Riccardo Torresi, Maxime Lethelier, Asako Fujimoto
Sun Outage is a degradation or temporary interruption of satellite signal caused by solar radiation. In these moments satellites occur to be in between the Sun and the Earth, producing with their shadows an invisible eclipse. Satellarium II shows these astronomical events through a variation of visuals and sounds in the room in which it is exhibited. The installation consists of a set up of multi channel surround speakers and graphics projected on a disk above the viewers, representing the fragment of the visible sky from the location of the artwork. Visuals and sounds are based on real time tracking of the satellites position and magnitude (brightness of a satellite as it appears in the night sky from Earth). The gradient on the background of the projection represents the sun and it is related to its real-time position in the sky.
FILE SAO PAULO 2017
THE BREATHING CLOUD
“The Breathing Cloud” is a monumental floating organism. The work transforms a space by its motion, light, and rhythmic breathing. With this light art the phrase “let a room come to life” gets a new meaning. The clouds skin looks fragile and soft, and the movements are rhythmic, yet random, so the whole room feels like a living being. The technology is designed so that the strong LED modules and the mechanism support the pervasive breathing. It gets physically bigger and smaller and embraces with its bright light space.
Liam was chosen for the scholarship by lead designer at Alexander McQueen, Sarah Burton. He spent his year in industry in Paris, working at Maison Margiela under John Galliano, working personally with the designer on both the artisanal and ready-to-wear collections. As a designer, his own collections often centre upon alternatives to normal fashion and instead offer remodelled silhouettes, bright colours, unexpected textures and sculptural, exaggerated forms.
SOL is a minimalistic environment, leading visitors into the reaches of their perception. The installation builds on loss of control, shifts in awareness and a feeling of dislocation and timelessness. SOL is the third work in an ongoing series of phenomenological environments, after the live performance FEED, 2005 and the installation ZEE, 2008. The all encompassing darkness of SOL is lifted, in intervals and for parts of seconds only, by animated bursts of intensely bright light. Falling back into darkness, visitors experience abundant retinal after-images, that gradually drift away until eventually the next eruption of light is triggered. In the surround sound-scape of SOL, electronic drones mix with swarming field recordings, amidst a sea of infra-bass.
Loop of Wisdom
Architecture studio Powerhouse Company has created a reception building topped with a circular walking trail as part of a development in Chengdu, China. The structures beneath the walking trail will act as a sales pavilion and reception block for the new Unis Chip City development in Chengdu’s Tianfu New District, which is under construction in the southern part of the city. Powerhouse Company connected these two structures with a bright red rooftop walkway, named Loop of Wisdom, which is designed to make the reception block more useable than if it was a standalone building.
“Krissmer’s ‘Kinetic Paintings’, explore visual composition, movement and scale in a way that thrills and disorientates. They are an optical experience simultaneously aesthetic and perceptual. The digital projections can be taken to any scale making them architectonic and potentially intimate. Their focus on a geometric language set in dynamic movement creates a certain sculptural juxtaposition, enhanced by the predominant use of black and white. The occasional introduction of bright colours further dramatises the Krissmer aesthetic. These are works that inspire, that must be experienced by the mind and the body.”
Particle Falls is a large-scale, real-time visualization of air-quality data.On a background of falling blue light, spots of bright, fiery color emerge and crackle, representing the presence of fine particulate matter, as detected by a nearby air monitor. Fewer bright spots over the falls mean fewer particles in the air.Particle Falls draws our attention to the invisible particles that surround us and that may affect our health. While the visible smog that plagued many U.S. urban centers decades ago has been mitigated by technology and regulatory measures, microscopic threats to our air continue to exist and often go unnoticed. Particle Falls is one way we can learn more about the quality of air around us.
ODYSSEUS AND THE BATHERS
Far from the traditional pastoral scenes that are evoked by the exhibition’s title, the New York-based artist has conjured a bright and minimalist series of kinetic sculptures at the Museum of Cycladic Art in Athens.For the new works, the artist drew inspiration from Ancient Greece. This was not only through the titles of his work, which play on the names of characters from The Odyssey, but also through an exploration of the characteristics of the protagonists.Abstract and enigmatic, Paul Chan artfully brings the philosophical tethering of Ancient Greek thought to a modern and relatable new setting. Odysseus’ drive to return to his home after the Trojan War, and the way in which he navigates the journey, becomes a poignant metaphor for contemporary experience.
