61/6 altavoces
Tacit Group es un grupo de performance audiovisual que se ha formado en 2008 para crear un trabajo centrado en lo algorítmico y audiovisual. Su arte algorítmico se centra en el proceso más que en el resultado. Crean código matemático, sistemas que utilizan principios y reglas, e improvisan actuaciones en el escenario utilizando los sistemas. Durante la actuación, los sistemas se revelan visual y sonoramente, para que el público pueda escuchar con sus ojos, como la forma en que vemos “El Grito” de Edvard Munch (Noruega, 1863-1944). Las imágenes son parte integral del trabajo de Tacit Group como compositores y artistas de los medios. Esperan que al mostrar no solo la pieza terminada, sino el proceso de charlar o jugar que la genera, involucren a sus espectadores más intensamente y rompan la división convencional entre los artistas intérpretes o ejecutantes y los miembros de la audiencia. Ninguno de sus trabajos se completa nunca. Actualizan continuamente los sistemas subyacentes y se inspiran en su práctica de programación informática. Como artistas de nuestra era, Tacit Group descubre posibilidades artísticas en la tecnología.

Anarchitecture

splitting house

“Of the many shows at the fabled 112 Greene Street gallery—an artistic epicenter of New York’s downtown scene in the 1970s—the Anarchitecture group show of March 1974 has been the subject of the most enduring discussion, despite a complete lack of documentation about it. Anarchitecture has become a foundational myth, but one that remains to be properly understood. Stemming from a series of meetings organized by Gordon Matta-Clark and reflecting his long-standing interest in architecture, the Anarchitecture exhibition was conceived as an anonymous group statement in photographs about the intersection of art and building. But did it actually happen? It exists only through oblique archival traces and the memories of the participants. Cutting Matta-Clark investigates the Anarchitecture group as a kind of collective research seminar, through extensive interviews with the protagonists and a dossier of all the available evidence. The dossier includes a collection of Matta-Clark’s aphoristic “art cards,” the 96 photographs that were produced by the various participants for possible inclusion in the exhibition, and images from a recently unearthed video of Matta-Clark’s now famous bus trip to see Splitting in Englewood, New Jersey.” Mark Wigley

ZIL

“DEVELOP A NEGATIVE INTO A POSITIVE PICTURE”

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Phygital way of designing that captures a momentum of transition between digital and physical worlds.
Digital and sustainable fashion with respect to materiality propose no-waste patterning that uses the technique of cut-ups to be assembled into a garment. Inspiration comes from the process of deconstructing historical garments and unexpected assemblage.

PANGOLIN DRESS

The Pangolin Scales Project demonstrates a 1.024 channel BCI (Brain-Computer Interface) that is able to extract information from the human brain with an unprecedented resolution. The extracted information is used to control the Pangolin Scale Dress interactively into 64 outputs.The dress is also inspired by the pangolin, cute, harmless animals sometimes known as scaly anteaters. They have large, protective keratin scales covering their skin (they are the only known mammals with this feature) and live in hollow trees or burrows.As such, Pangolins and considered an endangered species and some have theorized that the recent coronavirus may have emerged from the consumption of pangolin meat.Wipprecht’s main challenge in the project’s development was to not overload the dress with additional weight. She teamed up 3D printing experts Shapeways and Igor Knezevic in order to create an ‘exo-skeleton’ like dress-frame (3mm) that was light enough to be worn but sturdy enough to hold all the mechanics in place

Cross-fire cutlery detail
The focus of the Past, Present & Future Craft practice commission was to examine the intangible characteristic of the spoken word and investigate the unseen affect of sound upon its inhabited environment.The project centralizes around the context of a domestic argument. In this case the event samples an audio excerpt from the 1999 Sam Mendes Film ‘American Beauty’. The slow building dialogue between the three central characters family dinner climaxes with a sound clash of emotions. The cross-fire of the argument traverses the dinning table but where previously the inanimate everyday objects such as plates, cutlery, teapot etc were unable to express their character, the intensity of the conversation deforms their once static existence into objects of unseen familiarity.The presented sound artifacts each encapsulate a momentary emotion of the argument.

РАФАЭЛЬ ЛОЗАНО-ХЕММЕР
拉斐尔·洛萨诺 – 亨默
ラファエル·ロサノ=ヘメル
라파엘 로자노
רפאל לוזאנו, המר
Open Air
Depending on atmospheric conditions, Open Air could be seen up to 10 miles away from the Parkway each evening from 8 to 11 p.m. The Project Information Center at Eakins Oval was equipped with app download, free mobile loan stations and seating areas for watching the lights and listening to the messages. There was also be an Information Outpost located at Sister Cities Park (18th Street and Logan Square).The Open Air voice archive also features selected “Voices of Philly,” recorded messages from distinct individuals both past and present who have inspired and influenced the flavor of Philadelphia. “Voices of Philly” messages are accessible on this website and were played at various times throughout the project. Content for “Voices of Philly” was collected by project partner WHYY executive producer Elisabeth Perez-Luna and includes David Lynch, Sonia Sanchez, Sun Ra, Louis Kahn, M. Night Shyamalan, Tina Fey, ?uestlove, Marcel Duchamp, Buckminster Fuller, Jimmy Heath, Santigold, Maurice Sendak, Patti LaBelle and many more.

