Coro pêndulo
Pendulum Choir é uma peça coral original para 9 vozes A Cappella e 18 macacos hidráulicos. O coro é constituindo por um corpo vivo e sonoro. Esse corpo se expressa por meio de vários estados físicos. Sua plasticidade varia de acordo com sua sonoridade. Varia entre sons abstratos, sons repetitivos e sons líricos ou narrativos. Os corpos dos cantores e suas vozes brincam com e contra a gravidade. Eles se tocam e se evitam, criando polifonias vocais sutis. Ou, apoiados por sons eletrônicos, rompem sua coesão e explodem em um voo lírico ou se dobram em um ritual obsessivo e sombrio. O órgão viaja da vida à morte em uma alegoria robótica onde a complexidade tecnológica e o lirismo dos corpos em movimento se combinam em uma obra com acentos prometéicos.
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Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir is constituted by a living and sonorous body. This body expresses itself through various physical states. Its plasticity varies according to its sound. It varies between abstract sounds, repetitive sounds and lyrical or narrative sounds. The singers’ bodies and their voices play with and against gravity. They touch and avoid each other, creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and explode in a lyrical flight or bend in an obsessive and dark ritual. The organ travels from life to death in a robotic allegory where technological complexity and the lyricism of moving bodies combine in a work with Promethean accents.

振り子の合唱団
Pendulum Choir

Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir stands on tilting platforms, constituting a living, sonorous body. That body expresses itself through various physical states. Its plasticity varies at the mercy of its sonority. It varies between abstract sounds, repetitive sounds, and lyrical or narrative sounds. The bodies of the singers and their voices play with and against gravity. They brush and avoid each other creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and burst into lyrical flight or fold up into an obsessional and dark ritual. The organ travels from life to death in a robotic allegory where the technological complexity and the lyricism of the moving bodies combine into a work with Promethean accents.

(ego hiperrealista) + (juguete del viento) =
Custic combines models, costumes and various other objects that inspire him, using them to give form to abstract concepts surrounding humanity and its evolution. Spirituality, religion, relationships and sexuality are all explored through a lens preoccupied with fragmentation, pataphysics, optical balance effects and technological art.

L’Orfeo.
Dutch National Touring Opera’s production of L’Orfeo.
Artist Lonneke Gordijn, together with director Monique Wagenmakers and choreographer Nanine Linning, created a new interpretation of L’Orfeo.
The kinetic sculpture EGO, specially developed for L’Orfeo, is a handwoven block controlled by algorithms and motors. The block has the ability to shift its shape and state, embodying Orfeo’s perspectives and thoughts. The oldest opera combined with modern cutting edge technology.

マイケル·ヨハンソン
Майкл Йоханссон
The Move Overseas

Created by contemporary Swedish artist Michael Johansson, these “real life Tetris” installations see other people’s unwanted objects methodically and painstakingly packed together into neat, colour co-ordinated blocks. Inspired by real life coincidences, such as two people passing each other dressed in the same outfits, Johansson has been constructing the sculptures since 2007, installing them in public areas like tight alleyways and strangely shaped doorways as well as showing them at group and solo exhibitions all over the world. Speaking to PINCH magazine, Johansson said:

“These irregularities, or coincidences, are a great source of inspiration for me. I have also as long as I can remember been fascinated by flea markets. And in specific a fascination by walking around to find doubles of seemingly unique, though often useless objects I have already purchased at another flea market. There is something irresistible in the knowledge that if you don’t buy that particular object right away, the opportunity might never come back. I think the same rules compelling me to select things at flea markets are also central to my art practice, that you need to combine something very familiar with something very unique to create an interesting art experience.”
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