SHALLOWS
Projection, variable size
UnTiefen (shallow waters) form the transition from the so-called Bridge Studio at the OK to the attics of the Ursulinenhof. Just as every body of water represents a natural boundary that separates and at the same time connects two shores, this flowing floor projection can also be understood as both: a path and an invitation to seek one’s own position in this transition zone.
Mirror Armor
Being entrapped in narcissism is like a “self-jail”. Placing the mirror armor fixtures over my nude body causes the viewer to see the pixelated and fragmented image of myself. Usually covering, hiding, pretending to be a version of myself on the outside, therefore, “good looking” seems more of decoration or in itself a type of armor suitable for public viewing. Will these mirrors of self reflection cause me to wonder who I am on a deeper level? To discover who I truly am, what I am afraid of, why I waste my life without discovering my inner self. I constantly struggle with how I can break this boundary because I want to wake from this oblivion.
panopticon
“Dream-Image” “represents an artist’s reorganization of his inner world. He evokes the lurking subconscious scenes and demonstrates them at the present, thereby blurring the boundary between realities and dreams, that is, making us unable to distinguish the former from the latter.” Tao Ya-Lun
Array [wave]
Wave depicts a sculptural volume unfolding over time – the Shape of Light seized in perpetual movement. It uses ephemeral and intangible materials – light and sound – and can be traversed by the observer, immersing them into the shapes cast by the undulating light columns. The work creates a malleable experience of scale: it shifts between object and environment depending on the observer’s position inside, outside, or at the boundary of the installation.
INTERFACE I
Interface I investigates the boundary between two interacting systems rendered into the physical. Each system is a compound of motors, strings and elastic bands arranged horizontally. The two units face each other vertically (one on the top, one on the bottom). Each motor of one level (top, bottom) is connected to its opponent with a string, meeting in the center. Both motors pull their string in the opposite direction (like in a tug of war). At the junction of the strings, a mesh of elastic bands connects the string to its neighbours. The mesh couples each element to its surrounding elements in order to achieve a local emergent behaviour.
Vertical Studies
Vertical Studies: Acoustic Shadows and Boundary Reflections; Water Tower Sint Jansklooster In their new collaborative work, Vertical Studies: Acoustic Shadows and Boundary Reflections, Signe Lidén and Espen Sommer invite participants on a journey to a 46-metre-high abandoned water tower in Sint Jansklooster. The tower has been re-imagined as a vertical field-lab where Lidén and Sommer discuss their ongoing research into connections between sound, history, wind and weather. To this end they have constructed a range of special instruments to record and playback sounds in the vertical dimension. The participants on this journey will experience live outdoor vertical studies and a vertical soundscape shaped by Eide and Lidén that ascends the tower’s spiral staircase.
Exponential Urban symphony
Canto’s works are precise and geometric in nature, using boundary lines to delineate spaces where tension can be released. He relies on light and shadows to compose his pieces with reflective effects, sometimes layering moving images with video projector mapping over sculptures to rebirth the pieces into installation art.
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 Coppelia Project
via highlike submit
The Coppelia Project is inspired by the story about a clockwork girl from the 1870 ballet ‘Coppelia’ by Saint-Léon, Nuitter, and Delibes, based on a story by Hoffmann. It also draws the commonplace metaphor of clockwork music boxes, with the little ballerinas that pop up and rotate in front of a mirror when you open the lid. Coppelia is part of the traditional classical ballet repertoire and is performed frequently by ballet companies around the world. It belongs to a small group of enduring stories in Western Culture that directly address the limits of humanity when confronted by our creations. The Coppelia story is unusual in approaching this theme through love and attraction, rather than horror and revulsion, as emphasised by Mary Shelly in ‘Frankenstein’. The Coppelia story deals with some of the issues at the edge of humanity; machines interchangeable with persons, love and attraction confused at this boundary.
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.
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.
Энтони Гормли
أنتوني غورملي
葛姆雷
アントニー·ゴームリー
Event Horizon, Hong Kong
“Event Horizon engages the desire to look up and look again at familiar places in a new way. Within the condensed environment of Hong Kong, the tension between the palpable, perceivable and imaginable is heightened. My intention is to get the sculptures as visible as possible against the sky, allowing each to be seen as a body against light and space, entering in and out of visibility to those walking the streets. The installation should have no defining boundary.”
STORM KING PARK
SOMA is an international collective of architects, designers and creatives established in New York. With its focus on incorporating craft, digital technologies and environmental responsability, the firm’s designs and work have attracted critical acclaim for their boundary pushing nature. more…
laberinto cromatico
Dutch artist Krijn de Koning has created a labyrinthine walkway between brightly coloured walls on a terrace at the Turner Contemporary gallery in Margate, England.
