Frederik de Wilde

Ai Beetles
THIS NEXT NATURE POST-CAMOUFLAGE AI BEETLE IS INVISIBLE FOR THE ELECTRONIC EYE. THE PATTERNS ARE GENERATED WITH NEURAL NETWORKS AND EVOLUTIONARY ALGORITHMS TO FOOL AND MISLEAD ARTIFICIAL INTELLIGENCE ENABLED SYSTEMS. MY AIM IS TO DEVELOP A CONTEMPORARY RAZZLE DAZZLE STYLE CAPABLE OF MESSING UP LABELLING AND METADATA SYSTEMS. IT LOOKS LIKE A BEETLE FOR US BUT IS SEEN AS E.G. A HONEYCOMB FOR AN AI.
video

DILLER SCOFIDIO + RENFRO

SLOW HOUSE

To either side of the “picture window” are two antenna-like stacks: the chimney is to the right, the video apparatus to the left. At the summit of the left stack sits a live video camera directed at the water view and feeding the monitor in front of the picture window. The electronic view is operable; the camera can pan or zoom by remote control. When recorded, the view may be deferred— day played back at night, fair weather played back in foul. The composite view formed by the screen in front of the picture window is always out of register, collapsing the opposition between the authentic and mediated.

Tromarama

Solaris
olaris 2020 is een led-gordijn ter grootte van een muurschildering die een spectaculair, lichtgevend ecosysteem afschermt dat bevolkt is met bloemen van kwallen. Gemaakt met een computerprogramma dat vaak wordt gebruikt in videogameplatforms, presenteert de screening een digitale simulatie van een unieke mariene omgeving – een geheel door land omgeven lichaam van zout en regenwater dat meer dan 11.000 jaar geleden is gevormd, gelegen voor de kust van Kalimantan, Indonesië. Deze kwallensoorten zijn vrij van roofdieren en kunnen gedijen in warme wateren. Ze hebben zich anders ontwikkeld, waardoor wetenschappelijke gemeenschappen een levend laboratorium hebben voor het bestuderen van de mogelijke effecten die klimaatverandering kan hebben op mariene systemen.

FUJIKO NAKAYA

中谷芙二子

fog sculptures
ok-offenens kulturhaus linz

In 1970 Nakaya created her first fog sculpture when commissioned by the group Experiments in Art and Technology (E.A.T) to make a work for the Pepsi Pavillion of the Osaka World Exposition. In creating a work of white mist enclosing the building, Nakaya became the first artist to have used fog as a sculptural medium. E.A.T is an organisation devoted to facilitating working relationships between artists and engineers. Nakaya worked with American engineer Thomas Mee to create the fog for her Osaka commission, the technique for which she has continued to use, with minor moderations, for her subsequent fog sculptures since.Whilst Nakaya has also worked in film and video, it is her use of fog for which she is best known. Nakaya has used pure-water fog to create installations, performances, stage-sets and environmental park designs, often collaborating with other artists or with performers, choreographers and composers. Nakaya’s interest in fog has developed from its relation to our visual sense. In a thick fog we become disorientated, frustrated at our inability to see. In this way, Nakaya’s sculptures activate our other senses, to compensate for our loss of sight.

Émilie Brout & Maxime Marion

Lightning Ride
“With Lightning Ride, it is now poles of technology, organics and mysticism that collide with  electricity as a connecting point. The video is produced from excerpts of “Taser Certifications”, a sort of ceremony authorizing in the United States the use of Tasers in the condition of being tased by someone else. Filtered with the Photoshop’s “oil painting effect”, slowed down and accompanied by a disturbing soundtrack, the succeeding images show us bodies and faces whose deformations and positions evoke a feeling of pain as well as a Christian ecstacy. Everything unfolds as if the miracle of electricity, symbol of the rationalization of the world, revived paradoxically an aspiration to transcendence, antipodes joining each other and disappearing in profit of a new map of possibilities.” (Sarah Ihler-Meyer)

ROBERT HENKE


光正在使用高精度激光在屏幕上绘制连续的抽象形,并与声音完美同步。强烈的光线与完全的黑暗形成对比,缓慢的动作和微小细节的演化与强而有力的手势一样重要。结果既是古朴的又是未来主义的。新兴的模式为许多可能的解释留出了空间。象形文字,一种未知语言的符,建筑图纸,数据点之间的连接或类似Tron的早期视频游戏放大了1000

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Light

Light is using high-precision lasers to draw continuous abstract shapes on the screen, perfectly synchronized with the sound. Intense light contrasts with total darkness, and slow movements and the evolution of small details are as important as strong gestures. The result is both quaint and futuristic. Emerging models leave room for many possible explanations. Hieroglyphs, symbols in an unknown language, architectural drawings, connections between data points, or early video games like Tron are magnified 1,000 times.

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Lumière

La lumière utilise des lasers de haute précision pour dessiner des formes abstraites continues sur l’écran, parfaitement synchronisées avec le son. La lumière forte contraste avec l’obscurité totale, le ralenti et l’évolution des petits détails sont aussi importants que les gestes forts. Le résultat est à la fois pittoresque et futuriste. Les modèles émergents laissent place à de nombreuses explications possibles. Les hiéroglyphes, les symboles dans une langue inconnue, les dessins d’architecture, les connexions entre les points de données ou les premiers jeux vidéo comme Tron sont agrandis 1 000 fois.

