Es Devlin

Blueskywhite
Devlin’s latest installtion is ‘BLUESKYWHITE’, a large-scale work commissioned by 180 Studios, which is currently showing at LUX: New Wave of Contemporary Art, a new exhibition co-curated by Fact and SUUM Project. The work combines light, music and language, and was conceived as a sculptural expression of our emotional response to the possible extinction of blue sky. The installation is formed of two parts: In Part I, text from Byron’s 1816 poem Darkness underscores the viewer’s passage through a 24m long red-lit tunnel. Part II draws from contemporary solar geo-engineering models documented by Elizabeth Kolbert and others which suggest that a haze of suspended particles might reduce global temperature to pre-industrial levels and might also turn the blue sky white.

Jacqueline Hen

Light High
The installation LIGHT HIGH is aimed at guiding the perception through targeted acoustic and visual phenomena into border areas in which ambivalent experiences set in and the habitual experience of space is abolished.[…] A mirrored ceiling together with a thin reflecting surface of water on the ground and a grid arrangement of lights are creating the spatial illusion of an infinite vertical space of light and darkness. By traversing a small bridge, the visitor can cautiously discover the immersing endlessness beneath his/her feats and above his/her head.

ROBERT HENKE


光正在使用高精度激光在屏幕上绘制连续的抽象形,并与声音完美同步。强烈的光线与完全的黑暗形成对比,缓慢的动作和微小细节的演化与强而有力的手势一样重要。结果既是古朴的又是未来主义的。新兴的模式为许多可能的解释留出了空间。象形文字,一种未知语言的符,建筑图纸,数据点之间的连接或类似Tron的早期视频游戏放大了1000

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Light

Light is using high-precision lasers to draw continuous abstract shapes on the screen, perfectly synchronized with the sound. Intense light contrasts with total darkness, and slow movements and the evolution of small details are as important as strong gestures. The result is both quaint and futuristic. Emerging models leave room for many possible explanations. Hieroglyphs, symbols in an unknown language, architectural drawings, connections between data points, or early video games like Tron are magnified 1,000 times.

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Lumière

La lumière utilise des lasers de haute précision pour dessiner des formes abstraites continues sur l’écran, parfaitement synchronisées avec le son. La lumière forte contraste avec l’obscurité totale, le ralenti et l’évolution des petits détails sont aussi importants que les gestes forts. Le résultat est à la fois pittoresque et futuriste. Les modèles émergents laissent place à de nombreuses explications possibles. Les hiéroglyphes, les symboles dans une langue inconnue, les dessins d’architecture, les connexions entre les points de données ou les premiers jeux vidéo comme Tron sont agrandis 1 000 fois.

Robert Henke

Destructive observation field
The installation behaves like a living organism, it creates expanding and contracting forms that have a semi-organic appearance. During the course of the exhibition the deformations of the plate add up resulting in a more and more complex surface structure. The visible shapes will get more detailed and fragmented. The density of the stored information on the black plate increases. The characteristic visual appearance of the installation is the result of interference patterns, waves amplifying and canceling each other out in space, leaving complex traces of light and darkness.

Kurt Hentschlager

SOL
SOL is a minimalistic environment, leading visitors into the reaches of their perception. The installation builds on loss of control, shifts in awareness and a feeling of dislocation and timelessness. SOL is the third work in an ongoing series of phenomenological environments, after the live performance FEED, 2005 and the installation ZEE, 2008. The all encompassing darkness of SOL is lifted, in intervals and for parts of seconds only, by animated bursts of intensely bright light. Falling back into darkness, visitors experience abundant retinal after-images, that gradually drift away until eventually the next eruption of light is triggered. In the surround sound-scape of SOL, electronic drones mix with swarming field recordings, amidst a sea of infra-bass.

Wayne Mcgregor

Torus
Directed by British fashion photographer Nick Knight of SHOWStudio, Torus is a film on human connection and loneliness featuring choreography by Wayne McGregor and styling by Norwegian designer Fredik Tjærandsen. Performed by Company Wayne McGregor, Torus shows dancers wearing inflatable balloons designed by Tjærandsen, orbiting in darkness as isolated entities, occasionally lit as they transition through a temporal universe, a mirror to the life that many are only passing through, barely connecting.

