Transfiguration (2020) is a reworking of the Universal Everything studio classic from 2011, The Transfiguration. The Transfiguration was first shown at the studio’s first major solo exhibition Super-Computer Romantics at La Gaite Lyrique, Paris. Now completely remade using the latest procedural visual effects software, the updated CGI artwork brings new life to the ever-evolving walking figure, with a new foley-based soundtrack by Simon Pyke.
Michael Burk & Ann-Katrin Krenz.
Parasitic / Symbiotic
In the project “Parasitic / Symbiotic” this area of tension between nature and technology is addressed. A scenario is created in which the human being makes use of a technical device, that is sitting like a parasite on a tree. It contains a milling machine, which moves along a tree to carve encoded text into it. For the content of the carving a poem from romanticism („Abschied.“ von Joseph von Eichendorff) is used, which expresses the natural thoughts of unity and oneness and depicts the relation of nature and culture.
“Lied, a word of German origin and gender neutral, which represents classical music sung about strophic poem, and Ballet. Lieder’s romantic themes are transformed into movement, creating choreographic writing that begins with mime and ends with abstraction. In the end, everything comes together in a great chorus challenging genres and categories, fundamentally expressing the artist’s confidence in the dancing body”. Marcia Peltier
“Movrin’s main inspiration has always been his childhood, where tradition, God and meat were the subject of everyday life. As an only son of a butcher in a small Slovenian town, surrounded by woods and bears, his growing up marked him with a roughness that he transcends in his designs with a special kind of romanticism. In this hard provincial life meat became his medium of expression, as a child he would carve steaks in a way that would appeal to his bewildered eye. There were, however, also fresh issues of Vogue magazines in the house, brought from trips to Trieste, that stirred up his imagination.” Black Sheep
LARS VON TRIER
لارس فون ترير
라스 폰 트리에
לארס פון טרייר
Ларс фон Триер
Truth be told, the best thing about Melancholia is its title. In an era where pop therapy abounds, true melancholy and its affinity to beauty needs to be rehabilitated—and of course differentiated from the more banal categories of “mental illness” and “depression.” In a pivotal phase of German Romanticism exemplified by Novalis’ poetry, the quintessentially melancholy category of “longing” is linked with a quest for the “unattainable.” Yet there’s also a tangibly utopian element to Novalis’ melancholy, personified by his dictum, “All representation rests on making present that which is not present.” Or as Max Blechman puts it in his essay “The Revolutionary Dream of Early German Romanticism, the Romantics pantheistic faith points to how art and religion are fundamentally one and the same activity. For is not art the desire to see the real in the ideal, to enliven the ideal behind the real, to transform unconscious idealism into conscious idealism—and is this not done through faith in the ideal?”
Kid Koala and K.K. Barret
NUFONIA MUST FALL
Kid Koala’s celebrated “live animated graphic novel”. Directed by oscar-nominated production designer K.K. Barrett (Her, Lost In Translation, Being John Malkovich). Performed, filmed, edited and scored in real time by a team of 15 performers including puppeteers, cinematographers, a string quartet and Kid Koala on piano/turntables. A romantic story about a robot on the verge of obsolescence.
This is one part of a three-part installation that alters the spaces of the gallery with elements derived from American romantic landscape painting, especially the pre-photographic interpretation of landscape found in Thomas Cole’s paintings and those of the Hudson River School painters. Nature is frequently presented as a fantastic amalgam of real detail and impossible phenomena, not observed but reinvented for the purpose of allegorical narrative.
Seroussi personifies the insects that crawl or fly around us by merging strong bodies, human faces, and the fine details of these segmented creatures. As the feminine faces glance over their shoulders or close their eyes with sleek and sensual expressions, Seroussi romanticizes the small creatures that we otherwise chase out of our lives and our homes.
Marcelo Moscheta is an artist based in Campinas, Brazil. As a traveler who looks at the world like the romantics of the 19th Century or the Great Explorers of the Artic, he has made installations, drawings and photographs born from his time in remote locations. Through uncommon materials and techniques his works addresses the notion of ephemerality and mankind’s efforts to understand and recreate physical and geographical aspects found in natural environments. He is interested in the landscape as a representational system from where man can measure his own world. Drawing, printmaking, photography and installations are his main media.
De esta serie, Idilios, escribe, “Idilios (palabra española lírica de” romances “en Inglés) muestra una serie de recreaciones romántica basada en experiencias amorosas representado por la misma mujer (el alter ego del artista) besando a hombres diferentes en distintos lugares. La serie se construye en un contexto ideal para acentuar la experiencia del amor romántico. Una tienda de joyas, un campo de golf y un hotel de lujo aparecen como los lugares apropiados en los que a la etapa romántica.
Lying down on a hill with your pupils filled with the endless blue sky, perspective of your eyesight suddenly gets distorted and clouds drift at the tip of your nose. You stretch your arms up to the sky to touch the clouds but can’t reach. Another world right above your head, clouds. Today, I visualize my colorful cloud of words right in front of your eyes. Touch the pink clouds drifting on a giant fabric screen, reminisce your childhood clouds of dreams. I spent countless sleepless nights just to realize my unproductive and only romantic cloud of words. But, isn’t it nice if we could feel the clouds at our fingertips?
Primitives is an installation that combines the romantic tradition of ruined landscapes with modular fractals. First realized across the entry of the Venice Biennale in 2010, it is comprised of loosely dispersed furniture elements that appear like rock piles, each one unique but formed from the same universal building block. Like microcosms in the distance, the clusters are imagined as islands falling apart and building back up, organizing and eroding at once.
Gwen van den Eijnde
Gwen van den Eijnde is a genius costume designer whose intricately designed garments reflect his immeasurable creative capacity. His costumes evoke a charming spirit of dark romanticism that borders on the bizarre, while remaining gracefully enchanting and ever-innovative. Gwen’s costumes all have a unique contemporary twist that juxtaposes classically-inspired touches like crowns made from wooden piano keys, and abundant Renaissance period embellishments.
팀 워커 워커م ووك
Timothy “Tim” Walker (born in England, 1970) is a British fashion photographer. Tim Walker’s photographs have appeared in Vogue, month by month, for over a decade. Extravagant staging and romantic motifs characterise his style. After concentrating on the photographic still for 15 years, Tim Walker has begun directing short films.
Geoffrey Lillemon brings a classic romantic painting and drawing style to technology to reinterpret artistic practice. As one of the leading artists in digital practices, Lillemon has consistently foregrounded the interplay between the digital and physical world in his work, blending the traditional mediums with emerging technologies. This had lead to personal and commercial work which is recognized as contemporary art.
French artist Maia Flore in a cool series entitled “Sleep Elevations”. A very feminine, surreal, sort of romantic artwork. Her subjects are young women being levitated by objects. Flore wishes to emphasize the attraction the girls feel towards their new, boundless surrounding, and the lightness of the reality they are entering into. Their contorted movements is meant to articulate a contrast between physical limitation and the limitlessness of imagination.