Empyrean Passage

Empyrean Passage is reminiscent of both a theoretical black hole and portal into the celestial worlds. Empyrean (notice the pyre in the word) is the final and fiery level of heaven as depicted by Dante- or aether in Aristotle’s cosmology. The form is constructed like a giant hoopskirt and gracefully moves in the wind creating a gossamer lighting effect overhead. While this project is an oculus to the heavens, more focus is usually paid to more terrestrial stars in this neighborhood.The interior of the spiral is designed with aqua and black dashes. The dashed interior creates optical effects with the eyes and at certain times of the day shifts your perception of the sky’s color.This project utilizes extremely “green” electroluminescent lighting. The entire sculpture consumes less electricity than a household nightlight and operates on a photo cell. Special thanks to the City of West Hollywood, Andrew Campbell, Maria Lusia de Herrera, Greg Coons, Glen Bundrick / Luminous Film.


Microscopic Opera

Les micro-organismes peuvent-ils aussi être des artistes? Comment notre relation à ces créatures change-t-elle, après qu’elles sont vues dans un contexte artistique et théâtral? À la recherche d’un micro-organisme qui aurait les qualités d’un interprète, j’ai été présenté à C. elegans; un petit ver, de moins d’un millimètre de longueur, qui se déplaçait aussi élégant que son nom l’indique et la première créature à avoir séquencé tout son génome. J’ai été intrigué lorsqu’un chercheur m’a dit que, pour distinguer les vers au microscope, il utilisait différentes mutations qui modifiaient la façon dont ils se déplaçaient. Certains se déplacent en spirale, d’autres ont roulé ou ont des contractions et certains sont devenus morbides obèses à cause de leurs mutations. Dans mon installation, j’ai cinq boîtes de Pétri remplies de cinq vers mutés différents, chacun se déplaçant légèrement différemment. Ces cinq groupes d’interprètes sont filmés avec un microscope USB diffusé en direct sur les cinq écrans. J’ai écrit un logiciel spécial qui suit les vers et traduit leurs mouvements en sons, faisant d’eux les interprètes non avertis de la musique dans le monde macroscopique au-dessus de leurs têtes. Alors que les chercheurs sont presque comme des dieux pour ces vers impuissants, les contrôlant de leur première à leur dernière division cellulaire , j’espérais donner aux vers le pouvoir de nous affecter également dans notre monde.


Kim ist bekannt für seine mechanischen Skulpturen, die wissenschaftliche und mathematische Theorien einbeziehen, und auch als Komponist elektroakustischer Musik. Für diese Triennale präsentiert Kim Chroma III, das die Knotentheorie in der Mathematik anwendet, um Hunderte von Polymerzellen […]
Kim is known for his mechanical sculptures that incorporate scientific and mathematical theories and also as a composer of electroacoustic music. For this Triennale, Kim presents Chroma III, which applies knot theory in mathematics to structure hundreds of polymer cells […]

Driessens & Verstappen

Breed (1995-2007) is a computer program that uses artificial evolution to grow very detailed sculptures. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfils this “fitness” criterion and thus yields a workable form. The designs were initially made in plywood. Currently the objects can be made in nylon and in stainless steel by using 3D printing techniques. This automates the whole process from design to execution: the industrial production of unique artefacts.
Computers are powerful machines to harness artificial evolution to create visual images. To achieve this we need to design genetic algorithms and evolutionary programs. Evolutionary programs allow artefacts to be “bred”, rather than designing them by hand. Through a process of mutation and selection, each new generation is increasingly well adapted to the desired “fitness” criteria. Breed is an example of such software that uses Artificial Evolution to generate detailed sculptures. The algorithm that we designed is based on two different processes: cell-division and genetic evolution.


cellule No. 5
Absalon’s best known works, the Cellules, rewrite Cezanne’s “treat nature as the cylinder, the sphere and the cone” to read “treat architecture as the cell, the bunker and the turret.” Not that the Cellules are straightforwardly architecture: they equally evoke Minimalist sculpture, Matt Mullican’s maquettes, Kurt Schwitters’ Merzbauen and the Concrete sculptures of George Vantongerloo. But the model that the Cellules most overtly evoke is the monastic cell. The Cellules were fabricated in wood, cardboard and plaster, and painted entirely white; their average proportions are roughly those of a caravan, and the catalogue informs us that there is always an area in which one can stand up. Their interiors are fitted–fitted rather than furnished–with unobtrusive minimal representations of desks, seats, beds, etc.


