Liam Young & John Cale

Loop 60 Hz: Transmissions from the Drone Orchestra
A flock of autonomous DJI copters are programmed as aerial dancers and are mounted with specially engineered wireless speakers to broadcast the instruments of the band. Other copters are dressed in elaborate costumes to disguise their form and reflect light across the audience below. Against a score of original compositions and selected tracks from Cale’s seminal career this collaboration with Young imagines the possibilities of the drones as emerging cultural objects. If these technologies are no longer unseen objects overhead, or propelled along classified flight paths but brought into close and intimate relations with us then how might we see them differently. When their transmission fades, when the drones lose their signal and without their protocols for terror and surveillance, do they drop from the sky, do they fall in love or do the drones drift endlessly, forever on loop.

JALOO

Ah! Pain!
Always the fear of losing
Feel the fear of not being you
But now, I know and it hurts
And I will wander until you know too
I’ve always been a bad hero
Always being saved by you
But now that it’s gone
I know my best is gone too
Ah! Pain! Ah! Pain!
Don’t leave me, I beg you, stay
Surrounds me, comforts me, fixes me
Ah! Pain! Ah! Pain!
You were all that was left in me
It’s what makes me alive without you here
I always feel like it will be
Always time erasing you
And now it’s so late
And the longing comes, invades, burns
I always think about you
I always think to myself “What about you?”
And I don’t want to forget you
And the wound doesn’t close, doesn’t close
Ah! Pain! Ah! Pain!
Don’t leave me, I beg you, stay
Surrounds me, comforts me, fixes me
Ah! Pain! Ah! Pain!
You were all that was left in me
It’s what makes me alive without you here, here
Ah! Pain! Ah! Pain!
Ah! Pain! Ah! Pain!
Don’t leave me, I beg you, stay
Surrounds me, comforts me, fixes me
Ah! Pain! Ah! Pain!
You were all that was left in me
It’s what makes me alive without you here

Alex Da Corte

St. Vincent – New York

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New York isn’t New York
Without you, love
So far in a few blocks
To be so low
And if I call you from First Avenue
Where you’re the only motherfucker in the city
Who can handle me

New love
Wasn’t true love
Back to you, love
So much for a home run
With some blue bloods
If I last-strawed you on 8th Avenue
Where you’re the only motherfucker in the city
Who can stand me

I have lost a hero
I have lost a friend
But for you, darling
I’d do it all again
I have lost a hero
I have lost a friend
But for you, darling
I’d do it all again

New York isn’t New York
Without you, love
Too few of our old crew
Left on Astor
So if I trade our ‘hood
For some Hollywood
Where you’re the only motherfucker in the city who would
Only motherfucker in the city who would
Only motherfucker in the city who’d forgive me

I have lost a hero
I have lost a friend
But for you, darling
I’d do it all again
I have lost a hero
I have lost a friend
But for you, darling
I’d do it all again

VÍCTOR ENRICH

فيكتور إثراء
ビクターはエンリッチ
ВИКТОР ЭНРИХ
The artist definitely made a strong impression on the world of visual arts with his concepts. The ideas behind all his illustrations are very strong and full of substances, and manage to grasp the attention of the public from the first second. Aside from that, he also sends other, more subtle messages, regarding his own perspective upon the world, how he deems everything as possible for those who believe and who understand the power of imagination etc. The works of Victor Enrich really are something special, and worth taking a closer look. Without further ado, we invite you to admire the results of his restless imagination, his bold symbolism and his courageous approach to life and the world around us.

Broersen & Lukács

Point Cloud Old Growth
Forest on Location
In the video work Forest on Location, we see the avatar of the Iranian opera singer Shahram Yazdani walking through a forest. One moment, the forest wraps around him protectively, the next moment the trees crumble away into loose pieces of bark, or melt into a static green mass. At the same time, the forest as a whole floats around in darkness, uprooted. It is a forest without a location, except on our screen. The young man’s avatar appears to be wandering around there aimlessly. It is a wonderland that he exits from towards the end of the video, when his body slips straight through the green wall. This finally breaks the spell of the illusory forest, and everything is revealed to be no more than staged decor. But the forest does exist as a real forest, somewhere. This virtual green world is a digital back-up of Bia?owie?a Forest: the last remaining stretch of primeval low land forest that once covered much of Central Europe. Inspired by what the historian Simon Schama wrote about Bia?owie?a in Landscape and Memory (1995), Persijn Broersen and Margit Lukács journeyed to Poland to capture the forest suffused by old-Germanic nostalgia and mythical atmosphere.

CARSTEN HÖLLER

卡斯滕·奥莱
Карстен Хеллер
Slide
“When people are on their way down a slide, they often shout for pure joy. I’m interested in the aspect of letting go. Once you let go, you travel without motivation to some specific place. It’s a very special state of mind. Maybe “happiness” (or “pleasure”) isn’t the right word, but it has to do with relief or even freedom.”

