Jake Elwes

Cusp
A familiar childhood location on the Essex marshes is reframed by inserting images randomly generated by a neural network (GAN*) into this tidal landscape. Initially trained on a photographic dataset, the machine proceeds to learn the embedded qualities of different marsh birds, in the process revealing forms that fluctuate between species, with unanticipated variations emerging without reference to human systems of classification. Birds have been actively selected from among the images conceived by the neural network, and then combined into a single animation that migrates from bird to bird, accompanied by a soundscape of artificially generated bird song. The final work records these generated forms as they are projected, using a portable perspex screen, across the mudflats in Landermere Creek.

Iannis Xenakis

Oresteia Opera

Scored for soloists, mixed chorus, children’s chorus and chamber ensemble, Iannis Xenakis’ music for Oresteia has been cited as “ruggedly dissonant” since its 1987 première in Sicily. A wooden-planked stage is empty save three platforms, one each for the chamber players and percussion, another for a drummer on a separate perch. On a high screen to start, a loop video shows an almost-naked woman stretched out face down in a bathtub who is being hosed down uninterruptedly with water. No forewarning, and the clip changes to a thick forest, a small girl being physically abused by an adult man. While the same video images reappear at the end of the opera, but it’s nebulous soft-edged shapes –mood landscapes as it were – that are the usual backdrop for the 90-minute piece.

 

Helene Nymann

MOL
MOL (2018) takes up the ancient technique of memorizing information by placing symbols and signs along a mental path through an imagined house from room to room. Interested in the way technology affects both our sense of and need for memory, Nymann attempts to capture her own active and associative thinking by reconstructing her path through her abandoned childhood home. In the work, she visualizes her past experiences through the placement of anchor objects—which, according to the ancient Greco-Roman method of loci, shape the way we perceive the external world—suggesting that in our increasing reliance on technology to memorize for us, we allow others to form our view of the world.

Daniel Arsham

다니엘 아샴
ДАНИЭЛЯ АРШАМА
Connecting Time
‘Connecting Time’ is a survey show with works spanning Arsham’s entire career. Included are four at first glance ‘conventional’ architectural interventions that subtly manipulate the physical environment to create surrealistic settings. Fitness gear and objects rooted in pop culture are presented in eroded form as though excavated from some archaeological site, while swaddled animalistic figures recall the work of Christo or Man Ray, but with a playful, childlike twist.

PETER MOVRIN

“Movrin’s main inspiration has always been his childhood, where tradition, God and meat were the subject of everyday life. As an only son of a butcher in a small Slovenian town, surrounded by woods and bears, his growing up marked him with a roughness that he transcends in his designs with a special kind of romanticism. In this hard provincial life meat became his medium of expression, as a child he would carve steaks in a way that would appeal to his bewildered eye. There were, however, also fresh issues of Vogue magazines in the house, brought from trips to Trieste, that stirred up his imagination.” Black Sheep

mode:Niko Riam

Katharina Fritsch

Zwei Männer / Two Men
Katharina Fritsch ist eine zeitgenössische deutsche Bildhauerin. Ihre Arbeit mischt Realität mit Vorstellungskraft, um surreale Bilder zu schaffen, die durch ihre großformatigen monochromatischen Skulpturen von Tieren, Menschen und Objekten Realität und Fantasie zusammenziehen. Von ihrer hellen Palette hat sie bemerkt, dass Farbe „es ausgleicht, es abstrakt macht – wie ein visuelles Zeichen, eine Ikone. Das ist wichtig: Meine Arbeit befindet sich immer an der Grenze zwischen einer detaillierten Skulptur und einem Schild. “ Fritschs Werk wird oft als unheimlich beschrieben. Es enthält leichte Repräsentationsverschiebungen, die die Wahrnehmung der Realität durch den Betrachter verändern und die gefälschte Nachahmung des Lebens durch das Werk hervorheben.

AES+F

Inverso Mundus
The title of the work, Inverso – both an Italian “reverse, the opposite” and the Old Italian “poetry,” and Mundus – the Latin “world,” hints at a reinterpretation of reality, a poetic vision. In our interpretation, the absurdist scenes from the medieval carnival appear as episodes of contemporary life in a multichannel video installation. Characters act out scenes of absurd social utopias and exchange masks, morphing from beggars to rich men, from policemen to thieves. Metrosexual street-cleaners are showering the city with refuse. Female inquisitors torture men on IKEA-style structures. Children and seniors are fighting in a kickboxing match. Inverso Mundus is a world where chimeras are pets and the Apocalypse is entertainment.

