zach blas

sanctum
Zach Blas(United States、1981)の作品は、テクノクラート社会の限界と基盤を描くことを目的として、視覚言語の慣習、価値体系、デジタル技術に内在する力のダイナミクスをさまざまな文脈で分析、調査、配置しています。 。 彼の分析とデジタル文化への反映のために、彼は映画、彫刻、執筆、パフォーマンスなど、さまざまな表現形式を使用しています。 ブラスはブラックユーモアと理論的研究に取り組んでおり、彼の最も顕著な影響の中には、神秘主義の伝統、サイエンスフィクションのジャンル、ップカルチャー、クィアの美学があります。

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sanctum

The work of Zach Blas (United States, 1981) analyzes and explores the dynamics of visual language practices, value systems, and the forces inherent in digital technology in a variety of contexts, with the aim of depicting the limits and foundations of technocratic societies. I have placed it. .. For his analysis and reflection in digital culture, he uses a variety of forms of expression, including film, sculpture, writing and performance. Brass works on black humor and theoretical research, and among his most prominent influences are the mystical tradition, the genre of science fiction, pop culture, and the aesthetics of queer.

 

XU ZHEN

徐震是当今中国最有趣,最有前途的艺术家之一。 徐震是一位概念画家,是一位概念画家,他的作品经常采取挑衅性的雕塑,置和干预的形式,面对当代中国和中国的社会政治禁忌,这是一位顽强的艺术家,对全球信息有强烈的需求,并且具有跨多种平台和媒体制作作品的独特能力。

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Xu Zhen is one of the most interesting and promising artists in China today. Xu Zhen is a conceptual painter and a conceptual painter. His works often take the form of provocative sculptures, installations and interventions. Faced with contemporary China and China’s social and political taboos, this is a tenacious artist. There is a strong demand for global information and the unique ability to produce works across multiple platforms and media.

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Xu Zhen è uno degli artisti più interessanti e promettenti in Cina oggi. Xu Zhen è un pittore concettuale e un pittore concettuale. Le sue opere assumono spesso la forma di sculture, installazioni e interventi provocatori. Di fronte alla Cina contemporanea e ai tabù sociali e politici della Cina, questo è un artista tenace. C’è una forte richiesta di informazioni globali e la capacità unica di produrre opere su più piattaforme e media.

 

Denis Villeneuve

Arrival

“Arrival’s narrative plays out in four languages: English, Mandarin, Russian and Heptapod. Though they are not spoken in the film, we learn that Louise is also fluent in Farsi, Sanskrit and Portuguese (and possibly others). The language learning process and the growing translingual bond between Louise and the heptapods forms the film’s narrative arc and the majority of its plot. Thus language, and specifically the mechanics of ←215 | 216→multilingualism, is Arrival’s central theme. Within this context, the ability to communicate across language barriers is an asset, and the flexibility to navigate new linguistic challenges is invaluable. The heptapods are pure science fiction, but serve a powerful metaphorical function. As Emily Alder (2016) writes in The Conversation, “ultimately, Arrival is less about communicating with the aliens than with each other – internationally but also individually […] The film’s message is that difference is not about body shape or colour but language, culture and ways of thinking. It’s not about erasing that difference but communicating through it”. Gemma King

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语言学习过程以及路易丝与七足动物之间越来越多的跨语言联系形成了电影的叙事弧线和大部分情节。 因此,语言,尤其是←215的机制| 216→使用多种语言是到达中心的主题

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Процесс изучения языка и растущая межъязыковая связь между Луизой и гептаподами составляют повествовательную дугу фильма и большую часть его сюжета. Таким образом, язык и, в частности, механика ← 215 | 216 → многоязычие – центральная тема Арривала.

