The Forgettable Art Machine

FILE 2024 | Installations

International Electronic Language Festival

The Forgettable Art Machine is an artificial intelligence-driven video installation. When facing the panel, the public has their image captured, starting a cycle of analysis, creation and destruction. From this data, a composite emerges, slowly transforming the visitors’ image into a generative visualization. Once the cycle is complete, the composition is deleted, waiting for a new audience to be captured.

Bio

Matthias Oostrik works at the intersection of digital art, installation art, cinema and architecture. His works establish unpredictable relationships between people and their surroundings. Using digital technology, his installations allow visitors to reshape their environment and their relationships with each other. Oostrik collaborates with renowned professionals and, above all, with his audience, who often become an integral part of his work.

Credits

Co-production: Zester
IA Music: Than van Nispen

Cloud Pink
FILE FESTIVAL

The installation invites participants to “touch the pink clouds” drifting on a giant fabric screen suspended in the air.
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.

2°C
2°C is a unique AI generated art installation imagined through the mind of a machine. Utilising machine learning algorithms trained on thousands of archival images of geometric structures of man made cities and naturally occurring organic corals forms, the AI takes this learned data to visualise an otherwise unseen coral city. 2°C is about coral bleaching, one of the phenomenon mainly caused by rising sea temperature brought about by climate change. To prevent the massive, irreversible impacts of ocean warming on the coral reefs and their services, it is crucial to limit the global average temperature increase to below 2°C above pre-industrial levels.

Nature Morte
Nature Morte focuses on Nauman’s long relationship to his own studio, a variation on his four unique multi-projection videos, Mapping the Studio (2001). Three viewing stations, each consisting of an iPad linked to a wall-sized projection, provide an interactive exploration of the 3D studio space. Only now the artist is absent, and the participant becomes performer as he/she manipulates the large scale video projections on an iPad using touch control. The participant is free to navigate anywhere throughout the space, selecting broad vistas or individual objects. Using a hand-held 3D scanner, Nauman recorded hundreds of images that allow participants to select an object and locate close-up anything found there, and further reorient the image to see an object from above and below, and at times inside-out. The resulting mobility intensifies the experience of the viewer/performer. Presenting a static, but immersive re-creation of his studio space, Nauman’s pieces once again play at the tenuous lines between the body and space, perception and physical material.

Erebeta
« Erebeta » drives us on a vertical jump above the city. We ricochet on the pavement, twirl around the buildings and pass through streets. This bouncing point of view on modern Japan is accompanied by the traditional Kuroda Bushi music.

POPPY
FILE FESTIVAL SÃO PAULO
As a giant poppy flower, this piece of tarpaulin unfolds itself above the viewer to show an elegant dance of waves and curls while within this dance a violent battle emerges between gravity, friction and centrifugal forces.

База

Объект «База» реализован во время работы художника по приглашению Министерства культуры Франции в ателье Кольдера в городе Саше. Девятиметровая горизонтальная труба, заполненная водой, образует тоннель для движения черной подводной лодки, которая, двигаясь по принципу троллейбуса, улавливается в крайних точках специальным устройством. Приподнимаясь над водой, на пропеллерах лодка поворачивается в обратную сторону и подобно хамелеону изменяет свою окраску, превращаясь в разноцветную и красивую. После погружения в воду лодка опять чернеет и стремительно продолжает движение

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Base

Object “Base” was realized during the artist’s work at the invitation of the Ministry of Culture of France in the atelier Colder in the city of Sachet. A nine-meter horizontal pipe, filled with water, forms a tunnel for the movement of a black submarine, which, moving according to the principle of a trolleybus, is caught at the extreme points by a special device. Rising above the water, on the propellers, the boat turns in the opposite direction and, like a chameleon, changes its color, turning into a multi-colored and beautiful one. After immersion in the water, the boat turns black again and continues to move rapidly

American Museum of Natural History
Richard Gilder Center for Science, Education, and Innovation
“We uncovered a way to vastly improve visitor circulation and museum functionality, while tapping into the desire for exploration and discovery that is so emblematic of science and also such a big part of being human. Upon entering the space, natural daylight from above and sight lines to various activities inside invite movement through the Central Exhibition Hall on a journey toward deeper understanding. The architectural design grew out of the museum’s mission.” Jeanne Gang

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

Midtown Flutter
Midtown becomes a flattened, uniform construct for this play of texture, rhythm and interruptions.My installation is inspired by the concept of architectural relief (a technique where the sculpted elements remain attached but raised above the background plane). Audiences experience a gradual shift in the appearance and depth of the installation from a flat image to a three-dimensional view with protruding geometric shapes.