Simon Christoph Krenn

Parasitic endeavours
El problema de manipular el cuerpo humano está en el asco. Si coges cabezas y torsos y los unes en una amalgama gelatinosa, obtienes un vídeo de Simon Christoph Krenn. Crea bodegones horripilantes, partes de cuerpos que se funden unas con otras, monstruos complejos a los que aplica nuevas fuerzas de la gravedad hasta que rebotan y toman el carácter de la viscosidad, parecen hechos de goma.

Ian Cheng

BOB

Cheng’s work explores mutation, the history of human consciousness and our capacity as a species to relate to change. Drawing on principles of video game design, improvisation and cognitive science, Cheng develops live simulations – virtual ecosystems of infinite duration, populated with agents who are programmed with behavioural drives but left to self-evolve without authorial intent, following the unforgiving causality found in nature.

Photo: Andrea Rossetti

TROIKA

ダークマター
「トロイカの形而上学的に奇妙なぶら下がっている彫刻ダークマター(2014)、立っている場所に応じて円、正方形、または六角形のように見える大きな黒いオブジェクトは、(オールドウォルバーのビデオのように)主観的な視点と客観的な真実。
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Dark Matter, a large black object that looks like a circle, a square or a hexagon depending on where you’re standing, probes (like Olde Wolber’s video) a very contemporary disturbance about the irreconcilability of subjective point-of-view and objective truth.

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Un grand objet noir qui ressemble à un cercle, un carré ou un hexagone selon l’endroit où vous vous trouvez, sonde (comme la vidéo d’Olde Wolber) une perturbation très contemporaine sur l’inconcilabilité du point de vue subjectif et de la vérité objective.

FREDERIK HEYMAN

Formalidade Cerimonial
O trabalho de Frederik Heyman é um ato de equilíbrio que incorpora várias mídias – incluindo vídeo, instalações e fotografia – muitas vezes em um ambiente digitalmente alterado. Em seu trabalho, Heyman explora a memória e a duração, usando fotogrametria e digitalização 3D para retratar e representar a passagem do tempo. As marcas registradas do trabalho de Heyman são mecânicas e tecnológicas: fios, rodas, letreiros LED de rolagem, armações de metal, pinças, lâmpadas industriais, telas e câmeras. Corpos – ao contrário dos humanos – estão sujeitos a uma dinâmica incomum com essas armadilhas tecnológicas. Em Cerimonial Formality (2020), uma contorcionista está presa em uma gaiola de metal enquanto um espectador, preso a fios, observa.

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Zeremonielle Formalität Frederik Heymans Arbeit ist ein Balanceakt, der mehrere Medien einbezieht – darunter Video, Installationen und Fotografie – oft in einer digital veränderten Umgebung. In seiner Arbeit erforscht Heyman Gedächtnis und Dauer, indem er Photogrammetrie und 3D-Digitalisierung verwendet, um den Lauf der Zeit darzustellen und darzustellen. Die Markenzeichen von Heymans Arbeit sind mechanisch und technologisch: Drähte, Räder, scrollende LED-Schilder, Metallrahmen, Pinzetten, Industrielampen, Bildschirme und Kameras. Körper unterliegen bei diesen technologischen Fallstricken – anders als der Mensch – einer ungewöhnlichen Dynamik. In Ceremonial Formality (2020) ist ein Schlangenmensch in einem Metallkäfig gefangen, während ein kabelgebundener Zuschauer zuschaut.

Celina Portella

Vídeo-Boleba
FILE FESTIVAL SAO PAULO 2016
The “Vídeo-Boleba” installation is composed by a TV set and a mechanism that shoots marbles. In the video, two boys take turns playing the marbles, which appear at the side of the screen when they leave the frame, scattering in the space close to the public, and giving continuity to the scene in the material world.

Frederik Heyman

CEREMONIAL FORMALITY
Frederik Heyman’s work is a balancing act incorporating multiple media – including video, installations and photogaphy – often in a digitally altered environment. In his work, Heyman explores memory and duration, using photogrammetry and 3D scanning to depict and represent the passage of time. The hallmarks of Heyman’s work are mechanical and technological: wires, wheels, scrolling LED marquees, metal frames, clamps, industrial lights, screens and cameras. Bodies–as opposed to humans–are subject to unusual dynamics with these technological trappings. In Ceremonial Formality (2020) a contortionist is encased in a metal cage while a spectator, hooked up to wires, looks on.

Oli Sorenson

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.

CASEY REAS

KTTV
This documentation video captures a few minutes of a continuous, generative collage. The source for the collage is one hour of edited signals captured from KTTV (198 – 204 MHz @ 34°13′29″N, 118°3′47″W) in August 2015.
The sound was created by Philip Rugo

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KTTV Cette vidéo de documentation capture quelques minutes d’un collage continu et génératif. La source du collage est une heure de signaux édités capturés par KTTV (198 – 204 MHz @ 34°13′29″N, 118°3′47″W) en août 2015.