“Eliška Sky’s tribe of ‘womaneroes’ stand bold and bright, their bodies and heads adorned in vibrant shapes, colours, and textures. Beneath the wigs and paint are women of all ages, shapes and ethnicities, photographed with a large-format camera to capture every detail, rough or smooth, with the intention for the images to eventually be printed and exhibited life-size. “It started as visual play, but transformed into a series that challenges depictions of women’s bodies,” explains the London-based Czech photographer. “In light of my own experience of working in the fashion industry, I felt the need to portray the body in new ways and forms, with an element of playfulness and humour in opposition to western media advertising”.” Marigold Warner
London-based designer kazuhiro yamanaka has created the ‘sound cloud’ a light-emitting quantum glass speaker system installation for saazs ‘a glass house’ program. the structure is composed of five interactive monolithic glass panels, formed with the intention of modelling the integration of innovative glass within architecture and design. the sound and light radiating from ‘sound cloud’ shift in unison, their synchronization may be altered by the viewer as they adjust their aural and visual experience by means of a touch-screen controller.
yamanaka aspired for the visitors to ‘be able to hear the sound move from one to another, jumping back and forth and echoing from the panels.’
a sound module is attached to each panel. as it vibrates,the three layers of glass move at a frequency, which creates optimum sound quality. the sound for the installation was developed by the france-based sound designer, gling-glang. yamanaka and gling-glang devised a soundscape by which ‘sound cloud’ visitors were able to sense the sculptural construction of the music in walking through the installation’s glass-paneled pathway.
the glass is outfitted with a light-emitting system known as ‘LED in glass’, invented by quantum glass. through this technology, the panels become a source of light. the ‘sound cloud’ is illuminated as the LED bars are fitted around the edge of the panel in order to direct beams of light through the edge of the extra clear glass sheet. as a result, light refraction occurs from the front side by means of a white enamel screen print on the opposite side.
yamanaka chose to slightly obscure the brightness of the glass sound system by creating a thin layer from millions of light dots, culminating in a cloud-like shape.
This work consists of 2500 magnetic wire cables that connect an emitter (one square meter made of epoxy resin) that consists of a 50 × 50 grid with photo sensors that have their counterparts in the receiver with a grid of bulbs. Thus the sensors detect the light and transmit in parallel each pixel (“image element”) with its corresponding brightness effect to the light bulb in the receiver. Unlike conventional electronic image transmission procedures, “A Parallel Image” uses a technologically transparent procedure, transmitting to the viewer a correspondence between the real world and its transmission.
RAFAEL LOZANO HEMMER
拉斐尔·洛萨诺 – 亨默
רפאל לוזאנו, המר
A circular display that simulates the turbulence at the surface of the Sun using mathematical equations. The piece reacts to the presence of the public by varying the speed and type of animation displayed. If no one is in front of the piece the turbulence slows down and eventually turns off. As the built-in camera detects people more solar flares are generated and the fake Sun shows more perturbation and activity. At 140 cm diameter, Flatsun is exactly a billion times smaller than the real Sun. The piece consists of custom-made panels with 60,000 red and yellow LED lights, a computer with 8 processing cores, a camera with a pinhole lens and a mechanically engineered aluminium, steel and glass structure that pivots for maintenance. A single knob lets the collector set the brightness of the piece and turn it on and off.
TOGETHER APART BILLUND
Together Apart Billund consists of 375 coated mesh fabric ribbons stretched between the roofline of the Billund community building and the ground. Connected to the ground along an undulating line that curves in on itself, the ribbons create a series of cellular spaces. While the surface generated by the ribbons separates the individual spaces, its porosity provides visual interconnectivity between them. With the top and bottom anchoring patterns aligned symmetrically to the building facade, the installation is situated to have an axial relationship with surrounding buildings. The interplay between the linear top anchor positions and curved ground anchor pattern gives rise to differentiated and complex conditions of visual overlap, density, and transparency. The bright orange color of the installation creates a focal point and invites curious passers-by to interact with the work.
Barbara Layne & Diane Morin
with Meghan Price & Maryam Golshayan
The lining of the dress has been embroidered with conductive threads and electronic components including super bright white LEDs. Three small photocells have been embroidered to the outside of the dress and detect the amount of ambient light. Depending on the quantity of light that is sensed, different flashing patterns are triggered that are reminiscent of lightning effects that can accompany severe weather situations.
