ŽIL Julie Vostalová

ZIL

“DEVELOP A NEGATIVE INTO A POSITIVE PICTURE”

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Phygital way of designing that captures a momentum of transition between digital and physical worlds.
Digital and sustainable fashion with respect to materiality propose no-waste patterning that uses the technique of cut-ups to be assembled into a garment. Inspiration comes from the process of deconstructing historical garments and unexpected assemblage.

Navid Navab

Aquaphoneia
Aquaphoneia is an alchemical installation centred around the poiesis of time and transmutation of voice into matter. A large horn floating mid space echoes the ghosts of Edison, Bell, and Berliner’s machines. But unlike early recording, herding sound energy to etch pressure patterns in solid matter, this odd assemblage transmutes voice into water and water into air. Disembodied voices abandon their sources to cross the event horizon of the horn. Estranged, the schizo-phone falls into the narrow depths of the bell, squeezed into spatiotemporal infinity, calcinated, liquified and released: The aqueous voice then flows into three alchemical chambers where inner time is surrendered to the tempi of matter: unbound, yet lucid and sound.

Jeppe Hein

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
Distance

An immense circuit, conceived as a graphic composition, is extended across a forest of fine metal pillars. Arabesques, spirals and nodal interconnections support a track for a hundred or so white balls, razing the ground or very high up in the air. An infrared sensor detecting the arrival of each visitor triggers the propulsion of a ball, which then journeys through the vast visual and sonic landscape. The installation draws on different sources evoking a primitive industrial imaginary, such as the machines of Fritz Lang’s Metropolis and Tinguely’s assemblages, and the fairground universe of roller coasters and pinballs.

YUNCHUL KIM

Impulse
The Cascade Project explores matter by capturing the pattern of muons: i.e. electrically charged subatomic particles. It does so through an installation comprised of three live elements: a muon detector; a complex assemblage of pumps; and an arrangement of tubes through which fluid flows. When muons are detected, a light and connected pumps are activated, triggering the movement of an uncanny, viscous fluid through the sculptural system.

Adam Basanta

the sound of empty space
The sound of empty space explores relationships between microphones, speakers, and surrounding acoustic environments through controlled, self-generating microphone feedback. Amplifying and aestheticizing the acoustic inactivity between technological “inputs” and “outputs” – stand-ins for their corporeal correlates, the ear and mouth – the notion of a causal sound producing object is challenged, and questions are posed as to the status of the ʻamplifiedʼ. By building flawed technological systems and nullifying their intended potential for communication, the ear is turned towards the empty space between components; to the unique configurations of each amplifying assemblage.

ISA GENZKEN

Иза Генцкен
Genzken’s work has been part of the artistic discourse since she began exhibiting in the mid-1970s, but over the last decade a new generation has been inspired by her radical inventiveness. The past 10 years have been particularly productive for Genzken, who, with a new language of found objects and collage, has created several bodies of work that have redefined assemblage for a new era. These groups of sculptures range from smaller, diorama-like works to room-filling installations.

SAMANTHA DONNELLY

Саманта Доннелли
Samantha Donnelly’s practice is concerned with breaking down subjects and reconfiguring them in new constellations. Bringing together appropriated ephemera and quotidian materials such as magazines or cut-out photographs to produce assemblages, Donnelly reworks material remnants from various areas of contemporary culture, allowing them to dialogue and resonate within the same piece. By drawing our attention to surface and formal elements such as composition and colour, Donnelly’s work often references art history, particularly Modernism and the Baroque.

Amy Stephens

Against expectations
Amy Stephens’ work is fundamentally sculptural in both its form and content, taking for its starting point the tactile and expressive qualities of a range of materials. Contrasting the angularity of wood and metal with the soft tactility of fabric and flock, her assemblages occupy a space between the abstract and the associative, and between seduction and control.