Broersen & Lukács

Point Cloud Old Growth
Forest on Location
In the video work Forest on Location, we see the avatar of the Iranian opera singer Shahram Yazdani walking through a forest. One moment, the forest wraps around him protectively, the next moment the trees crumble away into loose pieces of bark, or melt into a static green mass. At the same time, the forest as a whole floats around in darkness, uprooted. It is a forest without a location, except on our screen. The young man’s avatar appears to be wandering around there aimlessly. It is a wonderland that he exits from towards the end of the video, when his body slips straight through the green wall. This finally breaks the spell of the illusory forest, and everything is revealed to be no more than staged decor. But the forest does exist as a real forest, somewhere. This virtual green world is a digital back-up of Bia?owie?a Forest: the last remaining stretch of primeval low land forest that once covered much of Central Europe. Inspired by what the historian Simon Schama wrote about Bia?owie?a in Landscape and Memory (1995), Persijn Broersen and Margit Lukács journeyed to Poland to capture the forest suffused by old-Germanic nostalgia and mythical atmosphere.

Bahar Yürükoğlu

Flow Through

“Flow Through takes as its departure point Bahar Yürükoğlu’s experiences during her travels to the Arctic Circle in 2015, both in the summertime, when the sun doesn’t set, and during the winter months, when darkness prevails. In the exhibition, the artist creates fictional spaces based on the dualities she observed in the Arctic region; blurring the boundaries between presence and absence, past and future, nature and civilisation, as well as cyclical movements and inevitable transformations, these installations, photographs and videos test the viewer’s perceptive capacities, and demand that the dichotomy between the subject and the object is set aside”. Duygu Demir

Guillaume Marmin

Licht, mehr Licht!
“Licht, mehr Licht!”, or “Light, more light!” in English, were the great German author and scientific thinker Goethe’s dying words. The installation, created and developed by French visual artist Guillaume Marmin, echoes near-death experiences, whose survivors describe a tunnel of light opening up beyond the darkness. Marmin’s works give form to the intangible, unveiling the beauty of the unseen and the mathematical foundations of reality.

KUNIHIKO MORINAGA

森永邦彦
쿠니히코 모리나가
くにひこ もりなが
КУНИХИКО МОРИНАГА
Anrealage

Kunihiko Morinaga, the creative director of cult Japanese label Anrealage, has a thing for sensations and optical illusions. His debut Paris show last season was about light and shadow. Today, his sophomore outing focused on light and dark. Or, better, on the impressions you get from flashing or projecting light in pitch black. The Anrealage sculptural silhouettes were cut in a special black fabric that revealed a printed texture only under ultraviolet lights, or had needle-punched white circles—like a spotlight projection—splattered across the front. To emphasize the depth of such darkness, everything was black, including models’ faces, a heavy stroke that made things a little too dramatic.

South Georgia Heritage

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.

MARIKO MORI

ماریکو موری
森万里子
Мори, Марико
Tom Na H-Iu

Tom Na H-iu is a three-dimensional glass work almost 3 meters in height. It is networked to the Super Kamiokande neutrino observatory operated by the Institute for Cosmic Ray Research, University of Tokyo, enabling it to interact and respond when the observatory captures a neutrino. On detecting a neutrino, such as those emitted by stars in our galaxy as they die in supernova explosions[…] Tom Na H-iu represents a modern standing stone that conveys the death of a star, meanwhile hinting at the birth that follows – as if to suggest to the viewer that our existence is in resonance with the universe. When we view this work that emits peaceful light amidst darkness, we can project ourselves into the darkness and gain a sense that we are standing quietly in the flow of eternal time.

Fayçal Baghriche

Souvenir
Being self-lighted, at the same time that it rotates on its own axis, the object distorts that which it apparently seeks to represent. Therefore, the presence of an inner light, associated with the rapid movement produced by the globe’s motorization, is responsible for abstracting any border line. By fostering the internal luminosity of a planet, which is pure darkness, the work relegates the value of representation to a second level and gives rise to a set of ideas disconnected from the real. In this sense, Souvenir is a means of reconsidering in what way the demarcations that define the geopolitical scenario of this tiny globe are lost in the Earth’s infinite rotativity.

RYOJI IKEDA

池田亮司
이케다 료지
Редзи Икеда
Transfinite
test pattern [n˚2] presents flickering black and white imagery that floats and convulses in darkness on two screens, one on the floor and another floor to ceiling, in time with a stark and powerful, highly synchronised soundtrack. Through a real–time computer programme, Ikeda’s audio signal patterns are converted into tightly synchronised barcode patterns on the screens. Viewers are literally immersed in the work, and the velocity of the moving images is ultra–fast, some hundreds of frames per second, providing a totally immersive and powerful experience. The work provides a performance test for the audio and visual devices, as well as a response test for the audience’s perceptions.

