OLAFUR ELIASSON

オラファー·エリアソン
اولافور الياسون
奥拉维尔·埃利亚松
אולאפור אליאסון
Олафур Элиассон
Infinite Staircase (Umschreibung)

Permanently installed in the atrium of an office building in Munich, two spiral staircases interlock with each other, creating a continuous loop in the form of a double helix. To plan the work, a double helix was projected onto the surface of a sphere. The heights of the steps vary slightly to compensate for the curvature of the staircases, growing shallower at the poles. Precise engineering was necessary to enable the structure to balance on one point.
The continuous loop of Umschreibung contrasts starkly with the office courtyard in Munich where it is installed. Umschreibung – which can be translated as ‘circumscription’ or ‘periphrasis’ – proposes a movement without destination, a space defined by motion rather than walls.

RYOJI IKEDA

池田亮司
이케다 료지
Редзи Икеда
Transfinite
test pattern [n˚2] presents flickering black and white imagery that floats and convulses in darkness on two screens, one on the floor and another floor to ceiling, in time with a stark and powerful, highly synchronised soundtrack. Through a real–time computer programme, Ikeda’s audio signal patterns are converted into tightly synchronised barcode patterns on the screens. Viewers are literally immersed in the work, and the velocity of the moving images is ultra–fast, some hundreds of frames per second, providing a totally immersive and powerful experience. The work provides a performance test for the audio and visual devices, as well as a response test for the audience’s perceptions.

CLAUDIA COMTE

HOW TO GROW AND STILL STAY THE SAME SHAPE
If Comte’s sculptures are rooted in the naturalness of biomorphic forms, her mural interventions transform surfaces into optical sequences and infinite graphic signs with a digital age aesthetic. The monochromatic vocabulary that invests all her work brings her visually close to the abstraction of Sol LeWitt, Bridget Riley and even John Armleder, an artist with whom she studied. On the occasion of her exhibition at Castello di Rivoli, Comte has carried out a gigantic mural intervention consisting of eleven individual wall paintings specially designed for the galleries on the third floor of the historic residence. Also inspired by some eighteenth-century decorative motifs present on the ceilings and walls of the main museum building, the work develops repeated modules through space.

MARIA HSU

TranStructures
TranStructures Big cities are unceasingly in motion: growth, decay, changes. São Paulo is the source of my look and thoughts on metropolis. Recompose, redo continuously, from the probable to the improbable, allow us to try infinite possibilities that can lead us from sublime to disaster. Billions of hyperexpressions are induced always at random. The mechanisms that regulate the normal, the pre-established, rupture allowing the appearance of the possible others.

Ryoji Ikeda

池田亮司
이케다 료지
РЕДЗИ ИКЕДА
Transfinite

FUJIKO NAKAYA

中谷芙二子

fog sculptures
ok-offenens kulturhaus linz

Fujiko Nakaya est la première artiste à travailler avec le brouillard comme moyen sculptural. Ceci ne veut pas dire qu’elle façonne ce moyen en se basant sur ses propres concepts. Elle collabore, plutôt, de façon subtile avec l’eau, l’atmosphère, les courants d’air et le temps. Ses sculptures de brouillard, de nature expérimentale et éphémère, montrent une certaine affinité avec l’art conceptuel et le Land art mais représentent également un tournant radical dans l’histoire de l’art et la technologie.L’œuvre de Nakaya avec le brouillard, qu’elle considère comme un moyen de transmission de la lumière et de l’ombre, similaire à la vidéo, surgit au départ de l’intérêt qu’elle ressentait pour ce qu’elle nomme « décomposition » ou « le processus de désintégration». Lorsqu’elle était étudiante d’art aux États-Unis (où elle arriva du Japon avec sa famille au début des années 1950), elle peignait des fleurs qui se fanaient, et une série de tableaux de nuages qu’elle réalisa après son retour au Japon à la fin de cette époque exprime sa fascination à l’égard des phénomènes naturels qui « se forment et se dissolvent encore et encore »[1]. La première sculpture de brouillard de Nakaya surgit lorsqu’elle était membre d’Experiments in Art and Technology (E.A.T.), une organisation consacrée à faciliter et à promouvoir la collaboration entre ingénieurs et artistes.

AL AND AL

The Creator

Decades ago, Turing famously asked, ‘Can machines think?’ and ever since, the notion of computers exceeding human intelligence has transfixed researchers and popular culture alike. For their fantastical Turing interpretation, the directors conjoin Lynchian nightmare with the prophetic themes of J.G. Ballard. Audiences will enter the haunting dream world of the legendary scientist, who gave birth to the computer age. Turing’s binary children embark upon a mystical odyssey to explore their creator’s dream diaries in a quest to discover their origins and destiny in the universe.
Probing the infinite possibilities of technology, AL and AL investigate the shaping forces of fantasy and reality. Having established themselves as pioneering artist filmmakers, they combine performance with computer-generated 3D environments to create dream worlds.