SOOMI PARK

LED Eyelash
The LED Eyelash project is brought into the world from a simple question: Why do women want larger and bigger eyes? Asian women tend to have stronger needs for bigger eyes as a standard of beauty, but relatively few of them are born with naturally big eyes. Those without big eyes can only look for alternative ways to make their eyes look prettier, i.e., larger, by using a repertoire of skills such as putting on makeup and wearing jewelry. Sometimes, the desires for bigger eyes can become almost obsessive, and many women opt for plastic surgery in order to make their dream come true. Soomi calls this, the fetish of Big Eyes. LED Eyelash is a clever product that speaks to many women’s desire for bigger eyes. It features a sensor to turn on and/or off. The sensor can perceive the movements of the pupil in the eyes and eyelids. If you wear it and move your head, LED Eyelash will flicker following your movements. It is as simple to use as wearing false eyelashes and as easy to remove as taking off a piece of jewelry.

David O’Reilly

Everything
FILE GAMES 2017
Everything is an interactive experience where everything you see is a thing you can be, from animals to planets to galaxies and beyond. Travel between outer and inner space, and explore a vast, interconnected universe of things without enforced goals, scores, or tasks to complete. Everything is a procedural, AI-driven simulation of the systems of nature, seen from the points of view of everything in the Universe.

ARNE QUINZE

Арне Куинз
Chaos Life
The composition of a Chaos artwork started as a self-portrait; the representation of what’s going on in his head. But soon a shift occurred towards an enduring research on the definition of chaos in society. Often these artworks are filled with a mass of small wooden sticks attached to each other, looking enormously chaotic. “There’s no chaos, only structure” is a tagline in some of his work expressing his inner self and how he describes his thoughts. To him there is no chaos, everything is structured even in the chaos you find structure. There’s no such thing as chaos in Quinze’s world or at least not in the sense of how society defines chaos. Chaos does exist, as a form of structure. Chaos is irretrievably linked with life. In life everything is a matter of rhythm. Something without a rigid structure is part of the organic order in life.

OMER POLAK

Self portrait with white odor
I started the project as a personal research in odor. At the beginning I tried to experience the world through smells and without them, tried to learn my own smell through designated mask. I “Recorded” Smells in primitive ways and spread them artificially. Then I tried to neutralize my sense of smell by using blurring “White odor” as if I was an anosmic for one day. I created conceptual models for an instrument that would “increase odor”, and for an instrument that will allow you to smell danger/diseases

Cerith Wyn Evans

СЕРИС ВИН ЭВАНС
ケリス·ウィン·エヴァンス
Form in Space…By Light

‘Cerith’s installation sits beautifully within the space, unfolding as you walk through,’ explains Clarrie Wallis, Tate’s Senior Curator of Contemporary British Art. The neon experience builds, from a single ‘peep hole’ ring in the South Duveens, through which you can glimpse swirls of radial light and an imposing octagon in the central gallery. The fractured neon fragments look like frantically drawn sparkler-lines on fireworks night.But there’s method and logic within these celestial scribbles. Hidden in the design are references to a host of highbrow sources, from Japanese ‘Noh’ theatre, to Marcel Duchamp’s The Bride Stripped Bare by her Bachelors, Even (The Large Glass), 1915-23. Don’t worry if you missed them. The beauty of rendering precise (verging on obscure) references in such a celebratory neon explosion allows for multiple – if not endless – interpretations.Each way you look at the sprawling 2km of neon tubing, a different shape or symbol emerges. No small thanks to the elegant way in which the structures have been painstakingly suspended. ‘There were over 1000 fixing points, and obviously we couldn’t drill 1000 holes in the Grade II listed building,’ Wallis explains. ‘We had to work with structural engineers very intensely, so as to be completely happy and convinced that we would be able to remove it without damaging the fabric of the building.’Though it seems too soon to be discussing the installation’s removal, Wallis has a point. It’s a visibly fragile, delicate sculpture – whose impermanence makes it more intriguing. As it is a site-specific sculpture, it can’t be recreated elsewhere. What’s more, because the neon tubes are filled with a constantly moving stream of pulsing, vibrating gasses, visitors will never see the same sculpture twice.

STELARC

drawing with robot arm
“With gene mapping, gender reassignment, prosthetic limbs and neural implants, what a body is and how a body operates becomes problematic. We generate Fractal Flesh and Phantom Flesh, extended operational systems and virtual task environments. Meat and metal mesh into unexpected and alternate anatomical architectures that perform remotely beyond the boundaries of the skin and beyond the local space it inhabits. The monstrous is no longer the alien other. We inhabit an age of Circulating Flesh. Organs are extracted from one body and inserted into other bodies. Limbs that are amputated from a dead body can be reattached and reanimated on a living body. A face from a donor stitched to the skull of the recipient becomes a Third Face. A skin cell from an impotent male can be recoded into a sperm cell. And more interestingly a skin cell from a female body might be recoded into a sperm cell. Turbine hearts circulate blood without pulsing. In the near future you might rest you head on your loved one’s chest. They are warm to the touch, they are breathing, they are certainly alive. But they will have no heartbeat. A cadaver can be preserved forever through plastination whilst simultaneously a comatose body can be sustained indefinitely on a life-support system. Dead bodies need not decompose, near-dead bodies need not die. Most people will no longer die biological deaths. They will die when their life-support systems are switched off. The dead, the near-dead, the not-yet-born and the partially living exist simultaneously. And cryongenically preserved bodies await reanimation at some imagined future. We live in an age of the Cadaver, the Comatose and the Chimera. Liminal spaces proliferate. Engineering organs, stem-cell growing them or by bio-printing will result in an abundence of organs. An excess of organs. Of organs awaiting bodies. Of Organs Without Bodies.” STELARC