The Garden
The Garden is a living artwork that embraces the dichotomy between the natural environment and a synthetic man-made experience. Aitken’s The Garden installation brings the viewer into the center of the artwork and asks them to physically immerse, participate and become the subject of the installation. Set inside a dark warehouse space the viewer walks inside, their eyes adjusting to become aware of thick lush jungle growing under artificial grow lights. Walking closer, the viewer enters inside the jungle and discovers a huge rectangular glass cube. Inside the glass room is a man-made environment replete with generic elements of modern life: tables and chairs, a cabinet, a sterile tableau set under bright raking lights.

Noesis
This project was made by inspiration from law of nature and cosmology such as, “View from Inner Earth” ”Wrapped up in Nothing” “Re-mix the Border” “Constructal Law” “Emerging Moments” “Universal Architecture”, and “Superstring Theory”.Science and art have been getting closer in media art scene. Visualization of data and visualization of wave shapes has been actively pursued.

Mindar
Революция машин уже пришла в религию – по крайней мере, в Японии. Буддийский храм в городе Киото решил изменить свои практики, чтобы стать ближе к людям, и установил там робота. Твоя роль? Объявляйте проповеди верующим. Робот Миндар ростом почти шесть футов имеет женский голос и был создан в честь буддийского божества милосердия Каннон. Руки, лицо и плечи корпуса робота покрыты силиконом (имитирующим человеческую кожу). Это все. Все остальное состоит из открытых металлических шестерен.

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Mindar

A revolução da máquina já entrou na religião – pelo menos no Japão. Um templo budista na cidade de Kyoto decidiu mudar suas práticas para se aproximar das pessoas e instalou ali um robô. Qual é o seu papel? Anuncie sermões aos crentes. Com quase um metro e oitenta de altura, o robô Mindar tem uma voz feminina e foi criado em homenagem à divindade budista da misericórdia Kannon. Os braços, rosto e ombros do corpo do robô são cobertos com silicone (imitando a pele humana). É tudo. Todo o resto consiste em engrenagens de metal expostas.

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Mindar

The machine revolution has already entered religion – at least in Japan. A Buddhist temple in the city of Kyoto decided to change its practices in order to become closer to people, and installed a robot there. What is your role? Announce sermons to believers. Almost six feet tall, the robot Mindar has a female voice and was created in honor of the Buddhist deity of mercy Kannon. The arms, face and shoulders of the robot body are covered with silicone (imitating human skin). It’s all. Everything else consists of exposed metal gears.

Mist Encounter
Mist Encounter is a summer pavilion stands in the large outdoor plaza in front of the Taipei Fine Art Museum. The summer sun and breeze will drift in and animate the scaffold and mesh structure. An indistinct mist will arise from the outer square and draw visitors to come closer. As visitors walk from the outer to inner square, they will be gradually enveloped by the mist, and things will appear and disappear as the mist alternately gets heavier and lighter. The effect will be similar to an experience of passing through a heavy fog in a magical forest.

Solitary Survival Raft
Solitary Survival Raft is a machine that comforts a single body as they drift into the unknown. This artwork explores how we can reconcile the human urge to explore new frontiers, while tending to fear. The raft is an exploration of where we are at, rather than a demonstration of survival – do you drop off the edge when you reach the horizon or merge closer to truth when you give fear the cold shoulder?

فيكتور إثراء
ビクターはエンリッチ
ВИКТОР ЭНРИХ
The artist definitely made a strong impression on the world of visual arts with his concepts. The ideas behind all his illustrations are very strong and full of substances, and manage to grasp the attention of the public from the first second. Aside from that, he also sends other, more subtle messages, regarding his own perspective upon the world, how he deems everything as possible for those who believe and who understand the power of imagination etc. The works of Victor Enrich really are something special, and worth taking a closer look. Without further ado, we invite you to admire the results of his restless imagination, his bold symbolism and his courageous approach to life and the world around us.

Ghost City
The installation Ghost City is built around a reinterpretation of the set of the famous game GTA V. The spectator is plunged into an environment without any population that disappears as we move closer. It is a meditative and captivating experience. The focus is put on architectural and graphic elements. This virtual universe solicits both the present (the experience of the artwork) and the memory. The disappearance, before our eyes, of this virtual universe feeds the terror that one day all our digital life – ephemeral cloud.