VEGA ZAISHI WANG
Beijing-based fashion designer Vega Zaishi Wang’s new Alpha Lyrae collection is very special. Silk dresses of her design were printed with galaxies, constellations, and nebulas, then backed with lightweight and flexible electroluminescent paper, making the garments glow. The name of the collection is quite clever: not only does it reference the space theme of the design, but Alpha Lyrae is the name of the brightest star in the constellation of Vega, which is also the designer’s first name.
Kimchi and chips
99 robotic mirrors continuously move throughout the day to follow the sun like sunflowers. These mirrors, arrayed across two 5 meter tall towers and one 15 meter long track, each emit a beam of sunlight into a cloud of water mist. The beams are computationally aligned so that together they draw a bright circle in the air. Dependent entirely on the presence of the sun for its completion, the work explores the possibilities and limitations of technology to capture what is out of reach, to harness nature and bring the sun down to earth. Collaborating with the natural fluctuations in the climate, Halo appears only for moments when the wind, sun, water, and technology coincide, creating a form which exists between the material and immaterial.
Joshua Tree Residence
Whitaker has envisioned an “exoskeleton” made of shipping containers painted bright white. The containers appear like a starburst, with cuboid forms pushing out in all directions.The home is intended to offer a connection to the sun-baked landscape, while concurrently providing a sense of protection and privacy. Square windows frame views of the blue sky and rugged terrain. In some areas, faceted ceilings give the effect of being inside a crystalline form.
Dutch-Croatian photographer Sanja Marušić uses an experimental approach to colour, composition, materials, and manipulations in her work to create dreamlike scenes that are at once cinematic and alienating.She travels the world in her production of these otherworldly images, finding settings and forms that play with our relation to the subconscious, simplifying the bodies of her subjects with geometric shapes, and abstracting the human form even further by incorporating stylised dance movements.Putting places above people, many of Sanja’s photographs are set in wide open futuristic spaces in an attempt to create surreal and alienating visual emotions. She often uses cool and bright colours as well as singular objects and accessories in order to create unique and enigmatic narratives.
Homemade RC Toy
Her new installation centers on five human-scale, remote-control sculptures that she cobbled together from metal brackets, batteries, wires, dental study props, and disassembled mannequins. Surrounding them are stepped plinths whose bright colors echo the robot sculptures’ wiring. The plinths display fetishistic agglomerations of spare parts: wheels, cables, gutted medical practice torsos, home repair parts. In their default state, the sculptures are frozen, comatose, even if all that wiring and machinery certainly suggests movement. The installation is the setting for a series of live interactions between the artist and her uncanny others.
Moncler’s Genius 2020 Collection
The british fashion designer reinterpreted the brand’s iconic expression as a series of monochrome designs resembling padded samurai armour and brightly colored inflatables[…] Injecting flat sheets with down quilting, Craig Green uses a series of zips that allow the body to inhabit the garments and give them volume. Further defined by outlines printed on the outside, each piece is clad in ripstop nylon, a light-weight nylon fabric with interwoven ripstop reinforcement threads in a crosshatch pattern.
CHANG YEN TZU
Self Luminous 2 – Unbalance
Self-luminous 2 is an experimental handmade instrument shown as performance. It is a series-project which I have been working on since 2013 and finally developed into shape in 2014. I am looking for intimate and personal instrument that reflects on the relation of digital sound and light message. In computer language, light on is 1 and light off is 0. If more than 2 lamps, it could be code or readable possibility by the meanings. When I press the button or turn the knob, the message will be sent to Pure Data, and the sound will be triggered in live by Pure Data.
The Data of sound such as frequency and volume, are analysed and sent out to the second Arduino to control the light. The light, in thus case, is an intuitive element for human beings. From this point, it is really close to sound which disturbs our biological body directly. The lights are visualised and they can be transferred the into messages. The message might be readable by coincidence with the link to the code. The light is bright enough to let audience to have persistence of vision in mind. During the performance, the sound will be reproduced by code and part of it is impromptu.