The first public commission in England by De Koning, the Dwelling installation comprises a series of angled walls punctured with doorways and windows that create a trail for visitors to navigate through.Situated on the south terrace of the David Chipperfield-designed Turner Contemporary, the walls are positioned between the exterior of the gallery building and the site boundary.The elements slot between existing structures, incorporating changes in floor level and abutting permanent concrete balustrades.“The artist’s site-specific works – part architecture, part sculpture – challenge the viewer, offering new possibilities to navigate and experience the space the works inhabit,” said a statement from the gallery.Perpendicular surfaces, including door and window recesses, are all painted in different colours.The bright tones reference traditional seaside pavilions and beach huts, a common feature along the UK coast.The maze is open to the sky so shadows move across the surfaces of installation through the day.Architectural features including windows and doors are different sizes and positioned at various heights, allowing some to be clambered over or crawled beneath.
Chozumaki
CHOZUMAKI by Nelo Akamatsu consists of a glass vessel filled with water. A small winged magnet rotating at the bottom of the vessel produces a vortex. The tiny bubbles cause curious sounds when they are swallowed into the vortex. Viewers will hear these sounds through a spiral pipe shaped like a cochlear duct. Countless vortices exist in the universe, including the enormous revolution of the galaxy and also the minimal spin of electrons. They all have a fractal structure that seems to be one of the fundamental elements of the universe. Water has another important role in this work. In numerous cultures is associated with purification. The sight and sound of the water vortex that is constantly changing shape will remind viewers of crossing the boundary between the physical world and the psychological world, and will extend their perception of vital organs.
ILANIO REUBIN AND ELENA SLIVNYAK
SUPREME BEINGS FASHION SHOW
The Supreme Beings Fashion Show will reveal the avant-garde concepts of two local fashion designers, Ilanio Reubin of Ilanio and Elena Slivnyak of IIMUAHII, at the spacious SOMArts Cultural Center on Thursday, March 1st. The two runway shows will showcase 8 imaginative looks from each designer, as well as two short improvisational performances by Butoh (contemporary Japanese) dancers which we find very fitting for the two creatives.Though different in aesthetic, both designers hail from similar backgrounds and aim for analogous goals. Ilanio (San Francisco Art Institute) and Elena (Academy of Art) both found the retail and fashion corporate worlds too constrictive and mass-produced, and thus ventured into their own imaginative ones.
Ilanio works to create “visually stunning fashion concepts that explicitly disregard wearability, saleability, and practicality; that embrace advanced definitions of sexuality and gender; and that defy the commercially-mandated boundary between the fashion and art worlds.” For Elena of IIMUAHIII, her avant-garde aesthetic is manifested in an intricately-crafted sportswear line.Although we’re dreaming of being in Paris (but really, when are we not?), we’re excited to watch Ilanio and IIMUAHII strut and represent San Francisco’s undeniable talent in their nontraditional fashion show and hope to see you all there as well!
Mandelbulb garden
The Mandelbulb is a 3-Dimensional representation of the boundary only – it is the surface of the object that is infinite. You don’t explore it by entering it, you simply ‘poke’ around the complex folds that make up the outer barrier. The more you poke around, the more stuff you find. That being said, Daniel White’s rendering of the object allowed for penetration of the structure revealing cross-sections of the bulb allowing us to look inside as well.
Augmented Shadow
File Festival
Augmented Shadow is a design experiment producing an artificial shadow effect through the use of tangible objects, blocks, on a displayable tabletop interface. Its goal is to offer a new type of user-experience. The project plays on the fact that shadows present distorted silhouettes depending on the light. Augmented Shadows take the distortion effect into the realm of fantasy. Shadows display below the objects according to the physics of the real world. However, the shadows themselves transform the objects into houses, occupied by shadow creatures. By moving the blocks around the table the user sets off series of reactions within this new fantasy ecosystem. In this installation, the shadows exist both in a real and a virtual environment simultaneously. It thus brings augmented reality to the tabletop by way of a tangible interface. The shadow is an interface metaphor connecting the virtual world and users. Second, the unexpected user experience results from manipulating the users’ visual perceptions, expectations, and imagination to inspire re-perception and new understanding. Therefore, users can play with the shadows lying on the boundary between the real, virtual, and fantasy. Augmented Shadow utilizes this unique interface metaphor for interactive storytelling. Maximizing the magical amusement of AR, it is embedding an ecosystem where imaginary objects and organic beings co-exist while each of them influences on each other’s life-cycle, even though it is not in use by users. Light and shadow play critical roles in this world’s functions causing chain reactions between virtual people, trees, birds, and houses. A set of tangible blocks allows users to participate in the ecosystem. Users can influence on the system by playing with the blocks or observe the changes of the shadows as if kids were playing with an ant farm.
