三原 聡一郎
The Blank to Overcome
file festival
Part of the ”blank” project that the artist has been creating since 2011, “The Blank to Overcome” utilizes air pumps, power supply control circuitry, water, solution, glycerin, ethanol and electricity to produce bubbles in the air. The theme of ”blanks” denotes a space for an unsolved ”inquiry” through the perspectives for thinking about the post-3.11 present: how the bubbles are always shifting as a giant cluster, almost without mass or structure, and the facing up to this; and the framework since modernity that has prescribed society, and the ”involved” or the ”other”. From this work debate will surely emerge.

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克服するための空白

アーティストが2011年から作成している「ブランク」プロジェクトの一部である「TheBlankto Overcome」は、エアポンプ、電源制御回路、水、溶液、グリセリン、エタノール、電気を利用して空気中に気泡を生成します。 「空白」のテーマは、3.11以降の現在について考えるための視点を通して、未解決の「問い合わせ」のためのスペースを示しています。泡は、ほとんど質量や構造がなく、巨大なクラスターとして常にシフトしており、これに直面しています。 ; そして、社会を規定してきた近代以来の枠組み、そして「関与する」または「その他」。 この仕事から議論が確実に浮かび上がるでしょう。

ポンプ

VANGELIS
R.I.P
Horizon
In amongst the rings of confusion
Silencing the thought powers one by one
It seems all so incredible
Our own ability to confuse – to sacrifice
To enlighten like a shakespearian play
We foolish and happily hold on to sanity
While all around the pushing feelings
The twisting and turning of our hearts
Displaying an almost indefinable strength
Of purpose – a reason a reason a reason
Where no reasons seems to exist
Yet, as in a vision, a voice transcending
All our imagination, jewel of life
Guiding light heralding a joyous new dawn
Clear and gifted time
Divine nature – super nature
The supreme gift of knowledge and space
In this cacophony of life
Peace will come

Fractal Microorganisms

The skeletons also has the feature of fractals, which often being mentioned when discussing the forms of nature. Both of symmetry and fractals can be generated from one simple structure. Therefore, I decided to write a script that let people draw a random structure, and using the structure to generate a symmetry fractal shape. The fractals have their diameter through the time according to a sinusoid, making them almost like breathing.

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.

Radiant Lines

“People are naturally drawn to light, It’s intuitive. What I want people to feel is a sense of familiarity even though they haven’t seen it before. There’s a sense that it’s pseudo-natural, which I think is why people are drawn to it. It uses crazy technology – there’s a lot of stuff happening – but it doesn’t show it and the result is more humanistic and almost biological.” asif khan

Nervelevers
if “Nervelevers” is anything to go by, Squarepusher’s upcoming album, Be Up A Hello, will be the closest thing we’ve had to vintage Squarepusher in years. This will be welcome news for many fans. Much like the best of Squarepusher’s catalogue, there’s a brilliant live quality to “Nervelevers.” His music often doesn’t sound like a single producer staring into a computer, but more like an incredibly tight jazz band, totally in sync. The track might not feature his virtuosic bass playing, but you can picture him slapping his bass guitar during its frantic acid line. You’re pulled through a chaotic wormhole, with only a brief respite when the glitched jungle drums break down to an almost hip-hop stagger. It’s fast, unpredictable, and most importantly, fun. Only a handful of artists can make music this complex feel like such a good time.

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.

I / II / III / IIII

In I/II/III/IIII, choreographer and visual artist Kris Verdonck transforms the stage into a life-size dollhouse. Four female ICK-dancers – not unlike marionettes – are floating in mid-air, suspended from a huge machine. A solo, a duet, a trio and a quartet follow one another in this choreography of identical movements. A game of surrendering to the machine and at the same time, searching for control. The images evoked by I/II/III/IIII are confusing and ambiguous: the dancers almost look like graceful, fragile swans … but they also remind us of animal carcasses being dragged along, floating angels, falling human bodies and everything in between.

shrink
File Festival
Two large, transparent plastic sheets and a device that gradually sucks the air out from between them leave the body (in this case the artist himself) vacuum-packed and vertically suspended. The transparent tube inserted between the two surfaces allows the person inside the installation to regulate the air flow. As a result of the increasing pressure between the plastic sheets, the surface of the packed body gradually freezes into multiple micro-folds. For the duration of the performance, the person inside moves slowly and changes positions, which vary from an almost embryonic position to one resembling a crucified body.