“Thermal Womb, a sculpture of figure suspended upside down that recalls the practice of cryopreservation. The structure is indeed a replica of the mechanism used by companies such as Alcor, which prepares bodies before they are submerged in liquid nitrogen—figures indefinitely frozen, waiting for technology to catch up and revive them. The film component of the work reveals a pair of bright blue eyes, whose only animation is to blink, adding a time-based layer to the otherwise static nature of the piece.” Stephanie Cristello
olga de la iglesia
Olga is part of a new generation of young women reshaping the art world from Barcelona. Using social media platforms to gain creative traction, and either blurring the lines between creative genres, she describes herself as an “imager”. Fashion with a documentary edge, strange still-lifes against brightly colored backgrounds, and monochromatic arrangements of ordinary objects. Teo Sandigliano
Alice Anderson’s giant installations created out thousands of feet of red colored doll hair are a thing of wonder. Selected for its relationship to her own bright red hair, Anderson selected the material to refer to her childhood where she invented rituals based around her hair to calm her anxieties when left home alone. Draped over buildings, walls, and every imaginable surface, Anderson’s work is just as much about reinterpreting an everyday material as it is about coming to terms with the ghosts of her youth.
I was inspired by how the sunlight bounces around in our artificial forest.
“Squint” is a kinetic light installation consisting of 49 mirrors that reflect lights in a bright space. The mirrors track and reflect lights on audiences’ face with composed patterns of movements. It extends the generated perception by focusing on how lights pass across our visual senses physically, and combines with our perception of images through flickering. “Squint”, which extracts various daily experiences to an abstraction brings the audience to expand their interpretation of lights and perceived imagination into a non-linear experience.
“Squint” simulates light source and intentionally shines lights on audience’s faces. Bright light is projected in the gallery, a clean bright space.
Everyday people are dynamically moving around in the city. Sunlight reflects and flickers even when it is indirect and hidden behind the artifacts. While we are traveling, we are experiencing motion. We are also experiencing the shift of light intensity, visual patterns and textures. The varieties of light forms inspire the artist to explore the potential of light textures, select and sort out the combined complexity in urban space. The artist turns them into a minimal form of light experience, while maximizing its diversity of perception.
Katy Heinlein’s exhibition Snake Eyes challenges the sublime possibilities of symmetry, and indulges in the humor, awkwardness, and flustered physicality that comes with disrupting that symmetry. Heinlein fashions pragmatic materials like wood and aluminum into nimble structures, ready to be wrapped and draped in costumes of brightly colored cloth. Like dressing for a night out, the works take on a very human folly: the effort to conceal, emphasize and seduce.
Rebelo de Andrade
this bright red house has been designed to stand out amid the vast, uniform landscape of southern portugal. completed by lisbon-based firm rebelo de andrade, ‘house 3000’ is located on a 500 hectare plot populated with scores of cork trees — a constant terrain that, as architect luís rebelo de andrade found when first visiting the site, is particularly difficult to navigate.
Pascale Marthine Tayou
Tree branches of various distances and dimensions grow horizontally from the surface, inverting the usual experience and traditional relationship we have with trees. rather than leaves, the bark bears brightly colored plastic bags on its edges, crudely tied to each organic limb. While the work stands as a visual symbol of the harmful effects of pollution and consumerism on the environment, ‘plastic tree’ is also an investigation towards the artistic qualities of plastic as a medium, and its incorporation with natural materials.
FEEL SEATING SYSTEM
Feel Seating Deluxe can shift into many different shapes and sizes, making it incredibly diverse and cosy. You can fold it and mold it any way you like. This seating system is made of 120 plush soft balls which you can lay, sit or lounge on. Feel Seating comes in bright red and blue colour which will lighten any room. The balls are made of 100% foam, while the upholstery is made of special stretch fabric. Although this sectional sofa might be too risqué for some, its comfort is undeniable.
Hans Hemmert is fascinated by air and latex balloons in a bright canary yellow. But these aren’t just your average latex inflatables, some fill entire rooms while others surround Hemmert himself. Posing as a giant elongated egg, he performs dances or interacts with the objects outside his elastic bubble.
Off-White fw 2019
the new runway
Virgil Abloh’s Fall/Winter 2019 collection featured a number of graphic pieces, including new Off-White™ logos, as well as oversized denim, graffiti-style prints and Gore-Tex pieces. The show — which featured appearances from Offset and Playboi Carti — began with a muted color palette, before a series of eye-catching looks in bright, orange, yellow and green.
taiwanese designer wei-chieh shih created this laser suit using 200 laser diodes attached to a special jacket he designed. the small laser diodes are attached to a nylon jacket that covers the wearer’s upper torso. the red lasers point out in all directions following the body’s curvature. the costume looks like a spiky design in daylight and transforms into a series are bright straight red laser beams when the lights are turned down. the final jacket design is the most finished piece, but wei-chieh shih also created a series of samples.