Morphogenetic Creations
Created by a mathematician, digital artist and Emmy award winning supervisor of computer generated effects – Andy Lomas, Morphogenetic Creations is a collection of works that explore the nature of complex forms that can be produced by digital simulation of growth systems. These pieces start with a simple initial form which is incrementally developed over time by adding iterative layers of complexity to the structure.The aim is to create structures emergently: exploring generic similarities between many different forms in nature rather than recreating any particular organism. In the process he is exploring universal archetypal forms that can come from growth processes rather than top-down externally engineered design.Programmed using C++ with CUDA, the series use a system of growth by deposition: small particles of matter are repeatedly deposited onto a growing structure to build incrementally over time. Rules are used to determine how new particles are created, and how they move before being deposited. Small changes to these rules can have dramatic effects on the final structure, in effect changing the environment in which the form is grown. To create these works, Andy uses the GPU as a compute device rather than as a display device. All the data is held in memory on the GPU and various kernel functions are called to do things like apply forces to the cells, make cells split, and to render the cells using ray-tracing. The simulations and rendering for each of the different animated structures within this piece take about 12 hours to run, Andy explains. By the end of the simulations there are over 50,000,000 cells in each structure.The Cellular Forms use a more biological model, representing a simplified system of cellular growth. Structures are created out of interconnected cells, with rules for the forces between cells, as well as rules for how cells accumulate internal nutrients. When the nutrient level in a cell exceeds a given threshold the cell splits into two, with both the parent and daughter cells reconnecting to their immediate neighbours. Many different complex organic structures are seen to arise from subtle variations on these rules, creating forms with strong reminiscences of plants, corals, internal organs and micro-organisms.


Danse Serpentine

La Serpentine è un’evoluzione della gonna dance, una forma di danza burlesque arrivata da poco negli Stati Uniti dall’Inghilterra. La danza della gonna era di per sé una reazione contro le forme “accademiche” di balletto, incorporando versioni addomesticate di danze popolari e popolari come il can-can. La nuova danza è stata originata da Loïe Fuller, che ha fornito diversi resoconti di come l’ha sviluppata. Secondo il suo racconto, che è ampiamente riportato, non avendo mai ballato professionalmente prima, ha scoperto accidentalmente gli effetti della luce del palcoscenico proiettata da diverse angolazioni sul tessuto di garza di un costume che aveva frettolosamente assemblato per la sua performance nella commedia Quack MD, e spontaneamente ha sviluppato la nuova forma in risposta alla reazione entusiasta del pubblico nel vedere il modo in cui la sua gonna appariva alle luci. Durante il ballo ha tenuto la sua lunga gonna tra le mani e l’ha agitata, rivelando la sua forma all’interno. Nelle parole dello storico della danza Jack Anderson, “Il costume per la sua Serpentine Dance consisteva in centinaia di metri di seta cinese che lei lasciava fluttuare intorno a lei mentre gli effetti di luce suggerivano che stesse prendendo fuoco e assumendo forme che ricordavano fiori, nuvole, uccelli ., e farfalle. “


Micro Macro
micro | macro trasforma il padiglione E del MuseumsQuartier in un enorme mondo di immagini e suoni in movimento. Nella sua installazione immersiva, l’artista multimediale Ryoji Ikeda crea un campo di immaginazione tra fisica quantistica, sperimentazione empirica e percezione umana. In collaborazione con scienziati nucleari del CERN, Ikeda ha tradotto complesse teorie fisiche in un’esperienza sensoriale. La scala di Planck viene utilizzata dagli scienziati per indicare lunghezze o intervalli di tempo estremamente ridotti. Concetti come spazio e tempo perdono il loro significato oltre questa scala e la fisica contemporanea deve fare affidamento su teorie speculative. E sull’arte. Visitatori di micro | macro entra in un mondo di dati, particelle, luce e suono che rende gli estremi dell’universo percettibili all’occhio e all’orecchio. Nel micro mondo penetriamo nelle più piccole dimensioni dell’irrappresentabile, mentre nel macro mondo decolliamo in distese cosmiche che ci permettono di sperimentare lo spazio infinito oltre l’universo osservabile. In questo vortice di dati, un fuoco d’artificio acustico e visivo colma il divario tra la comprensione teorica e la percezione sensuale.