Flypast Sunset
“In this series of animated artworks, which are essentially slowed down versions of the series Time in Motion, I invite you to experience the passage of moments across a landscape. Perhaps understanding that even though all moments are transient, all moments are equally worthy of our respect because they are parts of a larger whole. Each Time Loop is made manually. I captured every moment across a sunset or sunrise using a digital camera, and manually stitched these moments into Time Paintings. Finally, different sequential time paintings were put together to create a sense of motion  almost imperceptible in some of the works, in the manner of clouds drifting across a sky.” Fong Qi Wei

تويو ايتو
伊东丰雄
טויו איטו
伊東豊雄
도요 이토
Palladian Basilica
This is the imagery evoked by Ito at the Palladian Basilica: “The austere hall has dissolved into a fluid volume, inside which float luminous and almost vital algae for the dozens of visitors who “swim” and group around, like fish in a fluorescent abyss, or in an urban “aquarium” “.

Ikon of Eros

The tempo of the music changes frequently, illustrating love that at times may be almost austere and at other times ecstatic. In the second movement an ethereal female chorus is suddenly punctuated by deep percussion instruments and gives way to an almost erotic middle eastern beat, contrasting a pure spiritual love with a more physical, sensual form.

ماریکو موری
森万里子
Мори, Марико
Tom Na H-Iu
Tom Na H-iu is a three-dimensional glass work almost 3 meters in height. It is networked to the Super Kamiokande neutrino observatory operated by the Institute for Cosmic Ray Research, University of Tokyo, enabling it to interact and respond when the observatory captures a neutrino. On detecting a neutrino, such as those emitted by stars in our galaxy as they die in supernova explosions[…] Tom Na H-iu represents a modern standing stone that conveys the death of a star, meanwhile hinting at the birth that follows – as if to suggest to the viewer that our existence is in resonance with the universe. When we view this work that emits peaceful light amidst darkness, we can project ourselves into the darkness and gain a sense that we are standing quietly in the flow of eternal time.

Fragments

Almost two hundred identical, small mirrors are arranged in a grid to form a flat, homogenous surface. Hung against the wall, the mirrors are closely spaced and apparently static; but they possess the ability to move in harmony with one another. Approaching the artwork, the individual mirrors turn together to face the onlooker, following as he or she moves. The plane of the surface distorts into varying, three-dimensional forms — perhaps a wave, or a curve, or a circle. The reflection becomes fragmented and the apparently inanimate object becomes akin to something organic and alive

Inside
Inside expands on the concepts and scope of its predecessor in wildly creative ways, and it’s so immaculately designed and constructed from top to bottom that it almost feels suitable for display in an art museum. This is one hell of a followup
FILE GAMES 2017

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.

Bad Cat

“A giant cat made of foam and tangerine velvet with a wide, cartoonish, sharp-toothed grimace, almost fifteen feet high, is flipped on its back at the center of the gallery. It’s vulnerable—it looks like it’s yowling—and its shadow is a cut-out wraith of blue carpet.” Erin Schwartz.

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Da Corte often uses surreal imagery and everyday objects in his practice and explores ideas of consumerism, pop culture, mythology, and literature.

Saturn Submerged

Saturn Submerged is part of an ongoing series of infinite boxes that creates an expanded infinite space within itself. The sculpture is composed of multiple mirrored surfaces and LEDs, which are fused to create the illusion of infinite depth and imagery. Mirrors include convex domes and walls; LEDs are programmed to continuously change in randomized combinations of almost infinite colors and sequences based on several variables.

The almost ideal game

Gilles Deleuze about the Ideal Game: we are surprised when he postulates as the first rule: “there is no rule”. Soon, all the other games that have some rule are, for him, partial. That is, products of the ideal game.

A game where there are no rules implies a completely free game creatively. The question to be raised is whether there is a grey region between the ideal game and the partial games, so that the rules established in the partial games could be suspended. This way we could unpartialise the games bringing them closer to the ideal game or some kind of almost ideal game.
If we take the rules of any game, it means it stops to work immediately, except in the ideal game. Therefore, the key question is: how to suspend the rule of a game (Dice games) so that it can continue to work?

FILE FESTIVAL SAO PAULO 2016

Temporary Encampment (Five Blue Solids)

The precarious installations of Nina Canell (born 1979 in Växjö, Sweden, lives and works in Berlin, Germany) could be read as essays on changeability and uncertainty. Hinged upon a fabric of electromagnetics, her communities of objects quietly interact with each other through modest arrangements, balancing careful ambitions to sustain certain frequencies, movements or altitudes. Electrical debris, wires and neon gas establish temporary, almost performative sculptural unions with natural findings such as water, wood or stones, yielding open-ended moments of synchronicity. An improvisational methodology and a flexibility of form highlight Canell’s quest for sculpture, which exists somewhere in between the material and the immaterial, forming and questioning the conductive relations between solid objects and mental events.
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Residual Balance

The type of objects she chooses have ranged from large antlers, brightly coloured cables, old Christmas trees, light bulbs, American basketballs, orange balloons, scientific test tubes and even butterflies. Hardy puts these everyday objects together and transforms them into unusual, almost dreamlike, environments which can be unnerving with their themes of abandonment and desolation.