三原 聡一郎
The Blank to Overcome
file festival
Part of the ”blank” project that the artist has been creating since 2011, “The Blank to Overcome” utilizes air pumps, power supply control circuitry, water, solution, glycerin, ethanol and electricity to produce bubbles in the air. The theme of ”blanks” denotes a space for an unsolved ”inquiry” through the perspectives for thinking about the post-3.11 present: how the bubbles are always shifting as a giant cluster, almost without mass or structure, and the facing up to this; and the framework since modernity that has prescribed society, and the ”involved” or the ”other”. From this work debate will surely emerge.

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克服するための空白

アーティストが2011年から作成している「ブランク」プロジェクトの一部である「TheBlankto Overcome」は、エアポンプ、電源制御回路、水、溶液、グリセリン、エタノール、電気を利用して空気中に気泡を生成します。 「空白」のテーマは、3.11以降の現在について考えるための視点を通して、未解決の「問い合わせ」のためのスペースを示しています。泡は、ほとんど質量や構造がなく、巨大なクラスターとして常にシフトしており、これに直面しています。 ; そして、社会を規定してきた近代以来の枠組み、そして「関与する」または「その他」。 この仕事から議論が確実に浮かび上がるでしょう。

ポンプ

Mud Muse

One of the show’s highlights is Mud Muse (1968-71), which is 1,000 gallons of bubbling Bentonite clay in a 12ft by 9ft (365cm x 274cm) tank.The work is also something of a technical feat in that it is listening to itself. The mud’s bubbles and spurts are measured by microphones, which in turn trigger a complex series of pumps to release more air and create more bubbling.

FILE SAO PAULO 2017
BLACK HOLE HORIZON
The nucleus of the installation is the invention of an apparatus resembling a ship horn. With the sounding of each tone, a huge soap bubble emerges from the horn. It grows while the tone sounds, peels off the horn, lingers through the exhibition space and finally bursts at an erratic position within the room.

sonic light bubble installation
в центре «зимнего фестиваля света» на площади федерации в Мельбурне стоит «звуковой световой пузырь» – гигантский синтетический организм, который реагирует на движение. Художественная инсталляция включает в себя массив адресных светодиодных пластин, которые вставляются на поверхность конструкции. Эти специальные диски действуют как объемный видеоэкран, обеспечивая завораживающее зрелище на 360 градусов днем и ночью.
Прозрачный надувной пузырь от студии мультимедийного дизайна ENESS призван привлечь прохожих к взаимодействию с паблик-артом. посетители города могли наблюдать, как структура диаметром шесть метров расширяется до полной формы, и наблюдать, как их движение заставляло его огни менять цвет и интенсивность.

Difference and Repetition
The title references Deleuze’s thesis ‘Difference and Repetition’ – his attempt to understand reality without referring to identities. The artists aim to ‘unidentify’ the audience – to criticize the bubbles of reality which technology has helped us to build around ourselves. By allowing ourselves to remove our identity occasionally, we can better understand the thoughts of those we disagree with and therefore better work together to build a combined reality. Difference (in both senses) is generated by the motion control system which continuously changes the pose of the mirrors relative to the viewer. This movement disrupts space itself, creating a transformation similar to that of a Lorentz transformation when one travels close to the speed of light. This causes space itself to compress, twist and break, giving the viewer a tool for observing the non-absolute nature of time.

Hotfix
In the midst of the pandemic, people experience every day that technology such as smartphones and the Internet make social distance bearable. With his AR sculpture, Manuel Rossner shows how technology can become a hotfix, a quick solution to an unexpected challenge. “Hotfix” with its bubbles and lines is a playful introduction to problem solving through gamification.

Coworo
Coworo is an installation with a shape changing liquid that loses its texture under a spotlight and looks almost solid. After a while, bubbles appear on the surface and disappear again, as if it were breathing. The waves gradually change their size, position, and frequency and develop into physical, continual, kinetic, three-dimensional animations that extend beyond the discrete 2D pixel pattern. Through the hybrid combination of the digitally programmed machine and the organic properties of the physical material, the object creates a constant flux of ephemeral shapes and patterns.

Spring Summer 2020
Rick Owens’ Bauhaus Aztec priestesses were some kind of bad-asses. Gliding around the Palais de Tokyo fountain, they presided over a ceremony of wands and bubbles while sporting chrome headdresses glinting like car hood ornaments. It was a kick. Owens was feeling nostalgic, as it turns out. Using blasts of Luis Barragán color, folkloric sequins and volumes with the grandiosity of couture, Owens mined his Mixtec heritage. (His mom, Connie, is Mexican, and his dad, John, worked in the public court system as a Spanish-English translator defending farm workers’ rights.)

كوهي ناوا
名和晃平
КОХЕЙ НАВА
foam
Japanese artist Kohei Nawa has immersed visitors at the aichi triennale in undulating sea of bubbling matter, surrounding the walls and floor in porous, cloud-like material. ‘Foam’ inhabits an almost pitch-black room, creating an ethereal quality that seems aesthetically otherworldly walking through the space, the topography of the puffs creates a massive terrain of floating material, stiff enough to stand in place, yet copious in its fragility and delicacy.

Джон Мак-Кракен
约翰·麦克拉肯
ジョン·マクラッケン
Star, Infinite, Dimension, and Electron

“The geometric forms McCracken employed were typically built from straight lines: cubes, rectangular slabs and rods, stepped or quadrilateral pyramids, post-and-lintel structures and, most memorably, tall planks that lean against the wall. Usually, the form is painted in sprayed lacquer, which does not reveal the artist’s hand. An industrial look is belied by sensuous color.His palette included bubble-gum pink, lemon yellow, deep sapphire and ebony, usually applied as a monochrome. Sometimes an application of multiple colors marbleizes or runs down the sculpture’s surface, like a molten lava flow. He also made objects of softly stained wood or, in recent years, highly polished bronze and reflective stainless steel.Embracing formal impurity at a time when purity was highly prized, the works embody perceptual and philosophical conundrums. The colored planks stand on the floor like sculptures; rely on the wall for support like paintings; and, bridging both floor and wall, define architectural space. Their shape is resolutely linear, but the point at which the line assumes the dimensional properties of a shape is indefinable.” Christopher Knight