Le son a été créé par Philip Rugo

 

One Life Remains: André Berlemont, Kevin Lesur, Brice Roy & Franck Weber

FILE SAO PAULO 2017
LES DISCIPLINES DU RECTANGLE
Inspired by Michel Foucault’s work, Les disciplines du rectangle is a videogame proposition about the nature of rules and norms at the digital age. If society provides models of accomplishment we are supposed to fit inside, then the rectangle is the pure abstraction of this idea. The geometrical shape works as a symbol of the very nature of normativity, blind to individual differences. The rectangle, existing only on the screen, reveals how digital technologies can in some ways become the new location for this normativity and the ambivalent results of their intangible and invisible nature. Besides, the installation offers an occasion to think about the way games can become manipulation tools. The fact that in the end, players act as if they were piloted by the rectangle (an inversion of the traditional relationship between player and avatar) gives an aesthetical highlight to this.

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Inspirado en el trabajo de Michel Foucault, Les disciplines du rectangle es una propuesta de videojuego sobre la naturaleza de las reglas y normas en la era digital. Si la sociedad proporciona modelos de realización en los que se supone que encajamos, entonces el rectángulo es la pura abstracción de esta idea. La forma geométrica funciona como símbolo de la naturaleza misma de la normatividad, ciega a las diferencias individuales. El rectángulo, que existe solo en la pantalla, revela cómo las tecnologías digitales pueden convertirse de alguna manera en la nueva ubicación de esta normatividad y los resultados ambivalentes de su naturaleza intangible e invisible. Además, la instalación ofrece la oportunidad de pensar en cómo los juegos pueden convertirse en herramientas de manipulación. El hecho de que, al final, los jugadores actúen como si fueran piloteados por el rectángulo (una inversión de la relación tradicional entre jugador y avatar) le da un toque estético a esto.

 

WILLEM VAN WEEGHEL

Estrutura Dinâmica 101110
Objeto cinético com 32 elementos móveis independentes, controlado por um sistema de computadores integrado. O vídeo mostra algumas das estruturas ordenadas e aleatórias em constante mudança que aparecem e desaparecem.

Franck Sorbier

Franck Sorbier optou por apresentar uma “coleção divertida”. No palco, o amplo vestido branco sem alças de uma modelo funciona como uma tela para todos os tipos de projeções que ecoam as de uma tela grande ao fundo. “Misturar vídeo 3D com histórias de contos de fadas certificadas e tradição de alta costura” é a ideia do atípico Mountain Ash. A tecnologia Intel dá vida ao tecido todos os tipos de padrões que simulam bordados ou pinturas em seda: listras de néon, borboletas batendo as asas, “mapeamento” de borlas de cristal ou aurora boreal …

Maurizio Bolognini

SMSMS-SMS Mediated Sublime

CIMs-Collective Intelligence Machines

“In 2000, I began to connect some of these computers to the mobile phone network (SMSMS-SMS Mediated Sublime, and CIMs-Collective Intelligence Machines). This enabled me to make interactive and multiple installations, connecting various locations.
In this case the flow of images was made visible by large-scale video-projections and the members of the audience were able to modify their characteristics in real time, by sending new inputs to the system from their own phones. This was done in a similar way to certain applications used in electronic democracy. What I had in mind was art which was generative, interactive and public.”

IEF SPINCEMAILLE

Clignotement inversé
Imaginez que votre tête soit capturée dans un appareil photo. Il fait complètement noir. Ce n’est que lorsque l’obturateur s’ouvre et se ferme que vous voyez le monde en un éclair. L’obturateur se déplace si vite que rien n’a le temps de bouger. Tout ce sur quoi vous pointez votre regard devient comme une photographie. Un souvenir. Quelque chose qui a été, mais qui n’est plus. Vous voyez les gens comme des personnages figés, des rues entières comme des moments intacts. La vie comme une sorte de spectacle. «Reverse Blinking» crée cette expérience. C’est un casque complètement fermé avec deux volets devant les yeux. Ils sont contrôlables par l’utilisateur. Le clignotement inversé fonctionne sur piles et peut être utilisé librement à l’intérieur ou à l’extérieur du musée. Il est préférable de l’utiliser là où il y a beaucoup de mouvement et de monde. «Reverse Blinking» fait partie d’une série d’œuvres d’art, à travers laquelle l’artiste essaie d’ajouter des effets vidéo et photographiques à notre façon naturelle de voir.

JEAN TINGUELY

让汤格利
ז’אן טינגלי
ジャン·ティンゲリー
장 팅겔리
Жан Тингели
Le Cyclop
jean tinguely and niki de saint phalle
Aux premiers abords, cette masse perdue dans la forêt de Fontainebleau m’a laissé assez sceptique. Je ne la trouvais pas forcément esthétique et elle n’a pas retenu mon attention. Et pourtant… Plus la vidéo avançait, plus cette installation permanente m’intriguait. Il faut préciser que c’est une oeuvre bruyante (grincements, roulements répétés de boules, mécanismes…) et qui interpelle le spectateur/visiteur par tous ses sens, il observe, touche, entend, sent, il est présent et peut participer. Le spectateur est donc acteur et c’est une caractéristique essentielle dans l’oeuvre.
C’est l’oeuvre de Jean Tinguely mais qui existe telle qu’elle est grâce à la contribution de plusieurs artistes comme Klein, Arman, César, Soto, Weber… Le Cyclop se parcourt à l’extérieur mais aussi par l’intérieur où plusieurs salles sont dédiées aux oeuvres des divers artistes souvent sculpteurs. Le visiteur est au coeur de la structure, constate et se questionne. La créature, qui est recouverte de milliers d’éclats de miroirs, contraste totalement avec l’environnement qui l’entoure. On a une construction plutôt moderne placé dans un paysage réel et vivant, ce qui fait ressortir l’oeuvre et lui donne toute son originalité. Cela m’intéresserait de me balader dans le bois-des-Pauvres et d’y trouver une création aussi riche et complète. J’ai l’espoir et l’envie de la voir et de pouvoir la parcourir par moi-même, un jour, peut être…

