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Ting-Jung Chen

Side Walk
By performing non-material and material elements in poetic arrangements within temporal related spaces, Ting-Jung Chen discusses the tension between the subjectivity and the objects. By studying Today’s phenomena and reproducing “human’s relationship with cultural and industrial artifacts” in the works, she demonstrates in her aesthetic practice a critical approach to “transformed identity” and its makeshift dwelling.more

zach blas

sanctum
Zach Blas(United States、1981)の作品は、テクノクラート社会の限界と基盤を描くことを目的として、視覚言語の慣習、価値体系、デジタル技術に内在する力のダイナミクスをさまざまな文脈で分析、調査、配置しています。 。 彼の分析とデジタル文化への反映のために、彼は映画、彫刻、執筆、パフォーマンスなど、さまざまな表現形式を使用しています。 ブラスはブラックユーモアと理論的研究に取り組んでおり、彼の最も顕著な影響の中には、神秘主義の伝統、サイエンスフィクションのジャンル、ップカルチャー、クィアの美学があります。

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sanctum

The work of Zach Blas (United States, 1981) analyzes and explores the dynamics of visual language practices, value systems, and the forces inherent in digital technology in a variety of contexts, with the aim of depicting the limits and foundations of technocratic societies. I have placed it. .. For his analysis and reflection in digital culture, he uses a variety of forms of expression, including film, sculpture, writing and performance. Brass works on black humor and theoretical research, and among his most prominent influences are the mystical tradition, the genre of science fiction, pop culture, and the aesthetics of queer.

 

Random International

Presence and Erasure
Presence and Erasure is a portrait machine that explores the reality of automated facial recognition and how people relate to their self-image, instinctively and emotionally. Within a given spatial domain, the artwork constantly scans for faces in the vicinity and photographs them. When the artwork’s algorithm detects a certain quality within a photograph, this image is temporarily printed at large scale by exposing a photochromic surface to light impulses. Each automated portrait remains for little more than a minute, before gradually dissolving into blankness. RANDOM INTERNATIONAL began to combine transient mark-making with automated portraiture early on in their practice, in 2008. Presence and Erasure marks the latest development in this body of work and assumes a minimal, industrial aesthetic that references their earliest studies on this theme. The physical impact of facial recognition and machine vision is emphasised by the exposure of the printing process itself, contrasted against the aesthetic of the high resolution portraits generated. RANDOM INTERNATIONAL intend this as a counter to the perception of surveillance footage as always being low quality, aiming to create a deeper reflection on the nature of surveillance today as well as the resounding cognitive and emotional dissonances.

Rothschild Eva

Cages
Rothschild’s practice involves both conceptual and socio-political ideas alongside traditional approaches to making sculpture. Through an investigation into form and materiality, her works balance, stack, wrap and knot materials around geometric shapes and structures – such materials that often appear to transcend their physical limitations, hover between representation, symbolism and actual form. By deliberately destabilizing physical and visual characteristics in her work, Rothschild not only questions the aesthetics of art, in particular minimalism, but also those of belief in social liberation and spiritual movements.

LEAH SCHRAGER

Sunset Blvd
Leah Schrager is a digital artist and online performer. She is the model, photographer, artist, and marketer in/of her images. Her visual works apply a painterly aesthetic to bodily forms and often draw their material from her conceptual online practice. Her online performances are @OnaArtist (Instagram 3m) and Sarah White (The Naked Therapist). With these performances, Schrager explores themes of sexuality, representation, and distribution. Her practice is situated in a contemporary hotbed of female (in)appropriateness, arousal, celebrity, fandom, and commercialism that seeks to explore female biography and labor in today’s global society.

Leah Schrager

Infinity Selfies
Leah Schrager is a digital artist and online performer. She is the model, photographer, artist, and marketer in/of her images. Her visual works apply a painterly aesthetic to bodily forms and often draw their material from her conceptual online practice. Her online performances are @OnaArtist (Instagram 3m) and Sarah White (The Naked Therapist). With these performances, Schrager explores themes of sexuality, representation, and distribution. Her practice is situated in a contemporary hotbed of female (in)appropriateness, arousal, celebrity, fandom, and commercialism that seeks to explore female biography and labor in today’s global society.

