FILEALIVE/ARQUIVOVIVO
online meetings
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The FILEALIVE / ARQUIVOVIVO online meetings, to be held on March 29, 30 and 31, 2021, will include professionals and researchers dedicated to the areas of digital memory, cultural heritage preservation and information technology, present in six round tables, presenting case studies, examples of archives and conservation strategies for organizations that aim the free dissemination and protection of art and technology collections.
The Museum of Faces
Designed to record and tell the stories of the local community and beyond, this futuristic invention by Synarcade Audio-Visuals is an astonishing communal forum of the city at a unique moment of growth and change.
Visitors are invited to approach the work and press a glowing button to make the faces come alive and speak. Then, they can step into a special Video Capture Booth and contribute their own face, voice, and story to become part of the ever-changing Museum.
The Museum of Faces is based on Synarcade Audio-Visuals’ award-winning invention, The Lumiphonic Creature Choir, an eerie mechanical choir that can sing together in unison, beatbox, or recite poetry at the touch of a button. The Lumiphonic Creature Choir has performed to sell-out audiences in Melbourne, Croatia, New York, and at TEDxSydney 2018.
Park Lage
In the installation, an 11m x 15m x 25m orange inflatable that completely covered the historic courtyard, the viewer accesses the interior of the work and observes how the previously known space, or not, was reconfigured by a monochromatic plastic cover, through which only the shapes of a reality that has just become a work are drawn. This work makes visible a space that was previously just the place where things live. A work that the wind, the sun, the rain and the passing of people keeps alive, breathing.
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
The Immortal
A number of life-support machines are connected to each other, circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering.
A web of tubes and electric cords are interwoven in closed circuits through a Heart-Lung Machine, Dialysis Machine, an Infant Incubator, a Mechanical Ventilator and an Intraoperative Cell Salvage Machine. The organ replacement machines operate in orchestrated loops, keeping each other alive through circulation of electrical impulses, oxygen and artificial blood.
Salted water acts as blood replacement: throughout the artificial circulatory system minerals are added and filtered out again, the blood gets oxygenated via contact with the oxygen cycle, and an ECG device monitors the system’s heartbeat. As the fluid pumps around the room in a meditative pulse, the sound of mechanical breath and slow humming of motors resonates in the body through a comforting yet disquieting soundscape.Life support machines are extraordinary devices; computers designed to activate our bodies when anatomy fails, hidden away in hospital wards. Although they are designed as the ultimate utilitarian appliances, they are extremely meaningful and carry a complex social, cultural and ethical subtext. While life prolonging technologies are invented as emergency measures to combat or delay death, my interest lies in considering these devices as a human enhancement strategy.This work is a continuation of my investigation of the patient as a cyborg, questioning the relationship between medicine and techno- fantasies about mechanical bodies, hyper abilities and posthumanism.
SCHRÖDINGER’S BABY
Schrödinger’s Baby(2019/20), TZUSOO alludes to the popular thought experiment devised by Austrian physicist Erwin Schrödinger in 1935. Schrödinger proposed a scenario in which a cat is locked in a box with an unstable radioactive atom that could potentially begin to emit radiation and release a toxic gas. However, there is no way to say with certainty when or indeed whether this will happen without opening the box. The result is a paradox, with Schrödinger asserting that the cat enters a state of superposition that makes it impossible to say whether it is alive or dead.The South Korean artist translates this famous paradox into the reality of her own life, creating a digital baby in virtual space. Based on her inner grappling with potential motherhood, TZUSOO bought the digital model of a developing embryo, refining it according to her own ideas. She is free to determine the sex, skin colour and other characteristics or to dispense with all specifications so as to avoid stereotyping. In Schrödinger’s Baby, TZUSOO thus discuss core aspects of her work including reflection on gender and origin for which she also draws on her personal experience as a South Korean artist in Europe.
Vuslat
Tanabe was born to one of Japan’s most prestigious bamboo pedigrees and is the fourth generation of his family to take the artist name Chikuunsai, meaning “master of the bamboo clouds.” Tanabe works hard to keep his family’s legacy alive by mastering the styles and techniques that the Tanabe family is known for, while also establishing his own original artistic voice.
file sao paulo 2018
“Outrospectre” is an experimental proposal for a medical device aimed at reconciling people with death through simulating out-of-body experiences. In healthcare the majority of efforts and research focus on keeping people alive. The fear and experience of death is a mostly neglected topic. Recent (para) psychological research, however, suggests that the sensation of drifting outside of one’s own body using virtual reality technology could help reduce death anxiety. “Outrospectre” explores the possible application of these findings in hospital surroundings where it could help terminal patients accept their own mortality with more comfort.
This project investigates unanswered questions about mortality and ‘end of life’.
The portfolio of Art Director and photographer Leon Steele, look like something Salvador Dali would have produced, were he alive and working in advertising nowadays. Steele works as a freelance professional, currently collaborating with Art Directors from the most prestigious ad agencies in London (BBH London, most often).
crocheted membrane
‘Crocheted Membrane’ experiments with creating a momentary fiction through fashion artifacts. Starting with the physical needs of one individual human body in an outdoor temperature of 10 degrees Celsius, seven hand-crocheted body forms were produced. The clothing’s texture got thinner or opened up completely on areas of the body that needed less warmth and were thicker where warmth was lacking. In this way, a fundamental change in the aesthetic and function of clothes was displayed. Fixed forms, such as trousers, were recreated into new, unique body forms. Instead of one uniform surface, the textures became alive and inimitable. “Her concept of clothing does not derive in the same way as most fashion design, from shape or historically patterned form with embedded social hierarchy and material richness, but is instead determined by the needs and sensations of the human body – performing in the same way that bacteria populations individually respond.” (Villeré 2014) The resulting fictional artifacts illustrate how we could use knowledge about our unique bacteria population to create a novel layer.