Coralie Vogelaar

Random String of Emotions

Emotion recognition software analyzes our emotions by deconstructing our facial expressions into temporal segments that produce the expression, called Action Units (AU; developed by Paul Ekman), and breaking them down into percentages of six basic emotions, happy, sad, angry, surprised, scared, and disgusted. In this video the artist uses this decoding system to turn the process around. Here – instead of detecting AUs – a computer is used to generate a random string of AUs. In this way complex and perhaps even nonexisting emotional expressions will be discovered. These randomly formed expressions, played in random order, are then analyzed again by professional emotion recognition software.

Mattias Härenstam

Ich arbeite mit mehreren verschiedenen Medien, normalerweise mehr oder weniger gleichzeitig. Skulptur, Installation, Video- / Filmarbeiten und Holzschnitte. Der Ausgangspunkt für meine Arbeit ist immer die persönliche Erfahrung und das tatsächliche physische Material, mit dem ich arbeite. Ein wiederkehrendes Thema ist der Wunsch nach Kontrolle und das Interesse an den Situationen, in denen es zusammenbricht. Das „Aufrechterhalten des Aussehens um jeden Preis“, die tatsächlichen Kosten dafür und die Momente oder Situationen, in denen die Kontrolle verloren geht und das Chaos unter den Oberflächen. Dahinter liegt die Angst vor dem Scheitern und der anschließende Fall in einen undefinierten Abgrund. Für mich ist das nicht nur ein psychologischer oder existenzieller Zustand, sondern ebenso ein politischer Zustand. Die Skulpturen beziehen sich auf ähnliche Ideen rund um Kontrolle / Chaos, Oberfläche / was darunter liegt, lebendig / tot usw. Aber es geht auch darum, etwas wiederzugewinnen. Für mich sind sie Versuche, das Leben aus dem Reich der Toten zurückzubringen, wie animistische Anrufungen und ein Weg, eine zunehmend entmystifizierte Welt wieder zu verzaubern. data-text=”Ich arbeite mit mehreren verschiedenen Medien, normalerweise mehr oder weniger gleichzeitig. Skulptur, Installation, Video- / Filmarbeiten und Holzschnitte. Der Ausgangspunkt für meine Arbeit ist immer die persönliche Erfahrung und das tatsächliche physische Material, mit dem ich arbeite. Ein wiederkehrendes Thema ist der Wunsch nach Kontrolle und das Interesse an den Situationen, in denen es zusammenbricht. Das „Aufrechterhalten des Aussehens um jeden Preis“, die tatsächlichen Kosten dafür und die Momente oder Situationen, in denen die Kontrolle verloren geht und das Chaos unter den Oberflächen. Dahinter liegt die Angst vor dem Scheitern und der anschließende Fall in einen undefinierten Abgrund. Für mich ist das nicht nur ein psychologischer oder existenzieller Zustand, sondern ebenso ein politischer Zustand. Die Skulpturen beziehen sich auf ähnliche Ideen rund um Kontrolle / Chaos, Oberfläche / was darunter liegt, lebendig / tot usw. Aber es geht auch darum, etwas wiederzugewinnen. Für mich sind sie Versuche, das Leben aus dem Reich der Toten zurückzubringen, wie animistische Anrufungen und ein Weg, eine zunehmend entmystifizierte Welt wieder zu verzaubern.” Ich arbeite mit mehreren verschiedenen Medien, normalerweise mehr oder weniger gleichzeitig. Skulptur, Installation, Video- / Filmarbeiten und Holzschnitte. Der Ausgangspunkt für meine Arbeit ist immer die persönliche Erfahrung und das tatsächliche physische Material, mit dem ich arbeite. Ein wiederkehrendes Thema ist der Wunsch nach Kontrolle und das Interesse an den Situationen, in denen es zusammenbricht. Das „Aufrechterhalten des Aussehens um jeden Preis“, die tatsächlichen Kosten dafür und die Momente oder Situationen, in denen die Kontrolle verloren geht und das Chaos unter den Oberflächen. Dahinter liegt die Angst vor dem Scheitern und der anschließende Fall in einen undefinierten Abgrund. Für mich ist das nicht nur ein psychologischer oder existenzieller Zustand, sondern ebenso ein politischer Zustand. Die Skulpturen beziehen sich auf ähnliche Ideen rund um Kontrolle / Chaos, Oberfläche / was darunter liegt, lebendig / tot usw. Aber es geht auch darum, etwas wiederzugewinnen. Für mich sind sie Versuche, das Leben aus dem Reich der Toten zurückzubringen, wie animistische Anrufungen und ein Weg, eine zunehmend entmystifizierte Welt wieder zu verzaubern.”

