Frederik Heyman’s work is a balancing act incorporating multiple media – including video, installations and photogaphy – often in a digitally altered environment. In his work, Heyman explores memory and duration, using photogrammetry and 3D scanning to depict and represent the passage of time. The hallmarks of Heyman’s work are mechanical and technological: wires, wheels, scrolling LED marquees, metal frames, clamps, industrial lights, screens and cameras. Bodies–as opposed to humans–are subject to unusual dynamics with these technological trappings. In Ceremonial Formality (2020) a contortionist is encased in a metal cage while a spectator, hooked up to wires, looks on.
If you’ve never seen a Tesla coil in person, it’s a remarkable experience. Purple plasma flashes in unpredictable, wide-reaching bolts. The sound cracks with more fearsomeness than a whip. The air fills with the sterile acridity of ozone. The effect is equal parts frightening and beautiful; this machinery can use enough voltage to carbonize your flesh right down to the bone, yet some self-destructive impulse tells you to look closer. Alexandre Burton plays with this very impulse in his installation, Impacts. The exhibition features several Tesla coils that hang from the ceiling. They fire, not against a cage or predictable grounding surface, but a delicate pane of glass, so the viewer can appreciate the plasma filaments like a framed piece of art or a caged lion.
Paris Fashion Week Fall/Winter 2020
The collection’s first half was staunchly buffered by outerwear resembling that of protective armor, with contemporary suiting and shirting turned upside down by boxy and robust puffer-like additives […] These qualities were furthered in an array of pieces that look like camping tents with ladders hanging from the front and even in pieces that resembled wire mesh attached to the body, emitting cage-like qualities that tie into Green’s continued themes surrounding the dissection of the male psyche.
Appearing like ghostly cages which seem to float above the body, Seiran Tsuno’s designs are delicately abstract, distorting and disrupting the human-form. Emphasising the shoulders, chest, and thighs, there is a subtlety to her pieces: they don’t scream and shout but instead sit quietly in their uniqueness […] Creating a base is the first step, which Tsuno then draws on using the 3D pens. As it becomes airborne, the strands of melted plastic ink solidify, before Tsuno removes the base. The result is a piece that has the delicacy of fine jewellery, only in garment form.
Cable Robot Simulator
Max-Planck-Institut für biologische Kybernetik
Eight steel cables, each with 1.4 tons of tensions, hold aloft a caged platform with a seat for one person. Using a wireless VR headset, that person can simulate experiences like flight while being zoomed in dozens of different ways. Eight retracting cables connected to a winch pull on the cage. It’s like a giant, flying VR jungle gym.
Museum of Contemporary Art
Known as the punk rockers of architecture Coop Himmelb(l)au was founded in Vienna in 1968 by Wolf Prix, Helmut Swiczinsky and Michael Holzer. With the exhibition ‘Wiener Supersommer’ in 1976 they delivered an aggressive alternative to the usual urban architecture and stated their name as a provocative, mould-breaking studio not afraid to go beyond the scope of architecture.
Cloud Gate Dance Theatre of Taiwan
Lin Hwai-min’s Cursive II is inspired by the aesthetics of calligraphy. Set to music by John Cage, it is an exquisite meditation on the balancing of opposites presented in delicate simplicity, allowing no distraction from the details of the dance.
Sidi Larbi Cherkaoui / Yabin Studio & Eastman
Figures in white coats wearing masks over their mouths, observing and conducting tests on other people. Between them stand glass cages suggestive of gigantic test tubes. GENESIS生长, as the title suggests, is a show about the origins of things. We are born and then we die, and in the meantime we undergo constant testing and increasing estrangement from the natural world.
Rothschild’s practice involves both conceptual and socio-political ideas alongside traditional approaches to making sculpture. Through an investigation into form and materiality, her works balance, stack, wrap and knot materials around geometric shapes and structures – such materials that often appear to transcend their physical limitations, hover between representation, symbolism and actual form. By deliberately destabilizing physical and visual characteristics in her work, Rothschild not only questions the aesthetics of art, in particular minimalism, but also those of belief in social liberation and spiritual movements.
During the 1950s and early 1960s‚ Iannis Xenakis represented an alternative avantgarde‚ with a radical approach to form and texture that rejected the serial mechanics of Boulez and Stockhausen‚ and involved a uniquely intense interpretation of ideas about probability and randomnessÊ–Êa world away from John Cage’s laidback experiments[…] The two short orchestral works‚ Metastasis and Pithoprakta‚ are undoubtedly far more austere‚ more primitive in their overall effect‚ than the exuberant‚ hyperactive Eonta‚ whose ferociously demanding writing for piano and five brass players pulsates with the kind of creative energy that the orchestral pieces seek to suppress.
Amazon Worker Cage Patent Drawing as Virtual King Island Brown Thornibill Cage
En el contexto de los nuevos avances tecnológicos que vuelven obsoletos los dispositivos casi tan pronto como alguien se acostumbra al último modelo, Simon Denny reflexiona sobre la producción, distribución y consumo de medios.
Joan Jonas, believing that sculpture and painting were exhausted mediums, became known for her pioneering work in performance and video art. Jonas, who studied sculpture and art history, was deeply influenced by the work of Trisha Brown, with whom she studied dance, as well as John Cage and Claes Oldenburg, particular in their exploration of non-linear narrative structure and form. Jonas’s own work has frequently engaged and questioned portrayals of female identity in theatric and self-reflexive ways, using ritual-like gestures, masks, mirrors, and costumes.
머시 디스 커닝햄
Cunningham said of his choreography for “Beach Birds”, “It is all based on individual physical phrasing. The dancers don’t have to be exactly together. They can dance like a flock of birds, when they suddenly take off.” A work for eleven dancers, the rhythm for “Beach Birds” was much more fluid than other Cunningham dances, so that the sections could differ in length from performance to performance. John Cage composed the music, and painter Marsha Skinner provided the costumes and décor.