balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

Internet of Everything: All Connections
‘Internet of Everything: All Connections’ is a piece of work that connects human, animals, plants, bacteria, environment, compound and equipment using the Internet. It consists of seven parts. One part affects the other by sequence. It doesn’t have a starting point or an ending point in this connection – because they are an interlocking loop structure. The weak bio-electricity of the human body is passed to the bacteria, Proteus. The bacteria starts to vibrate due to the electrical stimulation. Its motion is captured by the microscope and input to Max in real time. Data arising from the change in value in the bacteria movement controls the next part.

Great Chain of Being
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The great chain of being, an ancient philosophical concept, attempted to explain the structures and relationships of the world as a form of hierarchy or set of strata. This philosophical idea is here expressed in the form of the entities that constitute the contemporary world. The philosophers of the past believed that the structure of the world had at its top a god, and that beneath there were angels, animals, plants, and elements. But this conception of the world, as a result of the changes in civilization and culture, resulted in the elements that constitute the world undergoing a transition and sustaining an unforeseen hierarchy. The works of art depict the contemporary structure in the form of robots, machines, people, animals, and virtual or digital entities. Within virtual systems, these entities undergo a process of creation, arrangement, use, disposal and recycling, through which they emerge and disappear. The work depicts the stories emerging from these processes, against the background of a systemically designed landscape akin to a factory.
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Great Animal Orchestra
The Fondation Cartier invited United Visual Artists to collaborate on The Great Animal Orchestra, exhibition that celebrates the work of musician, bio-acoustician and scientist Bernie Krause. Krause has been recording animals for 45 years and has amassed a collection of more than 5,000 hours of sounds  recording of over 15,000 individual species in their natural habitats from all over the world. UVA’s creative approach linked together the various exhibition content elements throughout the basement space — soundscapes, spectrograms and art works — into a cohesive, immersive experience that three-dimensionalises Krause’s recordings and suggests scenes from the natural world. The spectrograms form an abstract landscape, an interpretation of the various global locations and times of day that Krause made the original recordings in a way that envelops the audience and encourages them to linger in the space.

Cloud Face
Humans see figures in clouds: animals, faces and even god. This kind of perception also appears in machine vision. Face-detection algorithms sometimes find faces where there are not any.’Cloud Face’ is a collection of cloud images that are recognized as human faces by a face-detection algorithm. It is a result of machine vision’s error but they often look like faces to human eyes too. Humans, yet, know these are not actual faces. Humans rather imagine faces from the clouds. Here, the error of machines and the imagination of humans meet.

PANGOLIN DRESS

The Pangolin Scales Project demonstrates a 1.024 channel BCI (Brain-Computer Interface) that is able to extract information from the human brain with an unprecedented resolution. The extracted information is used to control the Pangolin Scale Dress interactively into 64 outputs.The dress is also inspired by the pangolin, cute, harmless animals sometimes known as scaly anteaters. They have large, protective keratin scales covering their skin (they are the only known mammals with this feature) and live in hollow trees or burrows.As such, Pangolins and considered an endangered species and some have theorized that the recent coronavirus may have emerged from the consumption of pangolin meat.Wipprecht’s main challenge in the project’s development was to not overload the dress with additional weight. She teamed up 3D printing experts Shapeways and Igor Knezevic in order to create an ‘exo-skeleton’ like dress-frame (3mm) that was light enough to be worn but sturdy enough to hold all the mechanics in place

GoatMan

I tried to become a goat to escape the angst inherent in being a human. The project became an exploration of how close modern technology can take us to fulfilling an ancient human dream: to take on characteristics from other animals. But instead of the ferocity of a bear, or the perspective of a bird, the characteristic most useful in modern life is something else; being present in the moment perhaps.

Anyway I ended up in the Alps, on four legs, at a goat farm, with a prosthetic rumen strapped to my chest, eating grass, and becoming a goat.

