高谷史郎
史郎の高谷
La chambre claire
La Chambre Claire (or Camera Lucida) is a show built up from precise, symmetrical movements, inviting spectators to embark on a thought-provoking journey into their most intimate and personal territory. In this, his first solo work as creative artist and director, Shiro Takatani pays homage to the French writer Roland Barthes and his essay on photography, La chambre claire (1980). The result is a performance that blends theatre, the art of movement and installation to compose a great fresco full of subtle, elegant minimalist images that advance towards an aesthetic climax. Reflecting on photography and memory, the production invites us to embark upon an intimate, solitary journey to look inside ourselves and formulate a personal interpretation of what we see.
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La Chambre Claire (oder Camera Lucida) ist eine Show, die aus präzisen, symmetrischen Bewegungen aufgebaut ist und die Zuschauer zu einer zum Nachdenken anregenden Reise in ihr intimstes und persönlichstes Gebiet einlädt. In seiner ersten Soloarbeit als kreativer Künstler und Regisseur huldigt Shiro Takatani dem französischen Schriftsteller Roland Barthes und seinem Aufsatz über Fotografie, La chambre claire (1980). Das Ergebnis ist eine Performance, die Theater, Bewegungskunst und Installation miteinander verbindet, um ein großartiges Fresko voller subtiler, eleganter minimalistischer Bilder zu komponieren, die sich einem ästhetischen Höhepunkt nähern. Die Produktion reflektiert Fotografie und Erinnerung und lädt uns ein, eine intime, einsame Reise zu unternehmen, um in uns selbst zu schauen und eine persönliche Interpretation dessen zu formulieren, was wir sehen.
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La Chambre Claire（またはCamera Lucida）は、正確で対称的な動きから構築されたショーであり、観客を招待して、最も親密で個人的な領域への示唆に富む旅に出ます。この中で、クリエイティブアーティスト兼ディレクターとしての彼の最初のソロ作品である高谷史郎は、フランスの作家ロラン・バルトと彼の写真に関するエッセイ、ラ・シャンブル・クレア（1980）に敬意を表しています。その結果、劇場、動きの芸術、インスタレーションを融合させて、美的クライマックスに向けて前進する繊細でエレガントなミニマリストのイメージに満ちた素晴らしいフレスコ画を構成するパフォーマンスが生まれました。写真と記憶を反映して、この作品は私たちを親密で孤独な旅に乗り出し、自分自身の内部を見て、私たちが見ているものの個人的な解釈を定式化するように誘います。

NO/Escape
Mallorcan artist Bernardi Roig (b. 1965) installs six sculptural works in unexpected interior and exterior spaces, challenging visitors to rethink the definition of the museum. Roig draws parallels between his and Honoré Daumier’s works, both of which offer poignant social commentary. Roig addresses the existential dualities of entrapment and liberation, blinding and illumination, absence and presence. Typical of the artist’s work are the cruel-looking white plaster figures cast from real people, often cornered or crushed against walls or twisting in pain. By including the element of light—whether a single light bulb, neon tubes, or fluorescent lights—Roig’s work blends minimalist forms with highly charged expressions of anxiety and loneliness.

Moon hoon is a Korean architect who also takes the name of “moonbalsso”. Based in Seoul, Moon Hoon is known for its playful and distinctive style of design, which blends art and architecture. Some of the architect’s works include designs that resemble hairdryers, owls and lollipops.

Enlightenment Capsule
“Enlightenment Capsule, which featured a rainbow-colored acrylic lotus blossom set within a space-age capsule illuminated by sunlight. …Enlightenment Capsule blends traditional symbolism with futuristic elements.” Katrina Klaasmeyer

OCULUS
OCULUS: A Spatial Experience Based on the Interaction of Architecture and Media Arts
An audio-visual performance based on a selection of HAS Architects works interpreted by NOHlab and Buşra Tunç
A selection of HAS Architects’ projects is presented in a performance that blends digital technology with spatial design, forming a synthesis between the past and the present within the magical atmosphere of the historical Single- Dome Hall of the Imperial Arsenal.
Taking the Single-Dome Hall as the focal point, the exhibition uses contemporary interpretations to alternate between old and new, whole and fragment, real and virtual, balanced and unbalanced states. Notions of time and space become blurred and the exhibition surrounds the visitors, offering them an unusual spatial experience.