John Tavener

Darkness Into Light
Anonymous 4
Chilingirian Quartet
“Despite critics tagging Tavener as a “holy minimalist,” Anonymous 4 member Susan Hellauer says “that his music is very difficult to perform — but very beautiful as well. It actually floats. It appears out of nowhere, and then it floats back into nowhere” Anastasia Tsioulcas

Strijbos & Van Rijswijk

whispers
Blue lightening discs seem to hang freely in a darkened space. They’re the horns of five more than man-sized ceramic trumpets, arranged in various directions. The white inside is radiated with blacklight, as it turns out when your eyes have adapted to the darkness. The horns transmit words, fragments of sentences, laughter, alternated with noise and a strange crackles and sputters. Each trumpet has it’s own repertory of expressions, of which the meaning is hard to probe. And each has it’s own characteristic sound, due to their difference in length.

LERA AUERBACH

Chimera
Symphony No. 1
Dir : John Fiore
1- Aegri somnnia/A Sick Man’s Dream (4.16)
2- Post tenebras lux/After Darkness Comes the Ligh (4.18)
3- Gargoyles (6.51)
4- Et in Arcadia ego/ I am also in Arcadia (3.16)
5- Siste, viator/Wait, Traveler (1.44)
6- Humum mandere/To Bite the Dust (2.59)
7- Requiem for Icarus (9.03)

ALEJANDRO JODOROWSKY

АЛЕХАНДРО ХОДОРОВСКИЙ
DUNE
When French producers asked Jodorowsky to adapt Dune, he was at the peak of his prestige.
…Jodorowsky’s Dune shows, the director managed to assemble a jaw-dropping group of talent for the film. This version of Dune was set to star David Carradine, Orson Welles, Salvador Dali and Mick Jagger. It was going to have Pink Floyd do the soundtrack. And it was going to have the then unknown artist H. R. Giger along with French comic BOOK artist Jean Giraud, otherwise known as Moebius, design the sets. Sadly, Jodorowsky’s grand vision proved to be too grand for the film’s financiers and they pulled the plug. The movie clearly belongs in the pantheon – along with Stanley Kubrick’s Napoleon and Welles’s Heart of Darkness – of the greatest movies never made. Compared to those other films, though, Jodorowsky’s movie sounds way groovier.

LEIMAY: Ximena Garnica & Shige Moriya

Floating Point Waves
Floating Point Waves is an environment of strings, water, solo performance, real-time video, and live electronic music that unveils the relationship between the human body and natural elements. Movement, water, and light respond to one another as an organic causal chain unfolds, echoing that of our own natural world. Startling performance and exquisite design reverberate through the space, framing a landscape where beauty coexists with darkness.

THOMAS MCINTOSH WITH MIKKO HYNNINEN AND EMMANUEL MADAN

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.

PAUL CHAN

1st light

Paul Chan’s work summons the darkness that envelops us despite the greedy illumination of our cities. Evoking our world on the verge of disintegration, it celebrates the light that emerges in too much light.
The fight is no longer the fight between day and night that inaugurates Murnau’s Faust, but that between the light of the spirit and the light of things. In this shadow theater, under the auspices of a telegraph pole shaped like the Golgotha ​​cross, we witness the rise of the objects of our consumerist societies.
Phones, I-Pods, scooters, whole trains rise to the sky, saved, as the shadows of men fall, hurled to the abyss, like the suicide bodies of “September 11” victims falling from burning towers.
The image, gradually modified along the continuum of projection, carries with it the prophecies of the Apocalypse rehashed by American fundamentalist movements, and the obvious disgrace of a society that celebrates its materialist cult.

Regine Schumann

Connect, Back to Back
Regine Schumann\’s works live in transparent zones between radiating light and darkness. She works between visible light and inner enlightenment, between sensual dematerialization of space and magical colors. Inspired by the invisible black light, the surfaces of her works send intensely radiating color realities that create a paradox, almost chromatic aura. The color and light produces this ambivalent states which also reflect sculptural qualities.

Robert Henke

lumiére
a complete new version, the result of performing Lumière for more than one year, condensed into a more sophisticated, more complex, more fragile, more massive synaesthetic experience! photos and more info online in early February.Based on self written software, this work on the edge of concert and site specific installation finds previously unseen beauty and minimalistic elegance in a commonly underrated medium. High power lasers draw complex morphing shapes and connect points in space. Lumière combines precise geometric figures with floating organic structures, presenting the archaic sign language of an alien culture communicating via emerging and disappearing traces of extremely bright light.Percussive and textural sonic events provide a counterpoint to the visual rhythm, resulting in a multi sensorial experience which at times is fragile and quiet, at others massive and overwhelming. Each Lumière performance is a unique and site specific real time exploration of synchronicity and divergence, of light and darkness at the limits of perception.

EVELINA DOMNITCH AND DMITRY GELFAND

Camera Lucida: Sonochemical Observatory
Camera Lucida (chamber of light or lucidity) directly transforms sound waves into light emissions by means of a phenomenon known as sonoluminescence. After adapting to the darkness surrounding the installation, one gradually perceives the detailed configurations of glowing sound fields.