Princess of Parallelograms
What will happen when our imagination itself is externalized in machines? Artificial intelligence constructs its own world-truth that is beyond our sensory perception. Generative Adversarial Networks (GANs) use algorithms to synthesize and generate images in a completely new way. These images have almost uncanny aesthetic characteristics, seeming to emerge from an ocean of data, a kind of pixel soup. Rather as if we were observing the emergence of artificial “thought.” The machine learns to understand the “essence” of a thing, be it an animal, the face of a celebrity or a body of text. It is then able to generate new images of this thing, including faces of celebrities who do not exist, mutant animals, or new texts. Eventually, AI will be capable of instantaneously and dynamically emulating all representations. The era of the optical machine and the capture of reality will then be at an end, supplanted by the era of machines that generate their own reality.

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
VOOM PORTRAITS
ISABELLA ROSSELLINI

…Robert Wilson does not portray only famous personalities, such as Isabella Rossellini, Brad Pitt, or Caroline von Monaco, but also unknown people and animals who have until now escaped artistic representation, such as a street dancer or a frog. In precisely these stagings, Wilson’s complex visual and sound languages reach their climax, namely, a celebration of empathy: anonymous people become divas, neutral beings achieve cult status. Wilson’s video portraits thus have a cognitive function. Within the history of portrait painting and photographic portraits, especially staged photography, his staged portraits present not only a pinnacle of accomplishment, but also, first and foremost, a climax that is groundbreaking.

Mindscapes
The BR41N.IO Hackathon brings together engineers, programmers, physicians, designers, artists or fashionistas, to collaborate intensively as an interdisciplinary team. They plan and produce their own fully functional EEG-based Brain-Computer Interface headpiece to control a drone, a Sphero or e-puck robot or an orthosis with motor imagery. Whenever they think of a right arm movement, their device performs a defined action. The artists among the hackers make artful paintings or post and tweet a status update. And hackers who are enthusiasts in tailoring or 3D printing give their BCI headpiece an artful and unique design. And finally, kids create their very own ideas of an interactive head accessory that is inspired by animals, mythical creatures or their fantasy.

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.

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.

“Science,Fiction”

Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. Natural diversity, wildlife, and conservation have been persistent themes in the artist’s work, and she has dedicated herself to an examination of the varied kinds of relationships humans have constructed with animals. While her in-depth studies of ecosystems and animal behavior propose observation as a kind of understanding in itself, her ethical position is implicit in the work, which, while subtly political, provides views of the sublime in all its incarnations—stunning, beautiful, and simultaneously terrifying.

FLORA 2

The animation in FLORA is generated by overlapping sine waves that travel through a string of lines. This wave principle often appears in nature when energy is transmitted through a medium like water, air or simply a rope. It can also be observed in the locomotion of animals and human-beings, in which kinetic energy is transmitted successively through joints.
The FLORA algorithm of is based on the discovery that a simple system of rotating lines can create endless variations of abstract shapes – ranging from curved harmonious lines to edgy and chaotic patterns. The resulting aesthetics combine computational accuracy with an organic playfulness, and tend to trigger diverse associations in the mind of the viewer.

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The Trophy (Animals have no religion)
This work is inspired by Raden Ayu Kartini (21 April 1879 – 17 September 1904), a pioneer in the area of the emancipation of women and education in Indonesia. Through letters she shared her thoughts about the problems of her society which seems still topical nowadays. She expressed the view that the world would be more peaceful if there was no religion to provide reasons for disagreements, discord and offence.

ТОНИ МАТЕЛЛИ
Tony Matelli is one of several artists who have become known for reinterpreting the tradition of hyperrealism in American sculpture. During recent years he has moved away from his earlier depictions of humans and animals towards examining signs of human presence. Using an often hyperrealistic idiom, Matelli describes the more disquieting sides of human beings and human society. His sculptures straddle the boundary between uneasiness and humour: in a number of the works he turns innocence into absurdity, such as when animals or humans are maltreated by various weapons and devices. He was born 1971 in Chicago, IL and lives and works in New York, New York.

The Coming World
The twelve costumes created by Yogyakarta-based artist Mella Jaarsma operate both as an installation and as a set of separate, wearable items. The set comes alive once a week as a part of a performance in which actors wearing the “uniforms” transform into half human–half animals strolling through the Museum and holding each other on leashes.