Dannazione della memoria
Dal latino, damnatio memoriae descrive un atto di cancellazione dal record storico riservato a quelli che hanno recato disonore allo Stato romano. Impiegato come la punizione più severa per tradimento, damnatio memoriae rade fisicamente tutte le tracce di un individuo dalla società, tipicamente attraverso la distruzione della fisionomia di una statua o l’abrasione dei monumenti inscritti. In tutto il passato due decenni, Sassolino ha sviluppato un corpo di lavoro che esamina il rapporto tra industriale macchine e impulsi umanistici in cui gli spettatori sono destinati a mettere in discussione la cinetica di una scultura la funzione, esteticamente e concettualmente, allegora le esperienze umane e le condizioni culturali.



Petra Cortright est une artiste Internet qui réalise des vidéos, des animations gif et des images fixes. Sa page d’accueil ressemble à une page html datée avec un tas de smileys et une liste de son travail: travail authentique, expérimental et nostalgique avec beaucoup de paillettes, d’étincelles, de collages et de personnages faisant des images. Tout au long du site Web, il y a des animations de souris amusantes, par exemple des étincelles qui suivent votre pointeur lorsque vous vous déplacez sur l’écran. Une autre chose intéressante est un cadre qui est attaché à votre pointeur afin que vous puissiez placer le cadre sur un portrait. Cortright a étudié à la Parsons School of Design de New York et au California College of the Arts de San Francisco. Aujourd’hui, elle vit et travaille en Californie. Elle a exposé à l’international dans des galeries telles que Gloria Maria Gallery (Milan) et Spencer Brownston (New York) entre autres. Récemment, Cortright a exposé avec sa série SO WET à la Preteen Gallery de Mexico.

Ehab Alhariri

Futuristic Sustainable Mountain Pod
A Futuristic Smart Sustainable Mountain pod designed to utilize solar power using a petals mechanism that allows it to open up and close down to charge up the pod using photovoltaic cells mounted on the petals. Inspired by a flower motion, the petals when open allows for a 360° view of the surrounding, the mechanism could also potentially allow the pod to collect rainwater to be self-sufficient and of the grid hide out.


The Immortal
A number of life-support machines are connected to each other, circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering.
A web of tubes and electric cords are interwoven in closed circuits through a Heart-Lung Machine, Dialysis Machine, an Infant Incubator, a Mechanical Ventilator and an Intraoperative Cell Salvage Machine. The organ replacement machines operate in orchestrated loops, keeping each other alive through circulation of electrical impulses, oxygen and artificial blood.
Salted water acts as blood replacement: throughout the artificial circulatory system minerals are added and filtered out again, the blood gets oxygenated via contact with the oxygen cycle, and an ECG device monitors the system’s heartbeat. As the fluid pumps around the room in a meditative pulse, the sound of mechanical breath and slow humming of motors resonates in the body through a comforting yet disquieting soundscape.Life support machines are extraordinary devices; computers designed to activate our bodies when anatomy fails, hidden away in hospital wards. Although they are designed as the ultimate utilitarian appliances, they are extremely meaningful and carry a complex social, cultural and ethical subtext. While life prolonging technologies are invented as emergency measures to combat or delay death, my interest lies in considering these devices as a human enhancement strategy.This work is a continuation of my investigation of the patient as a cyborg, questioning the relationship between medicine and techno- fantasies about mechanical bodies, hyper abilities and posthumanism.


regenerative reliquary
Leveraging the intelligence of human stem cells, she created “Regenerative Reliquary”, a bioprinted scaffold in the shape of a human hand design 3D printed in a biodegradable pegda hydrogel that disintegrates over time. The sculpture is installed in a bioreactor, with the intention that human Mesenchymal stem cells (hMSCs from an adult donor) seeded onto that design will eventually grow into tissue and mineralize into bone along that scaffold.