Love Disorder
​Love Disorder is a one-room interactive environment, in which a video character talks to visitors and responds emotionally to their movements in the space. When you enter, you see a twelve-foot-high face on a video screen at the far end of the room. The face says: “I’ve been waiting for you” – or one of several other greetings. He’ll continue talking to you if you don’t move, but the emotional tone of what he says will change as you step closer to the screen – or turn away. This manipulative character uses a gamut of emotional ploys to stimulate your movement within the space. He knows if you’re coming or going, and the range of his response is varied and complex enough that most people find themselves interacting, as if directly addressed.
video

Biomatrix
“Biomatrix” is an installation of endles scycles of eruptive cell bubbles emerging on the surface of liquid silicone oil. This circulation of the colored liquid evokes the behaviour of magma or blood, and due to the high viscosity of silicon oil, illustrates the movement of the material at a speed deceptively slower than the viewer’s expectation. The electrically controlled pool becomes an interface that amplifies visual impact, and infinitely produces cell patterns. An orderly grid formation appears as a digital matrix, while closer observation reveals irregularities such as sporadic and simultaneous effervescence and plosive sounds breaking the surface tension.

Impacts
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.

From Apple to Anomaly
Artist Trevor Paglen’s new Curve commission takes as its starting point the way in which AI networks are taught how to ‘see’ and ‘perceive’ the world by taking a closer look at image datasets. Paglen has incorporated approximately 30,000 individually printed photographs, largely drawn from ImageNet, the most widely shared, publicly available dataset. This dataset is archived and pre-selected in categories by humans, and widely used for training AI networks. In some cases, the connotations of categories are uncontroversial, others, for example ‘bad person’ or ‘debtors’, are not. These categories, when used in AI, suggest a world in which machines will be able to elicit forms of judgement against humankind.

Мэтт Кеньон
مات كينيون
매트 케년
マット・ケニヨン
Supermajor
In Supermajor, a rack of vintage oil cans sits innocuously on the gallery floor. A punctured can, located somewhere mid-stack, has sprung a leak. The oil flows out in a steady trickle, cascading onto the pedestal below; a golden-brown pool forms at its base. Upon closer inspection, however, the oil is not originating from the can. Instead, its stream is reversed. Drop-by-drop the oil flows upwards, defying gravity. At times, droplets even appear to hover in mid-air. Returning to its source, the upward ascent of oil continues uninterrupted as if neither the can’s reserves of the nor the puddle’s can ever be depleted.
FILE FESTIVAL

automato.farm
FILE FESTIVAL 2018
As things become smarter and connected, their roles in people’s lives are challenged. Things become closer and closer to us, eventually becoming “users” themselves. How will we understand objects’ needs and perspectives and potentially design for them?

mandelbrot set (zooming in)

The Mandelbrot set shows more intricate detail the closer one looks or magnifies the image, usually called “zooming in”. The following example of an image sequence zooming to a selected c value gives an impression of the infinite richness of different geometrical structures and explains some of their typical rules. The magnification of the last image relative to the first one is about 1010 to 1. Relating to an ordinary monitor, it represents a section of a Mandelbrot set with a diameter of 4 million kilometers. Its border would show an astronomical number of different fractal structures.

The Studio of Vanities

Oumy Ndour – Journalist, TV Anchor, Movie Director

The result is a collection of individual portraits, striking and captivating in their charm. Diop carefully chooses backgrounds and patterns to strengthen the subject’s personality and cultural references. Therefore, the colour of kenté fabric flawlessly matches the outfit of casually posing fashion designer, Selly Raby Kane. The clothes of artist Mame-Diarra Niang and model Aminata Faye fuse with an African background pattern. Using this particular approach, Diop becomes part of a tradition of African studio photography epitomized by the likes of Malick Sidibé and Seydou Keïta. He honours their pioneering work in his own creations, making use of contemporary techniques. Instead of merely creating striking images of an attractive young generation, Diop defines the images during the portraiture process, ensuring that decisions regarding pose, background and props are taken together with the subject. This makes it possible for Diop to come closer to the essence of the portrayed individual, and therefore do justice to the multiplicity and energy of Dakar’s contemporary cultural scene.

Rasmus Mogensen is a Danish fashion and beauty photographer who worked with such famous brands as Diesel, Swarovski, Escada, Sand, Shiseido, Rochas, de Grisogono etc. His fashion sets have some beautiful textural and conceptual elements and he has an amazing finish on his works that makes you want to look closer and closer.

Nothing of This is Ours
“With his strong signature, and his recognizable visual and digital language, Alex creates infinite, surrealistic worlds with colorful creatures, alchemistic symbols, buddhas and other worldly cultural discoveryheritages. In the multiplayer game installation ‘Nothing of This is Ours’, visitors can immerse themselves in the mystic landscapes, graphic patterns and polygon characters. A journey without a destination, exploring with pure instinct. Alex offers the visitors a closer look at the artistic, innovative possibilities of the art game. The game as a contemporary medium, where the newest technique and art come together and enrich the one who takes the time to play the game. Alex invites the visitor to play in M0Bi, individually or collectively, experienced and inexperienced!”