As above
As Above is a short film exploring the tight link between the microscopic world and immensity of the universe. Illustrating our universe’s never ending dance of destruction and creation, in which life can emerge. As Above was made of one single shot filmed on the 8mm2 (0.3 square inch) surface of a chemical reaction. The environment in which we live, is at the constant mercy of the ever changing flow of planets, stars and galaxies… As well as the composition of the microscopic world. “As Above” is an invitation to contemplate the beauty of this perpetual movement of which we are part of… And perhaps invite the viewer to reflect on his position in the universe and the preciosity of life.

One Two Three Swing!
One Two Three Swing! challenges society’s apathy towards the political, environmental and economic crises of our age. The installation is experienced in three states: apathy, production and movement. The state of apathy compromises a large pendulum suspended by a 20 metre cable from ceiling and swinging above a 770 square metre carpet in a colour scheme inspired by British currency. Occupying the far end of the hall is the state of production, a factory station where swing seats are assembled, stamped and stored prior to distribution and use. Emerging from the state of production, an orange line formed of sets of interconnected, three-seated swings invite and frame the movements of users.

LUMEN
LUMEN is an artwork which expresses our ever changing relationship and perception of space and time. The sculpture will be installed in Taiwan in 2022. It expresses in form, light and sound the ever changing star-scape above Taichung. Using a live NASA feed from the sun, a bespoke light and sound system will express the live energy of the sun and the real time positions of the stars above Taichung on and in the sculpture.

Two Hundred and Seventy
Through the combination of an everyday material with precise technology the mixed media installation fills the whole columned hall from the 19th century with its fluid movement and peculiar sound. Concavely arranged and floating above the spectators heads the form of the artwork seems to pass the skylight like the sun’s rays. Subdivided into nine columns, the nearly 70 square metres large piece of art follows a site-specific choreography determined by a program. Its moving surface is made from 270 white garbage bags, being inflated and deflated. In this way shapes and the boundaries of the installation itself start to dissolve. “Two Hundred and Seventy“ is the first installation with an undisguised view behind the scenes and onto the origin of the wavelike and organic movement: 1080 fans, lots of cables and 45 circuit boards

My Whale
There is an impressive space at the front of the ship, with panoramic windshield and hexagonal pattern on the vaulted ceiling, remained from the 80-s, the time, when “Brusov” was constructed in Austria. Standing there gives you the feeling of floating through the reflections of the Krymsky bridge lights on the river, inside a giant whale head. Looking through its eyes, listening to its songs that flow across the brain made of hexagonal cells by the wires hanging down here and there.
With some light and sound we brought this whale to life.
Each piece of the projection onto the cells was cloned from the previous one with a random changes. So each cell behaved differently, pulsating to the rythm of the whale songs. To interract with the whale the visitor could place the phone screen above the black box in the center of the room.

a little death

Despite the broader reference to the traditional pictorial genre of “still life”, disseminated from the Dutch and Spanish painters of the 15th, 16th and 17th centuries, ‘Still life’ from 2001 and ‘A little death’ from 2002 refer especially to the painting of transient elements of the French Jean-Baptiste-Siméon Chardin (1699-1779) to discuss the distortion and inexorability of time, the finitude of life or, above all, the interdependence between life and death. The title makes a direct reference to the expression with which the French philosopher Georges Bataille defined the orgasm: ‘une petite mort‘.