Sportswoman installation
Born in Kiev, Ukraine in 1961, Kulik graduated from Kiev Art School in 1979. In 1982 he went on to graduate from the Geological Survey College and moved to Moscow in 1988. In Moscow, while developing his own artistic practice, Kulik also became the art-director at the renowned Regina Gallery between 1990-93. In 1996 he was awarded a scholarship by the Berlin Senate and was given the medal ‘The Worthy’ by the Russian Art Academy in 2005. Now an infamous international artist, he won the III Annual Russian National Award for contemporary visual arts Innovation 2007 and the Kandinsky Prize in London at the Louise Blouin Foundation in 2009. In 2009 Kulik came officer of the Order of Arts and Letters, France. A performance artist, sculpture and curator, Oleg Kulik is best known for his work with animals, particularly his violent performances where he assumes the character of a dog. Channeling specific cultural discontent through his performances at a time of rapid change in Russia, Kulik’s work has continued to provoke and unsettle audiences globally.

ТОНИ МАТЕЛЛИ
arrangement
Using an often hyperrealistic idiom, Matelli describes the more disquieting sides of human beings and human society. His sculptures straddle the boundary between uneasiness and humour: in a number of the works he turns innocence into absurdity, such as when animals or humans are maltreated by various weapons and devices. He was born 1971 in Chicago, IL and lives and works in New York, New York.

Aguado
Argentinian Larissa Haily Aguado is collaging in the digital age. Still assembling manually from found materials, the trained artist and designer creates enchanting compositions through the the mixing of various motifs, fused with surrealism and an unmistakable humorous quality that makes you stop and think. These dreamlike collages mix inanimate objects, nature, fashion and animals, with other seemingly random elements. However, they may not be so random.

Мэнди Грир
曼迪·格里尔
Dare alla Luce
“The immensity of the installations push my own body’s endurance, as I grind up piles upon piles of thriftstore flotsam and jetsam, a remaking into the image of revamped mythological story, amped up on glitter and beads. I wade through fairy tales, archetypes, mythology, allegory and folk tales looking for moments that coincide with my own experience of everyday life, where animals perform us. These narratives are, after all, the ordinary human dramas that perpetually reoccur, until they become mythos.”

Aurelia 1+Hz / proto viva sonification
via highlike submit
Project ‘Aurelia 1+Hz / proto viva generator’ addresses the possibilities of coexistence of animals and machines. In contrast to robots, which are driven by digital artificial intelligence, the project uses a live organism to process the “aliveness” of a simple machine.

manimals

Der alte chinesische Tierkreis besteht aus einem Zyklus von zwölf Tierzeichen, die mit Geburtsjahren verbunden sind. Sie sind: Ratte, Ochse, Tiger, Kaninchen, Drache, Schlange, Pferd, Schaf, Affe, Hahn, Hund und Eber. Es wird angenommen, dass eine Person Verhaltens- und Persönlichkeitsmerkmale, manchmal sogar körperliche Merkmale, in Bezug auf das Tierjahr aufweist, in dem sie geboren wurde. In den zwölf Porträts der Serie „Manimals“ interpretiert der Künstler Daniel Lee den chinesischen Tierkreis in der Gegenwart Begriffe durch Computermanipulation von fotografischen Bildern. Jedes Porträt repräsentiert das Tierzeichen dieser Person. Die “Manimals” -Serie besteht aus zwölf 24 “x 30” -Farbfotos. Die Originalbilder wurden mit Ektachrome in einer Mittelformatkamera fotografiert, dann digital konvertiert und mit der Adobe Photoshop-Software auf einem Macintosh Quadra 950 neu angeordnet.

孙原和彭禹
ВС Юань и Пэн Юй
Old persons home
Sun was born in Beijing and Peng in Heilongjiang. Sun and Peng are contemporary conceptual artists whose work has a reputation for being confrontational – they have previously used live animals in their installations. As their contribution to the 2005 Venice Biennale, the duo invited Chinese farmer Du Wenda to present his home-made UFO at the Chinese Pavilion. They won the Contemporary Chinese Art Award in 2001. Their 2009 solo exhibition, “Freedom”, at Tang Contemporary in Beijing, was seen by some critics as a memorial to the Tiananmen Square incident. The installation featured a large fire-hose hooked to a chain that erupted water spray at a distance of 120 meters.