The almost ideal game

Gilles Deleuze about the Ideal Game: we are surprised when he postulates as the first rule: “there is no rule”. Soon, all the other games that have some rule are, for him, partial. That is, products of the ideal game.

A game where there are no rules implies a completely free game creatively. The question to be raised is whether there is a grey region between the ideal game and the partial games, so that the rules established in the partial games could be suspended. This way we could unpartialise the games bringing them closer to the ideal game or some kind of almost ideal game.
If we take the rules of any game, it means it stops to work immediately, except in the ideal game. Therefore, the key question is: how to suspend the rule of a game (Dice games) so that it can continue to work?

FILE FESTIVAL SAO PAULO 2016

ondulation

We enter a room and are plunged into semi-darkness. The room is dominated by an immense basin of water, ripples radiating across its surface in concentric rings. Intuitively we know that the sounds around us are closely related to the ripples, a fact reinforced by the water’s reflected movements on the surrounding walls through a sophisticated play of light. As we get closer, it becomes clear that the sounds are emanating from speakers concealed under the basin, the source of the ripples on the water’s surface. The water acts as a medium in the sense that it acts as middle ground: stimulated by the sound and swept by the beams of light, it produces richly evocative reflections. A latent photographic metaphor is at play in the installation: the water seems to take on the properties of a sensitive plate, with the sound imprinted upon it and revealed by the movement and stunning reflections projected on the walls.

Transform

A few months ago, an MIT team showed the inForm physical interface, which mimics its movements in real time. This week in Milan, they presented the next iteration of the system, much bigger and even more sophisticated. You need to see the videos. The team is called Tangible Media Group, led by Professor Hiroshi Ishii; they explore how digital interfaces – present in every gadget we use – can be transformed into physical objects.

Yellow Structure
site-specific installation Yellow Structure (2016) by Richard Maloy. Seen from a distance, Yellow Structure will appear to be a solid, golden, rock-like structure that is minimal in nature. Closer inspection by visitors, however, will reveal its degradable and humble construction from common industrial materials such as cardboard, paint and tape.

جان كوكتو
让·科克托
ז’אן קוקטו
ジャン·コクトー
장 콕토
ЖАН КОКТО
Orphée
“The three basic themes of Orphée are:1-The successive deaths through which a poet must pass before he becomes, in that admirable line from Mallarmé, tel qu’en lui-même enfin l’éternité le change—changed into himself at last by eternity.2-The theme of immortality: the person who represents Orphée’s Death sacrifices herself and abolishes herself to make the poet immortal.3-Mirrors: we watch ourselves grow old in mirrors. They bring us closer to death.

closer
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the phonenix is closer than it appears
L’artiste allemand Thilo Frank a développé ce projet qu’il appelle “Le Phénix est plus proche qu’il n’y paraît”, une installation dont la dimension est de 4 x 4 x 8m et se compose d’une structure faite de miroirs et de cristaux, à la fois à l’extérieur et à l’intérieur, à la recherche de la distorsion de la réalité issue de l’agrandissement ou de la déconstruction de l’espace.A l’intérieur du cube, les gens peuvent expérimenter une sorte de désorientation en devenant le point focal spatial en étant entouré de leurs propres réflexions physiques dans la pièce environnante le corps du spectateur pour devenir une réflexion imaginaire et hallucinante.

אדוארדו סרור
Boat
Festival Serrinha

Eduardo Srur, from São Paulo, started painting, but stood out in urban interventions. His works use the public space to draw attention to environmental issues and daily life in the metropolises, always with the objective of expanding the presence of art in society and bringing it closer to people’s lives. The city is your research laboratory for the practice of artistic experiences; the public and governments are his target. Srur’s set of works serves as a guide for poorly managed spaces and urban errors. Above all, they are conceptual criticisms that awaken awareness and look at a new aesthetic and understanding of the visual arts.

Тило Франк
the phonenix is closer than it appears

חטיבת שמחה
ジョイ·ディヴィジョン
Closer
Joy Division, released in 1980, was considered one of the most important albums of the post-punk movement. As the songs were recorded under a specially constructed stucco vault, an end to capture and resonance from a chapel. There is no indication of the sides, either on the seal or in the insert. Thus, with the previous album, Unknown Pleasures, the relationship of the songs is found only without insert. In the CD edition, consider side A that starts with the Atrocity Exhibition, and side B starts with Heart And Soul.