DOUG AITKEN

Underwater Pavilions
Underwater Pavilions is artist Doug Aitken’s large-scale installation produced by Parley for the Oceans and presented in partnership with The Museum of Contemporary Art, Los Angeles (MOCA). The work consists of three temporary underwater sculptures, floating beneath the ocean’s surface that swimmers, snorkelers, and scuba divers swim through and experience. Geometric in design, the sculptures create underwater spaces synthesizing art and science as they are constructed with carefully researched materials and will be moored to the ocean floor. Part of each structure is mirrored to reflect the underwater seascape and create a kaleidoscopic observatory for the viewer, while other surfaces are rough and rock-like. The environments created by the sculptures will constantly change with the currents and the time of day, focusing the attention of the viewer on the rhythm of the ocean and its life cycles.

Kimchi and Chips

Difference and Repetition
The title references Deleuzes thesis ‘Difference and Repetition’ – his attempt to understand reality without referring to identities. The artists aim to ‘unidentify’ the audience – to criticize the bubbles of reality which technology has helped us to build around ourselves. By allowing ourselves to remove our identity occasionally, we can better understand the thoughts of those we disagree with and therefore better work together to build a combined reality. Difference (in both senses) is generated by the motion control system which continuously changes the pose of the mirrors relative to the viewer. This movement disrupts space itself, creating a transformation similar to that of a Lorentz transformation when one travels close to the speed of light. This causes space itself to compress, twist and break, giving the viewer a tool for observing the non-absolute nature of time.

Ying Yu

airmorphologies

Humans, as social beings, use language to communicate. The human voice, as a biometric authentication mechanism, is constantly used throughout daily life applications, such as speech recognition, speaker verification, and so on. Currently, language-based communications mainly fall into two categories: voice over air, and voice over internet protocol. Can we add a new dimension for voice communication such as a wearable material? If so, how could we shape matter in order to physicalize vocal information?

airMorphologiesis an interactive installation that uses soft materials, such as silicon, fabric, and air, to realize these physicalizations. The human voice controls the actuation of a soft wearable structure, changing the appearance of the human body.

SQUAREPUSHER

Ufabulum
Soundcrash are proud to present the electronic music innovator that is Squarepusher! Beginning his sonic experiments in 1994, Squarepusher constantly strives to push the boundaries and limits of electronic music. In May 2012 Squarepusher unleashed his latest musical venture ‘Ufabulum’, an album of music generated purely from digital programming, ensuring his influence within today’s global music electronic scene is as vital as ever. For his first headline ‘Ufabulum’ album show in London, Squarepusher will take over the historic music hall Hackney Empire with his largest ever light-show to date! This is a unique opportunity to witness one of electronic music’s pioneers in an extraordinary setting.

Pauline Van Dongen

Pauline van Dongen researches the body in a technologically textured space. After graduating from ArtEZ, Academy of the Arts in Arnhem, the Netherlands, she started her own womenswear label in 2010. Pauline operates a meticulous research of the behaviour of experimental and high-tech materials, combining new technologies with traditional techniques to constantly renovate craftsmanship. Working closely with companies from the field of science and innovation, Pauline aims to merge fashion and technology giving life to scientific creations.

BILL VIOLA

比尔•维奥拉
빌 비올라
ביל ויולה
ビル·ヴィオラ
Билл Виола
An Ocean Without a Shore

First displayed in the deconsecrated church of San Gallo during the 2007 Biennale of World Art held in Venice, Italy, Ocean Without A Shore is comprised of over 240 minutes of high-definition content displayed on 65″ and 103″ plasma displays. The work is displayed in a fully synchronous yet constantly evolving format, as individuals continuously transition through a remarkable world of Viola’s creation.

fabrice hyber

POF 51
Fabrice Hyber sets out to examine the way we communicate and mimic the endless affinities between ideas. What interests Hyber is engaging people with everyday life to invent new modes of behavior. In his mental spa with Faust, he deploys one of his POF’s (Prototypes d ‘Objets en Fonctionnement, created between 1991-2012) to interpret and resolve the complexity of reality by constantly searching for possible, or impossible, hypotheses, a kind of activism to explore endless possibility and infinite variations for art-making.

DAISY BALLOON

雏菊气球
데이지 풍선
デイジーバルーン
DAISY BALLOON is a balloon unit of worldwide balloon artist Rie Hosokai (born 1976) and art director/graphic designer Takashi Kawada (born 1976). Since forming in 2008, they have produced many balloon art works based on the themes of “perception and quality.” Above all, the balloon dresses have fascinated many people through the intricacy of detail that suggests architectural qualities. Their daily fieldwork consists of searching for philosophical themes and interacting with people and objects, but their vision is constantly looking toward achieving essential harmony with their surroundings.

