lettres au Québec. Mettant un terme à la nudité, Daniel Léveillé offrait alors à ses danseurs des solos épurés, débarrassés de toute projection affective, mais empreints d’une douceur inattendue. Cette nouvelle étape questionne la nature des relations encore possibles dans un monde où l’omniprésence de la technologie isole toujours davantage. Les couples de la pièce exposent dans toute leur complexité les états mouvants de l’amour et de la relation à l’autre.


Paranoid Panopticum

The viewer activates the «Paranoid Panopticum» by entering its small corridor between two «walls». Recorded through the mirrored wall by a video camera, the viewer’s image is projected onto the opposite wall, where it becomes part of a story freely adapted by Alfred Kreijemborg in his play titled «An Echo Play» (1923), based on the Greek myth of Narcissus. Instead of returning the affections of the nymph Echo, the protagonist falls in love with his own reflection. Like with the image of Narcissus on the water, the viewer’s own reflection appears now – and the viewer observes only himself. The Panopticum, the terminus of a circulatory prison complex, is controlled from a watchtower not visible for the prison inmates. Having consciousness controlled here causes in effect the self-control among the prisoners. The paradox in this experience – control and society’s surrendering to its own mechanisms – forms the basis of Maat’s installation. Whether as the observer or observed, the viewer is consistently extradited to the panoptic omnipresence of his own all-pervading reflection.

Robert Rich

Perpetual. A Somnium Continuum
当我们从一个能量水平激发到更高能量水平时,周围都有一些微小的元素,它们会改变它们的存在和目的。 分子电子跃迁是生活中令人惊奇,奇妙的深刻事件之一,它重新定义了这些元素并改变了我们的身份。


Джошуа Кирш
An amazing interactive light sculpture entitled Concentricity 96 by the New Jersey artist Joshua Kirsch. “Concentricity is an interactive light sculpture series. Each of the three works presents an illuminated white handle which the viewer is invited to move in any direction. Reed switches located within the sculpture’s circuitry sense the movements of a magnet contained in the handle and translate that information into LED light. For Concentricity 96, omnidirectional movement of the center handle is facilitated by twelve hinged pantagraph-type mechanisms. 96 red/white LED arrays as well as LED-lit acrylic circuit boards respond to the viewer’s movements.