Over the past few years she has been part of exhibitions at the Museum of Contemporary Art in Tokyo, Museu de Arte Moderna in Sao Paulo, the Soka Art Center in Taipei, and the Singapore Art Museum. In her series of works entitled reflectwo (2006–11), Kojin uses brightly colored plasticized fabric flowers to create a sense of disorientation by the use of mirror effects.
on the water edge
bright yellow house on water
An interest in architecture and coastal living led Casebere to develop the project, which is a follow up to a set of images he created in 2016 based on the buildings of Luis Barragán. Casebere created the series titled On the Water’s Edge to draw attention to issues relating to climate change and, in particular, the need for humans to respond creatively to the threat posed by rising sea levels.
FABIANO ONÇA & COLMEIA
Game designer Fabiano Onça conceived the game, in which people must fill geometric shapes with their own silhouettes (as captured by webcams hanging from the ceiling): Software was built with OpenFrameworks, which is to C++ what Processing is to Java. A prototype was built with Flash (AS3), but it was slow — reading pixel values (BitmapData.getPixel) can be processor-heavy. Thanks to OpenFrameworks, porting the AS3 code to C++ was quite easy. The application is very simple: the images captured by the cameras are brightened, blurred and thresholded, resulting in black blobs. The amount of blob pixels inside the geometric shape count as positive points and the pixels outside the geometric shape count as negative points.
The Light – The Shade
FILE ANIMA+ 2016 | WINNERS FILE ANIMA+ AWARD | 2nd Place
“The Light – The Shade” is a poem by Robert Lax that plays with the contrasts and opposites light and shade, with bright and dark, black and white, red and blue. The film becomes a journey through the realm of imagination, through spaces and pictures, through letters and words.
Playground Structure (Steps)
In his recent channels of work, Przemek Pyszczek has painted with concrete and ripped apart playgrounds. As hardcore as this sounds, his bright studio in Schöneweide features friendly knots of primary-colored pipes resting in one corner, and opposite, a canvas with waves of sherbet hues leans against the wall. Pyszczek’s use of a variety of aesthetics and materials is the outcome of his recent focus on the contemporary urban landscape of Poland, where he was born.
This monumental light sculpture from Henk Stallinga is a composition of 144 circle lights. The intensity of the individual lights gradually varies from a subtle glow to an intense bright light. During the course of one natural day, this circle of light ‘moves’ up the chain, providing the visitor with a sense of time.
Hans Hemmert is fascinated by air and latex balloons in a bright canary yellow. But these aren’t just your average latex inflatables, some fill entire rooms while others surround Hemmert himself. Posing as a giant elongated egg, he performs dances or interacts with the objects outside his elastic bubble.
The works of Japanese artist Takashi Murakami have inspired both admiration and confusion. Inspired primarily by anime, Japanese animation, and manga, Japanese comics, Murakami’s paintings and sculptures feature bright, candy-colored images of cartoon-like characters, with large eyes and exaggerated body parts. His works are often decorated with smiling flowers, round, blinking eyes, and colorful mushrooms. Murakami’s creations defy traditional classifications, breaking down numerous barriers.
“Chromatophores are the cells that give some creatures of nature the miraculous ability to change their colour to protect themselves,” says Leslie. “Like chameleons, jellyfish, cuttlefish and frogs they can change from muted tones into brightly coloured and vibrant stripes or patches of colours that are mesmerising. With this collection I imagined what it would be like if humans could perform this amazing feat with their hair.”
Truly Urban Artists
Lageard Architettura e Studio Vairano
“Our brightly colored geometric designs, a mini-series we dubbed “Supersymmetry”, create dynamic contrast with the sober architecture of the ancient palace, a reminder of the continuity between academic tradition and contemporary research, which goes well beyond boundaries set centuries ago.”
KRIJN DE KONING
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.
Project for a kiosk on the lakefront of Chicago. Waterfronts are special places. A meeting point between earth and sea, the horizon is exposed. More than elsewhere the sky is present, it illuminates and color permeates the place. The project aims to exacerbate this feeling by framing the views and accentuating the light of the moment.A translucent fabric filter diffuses the light, revealing the average color of the sky. This veil delimits the space and generates privacy. The fabric masks some of the context to better reveal its brightness. Inside a suspended fabric ring provides shade. The center of the roof is open to expose the sky. All you can see and connect with is the horizon and the sky.