FACTORY FIFTEEN

Kokon
“Kokon ist eine sphärische, immersive Videoinstallation von 360 ° x 220 °, die wir im eigenen Haus entworfen, inszeniert und produziert haben. Cocoon platziert die Teilnehmer in mehreren Schalen abstrakter und figurativer architektonischer Räume, die sich langsam ablösen. Cocoon glaubt, dass Architektur nicht statisch ist, sondern vergänglich, sich entwickelnd und animiert. Unsere Stadt ist unser Kokon. “ Fabrik fünfzehn

Art+com

Chronos XXI
Chronos the god of time, permanently destroys and recreates. He who symbolises evanescence and return, was the thematic point of departure for the creation of the kinetic media installation Chronos XXI. The piece is a ‘finger exercise on antiquity’ by our Creative Director Joachim Sauter and was created during his residency at Villa Massimo in Rome. A pendulum continuously swings in front of a monitor. This motion controls the slow synthesis and destruction of depictions of Chronos on the monitor. Chronos appears in various interpretations by painters of the late Renaissance, Baroque and Classicism – as a man who disrobes Veritas, as a performer of volatile music, or docking Cupid’s wings, or as children and crop eating, a scythe and an hour glass carrying, beardy and winged old man.
video

Nina Katchadourian

Survive the Savage Sea

When I was seven years old, my mother read a book aloud to me titled Survive the Savage Sea (1973). It was the true story of the Robertsons, a family of farmers in England who sold all their possessions to buy a sailboat with the intent of sailing around the world for several years. In June 1972, the Robertsons lost their sailboat in a remote part of the Pacific Ocean when a pod of Orca smashed the hull, leaving the four adults and two children adrift for 38 days. After their inflatable life raft grew too leaky to be safe, they abandoned it for their nine-foot fiberglass dinghy, Ednamair, a vessel so small that with everyone aboard only six inches of the boat remained above the waterline. The family navigated to areas where they could collect rainwater and survived by finding ways to catch sea turtles, dorado, and flying fish until they were spotted and rescued by the crew of a Japanese fishing boat.

video

Liliana Farber

Where X and Y
File Festival

Utilizing the commercial genre of movie trailers, this video deals with generalizations, patterns, emotional triggers and the constant need for higher climaxes, bigger surprises and deeper emotional responses.

gordon matta clark

Anarchitecture

splitting house

“Of the many shows at the fabled 112 Greene Street gallery—an artistic epicenter of New York’s downtown scene in the 1970s—the Anarchitecture group show of March 1974 has been the subject of the most enduring discussion, despite a complete lack of documentation about it. Anarchitecture has become a foundational myth, but one that remains to be properly understood. Stemming from a series of meetings organized by Gordon Matta-Clark and reflecting his long-standing interest in architecture, the Anarchitecture exhibition was conceived as an anonymous group statement in photographs about the intersection of art and building. But did it actually happen? It exists only through oblique archival traces and the memories of the participants. Cutting Matta-Clark investigates the Anarchitecture group as a kind of collective research seminar, through extensive interviews with the protagonists and a dossier of all the available evidence. The dossier includes a collection of Matta-Clark’s aphoristic “art cards,” the 96 photographs that were produced by the various participants for possible inclusion in the exhibition, and images from a recently unearthed video of Matta-Clark’s now famous bus trip to see Splitting in Englewood, New Jersey.” Mark Wigley

THOMSON AND CRAIGHEAD

톰슨 & 크레이그 헤드
Belief
Belief is made from information found entirely on the worldwide web. In fifteen minutes, this two-screen installation presents a series of fragmented broadcasts about belief, all sourced from the video sharing community YouTube. A compass floor projection interacts with the montage showing where each clip originated in relation to the geographical location of the artwork. With a little help from Google Earth viewers are placed at the centre point of this cinematic data visualisation.

Michael Clark

マイケル·クラーク·カンパニー
Come, been and gone

Ballet meets punk, and neither comes out the same. In its highly anticipated first visit to Chicago, the electrifying Michael Clark Company provocatively pays homage to the decadence and unbridled fun of 1970s club culture. British dance iconoclast Michael Clark sets his choreography in come, been and gone to the music of fellow rebel David Bowie, and collaborates with video artist and dance film pioneer Charles Atlas. Clark’s dancers don Bowie-style leather jackets and echo his unique body language, building up to a detonation of jumps and kicks. “Come, been and gone” pulls off a remarkable feat—matching the cool, alien beauty of the singular singer, who makes a cameo appearance here thanks to 1977 film footage of his track “Heroes.”

Vvzela Kook

gods and Pilgrims

New media artist Vvzela Kook works in various audiovisual media,including performance, theatre, computer graphics and drawing to explore contemporary performing arts such as the possibility that dance and computer-generated arts could co-exist. Kook’s video works combine technology with her artistic practice to reproduce and convert urban cityscapes into an integrated virtual experience. The condensed textures in her works connect with multiple sensual levels in our perception and reintroduce the unexplored potential of video as a medium

tabor robak

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

MOMOYO TORIMITSU

鳥光桃代
Miyata Jiro
“Miyata Jiro” by Momoyo Torimitsu is a life size replica of the typical Japanese businessman. Sporting a suit, glasses, and a receding hair line complete with a comb-over, Miyata has mechanically crawled the metropolises of New York, London, Amsterdam, Paris, Rio de Janeiro, and Sydney. With the aid of the artist in full nurse costume, the duo engages street and business life (Miyata has crawled the likes of Wall Street and La Defense — epicenters of business cultures as well as typical touristic destinations). The performance and audience reactions were videotaped and photographed and six monitors at the Dikeou Collection play the respective videos, each identified by a small flag for the country in which the crawl took place.