THE MOST INCREDIBLE THING

NYC Ballet

Was auf den ersten Blick verspielt und poetisch erscheint, hat einen ernsten Hintergrund: Inspiriert vom Deutsch-Französischen Krieg von 1870 schildert Andersen in dem Märchen den Kampf zwischen Kultur und Aggressoren so eindringlich, dass dieses den Dänen im Zweiten Weltkrieg als Widerstandslektüre diente. Und auch heute noch ist diese Parabel aktuell: „Die ganze Geschichte handelt davon, wie die Kunst über Tyrannei oder Zerstörung triumphiert“, so Marcel Dzama. „Ich kannte sie vorher nicht und las sie genau in den Tagen, als Palmyra von der ISIS zerstört wurde. Dabei dachte ich ständig: „Oh, das passt genau in die Zeit.“

Joy Division

The Eternal
[Verse 1]
Procession moves on, the shouting is over
Praise to the glory of loved ones now gone
Talking aloud as they sit round their tables
Scattering flowers washed down by the rain
Stood by the gate at the foot of the garden
Watching them pass like clouds in the sky
Try to cry out in the heat of the moment
Possessed by a fury that burns from inside
[Verse 2]
Cry like a child, though these years make me older
With children my time is so wastefully spent
A burden to keep, though their inner communion
Accept like a curse an unlucky deal
Played by the gate at the foot of the garden
My view stretches out from the fence to the wall
No words could explain, no actions determine
Just watching the trees and the leaves as they fall

Fred Sandback

Untitled
Sandback did not try to ground his art in history or theory alone, but followed a very personal approach. Growing up, he had an uncanny fascination with things that were strung. According to his own accounts he liked to watch his uncle Fred, an antiques dealer, cane chairs, and he remembered being captivated as a child by a museum exhibition on how to make snowshoes. As a camp counselor in New Hampshire, he loved archery and began making his own bows. He also seems to have been interested in straight lines; as a freshman in college, he carved a tall, narrow cat out of wood, prefiguring a lifelong interest in linear forms.

Melanie Bonajo

Last Child in the Woods
Melanie Bonajo studied at the Gerrit Rietveld Academy and completed residencies at the Rijksakademie voor Beeldende Kunst in Amsterdam (2009-10) and at ISCP in New York (2014).

Francesco Cavalli

Eliogabalo (Heliogabalus)
Written in 1667 by Italian composer Francesco Cavalli, the opera is based on the life of the Roman child emperor Heliogabalus, who anointed himself a sun god and was known for overt displays of wealth, power and sexuality.more

FRANK HERBERT

فرانك هربرت
弗兰克·赫伯特
프랭크 허버트
פרנק הרברט
フランク·ハーバート
Фрэнк Герберт
Dune: Children Of Dune
The major career break for Frank came after John Campbell serialized Dune in 1963-4 for the new Analog. Two more Dune books followed, Dune Messiah and Children of Dune creating a Dune Trilogy. Some years later, three more Dune books were added. Herbert’s livelihood career was as a newspaperman, working many of the west coast cities from Los Angeles to Washington state with 10 years spent with the San Francisco Examiner. He and his wife had three children, one of whom, Brian Herbert, became a SF writer in his own right.

AL AND AL

The Creator

Decades ago, Turing famously asked, ‘Can machines think?’ and ever since, the notion of computers exceeding human intelligence has transfixed researchers and popular culture alike. For their fantastical Turing interpretation, the directors conjoin Lynchian nightmare with the prophetic themes of J.G. Ballard. Audiences will enter the haunting dream world of the legendary scientist, who gave birth to the computer age. Turing’s binary children embark upon a mystical odyssey to explore their creator’s dream diaries in a quest to discover their origins and destiny in the universe.
Probing the infinite possibilities of technology, AL and AL investigate the shaping forces of fantasy and reality. Having established themselves as pioneering artist filmmakers, they combine performance with computer-generated 3D environments to create dream worlds.