Olivier Ratsi – Antivj

Onion Skin
Principalement basé sur l’expérience de la réalité et les représentations de la perception de l’espace, Olivier Ratsi considère la réalité objective, le temps, l’espace et la matière comme des notions d’information intangibles.
Son travail consiste à concevoir des processus de discontinuité avec ces notions afin de pouvoir partager avec le spectateur un autre point de vue.
Par le biais de ce processus, Ratsi crée une cassure dans cette réalité objective, altérant notre perception du réel.
Toutefois cette cassure significative et perturbante est assez modérée afin de ne pas priver le spectateur de sa capacité subjective de reconstruction/reconstitution de la réalité, via son expérience et sa propre culture. Le processus de création basé sur la déconstruction des repères spatio-temporels et les dispositifs utilisant la technique de l’anamorphose, développée au cours de ses recherches, jouent principalement le rôle de déclencheurs d’émotions, qui n’ont pas seulement pour but de montrer ce que peuvent être les choses autrement, mais plutôt de questionner leurs références.

EDOARDO TRESOLDI

Etherea
Etherea è l’installazione site-specific concepita per il Coachella Valley Music and Arts Festival, uno degli eventi musicali più attesi e importanti al mondo. L’opera è composta da tre sculture trasparenti ispirate all’architettura neoclassica e barocca, tutte con forme identiche ma dimensioni diverse, posizionate su un asse e misurano rispettivamente 36, 54 e 72 piedi di altezza.

Cerith Wyn Evans

….the Illuminating Gas
Concepita come una composizione armonica di luce, energia e suono, “….the Illuminating Gas” è la più grande mostra mai realizzata da Cerith Wyn Evans (Llanelli, Galles, Regno Unito, 1958; vive e lavora a Londra) e presenta una straordinaria selezione di ventiquattro opere tra sculture storiche, complesse installazioni monumentali e nuove produzioni, che offrono ai visitatori un’esperienza sinestetica unica.

Michael Clark

マイケル·クラーク·カンパニー
Come, been and gone

Ballet meets punk, and neither comes out the same. In its highly anticipated first visit to Chicago, the electrifying Michael Clark Company provocatively pays homage to the decadence and unbridled fun of 1970s club culture. British dance iconoclast Michael Clark sets his choreography in come, been and gone to the music of fellow rebel David Bowie, and collaborates with video artist and dance film pioneer Charles Atlas. Clark’s dancers don Bowie-style leather jackets and echo his unique body language, building up to a detonation of jumps and kicks. “Come, been and gone” pulls off a remarkable feat—matching the cool, alien beauty of the singular singer, who makes a cameo appearance here thanks to 1977 film footage of his track “Heroes.”

Kaws

Expanded Holiday
Expanded Holiday demonstrated the enormous potential of AR technology, which provides virtual perspectives on real-world environments, and conveys KAWS’s mischievous humour through the juxtaposition of physical and virtual worlds. These virtual sculptures were accessible via the Acute Art app and could be experienced in conjunction with the NGV’s exclusive exhibition KAWS: Companionship in the Age of Loneliness, a comprehensive survey of 25 years of KAWS’s oeuvre and his largest solo survey to date. Full of humour, hope and humanity, the exhibition featured more than 100 works including iconic paintings reappropriating pop-culture figures to more recent largescale, layered works, and an impressive collection of KAWS’s celebrated sculptural figures.

NOIZ

SHIBUYA HYPER CAST. 2
Shibuya Hyper CAST. 2 is a showcase of most cutting-edge urban innovations combined into one building. Shibuya CAST., an existing development designed by noiz, has been an urban lab of mixed function and culture located in the middle of one of the hottest areas in Tokyo. This hypothetical project has started for the 5-year memorial celebration of the CAST., to project future possibility of the building, the area, our society, and potentially a form of future city. It demonstrates how cities of the future could be structured and operated. The project is based on urban studies in the area of mobility, social welfare, administration, funding, security, sustainability and more. Shibuya Hyper CAST. 2 translates the best features of vibrant downtown districts into vertical language of ever-growing cities of the future.

Ben Cullen Williams

Living Archive

The Living Archive is an experiment between Studio Wayne McGregor and Google Arts and Culture – a tool for choreography powered by machine learning which generates original movement inspired by Wayne’s 25-year archive.