LETHA WILSON

Wall in Blue Ash Tree

“I think that nature as a subject is often seen as something outdated or cliché in contemporary art and especially in nature photos. But I think there is still a lot of scope to play and push the boundaries, “Letha Wilson said. She thus dust off the subject through installations, videos and photo-sculptures and breathe new life into the gallery.
Using photography as a material in its own right, she shakes up conventions and does not hesitate to manipulate her photographs and associate them with other elements such as wood, paint, light or more recently, concrete, giving them a new dimension. One way for her to suggest that the viewer question the desire to be elsewhere and the representation of nature. Letha plays on the fragile balance that exists between the beauty of her images and their sculptural strength and thus creates relationships between nature, objects, exhibition space and wild landscapes. »Géraldyne Masson.

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
VOOM PORTRAITS
ISABELLA ROSSELLINI

…Robert Wilson does not portray only famous personalities, such as Isabella Rossellini, Brad Pitt, or Caroline von Monaco, but also unknown people and animals who have until now escaped artistic representation, such as a street dancer or a frog. In precisely these stagings, Wilson’s complex visual and sound languages reach their climax, namely, a celebration of empathy: anonymous people become divas, neutral beings achieve cult status. Wilson’s video portraits thus have a cognitive function. Within the history of portrait painting and photographic portraits, especially staged photography, his staged portraits present not only a pinnacle of accomplishment, but also, first and foremost, a climax that is groundbreaking.

MASAKI FUJIHATA

beyond pages

The data projector loads images of a leather bound tome onto a tablet which a light pen activates, animating the objects named in it – stone, apple, door, light, writing. The soundscore immaculately emulates the motion of each against paper, save for the syllabic glyphs of Japanese script, for which a voice pronounces the selected syllable. Stone and apple roll and drag across the page, light illuminates a paper-shaded desklamp; door opens a video door in front of where you read, a naked infant romping, lifesize and laughing, in.

Iannis Xenakis

Oresteia Opera

Scored for soloists, mixed chorus, children’s chorus and chamber ensemble, Iannis Xenakis’ music for Oresteia has been cited as “ruggedly dissonant” since its 1987 première in Sicily. A wooden-planked stage is empty save three platforms, one each for the chamber players and percussion, another for a drummer on a separate perch. On a high screen to start, a loop video shows an almost-naked woman stretched out face down in a bathtub who is being hosed down uninterruptedly with water. No forewarning, and the clip changes to a thick forest, a small girl being physically abused by an adult man. While the same video images reappear at the end of the opera, but it’s nebulous soft-edged shapes –mood landscapes as it were – that are the usual backdrop for the 90-minute piece.

 

Dragan Ilic

Re)Evolution

With the machine programed to draw, the robot becomes a medium for interaction and for “symbiosis” with the artist, creating a kind of “hybrid body” of man and machine, whose nervous system and brain waves administer “software commands” to the robot during the drawing performance. A key actor in the exhibition will be the new model of the KUKA KR 210 robot, that has a multi-functioning performative role: from drawing, experimental dance, music – through the production of industrial sound, and a six channel video projection that documents Ilić’s projects.

Christopher Meerdo

Metadata
These videos are networked across multiple screens that have ben sculpturally shaped into a tall arch, asserting its physical presence like boding force. Embedded within one of the video sections is a poem the artist wrote about the ties the police have to slave catchers who then became police officers after abolition. The video also separately speaks to the artist’s own personal loss, affecting the video with an additional elegiac quality of the search for a missing friend.

DUMBTYPE

LIEBHABER (LOVERS)
Computergesteuerte Fünfkanal-Video- / Toninstallation mit fünf Videoprojektoren, einem Achtkanal-Soundsystem und Diaprojektoren […] Als Bild  schlägt ein Liebespaar häufig eine Burg der Ausgrenzung vor. Mit der sexuellen Befreiung der letzten Jahrzehnte hat das Wort nun mehr mit körperlicher Kopplung zu tun als mit der Erhabenheit der „wahren Liebe“. AIDS hat dieser Paarung eine neue Dimension der Vorsicht hinzugefügt. Die lebensgroßen Tänzer in Lovers haben kein Leben mehr. Die nackten Figuren werden auf die schwarzen Wände eines quadratischen Raums projiziert und haben eine spektrale Qualität. Ihre Bewegungen sind einfach und sich wiederholend. Sie gehen hin und her, laufen und rennen mit tierischer Anmut. Ihre Handlungen werden im Laufe der Zeit vertraut, so dass es eine Überraschung ist, wenn zwei der durchscheinenden Körper in einer virtuellen Umarmung zusammenkommen. Diese angeblichen Liebhaber – mehr überlappend als berührend – sind physisch nicht miteinander verflochten.