Ouchhh will take inspiration from the notes that exist in the universe while micro-strings vibrate (Subatomic Particles) in real time and define the melodies created by the notes as “Matter” and symphonies of these melodies as “Universe”. With dastrio, Ouchhh will take 11 dimensions in abstract directions in super grade gravity theory and move them beyond space in real time. The dimensions captured intuitively in living space will constantly change and turn into reality.

Bernhard Metz – Violin
Manuel Von Der Nahmer – Violoncello
Suyang Kim – Piano


the solar tree

Solar tree”presents a modular architecture consisting of prefabricated “cells” made of steel and wood.
The cells can also house “solar leaves” to contribute even more to the energy needs and make the structure more and more autonomous.The architects’ aim is not only to create something innovative and sustainable, but also to integrate the new project with nature and the surrounding landscape.


File Festival
It is an autonomous and interactive talking machine, designed to establish automatic communication and synchronization between humans and machines, and between machines and machines. At installation, a microphone interfaces with a “chorus” of forty cell phones. All devices are in a listening state to capture voices and other sounds The autonomous talking machine analyzes the information and establishes equivalence with its memory. If so, the machine generates an audiovisual result with a semantic meaning similar to the sound captured, that is, it speaks and displays on the screens a word identical or similar to the word heard. Speakers and visualization of words on the screens of cell phones allow a “dialogue”, and for humans, to listen and see the machine conversation.

Diana Eng

Ham Radio Hacker
“Amateur Radio operators have shown an insatiable curiosity to explore and populate the high frontiers of the electromagnetic spectrum.” Not only that, but when disaster strikes, ham radio operators are usually called upon to provide and/or help emergency communications.
They’re not dependent on cell phone towers or overloaded systems in times of crisis; they’re distributed and long range. They help, they learn, and they share information. Diana is the type of person you need when you want to tap in to the space station to hear it go by or when you need to coordinate rescue plans when a hurricane drops in.


Silent Barrage

Silent Barrage has a “biological brain” that telematically connects with its “body” in a way that is familiar to humans: the brain processes sense data that it receives, and then brain and body formulate expressions through movement and mark making. But this familiarity is hidden within a sophisticated conceptual and scientific framework that is gradually decoded by the viewer. The brain consists of a neural network of embryonic rat neurons, growing in a Petri dish in a lab in Atlanta, Georgia, which exhibits the uncontrolled activity of nerve tissue that is typical of cultured nerve cells. This neural network is connected to neural interfacing electrodes that write to and read from the neurons. The thirty-six robotic pole-shaped objects of the body, meanwhile, live in whatever exhibition space is their temporary home. They have sensors that detect the presence of viewers who come in. It is from this environment that data is transmitted over the Internet, to be read by the electrodes and thus to stimulate, train or calm parts of the brain, depending on which area of the neuronal net has been addressed.


بوب ويلسون
בוב וילסון
밥 윌슨
Odyssey (Οδύσσεια)
The great epic work of ancient Greek poetry tells the story of Odysseus’s journey home after the Trojan War and what happens when the hero arrives at Ithaca. It is a transcendental tale that has always been the symbolic text par excellence about human adventure and the wanderings of existence in a harsh but exciting world.
Robert Wilson’s encounter with Homer is one of the major artistic events of this season. One of the most influential and acclaimed artists in world theatre brings his own unique approach to the material. The sensitivity, inventiveness and imagination of the great American director resonate with the Homeric spirit, creating a spellbinding new theatrical language. Eighteen carefully chosen performers and Wilson’s own internationally renowned collaborators bring all their artistry to bear on this unique venture, which is intended for all audiences, regardless of age or experience of the theatre.