PAULINE VAN DONGEN

wearable solar

There is nothing natural in nature; technology makes our humanness giving form to our surroundings. The human habitat reveals a techno-morphed structure that can no longer be hidden behind the vestiges of a natural world: technology has to be naturalized. Pauline van Dongen researches the body in a technologically textured space. After graduating from ArtEZ, Academy of the Arts in Arnhem, the Netherlands, she started her own womenswear label in 2010. Pauline operates a meticulous research of the behaviour of experimental and high-tech materials, combining new technologies with traditional techniques to constantly renovate craftsmanship. Working closely with companies from the field of science and innovation, Pauline aims to merge fashion and technology giving life to scientific creations.

SHARON EYAL & GAI BEHAR

CARTE BLANCHE – CORPS DE WALK
Corps de Walk combines shapes and emotions in a unique, almost extraterrestrial “walk” by androgynous creatures. It makes a number of references to Killer Pig, Sharon Eyal’s first choreography for Carte Blanche, created in 2009. In Killer Pig, a piece for female dancers, Sharon Eyal plays with multiple incarnations of sensuality with a minimalist style and intense physical expression. She pursues that approach in Corps de Walk, but this time will all the company dancers involved. As with the previous piece, the costumes suggest androgynous nudity. She has collaborated with the Israeli musician DJ Ori Lichtik for many years, and once again here his music underpins her potent choreographic language, whose rhythm constantly evokes a beating heart.

Breakdown

Interactive audiovisual dance performance
via highlike submit
Breakdown is an interactive audiovisual dance performance presented at the Ears Eyes and Feet event in the B. Iden Payne Theater, May 2014, UT Austin Texas.
Breakdown explores a 2 dimensional simulated world in which its physical rules are constantly being changed and manipulated by an external entity. An inhabitant of this world is in constant motion to adapt to its characteristics. He interacts with the physical rules and develops a dialogue with the entity who controls the forces. Eventually the inhabitant ends up breaking the world’s rules and release himself into a new world, a new dimension.

SONICE DEVELOPMENT

emerging colorspace
Julian Adenauer and Michael Haas
Emerging Colorspace was a robotic drawing installation, realized by the Berlin based duo of artists, designers and inventors Julian Adenauer and Michael Haas, aka Sonice Development, as part of the Red Never Follows exhibition the Saatchi Gallery in London last summer. A new version of the studio’s Vertwalker, a machine with the ability to move on vertical surfaces, walking on buildings, and crawling on interior walls. The machine autonomously applied paint to the wall using a marker, referencing the vertical streets in Minority Report, the flying cars in Bladerunner and 5th Element, or Spiderman, the Silver Surfer and the Green Goblin – just to name a few sources of inspiration that expressed the supernatural. Thousands of lines drawn with different colors gradually formed an increasingly dense colorspace that emerged during the more than 200 exhibition hours, while the wandering behavior of the machine followed simple algorithmic rules with random elements. The result was a web that constantly changed, and never looked the same, exploring new territories and the future in a way ordinary mortals can’t.

GIUSEPPE RANDAZZO

Джузеппе Рандаццо
transmutation
Transmutation#01 is a generative system composed of two interacting multicellular agents in a Voronoi spatial configuration. Each cell owns a color/saturation information. The cells interact with each other and with the other agent. The two agents are different. The circular one, the most active and in evolution, constantly tries to reorganize its shape and color structures, connecting similar colors in concentric formations. Moreover the saturation and shape of its colors aggregates are influenced by the duration and proximity of the interaction with the other pluricellular agent, whose motion is abstract and immutable. The metaphor at the heart of this system is a reference to the subject of the 2012 Gender Docufilm Festival in Rome, from which the video was commissioned, that precisely addresses the issues related to the the reengineering and the transmutation of the sexual, physical, mental identity, through the collision / confrontation with the external reality. Coded with Processing, rendered with 3Delight (via Processing). In collaboration with Filippo Ulivieri, music by Massimo Dolce.

SPLITTERWERK

bio intelligence quotient house
Dubbed the Bio Intelligent Quotient (BIQ) House, the approximately €5 million building was designed by Splitterwerk Architects and funded by the Internationale Bauausstellung (IBA), a long-running exhibition series showcasing cutting edge techniques and architectural concepts, for this year’s International Building Exhibition – 2013.
A total of 129 algae culturing tanks are affixed to the East and West sides of the building via an automated external scaffolding structure that constantly turns the tanks towards the sun. The plant cultures are fed through an integrated tubing system, CO2 is pumped in as well.According to Arup’s Europe Research Leader, Jan Wurm, who collaborated with Splitterwerk on the project:The algae flourish and multiply in a regular cycle until they can be harvested. They are then separated from the rest of the algae and transferred as a thick pulp to the technical room of the BIQ. The little plants are then fermented in an external biogas plant, so that they can be used again to generate biogas. Algae are particularly well suited for this, as they produce up to five times as much biomass per hectare as terrestrial plants and contain many oils that can be used for energy.Not only do these tanks provide shade for every level of the building during the summer and biogas for heating during the winter, the facade itself collects excess heat not being used by the algae, like a solar thermal system. That heat can then either be used immediately or stored in 80-meter-deep, borine-filled borehole heat exchangers located under the structure. Total fossil fuels used in this process: zero.