Van Grimde Corps Secrets

Eve 2050
Nous sommes en 2050, dans un monde ou être humain ne signifie plus la même chose. Les avancées technologiques et biomédicales des 30 dernières années ont bouleversé le statut du corps et redéfini les identités. Certains humains ont embrassé les progrès technologiques, jusqu’à augmenter leurs corps avec des dispositifs artificiels. D’autres ont préféré s’hybrider avec d’autres espèces, faisant du biologique et du vivant leur technologie à eux. D’autres encore chérissent et honorent le corps originel, refusant toute modification corporelle ou n’ayant pas les moyens de s’augmenter. La web série Eve 2050 nous emmène au cœur de ce monde étonnant à travers 5 épisodes qui suivent le parcours d’Eve. Personnage symbolique, de toutes origines culturelles, à la fois enfant et adulte, homme, femme, transgenre, être de chair, virtuel ou artificiel. Eve 2050 propose un voyage inédit vers les corps et les êtres de demain.

Precht

Bert
“We are fully aware that architecture is this serious and profound craft with a long culture and tradition. You see that when we architects find reference for our projects in art, philosophy, literature or nature. For this project, we also looked at art to find reference. But not at Michaelangelo or Dali. Rather we looked at cartoon characters of Sesame Street or Minions. We took a playful look at this project and wanted to create a rather unique character than a conventional building. A quirky looking character that becomes part of the wildlife of a forest. I think this quirkiness can create feelings and emotions. And maybe these are attributes in architecture that are missing these days.”

ecoLogicStudio

BioBombola
The Coral
Home Algae Garden
In June 2020 ecoLogicStudio has devised BioBombola, a pioneering project that invites individuals, families and communities to cultivate a domestic algae garden – a sustainable source of vegetable proteins. BioBombola absorbs carbon dioxide and oxygenates homes more effectively than common domestic plants while fostering a fulfilling daily interaction with nature. Each BioBombola is composed of a single customized photobioreactor, a one metre tall lab grade glass container, filled with 15 litres of living photosynthetic Spirulina strain and culture medium with nutrients.

Marguerite Humeau

High Tide
For her show High Tide, which was most recently exhibited at the Centre Pompidou, Humeau sculptured a collection of futuristic marine mammals and set about imagining what they might sound like if they could recount complex narratives. With mechanical clicks and whistles, similar to those made by whales and dolphins, Humeau’s creations tell of a great flood – an apocalyptic deluge that sparked the birth of their culture. “These floods”, she explains, “might be the consequence of climate change and rising oceans and the air becoming toxic. Maybe the great flood is actually us. As humans, we are the flood.”

Ewa Nowak

Incognito
La giovane designer polacca Ewa Nowak, tra le altre cose, ha creato una linea di gioielli in metallo. Sono dei ninnoli eleganti dalle linee pulite che non rinunciano a una certa morbidezza e artigianalità. Più simili a delle piccole sculture che a degli ornamenti fatti in serie. Tra loro c’è anche ‘Incognito,’ nato per sviare i software di riconoscimento facciale con stile e originalità.

Candeğer Furtun

Untitled
Candeğer Furtun employs traditional ceramic techniques in order to examine and portray the human body. She often works with reproductions of individual body parts, which are then combined so that an individual fragment can represent the whole, or suggest a larger scene, history, idea or space. Having studied arts and crafts both at home and abroad in the 1950s and 1960s, her eye towards her own culture is of an insider as well as an outsider.

Gerwald Rockenschaub

The work of the Austrian artist Gerwald Rockenschaub, born in Linz in 1952, has been associated with Neo-Geo since the early 1980s, when a group of young artists concentrated on the formal vocabulary of the abstract avant-garde. Neo-Geo permeated the aesthetics of American minimal art with the consumeristic position of pop art. Rockenschaub’s art cannot be simply categorised in any particular style, however; in his animations, foil pictures, objects and site-related installations, he refers in equal measure to ideas and positions of modernism and to phenomena of everyday culture.

Nick Paparone

Idol
Nick Paparone functions within the systems of mass culture and the marketplace in order to satirize and expose their inner-workings. Employing a variety of media from video, installation, and performance, the artist states that his work “is slathered with evolving iterations that anatomize branding idioms and client dynamics.more

highlike book

launch interactive book

FILE – Electronic Language International Festival and SESI publishing house launch the “highlike book”. This is a yearbook on global contemporary ART and CULTURE. Its first edition has 584 pages with 577 artists from 35 countries. The “highlike book” encompasses several aspects of contemporary culture, providing the user a new form of appreciation of an art book. This is a book connected to the cloud. All information, images, videos and texts, is connected to their on-line counterparts in several languages, in a hybrid book which maintains its physical aspects and the virtual simultaneity of multimedia information. Its main purpose is to provide users with a new way of access culture in a global diversified view on the contemporary creativity in its transversal and heuristic aspect, by means of technologies currently available.