SONNTAG aus LICHT

Sonntag aus Licht takes as its subject our solar system and the relationships of all the planets that orbit the sun. In this opera, the earth and life on it is represented as the result of the union of light and water. These two elements are presented in the first scene, and the rest of the opera celebrates the evolution of life, of plants, animals, humans, and above all this the planets, moons, and heavenly constellations. The opera has a pronounced ritualistic and meditative character, with very little that can be described as dramatic action.

Cloud
The hand-bent steel substructure of the sculpture is covered in a skin of incandescent light bulbs (new and burnt out), and rear-lit from within by 250 compact fluorescent bulbs, pulling a total power of approximately 20 amps (the equivalent of two household outlets  ).Each of these bulbs is attached to a pull-string, allowing viewers to control the illumination of the structure – like lightning in the CLOUD above them.

THE KINEMAX
“Above is the most literal, architectural interpretation of crystals that I could find. It’s a theater,the Kinémax, at an amusement park in France that revolves around the future. The park, Futuroscope, opened nearly 25 years ago and the Kinémax has been an emblem of the park ever since. It’s kind of amazing. The theater, like most of the structures around the park, was designed by Denis Laming.”

top shot helmet
The Top Shot Helmet alters one’s spatial perception. Wearers see themselves from above and must guide their movements and orient themselves from this perspective. The device consists of a round helmet, above which floats a helium balloon attached to the helmet with strings. The balloon carries a small video camera operated by radio signal, which points downward with a wide-angle lens. The view captured by the camera is projected onto a pair of video glasses in the helmet. Wearers of the helmet can only see the image produced by these glasses and must use this to make their way through a given space. By moving the head, the person wearing the helmet can turn and tilt the balloon and camera. A handle on the helmet makes it possible to adjust the height of the balloon and thereby adjust one’s field of vision.

Amos Rex Museum
Amos Rex rethinks the urban park as part of our museum experience. Its structure is built with large concrete domes. This principle is very functional for museum use: it allows long column-free spans and flexible exhibition spaces. The domes contain skylights that introduce natural light into the galleries below as well as carefully selected views of life above. At street level, a new urban square has been created with a unique identity. The domes form an undulating landscape for people to enjoy, especially children. The Lasipalatsi building was restored respecting its valuable 1930´s Functionalist era interiors and details.

オラファー·エリアソン
اولافور الياسون
奥拉维尔·埃利亚松
אולאפור אליאסון
ОЛАФУР ЭЛИАССОН
earth perspectives
The earth as viewed from above the SouthPole, one of nine-part series
The pole is at the heart of the virtually uninhabited continent of Antarctica, a vital ice-covered wildlife haven that is under threat from rapid warming and ice loss.

nhow hotel berlin
Extreme cantilever alert! A four-storey block with a mirrored underside juts out from the top of a Berlin hotel, 25 metres above the ground (photos by Roland Halbe). The huge cantilever comprises the upper floors of the eleven-storey NHow Hotel, which was designed by German architects NPS Tchoban Voss. The end of the cantilever is fully glazed whilst the underside is clad in polished aluminium, creating a mirror that reflects the hotel roof below. Part of the NHow chain, the 310-room hotel contains music facilities that include a ballroom and a sound studio.

SPACE WASTE LAB PERFORMANCE is a unique large-scale outdoor artwork of LEDs and real-time tracking information to visualise space waste above your head on an altitude of 200 to 20.000 kilometers. A real piece of space waste is part of the outside exhibition. Special designed software and camera technology developed in the last year enables the SPACE WASTE LAB PERFORMANCE to be exhibited international, in compliance with strict safety and aviation regulations.

War Room
“There were poppies as far as the eye could see,” says Cornelia Parker RA of her recent trip to Aylesford in Kent. But she is not talking about real flowers. She is recalling a visit to the village’s huge factory that produces paper poppies for Remembrance Day. This led to her new work War Room (2015, above), on view as part of her survey show at the newly refurbished Whitworth Gallery in Manchester.