NEON – Fantastical Architecture, Art and Design

FROM DARKNESS TO LIGHT
South Georgia Heritage Trust launched an open call for a site-specific commission to be located on Grytviken the former whaling station of sub-Antarctic Island of South Georgia. The project was required to celebrate the whale through a reinterpretation of the former Flensing Plan (a large timber deck used to process the captured whales) and offer a message of hope for future generations by demonstrating how humankind can move from exploitation to conservation. Our proposal imagines that the deck of the Flensing plan has been cut like a piece of flesh from the ground and bent upwards to form an arc. The timber deck is replaced with concrete pavers which are coloured based on the activities which took place in the sites past and present (whale processing and whale watching). The coloured pavers are positioned to create a gradient which provides the visitor with a visual representation of the way the site has changed over time.

Electric Chair

The distinctive work of Sam Buxton is dominated by his innovative use of advanced materials and technologies. From his immensely popular MIKRO series (miniature fold-up sculptures, laser cut into thin strips of stainless steel through an acid etching process) to his explorations concerning interactive intelligent surfaces on the familiar objects around us, his work has continually managed to blur the lines between art, science and design.Through his work, which has regularly involved relatively common objects ranging from business cards to a dining table, Buxton has demonstrated an ability to see potential in what others take for granted. His on-going efforts in developing objects that can communicate, display information and react to the actions of the user, demonstrate his commitment to investigating the delicate relationship between the human body and its environment. Buxton’s fusion of art and science has resulted in a highly innovative and unique range of personal designs, many of which, have utilized the latest, most advanced materials and technologies available.

The Little General Pinball Machine
“One of the most memorable pieces in the 1997 Documenta X was Öyvind Fahlström’s The Little General (Pinball Machine), 1967. Resembling a raised indoor swimming pool with some two dozen movable parts spread out across its shimmering Plexiglas surface, the thirty-year-old “variable” sculpture radiated a visual audacity that made much of the current work around it pale by comparison. Ersatz scoring cues brushed up against cutouts of historical and pop-culture figures, who in turn seemed to jostle dismembered cartoon limbs and partial anatomies. The cumulative effect was dizzying, as if news, commercials, and cartoons were being broadcast in one overpowering barrage.”Dan Cameron

birdgirl
It’s hard to pin down what media German artist Alma Haser actually works with: Her series involve photography, cut-up collages, rephotographing prints, and weaving together multiple images to strike a balance of time and space. Take I Always Have To Repeat Myself, for example. Each piece layers two or more prints either physically (weaving or overlaying strips of different photographs to add a sense of depth and dimension) or within a new frame—a number of the pieces feature sitters manipulating photographs of themselves, playing with perspective to offer and dizzying and disorienting fresh take on portraiture and image making.

PITHOPRAKTA
During the 1950s and early 1960s‚ Iannis Xenakis represented an alternative avant­garde‚ with a radical approach to form and texture that rejected the serial mechanics of Boulez and Stockhausen‚ and involved a uniquely intense interpretation of ideas about probability and randomness. A world away from John Cage’s laid­back experiments[…] The two short orchestral works‚ Metastasis and Pithoprakta‚ are undoubtedly far more austere‚ more primitive in their overall effect‚ than the exuberant‚ hyperactive Eonta‚ whose ferociously demanding writing for piano and five brass players pulsates with the kind of creative energy that the orchestral pieces seek to suppress.

21 Swings

L’installation 21 balançoires est de retour dans le Quartier des spectacles. L’oeuvre interactive et musicale permet aux passants de s’unir pour créer une mélodie unique. Derrière ce projet, maintes fois primé, se cachent deux artistes québécoises, Mouna Andraos et Melissa Mongiat. Les deux jeunes femmes viennent d’ailleurs de remporter le concours d’art public pour le nouveau Planétarium Rio Tinto Alcan. Avec l’ouverture d’un bureau à New York et un nouveau contrat au Minnesota, les deux Montréalaises se préparent tranquillement à prendre la planète d’assaut.Pour la troisième année consécutive, les gens pourront se balancer sur la Promenade des artistes tout en composant une symphonie originale. L’installation 21 balançoires, d’une superficie de 30 000 pi2, est une création du studio Daily tous les jours, fondé par Mouna Andraos et Melissa Mongiat, en 2010.Si la musique produite par ces balançoires est éphémère, l’installation ne l’est pas, ce qui oblige ses créatrices à poser un regard critique sur leur oeuvre chaque printemps. «Il y a des bons et des mauvais côtés à notre forme d’art, avoue Melissa Mongiat. On peut prendre un certain recul, une fois le projet démonté.»

The Splits (Rehearsal)

The Splits begins with the bisecting of various string instruments into two halves, cutting them along their length, creating two separate instruments. The two halves must then be played together to complete a tune and are, thus, for duets (or quartets, octets or dectets) only—pieces which she is creating in collaboration with musicians and composers. The act of splitting at once destroys the integrity of the instrument as an object, and disrupts the conventional process of aesthetic creation that the instrument traditionally permits. Splitting is not merely an act of destruction, however. Instead, it opens graceful passages for imagined evolution: the split instrument becomes a newly creative instrument, permitting the creation not only of new music, but new communities (visual artist, the composer, the musicians, and the audience). Ms. Benson has “split” two violins, a viola, cello and double bass: all, cheap, mass-produced string instruments made in China.