REBECCA STEVENSON

Ребекка Стивенсон
ريبيكا ستيفنسون
丽贝卡·史蒂文森
sweet shell

Le sculture figurative di Rebecca Stevenson sono allo stesso tempo inquietanti e belle. Usando principalmente poliresina e cera, il suo concetto di solito inizia con una figura umana o animale proiettata in un tenue colore monocromatico che poi sembra sbocciare o decadere con varietà di composti organici multicolori. Questi fiori consumano quasi le figure, dando vita a sculture provocatorie e surreali. Il suo lavoro incarna il processo di creazione e distruzione, rivelando la bellezza che emerge da questo ciclo organico. Alcuni mi ricordano di camminare per i pascoli della fattoria quando ero più giovane e di scoprire vari teschi di animali attraverso i quali l’erba aveva cominciato a arrampicarsi. Se il suo lavoro disturba, è solo perché non cerca di mascherare la macabra bellezza del processo di crescita / decadimento. “Il mio lavoro riguarda il viscerale e il sensuale. Si basa sul disegno anatomico e sull’illustrazione botanica, ma occupa un territorio liminale tra l’indagine scientifica e il corpo immaginario e soggettivo. “

Refik Anadol, Kilroy Realty Corporation and SOM Architects

Virtual Depictions
Parametric data sculptures
The main idea of ‘Virtual Depictions:San Francisco’ is to bring 21st century approach to public art to define new poetics of space through media arts and architecture and to create a unique parametric data sculptures that has an intelligence, memory and culture. Through architectural transformations of media wall located in 350 Mission’ lobby, home of Salesforce, main motivation with this seminal media architecture approach is to frame this experience with a meticulously abstract and cinematic site-specific data-driven narration. As a result, this media wall turns into a spectacular public event making direct and phantasmagorical connections to its surroundings through simultaneous juxtapositions. The project also intends to contribute to contemporary discourse of public art by proposing a hybrid blend of media arts and architecture in 21st century.

Florence To and Ricardo Donoso

quintesence (QTSNSE)
Visualising a process of elements that represent the development of the psychic process, symbols will represent elements of the subconscious, telling a story of how memory may be disorientated, distorted, dysfunctional yet acting as a linear process to individuation. Using contemporary classical composition techniques & elements of sound system culture to heighten the viewers engagement with the different dimensions of space being presented and to enhance their depth of perception.

PETER FISCHLI AND DAVID WEISS

ПЕТЕР ФИШЛИ И ДЭВИД ВАЙС
ピーター·フィッシュリ·ヴァイス
彼得菲施利大卫韦斯
Equilibres / Quiet Afternoon
Peter Fischli (né en 1952 à Zurich) et David Weiss (né en 1946 à Zurich) produisent depuis les années 80 un œuvre protéiforme largement récompensée (Lion d’Or de la Biennale de Venise 2003). Le duo utilise de nombreux supports: installations, sculptures, photographies, vidéos… Entre humour et légèreté, métaphysique et ironie, le travail des deux artistes questionne avec distance le monde, s’interroge sur la difficulté à donner un sens à l’existence humaine. Leur art se situe dans la lignée de l’esprit dada en créant de légers décalages, des détournements propres à révéler la dimension incongrue et poétique du réel. Se jouant de l’attente du spectateur, ils interrogent les conventions de l’art en associant les références à la culture savante et à la culture populaire.
“Est-ce qu’il est possible de vivre sans le moindre doute, en ayant pourtant la possibilité de savoir quelque chose qui soit pertinent en ce qui concerne la vie ? ”