Samantha Donnelly

Саманта Доннелли
Samantha Donnelly’s practice is concerned with breaking down subjects and reconfiguring them in new constellations. Bringing together appropriated ephemera and quotidian materials such as magazines or cut-out photographs to produce assemblages, Donnelly reworks material remnants from various areas of contemporary culture, allowing them to dialogue and resonate within the same piece.

big ARCHITECTS

المهندسين المعماريين كبيرة
큰 건축가/
אדריכלים גדולים
isenberg school

Developed in collaboration with boston-based practice goody clancy, BIG’s design seeks to consolidate university departments currently located across the campus. With the goal of enhancing the isenberg school’s reputation, the scheme will house the entirety of ISOM within one coordinated assemblage of buildings. A flexible configuration allows for the school’s future growth, accommodating both executive in residence programs and experiential learning.

sarah braman

Confort Moderne
Braman has a penchant for seeing the most common of objects—desks, cushions, file cabinets, tents—through the eye of an outsider. She extracts an unremarkable portion of the world, makes a few quick alterations, and then presents something fresh and unexpected. It’s a sleight-of-hand move that characterizes great assemblage, and Braman does it using a painter’s transformative touch.

CRYSTAL PITE

Dark Matters
Kidd Pivot Frankfurt RM

Le spectacle « Dark Matters » de Crystal Pite qui aura lieu au Toboggan les 15 16 et 17 mars intègre elle-même la marionnétique ou l’art de manier la marionnette. Plus précisément, pour son spectacle la technique reprise par la compagnie Kidd Pivot est le Bunraku.

On vous parle chinois ? Japonais en fait plus précisément ! Cet art bien singulier a fait son apparition au XVIIeme siècle dans la région d’Osaka. Avec le nô, le kabuki et le kyôgen, c’est une des quatre formes du théâtre classique nippon. Il est issu de l’assemblage de deux traditions : le Johruri, qui est l’art de raconter des histoires traditionnelles sur un fond musical, et la marionnette, présente depuis le XIème siècle au Japon.

Pour se pratiquer, le Bunraku utilise des marionnettes de taille presque humaine. Plusieurs hommes sont nécessaires pour manipuler une marionnette de ce type. Pour lui donner vie, ils actionnent ce qu’on appelle des contrôles ou baguettes sur ses différentes parties du corps. C’est un travail qui nécessite beaucoup de concentration et d’exercice car si l’accord entre les montreurs n’est pas bien orchestré, le jeu de la marionnette ne sera pas fluide.

Harm van den Dorpel

assemblage chain

CLÉMENT BAGOT

aeronef

“Um die Arbeit von Clément Bagot vollständig zu erfassen, muss man von seiner Zeichenpraxis ausgehen. Eine Praxis, bei der das Streben nach epidermaler Beschreibung konvergiert, indem sie die Bemühungen um die Konstitution eines” Textur “-Begriffs verbirgt, der auch den Titel von ausmacht eine der Serien des Künstlers – und eine demiurgische Versuchung durch die Konstruktion von Universen, deren Darstellung durch eine imaginäre Kartographie verläuft. Indem die Zeichnungen “die Haut des Ortes” in der Art eines mentalen Ausmaßes zeigen, das man untersuchen möchte von Clément Bagot ermöglichen es, seine Werke in Form von Bänden in Bezug auf Porosität besser zu denken. Während er an eine Science-Fiction-Architektur erinnert, erscheinen seine Assemblagen, die aus Materialien wie Holz, Linealen, Pappe, Harz oder Neon bestehen, als das Objekt singulärer Wahrnehmungserfahrungen. An ihren Grenzen, wo der Blick über seine Strukturen kreuzt oder stolpert, können wir von außen wie von innen sehen oder auf der Ma stehen bleiben Illusion durch die Kombination der beiden offenbart. Die Ausstellung in Thonon-les-Bains vereint den grafischen Teil seiner Arbeit und seine „Modelle“ sowie eine vor Ort produzierte Arbeit im selben Raum und ermöglicht es dem Besucher, seine atopischen Räume mental zu bewohnen. “ Tom Laurent

DAMIAN ORTEGA

داميان أورتيغا
达米安·奥尔特加
דמיאן אורטגה
ダミアン·オルテガ
데미안 오르테가
Дамиан Ортега
Cosmic Thing
Mexican deassemblage artist Damian Ortega creates suspended sculpture, diagrams and manuals brought to life, exposing the inner workings and mystery of products and concepts. In the 2003 Venice Biennale, Ortega acheived international acclaim with his breakout hit, “Cosmic Thing,” which reassembled a Volkswagon Bug, the populist car manufactured in his home country. With roots in cartooning and satire, Ortega’s tongue in cheek works exemplify his former craft and present new perspectives to commonplace items. Get a look at several of the artist’s most famous installations here on Hi-Fructose.