Guerre

A struggle that seems to be of particular relevance today. A metaphorical title, poetry of the line and of colour, that highlights the challenge that each of the parties represents. A kind of symbolic correspondence that flirts with our world, with our history, our human condition. War opens up perspectives of matter, a struggle both real and poetic that blends lines and directions, inscribing the trace, the hue, in the flesh of the dancing body but also in a seductive paradox between line and colour.

Moncler’s Genius Fall 2020
Since its inception, the Moncler genius project has asked designers coming from diverse cultures to create capsule collections inspired by the iconic Moncler puffer jacket. For his collection, london-based designer Richard Quinn visited the retro-futurism of the sixties. With clear influences like stanley Kubrick’s 2001: A Space Odyssey and Twiggy, the collection perfectly blends maximalism, bold colors and couture shapes. Of course, Quinn’s flower prints — part of his design DNA — were not left behind.

OCULUS
Oculus was a site-specific installation designed for Istanbul Design Biennale in 2016, and exhibited in Tophane-i Amire. A selection of HAS Architects’ projects is presented in a performance that blends digital technology with spatial design, forming a synthesis between the past and the present within the magical atmosphere of the historical Single-Dome Hall of the Imperial Arsenal. Taking the Single-Dome Hall as the focal point, the exhibition uses contemporary interpretations to alternate between old and new, whole and fragment, real and virtual, balanced and unbalanced states. Notions of time and space become blurred and the exhibition surrounds the visitors, offering them an unusual spatial experience.

The fibrous texture of tissue, the fuzzy follicles of hair, the string-like strands of veins and the bouncing qualities of flesh and skin all provide a starting point for new techniques and colors. Creating a fashion to mirror our own image, celebrating humankind. Mohair is the fiber that can create our splitting image; a versatile fiber that can translate all of these ideas and more, ranging from silk-like furry yarns to entangled textured blends.

Reface [Portrait Sequencer]

Reface [Portrait Sequencer] by Golan Levin and Zachary Lieberman (2007) is a surreal video mash-up that composes endless combinations of its visitors’ faces. Based on the Victorian “Exquisite Corpse” parlor game, the Reface installation records and dynamically remixes brief video slices of its viewers’ mouths, eyes and brows. Reface uses face-tracking techniques to allow automatic alignment and segmentation of its participants’ faces. As a result, visitors to the project can move around freely in front of the display without worrying about lining up their face for the system’s camera. The video clips recorded by the project are “edited” by the participants’ own eye blinks. Blinking also triggers the display to advance to the next set of face combinations. Through interactions with an image wholly constructed from its own history of being viewed, Reface makes possible a new form of inventive play with one’s own appearance and identity. The resulting kinetic portraiture blends the personalities and genetic traits of its visitors to create a “generative group portrait” of the people in the project’s locale.

CIRCLES
CIRCLES was shown in the yard of the museum at the opening and in Roskilde city in urban space like parks, parking lots, squares etc. Up to three compasses in different sizes were available for passers by and other interested during the performances.Molly Haslund ventures out into the city wearing grey: a grey suit, grey socks and grey shoes so that she blends in with the tarmac and the pavement. She carries a huge pair of compasses much taller than herself. She stops somewhere and starts drawing a white circle on the ground. She completes the first circle and then moves the pair of compasses and starts drawing a new circle that overlaps the first one. She draws a third circle and stands in her grey shoes in the middle of the circle for a moment before snapping the pair of compasses together and moving on.

Leaf House Sydney

Leaf House is building that allows users to be inside and in-the-garden at the same time. It is a self contained cottage forming part of a coastal residence in Sydney; a Pavilion for experiencing Nature. The building integrates the environment and reflects qualities of the landscape: its canopy structure blends into the foliage; its podium base shapes the terrain. The design is characterised by curved copper roof shells resembling fallen leaves and a vine-like structural system channelling dynamic growth inside. Daylight filters through porous roof shells onto a podium deck and the open plan living areas. Views and reflections subtly modulate the surrounding garden through an enclosure of moulded glass. Private spaces offer introspection inside the sandstone podium buried in the terrain. The project entailed design and building roles as methods were improvised to achieve high technical complexity within cost constraints.