TOKUJIN YOSHIOKA

吉冈德仁
吉岡徳仁
Snow
Snow to część wystawy powstałej w 2010 roku w Mori Art Museum – Sensing Nature. Ów rok mijał pod hasłem: Redefiniując Japonię. Japończycy zawsze mieli ścisłą relację z naturą. Ta wystawa jest swoistą eksploracją wrażliwości oraz zbiorowego przywiązania i przynależności do kultury. Zaprojektowana była z dozą przekory wobec tradycyjnej koncepcji, która głosi, że natura powinna być odczuwana, a nie racjonalizowana. Instalacja Snow nie miała naśladować natury. Jej celem była obserwacja mechanizmów funkcjonowania ludzkich zmysłów podczas procesu doświadczania. Człowiek wiecznie odczuwa potrzebę definiowania pewnych zjawisk. Inaczej ów niepokój wynikający z braku wiedzy przeradza się w uczucie zagrożenia. Natura, ostateczne piękno tego świata, niepowtarzalne zjawisko braku stałości funkcjonuje według porządku, którego nie da się zrozumieć poprzez teorię.

POTLATCH

Gretchen at the Potlatch Feast

“Potlatch is a festive event within a regional exchange system among tribes of the North pacific Coast of North America, including the Salish and Kwakiutl of Washington and British Columbia.”
The potlatch takes the form of governance, economy, social status and continuing spiritual practices. A potlatch, usually involving ceremony, includes celebration of births, rites of passages, weddings, funerals, puberty,and honoring of the deceased. Through political, economic and social exchange, it is a vital part of these Indigenous people’s culture. Although protocol differs among the Indigenous nations, the potlatch could involve a feast, with music, dance, theatricality and spiritual ceremonies. The most sacred ceremonies are usually observed in the winter.
Within it, hierarchical relations within and between clans, villages, and nations, are observed and reinforced through the distribution of wealth, dance performances, and other ceremonies. Status of families are raised by those who do not have the most resources, but distribute the resources. The host demonstrates their wealth and prominence through giving away the resources gathered for the event, which in turn prominent participants reciprocate when they hold their own potlatches.
Before the arrival of the Europeans, gifts included storable food (oolichan [candle fish] oil or dried food), canoes, and slaves among the very wealthy, but otherwise not income-generating assets such as resource rights. The influx of manufactured trade goods such as blankets and sheet copper into the Pacific Northwest caused inflation in the potlatch in the late eighteenth and earlier nineteenth centuries. Some groups, such as the Kwakwaka’wakw, used the potlatch as an arena in which highly competitive contests of status took place. In rare cases, goods were actually destroyed after being received. The catastrophic mortalities due to introduced diseases laid many inherited ranks vacant or open to remote or dubious claim—providing they could be validated—with a suitable potlatch.
Sponsors of a potlatch give away many useful items such as food, blankets, worked ornamental mediums of exchange called “coppers”, and many other various items. In return, they earned prestige. To give a potlatch enhanced one’s reputation and validated social rank, the rank and requisite potlatch being proportional, both for the host and for the recipients by the gifts exchanged. Prestige increased with the lavishness of the potlatch, the value of the goods given away in it.

BARAKA KECAK

“Baraka is a documentary that starts from an old word with meanings in several languages. It can be translated as a blessing, breath or essence of life, from where the process of world evolution is triggered. The film reveals how much humanity is interconnected, despite the differences in religion, culture and language of the peoples. A true visual poem without narration or caption, only images and sounds carefully captured and articulated through an expressive montage, which makes each take add the next other meaning, whose theme is… After all, what is Baraka about? I believe that each viewer of the film sees a different theme. It can be about the strength of planet Earth. It may be about the multiple diversities that unite us. It can be a lot. Baraka is a visual reproduction of the human connection with the Earth ”

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.

LA MACHINE (FRENCH GROUP OF ARTISTS)

The Sultan’s Elephant was a show created by the Royal de Luxe theatre company, involving a huge moving mechanical elephant, a giant marionette of a girl and other associated public art installations. In French it was called La visite du sultan des Indes sur son éléphant à voyager dans le temps (literally, “Visit from the Sultan of the Indies on His Time-Travelling Elephant”). The show was commissioned to commemorate the centenary of Jules Verne’s death, by the two French cities of Nantes and Amiens, funded by a special grant from the French Ministry of Culture and Communication.The show was performed at various locations around the world between 2005 and 2006.