Bahar Yürükoğlu

Flow Through

“Flow Through takes as its departure point Bahar Yürükoğlu’s experiences during her travels to the Arctic Circle in 2015, both in the summertime, when the sun doesn’t set, and during the winter months, when darkness prevails. In the exhibition, the artist creates fictional spaces based on the dualities she observed in the Arctic region; blurring the boundaries between presence and absence, past and future, nature and civilisation, as well as cyclical movements and inevitable transformations, these installations, photographs and videos test the viewer’s perceptive capacities, and demand that the dichotomy between the subject and the object is set aside”. Duygu Demir

Richard Hoeck and John Miller

Mannequin Death
Jarring and violent yet strangely hypnotizing, the video references the Kantian sublime landscape and the “sex appeal of the inorganic,” which, the Italian philosopher Mario Perniola argues, marks the transition from an organic, bodily sexuality to an inorganic and artificial one.

video

Aleksandr Sokurov

ألكسندر سوكوروف
亚历山大·索科洛夫
Александр Сокуров
Russian Ark

“Alexander Sokurov’s desire to film The Russian Arch in one continuous take required extraordinary technical solutions. Since it is physically impossible to shoot more than twelve minutes of conventional film, we had to shoot on video. However, it was only the relatively recent arrival of 24p high definition compact cameras that offered the visual quality and the ability to make this film for theaters, including transferring the digital image to a 35mm negative.With the help of German specialists a complex portable platform was designed to meet the demands of the scenario which included precise architectural plans, highlighting the distance of 1300 meters covered by the course of the action. It was decided that the only way to move the camera would be to use a steadycam, although we could not be sure until after the final image that such a long steadycam shot would be possible, given the physical performance. extreme demanded from the German cinematographer, Tilman Büttner. After months of rehearsals, the 867 actors and extras, the three “live” orchestras all had to know their position and precise roles “. It’s just amazing.

cinema full

Gaspard et Sandra Bébié-Valérian

Viridarium / Bioréacteur de spiruline
Gaspard and Sandra Bebie-Valérian will present Viridis. Viridis is a global project that relies on different modules, the main being an online video game, immersive, plus an installation made of spirulina bioreactors and a set of videos and sounds. While Viridis is mainly available on the internet, the two artists, at this occasion, will present it out of the screen, they will deploy and spread it in several modules.
Viridis is a unique game experience combining adventure, survival, and an actual operating spirulina community management. Through the video game, the community can directly affect and interact with a real operating spirulina farm, managed by the artists.

DOUG FOSTER

the psychotron installation
Now one of Doug’s stunning installations is available in edition format. The Psychotron Framed – a video piece based on the 12-petal lotus flower symbolising eastern spirituality’s heart chakra – has been harnessed into a purpose-built viewer that can hang on a wall or stand freely on a flat surface. The piece is currently only available by collection from The Outsiders London gallery. Order now and Doug will assemble the materials in two weeks.“For centuries, circular figures containing symmetrical patterns have been used as a tool for meditation,” says Doug of his original Psychotron on display at Bedlam. “The mandala, the yantra and visualisations of the various chakras, all conform to radial design principles that have been refined throughout the ages. Now those principles have been ruthlessly plundered for the creation of The Psychotron.

FRANCK SORBIER

On stage, the ample white strapless dress of a still model serves as a screen for all kinds of projections that echo those of a big screen in the background. “Mixing 3D video with certified fairy tale stories and tailoring tradition” is the idea of the atypical Mountain Ash. Intel technology brings to life on the fabric all kinds of patterns simulating embroidery or painting on silk: stripes of neon lights, butterflies flapping their wings, “mapping” of crystal tassels or the northern lights …

 

Michiko Tsuda

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.”

Jeremy Shaw

towards universal recognition

“Shaw  presents Towards Universal Pattern Recognition, a series of archival photographs framed under custom-machined prismatic acrylic. The works, which he calls optical sculptures, depict people in transcendent states accessed through prayer, dance, yoga and the like. They act as a preview to the videos, which are projected in meticulously constructed spaces, each with eight office chairs facing a single screen.” Diana Hiebert

DENNIS NEUSCHAEFER-RUBE

The Wizard of Oz experiment

The Videoinstallation “The Wizard of Oz experiment” by Dennis Neuschaefer-Rube shows the movie „The Wizard of Oz“ 5829 times side by side. The movies are arranged in rows from left to right and time shifted by exactly one second each. The video starts at the top left, with the first second of the film and finishes bottom right with the last second of the film. The projection is in a continuous loop that repeats every 98 minutes.
A computer voice speaks the whole subtitles of the film „The Wizard of Oz.“ in a 68-minute loop.

Shu Lea Cheang

Avatar of the artist
Taiwan in Venice 2019
“For those who don’t know her, Shu Lea Cheang is a figure of Net art and the cyberfeminist movement that emerged in the 1990s. Living in New York at the time, she was also an active member of the activist video collective Paper Tiger Television (as was French filmmaker Nathalie Magnan). Since then, Cheang’s work has dealt with “concerns including sex, futures, gender, ecology, money, media, and food [to] encompass film, installation, online work, social processes, and direct intervention in the sociopolitical, technical and aesthetic systems, and the imaginaries which co-compose them,” writes Matthew Fuller

Bart Hess

바트 헤스
巴特·赫斯
בארט הס
БАРТА ХЕССА
Heart to Mouth
Sheath your arrows: the voluptuous red heart, international symbol of love, is reimagined in this a visceral new short by genre-defying Dutch artist Bart Hess. With echoes of high-tech fetish fashion and Jeff Koons’ contemporary pop art classic “Hanging Heart,” Hess’ latest video stages a Sapphic encounter from within crimson latex balloons.