Marcius Galan

Empate
Marcius Galan explores the metaphorical capacities of space and our relation to it through his wide- ranging practice which includes installation, sculpture, photography and video. With a recognisably minimal aesthetic, Galan employs abstract geometry to delineate the political and social implications of his chosen environments, deconstructing the codes of objects established through everyday use. Whilst these configurations are always executed with graphic simplicity, Galan’s works are in fact complex material experiments that interrogate the functions, limits and frontiers of space and by extension, the socio-political systems which reside therein

Jessica Eaton

ジェシカ·イートン
杰西卡·伊顿
polytopes

Jessica Eaton’s photographs dissect chemical and optical phenomena, the materiality of film, and the language of light itself. Eaton came to international acclaim through her Cubes for Albers and LeWitt (commonly referred to by the acronym cfaal)—a series of vibrant photographs that deconstruct her studio practice. Like the majority of Eaton’s works, these optically charged images are made by taking multiple in-camera exposures of common studio supplies. Through her abundant use of traditional analog photography practices—such as colour-separation filtering and in-camera masking—Eaton imbues her large-format images with an aesthetic more reminiscent of the paintings and drawings of hard-edge geometric abstraction than the photographs of traditional studio work.

MICHAEL BUHLER-ROSE

Camphor Flame on Pedestal
Michael Bühler-Rose’s practices on multiple platforms influence his production as an artist. He has described his subjects as “theatrical cultural realities” and “feats of representation through place and displacement.” Bühler-Rose uses western painting styles: still lifes, landscapes, portraits, to play with previous political notions of Hindu and Indic aesthetics: representations of gods and goddesses, incense, flowers, or the saris or bharatnaytam outfits worn by young women of European descent who live in a Hindu community in Florida.

TOBY ZIEGLER

Encompassing painting and sculpture, Zeigler’s practice takes its starting point from the digital. His works often begin as computer-constructed images, which are then painstakingly transformed by hand onto canvas or into three-dimensional forms. The geometric aesthetic contrasts with the organic subject matter of landscapes, skies and animals; the use of computer programming speaks to a contemporary condition of understanding and interacting with the world through technology.

Yoshi Sodeoka

袖岡由英
13-compositions #10
gif

Yoshi Sodeoka is an artist based in New York for over two decades, whose work is characterised by his neo-psychedelic aesthetic and exploration of multiple media and platforms. Primarily comprising of video, GIFs and print his practice also simultaneously inhabits the world of fine art, music, publications, and advertising.more

Tobias Stretch

Craco

Tobias Stretch channels the beauty and melancholia of Hauschka’s single “Craco” in his uncanny video filmed in Philadelphia’s answer to Brooklyn’s High Line, Reading Viaduct Park. With music videos for Radiohead, Crystal Fighters and Christopher Bono to his name, the Philly-based animator is known for his distinct aesthetic and method, pairing landscape photography with life-size stop-motion puppets. “I thought right from the beginning when I saw Tobias’s work that it has a mixture of analog and handmade elements and a surreal atmosphere. In my music you have similar elements,” says Hauschka himself, aka the German pianist and composer Volker Bertelmann, who headline’s London’s Union Chapel tonight as part of his European tour. Although best known as a 21st-Century protagonist of the prepared piano practice championed by John Cage, Bertelmann “left all the preparations at home” in order to work with a pure sound on this track. Named after the Italian ghost town, “Craco” is taken from his entropy-laced album Abandoned City and played to Stretch’s own fascination with urban decay. “The music was there beforehand, but I had a bowl of music and a bowl of names and I tried to pair them up. I think the music sounded not only like an abandoned place but also like a nostalgic place and that’s why I thought it was a great match.”

 

JAIME E OLIVER

Silent Percussion
File Festival
The “Silent Percussion Project” (SPP) consists in building a set of computer musical instruments that use human gestures to control sounds, composing and performing with them in an attempt to re-incorporate the body in music performance practice. The “SPP” is a response to the question: what kinds of musical instruments does live computer music performance need? To answer this question it researches the aesthetic qualities and language of non-live electronic music, action-perception systems and new media theory to experiment new ways of bridging between gesture and sound. In that sense, the “SPP” looks to address the problem of sound control by introducing new sensing techniques that take advantage of our sensorimotor capabilities. The Silent Drum and MANO instruments analyze shapes made by hands and transform them into multiple streams of continuous data. These streams, or variables, are directly applied to sound control, avoiding the key paradigm. Continuous data is analyzed to extract discrete features of the signals. The variables resulting from analysis are interdependent, that is, changes in one result in changes in the others, creating complex systems that the performer learns by experimentation.

EDUARDO SRUR

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.

LORENZO OGGIANO

Quasi-Objects

ll works are printed using pigment-based inks on Hahnemühle archival paper, variable dimensions, edition of 3+1 ap.
“Quasi-Objects” is an art project consisting of 3d generated videos and prints, a practice of “organic re-design” – started in 2003 and still in progress – that aims to stimulate thought and dialogue on the progressive relativisation of natural forms of life as a result of techno-biological evolution.“Quasi-Objects” regards data actualization, the production of biologically non-functional organisms and ecosystems as transient output of an operative practice: aesthetics of process.
“Life is a real and autonomous process independent from any specific material manifestation.”