Chandelier
The Grand Staircase chandelier (above) is comprised of a large 1.2m diameter fresnel lens, rimmed by a white Corian ring, and suspended in front of a rose-gold plated cradle housing 9 high power LEDs. “As the white light generated by the LEDs passes through the lens, a pattern of 9 overlapping rings is created, adorning the ceiling with a unique crystalline rose.”

Waves in Glass
“Waves in Glass” is about the communication between two media rarely combined—folded paper and blown glass. The glass was initially made while blindfold, as shown in the video above, so that the communication with the 2000° material is purely through touch, matching the dominant mode of communication with paper.

雏菊气球
데이지 풍선
デイジーバルーン
DAISY BALLOON is a balloon unit of worldwide balloon artist Rie Hosokai (born 1976) and art director/graphic designer Takashi Kawada (born 1976). Since forming in 2008, they have produced many balloon art works based on the themes of “perception and quality.” Above all, the balloon dresses have fascinated many people through the intricacy of detail that suggests architectural qualities. Their daily fieldwork consists of searching for philosophical themes and interacting with people and objects, but their vision is constantly looking toward achieving essential harmony with their surroundings.

White Noise
“I rework this canvas with a toolkit that includes clouds, reflections, plastic sheeting, cloth-encased figures as well as aperture, shutter speed and artificial lighting. I will photograph from above in order to flatten the perspective[…]” more…

Relicário
The physical structure of the work is white MDF elements slotted together in a dense but open concretion in the centre of the space just above the floor. The piece becomes a white nexus of spiritual energy, a white filigree in a white room hovering near the floor, pile of transfigured bones emanating radioactively into the space.more…

Global Globes

“..In Global Globes (2011), Widauer has collected over 290 globes of all different sizes, years of manufacture and locations and geopolitical variation, putting them together into a mosaic-like map of the world. Global Globes is conceptually designed by the artist as a floor installation, so that the best place to see it is via a live circuit camera installed high above the ‘globe world map’..”

Taipei Museum of Contemporary Art
This building proposal challenges the traditional definition of a museum and the conventional relationship between building and site. The ground floor of the building is reduced to a nominal footprint, enclosing only enough space for basic services, structure and ticketing functions. The ground plane is primarily reserved for exterior public space, including an art park, Hall of Fame, and garden walk. The bulk of the program and building mass are split by the open ground floor. Half of the building is coupled with the earth while the other half hovers in the air. The purpose is twofold; to minimize the damaging effects of extreme local weather by harnessing environmental flows toward productive outcomes and to re-conceptualize the identity of a modern art museum. The manicured roof plane of the below ground program is pocketed with water absorbing vegetation and catchment systems, while the hovering museum above expands to form open atriums, allowing diffuse light to brighten the space and passive airflow to comfortably condition the building.The program of the museum is interconnected. The Contemporary Museum of Art, Children’s Museum of Art and Administration are located within the floating mass. The lecture hall, parking, art resource center, library and classrooms are located below ground. The programs below ground are easily accessible and directly connected through vertical circulation tubes, providing both structural support for the floating mass above and space for movement systems, such as escalators, stairs and elevators between levels. All of the below ground programs are flooded with diffuse light passing through skylights that penetrate the landscape.

As We May Feel
file festival

“As We May Feel” A parody of the 1945 text “As We May Think”, by Vannevar Bush What enduring benefits did science and technology bring to human beings? First of all, science and technology have extended the humans’ control on their material environment, helping them to perfect their food, their clothes, their dwelling, and gave them more security, allowing to live above the level of mere subsistence. Later on, they have permitted a wider knowledge of the biological processes that occur within our bodies, allowing the control of a more healthy and lasting life, always promising an enhancement of mental health. Finally, they contribute to the effectiveness of our communication. We have therefore a reason to live beyond survival — abundant health and efficient communication. And how do we deal with our existential feelings and conflicts? We don’t have time for our feelings, we can no longer ruminate them. We bury them in secret wishes without bigger consequences. Should we care more for our feelings? Negligence has been our way of cleaning our lives of sentimental values. When we cannot sweep them, we zip them and eventually access them to solve conflicts and/or to organize our thoughts. This project offers the access, through a click, to a central that points to a series of paths toward “As we may feel”. The content of this simulation of a phone center has as its aim to create an encyclopedia of existential feelings and conflicts that represent human life in contemporary society. Welcome to our call center!