Amy Karle

Biofeedback Artwork

Amy Karle connects her body and consciousness to technology to create art, repurposing a Sandin Image Processor as an electrophysiological visualization device. While meditating, Amy Karle inputs her biofeedback into the historically significant Sandin IP analog computer to generate the output of image and sound in real-time. The artwork is both the long-duration performance as well as the experimental video art that is created in the process.

Suguru Goto

L’homme transcendé
Suguru Goto explore l’extension des potentialités dans la relation homme-machine. Ses performances joue sur l’interaction entre la représentation vidéo de corps virtuels et les vrais corps présents sur la scène, qui peuvent grâce au BodySuit, transformer ces images en temps réel. Un puzzle est créé autour des différences et des ressemblances entre le vrai corps et le corps virtuel.

JEFFREY SHAW

Disappearance

In this work the movement of a large video monitor mounted on an industrial fork-lift truck creates a virtual representation of a larger than life size ballerina. As the forklift moves the monitor up and down the ballerina is presented from head to toe, and as the forklift truck rotates the ballerina also appears to turn. In this way the monitor functions as a window that gradually reveals the virtual presence of the ballerina who is dancing in the same axis as the rotating forklift truck. Also visible inside the motor compartment of the forklift truck is a small rotating ballerina figurine in front of which a video camera moves up and down. This mechanism is electronically synchronised with the movement of the forklift itself and provides the closed circuit source for the video image of the ballerina that is seen on the monitor screen. Disappearance evokes and celebrates the memory of the ballerina on a music box (a first generation robot) and generates her virtual reconstruction to the extent that the machinery of reproduction itself now incarnates her pirouettes.
video

DUMBTYPE

LOVERS
Computer-controlled, five-channel video/sound installation with five video projectors, eight-channel sound system, and slide projectors […] As an image, a pair of lovers often suggests a castle of exclusion. With the sexual liberation of the last few decades, the word now has more to do with physical coupling than with the sublimity of “true love.” AIDS has added a new dimension of wariness to this pairing. The life-size dancers in Lovers are drained of life. Projected onto the black walls of a square room, the naked figures have a spectral quality. Their movements are simple and repetitive. Back and forth, they walk and run with animal grace. Their actions become familiar over time, so that it is a surprise when two of the translucent bodies come together in a virtual embrace. These ostensible lovers–more overlapping than touching–are not physically entwined.

Diana Thater

“Science,Fiction”

Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. Natural diversity, wildlife, and conservation have been persistent themes in the artist’s work, and she has dedicated herself to an examination of the varied kinds of relationships humans have constructed with animals. While her in-depth studies of ecosystems and animal behavior propose observation as a kind of understanding in itself, her ethical position is implicit in the work, which, while subtly political, provides views of the sublime in all its incarnations—stunning, beautiful, and simultaneously terrifying.

PHILLIP STEARNS

فيليب ستيرنز
Fragmented Memory

As electronic media (digital or analog), images, video, and sound become reduced to signal—a manifestation of some order defined within a certain system—Light and Sound themselves become raw materials for reconstituting electronic signals back into physiological experience.

Francis Alÿs

Tornado
“Over the last decade Alÿs made recurrent trips to the highlands south of Mexico City to chase, video camera in hand, the dusty whirls whipped up by the wind in the burnt fields at the end of the dry season. Rumor has it that the genesis of this project was, in fact, a comic quid pro quo: Alÿs overheard a conversation where friends were talking about Don Quixote fighting windmills (in Spanish, molinos de viento), but he understood instead tornadoes (remolinos de viento). As in Cervantes work, Alÿs’s intent to penetrate the peaceful zone in the epicenter of the tornado illustrates a condition where ‘the vanity of the action is paired with the absolute necessity.” Félix Blume

bernd hopfengaertner

BELIEF SYSTEMS
Facial micro expressions last less than a second and are almost impossible to control. They are hard wired to the emotional activity in the brain which can be easily captured using specially developed technological devices. Free will is now in question as the science exposes decision-making as an emotional process rather than a rational one. This ability to read emotions technologically result in a society obsessed with their emotional reactions. Emotions, convictions and beliefs which usually remain hidden, now become a public matter. “Belief systems” is a video scenario about a society that responds to the challenges of modern neuroscience by embracing these technological possibilities to read, evaluate and alter peoples behaviours and emotions.

Stephen Hilyard

Waterfall
video art
FILE FESTIVAL
Waterfall presents the viewer with a single static shot of a majestic waterfall. Over the course of the piece a number of diminutive figures walk slowly into the shot on the gravel bar at the bottom of the falls. They have come to pay their respects to the waterfall, we might call them pilgrims – we might call them tourists. Their slow-motion performances appear to be a mixture of the comedic and the devout.

Albert Merino

The Present Condition

The landscapes of ‘The Present Condition’ derive from a journey of more than 15,000 km by land by the artist between the two geographical extremes of South America. The video is suffused with a surreal atmosphere, where real and imaginary spaces intersect. Concepts such as human intimacy, desire, work, the savage capitalism that builds cathedrals in the desert, the perverse bureaucracy and the construction of the border wall are just some of the elements that are mixed in a striking and suggestive mosaic of images.

file sp 2019 videoart