Olle Cornéer and Martin Lübcke

Public Epidemic Nº 1 (Bacterial Orchestra)
Олле и Любке

“Bacterial Orchestra” (2006), a self-organizing evolutionary musical organism where each cell lives on an Apple iPhone (it can be ported to any mobile phone, but the iPhone was chosen because it’s popular and the centralized App Store makes it easy for the epidemic to spread). That way, hundreds of people can gather with their mobiles and together create a musical organism. It will evolve organically in the same way as “Bacterial Orchestra”, but it will also be much more infectious. The installation and the ideas behind it can be traced from different areas such as chaos theory, self-organizing systems and neural networks. The goal? A world wide sound pandemic, of course.



o what extent does the quality of movement of the virtual world influence real sequences of human movement? Will the real world of the 21st century assume via nanotechnology attributes of the virtual world? Are there still significant differences between a body that is made of synthetic material and warmed artificially and the deep glow of trillions of living cells? VIVISECTOR is an examination of the different speeds of people/nature and technology/information society and of their acceleration; an experiment to overcome the space-time continuum in the real world. It breaks the linearity of movement and in doing so shows the absurdity of momentum. Based on the video-technological concept of the moving body-projection that made D.A.V.E. an international hit, VIVISECTOR now goes one step further: the exclusive concentration on video light and video projection produces a new stage aesthetic in which light, body, video and acoustic space form an unprecedented unity.


The Splits (Rehearsal)

The Splits begins with the bisecting of various string instruments into two halves, cutting them along their length, creating two separate instruments. The two halves must then be played together to complete a tune and are, thus, for duets (or quartets, octets or dectets) only—pieces which she is creating in collaboration with musicians and composers. The act of splitting at once destroys the integrity of the instrument as an object, and disrupts the conventional process of aesthetic creation that the instrument traditionally permits. Splitting is not merely an act of destruction, however. Instead, it opens graceful passages for imagined evolution: the split instrument becomes a newly creative instrument, permitting the creation not only of new music, but new communities (visual artist, the composer, the musicians, and the audience). Ms. Benson has “split” two violins, a viola, cello and double bass: all, cheap, mass-produced string instruments made in China.


sound looking
Kim Kichul ha lavorato continuamente con il suono, contro forme d’arte visive più tradizionali. Per Kim, il suono stesso è il soggetto piuttosto che un elemento aggiunto che compone una parte dell’intera scultura, ed è un continuum già inerente a un significato.
Kim ha iniziato a usare il suono nel suo lavoro attraverso un’esperienza che ha avuto durante l’ascolto della radio. Ha sperimentato qualità del suono spazio-temporale e si è sentito come se stesse guardando il suono fisico reale proveniente da una radio. Il suo lavoro 11-Faced Avalokitesvara presentato nella sua prima mostra personale nel 1993 partiva dalla parola Avalokitesvara, che spiega il sentire il soggetto come se volesse vederlo. Kim fu profondamente commosso da un verso di Bomunpum, il venticinquesimo capitolo del Sutra del Loto, che affermava che se Sattva, nella loro sofferenza, avesse cantato l’Avalokitesvara con una semplice concentrazione, avrebbero potuto raggiungere il Nirvana. Posizionando 10 statue di Avalokitesvara su radio, ciascuna sintonizzata su canali diversi, ha presentato un metodo compositivo per osservare il suono attraverso la sinestesia.
È chiaro che il suono stesso è il principale argomento di interesse di Kim, specialmente attraverso il suo precedente lavoro Sound Looking (1999), che materializza visivamente le proprietà del suono dipendenti dai sensi uditivi. In questo lavoro, le particelle in un tubo trasparente si muovono secondo le onde del suono generato e tutte le cose visibili vengono mobilitate per rivelare il suono invisibile.


Виктор Хорстинг и Рольф Снерен
Viktor Horsting et Rolf Snoeren sont tout à fait les maîtres de l’illusion. Découvrez la robe trippante qu’ils ont envoyée sur leur défilé printemps-été 2010. On dirait qu’Anja Rubik a été coupée en deux – halètement! Alors, comment ont-ils fait cela? Si vous vous approchez, vous remarquerez une bande noire entre les deux couches de tulle. Je me demande quelle célébrité osera faire défiler celle-ci sur le tapis rouge.