Scrap Tires

Photographer – Pilot – Aerial Archaeologist
Already in his childhood Klaus Leidorf enjoyed taking photographs from all kind of perspectives – that this is going to be his profession one day he would not think of yet. He studied protestant theology, but realized soon that this is not what he wants to do his whole life. So he changed the subject to pre- and early history.
After his studies he worked at the Bavarian State Office for the Preservation of Historical Monuments and after two years there was the possibility to continue the aerial archaeology for Bavaria. Therefor he got his pilot license and from the late 80ies on, his workplace is several hundred meters above ground in a Cessna 172.

אדוארדו סרור
Boat
Festival Serrinha

Eduardo Srur, from São Paulo, started painting, but stood out in urban interventions. His works use the public space to draw attention to environmental issues and daily life in the metropolises, always with the objective of expanding the presence of art in society and bringing it closer to people’s lives. The city is your research laboratory for the practice of artistic experiences; the public and governments are his target. Srur’s set of works serves as a guide for poorly managed spaces and urban errors. Above all, they are conceptual criticisms that awaken awareness and look at a new aesthetic and understanding of the visual arts.

努维尔
جان نوفيل
ז’אן נובל
ジャン·ヌーヴェル
Жан Нувель
장 누벨
Serpentine Pavilion

The design contrasted lightweight materials with dramatic metal cantilevered structures, rendered in a vivid red that, in a play of opposites, contrasts with the green of its park setting. In London, the colour reflects the iconic British images of traditional telephone boxes, postboxes and London buses. The building consists of bold geometric forms, large retractable awnings and a sloped freestanding wall that stands 12m above the lawn.
Striking glass, polycarbonate and fabric structures create a versatile system of interior and exterior spaces, while the flexible auditorium accommodates the changing summer weather and Park Nights, the Serpentine’s acclaimed programme of public talks and events, which attracts up to 250,000 visitors each summer.
Nouvel’s Serpentine Gallery Pavilion, the architect’s first completed building in the UK, operates as a publicly accessible structure within Kensington Gardens and as a café. The pavilion design highlights the idea of play with its incorporation of traditional French outdoor table-tennis tables.
This 2010 Pavilion is the tenth commission in the gallery’s annual series, the world’s first and most ambitious architectural programme of its kind, which has become an international site for architectural experimentation and follows a long tradition of pavilions by some of the world’s greatest architects. The immediacy of the commission – a maximum of six months from invitation to completion – provides a unique model worldwide.

オラファー·エリアソン
اولافور الياسون
奥拉维尔·埃利亚松
אולאפור אליאסון
Олафур Элиассон
Your Rainbow Panorama

Olafur Eliasson’s dazzling “Your Rainbow Panorama” is a permanent installation on the rooftop of the ARoS Museum in Aarhus, Denmark. The spectacular work of art has a diameter of 52 metres and is mounted on slender columns 3.5 metres above the roof of the museum. Visitors can literally walk through the entire color spectrum viewing the world for the first time in all pink, green, blue and yellow tones.
“Your rainbow panorama enters into a dialogue with the existing architecture and reinforces what is assured beforehand, that is to say the view of the city. I have created a space which virtually erases the boundaries between inside and outside – where people become a little uncertain as to whether they have stepped into a work or into part of the museum. This uncertainty is important to me, as it encourages people to think and sense beyond the limits within which they are accustomed to moving”. -Olafur Eliasson

chuncho
The Forest Creatures

In one live recording of “Chuncho”, she sings a range of over four and a half octaves, from B2 to G♯7. She was able to sing notes in the low baritone register as well as notes above the range of an ordinary soprano. Both low and high extremes can be heard in the song “Chuncho (The Forest Creatures)” (1953). She was also apparently able to sing in a remarkable “double voice“. “Chuncho” is a song of nature through the multiple voices that live in the rainforest