Taipei Museum of Contemporary Art
This building proposal challenges the traditional definition of a museum and the conventional relationship between building and site. The ground floor of the building is reduced to a nominal footprint, enclosing only enough space for basic services, structure and ticketing functions. The ground plane is primarily reserved for exterior public space, including an art park, Hall of Fame, and garden walk. The bulk of the program and building mass are split by the open ground floor. Half of the building is coupled with the earth while the other half hovers in the air. The purpose is twofold; to minimize the damaging effects of extreme local weather by harnessing environmental flows toward productive outcomes and to re-conceptualize the identity of a modern art museum. The manicured roof plane of the below ground program is pocketed with water absorbing vegetation and catchment systems, while the hovering museum above expands to form open atriums, allowing diffuse light to brighten the space and passive airflow to comfortably condition the building.The program of the museum is interconnected. The Contemporary Museum of Art, Children’s Museum of Art and Administration are located within the floating mass. The lecture hall, parking, art resource center, library and classrooms are located below ground. The programs below ground are easily accessible and directly connected through vertical circulation tubes, providing both structural support for the floating mass above and space for movement systems, such as escalators, stairs and elevators between levels. All of the below ground programs are flooded with diffuse light passing through skylights that penetrate the landscape.
a complete new version, the result of performing Lumière for more than one year, condensed into a more sophisticated, more complex, more fragile, more massive synaesthetic experience! photos and more info online in early February.Based on self written software, this work on the edge of concert and site specific installation finds previously unseen beauty and minimalistic elegance in a commonly underrated medium. High power lasers draw complex morphing shapes and connect points in space. Lumière combines precise geometric figures with floating organic structures, presenting the archaic sign language of an alien culture communicating via emerging and disappearing traces of extremely bright light.Percussive and textural sonic events provide a counterpoint to the visual rhythm, resulting in a multi sensorial experience which at times is fragile and quiet, at others massive and overwhelming. Each Lumière performance is a unique and site specific real time exploration of synchronicity and divergence, of light and darkness at the limits of perception.
An installation for used cassette players which looks on their obsolescence not as an ending, but as an opportunity to reconsider their functional potential. Superseded as playback devices, they become instruments in their own right. Replacing the prerecorded content of each tape with a microphone gives us the chance to listen instead to the rhythmic and resonant properties of these once ubiquitous plastic shells. Binatone Galaxy brings the framework within which a generation purchased their favourite records to the centre of attention, revealing the acoustics of the cassette and the voices of the machines themselves.“On the walls of a white room, brightly illuminated with natural light, Stephen Cornford, and artist who describes his work as existing “at the intersection of sculpture and music”, has mounted some 30 old cassette recorders. Models from Boots, Sanyo, Robotic, one lone and gorgeously named Binatone Galaxy: they all hang on the walls, wired up, tapes loaded and ready for action. Smitten by an attack of technological melancholia, the visitor can wonder who owned these things, what pop charts did these machines once record? Were they ever placed next to pillows, late at night for surreptitious listening pleasures? What happened to the voices that once rubbed the magnetic heads of these little machines? For some artists, the speed (and resulting impact) of obsolescence on the technology we once took for granted has spawned a form of fetishism, in which the voices – the human agency – they once recorded exist in an alternate, ghostly dimension, a reminder of what once was. This is not Cornford’s theme. The fact that each audio cassette in his machines is fitted with a motion sensor and a contact mic, so that, on entry the machines whirr into action, indicates that Binatone Galaxy is very much of the here and now. Yes, Cornford has chosen old, cheap and accessible technology with which to realise this, but I suspect that he is aiming for a furrruuuzzy audio intimacy.
kaleidoscopic crystal floor
dutch artist suzan drummen’s large-scale floor installations are mesmerizing and complex circular patterns made out of mirrors and brightly colored glass. the fractal-like arrangements feature ornate and elaborate circles growing exponentially out of each other and vibrant rings of spiraling colors winding into the surface of the floor. they are composed of crystals, chromed metal, precious stones, mirrors and optical glass. a sensory experience, and visually stimulating, the glittering installations play with the architecture of the space — climbing up walls and sweeping across the surfaces — examining the idea of illusion and optical effects.