UVA UNITED VISUAL ARTISTS

Tolles Tierorchester
Die Fondation Cartier lud United Visual Artists ein, an der Ausstellung The Great Animal Orchestra mitzuarbeiten, in der die Arbeit des Musikers, Bioakustikers und Wissenschaftlers Bernie Krause gefeiert wird. Krause zeichnet seit 45 Jahren Tiere auf und hat eine Sammlung von mehr als 5.000 Stunden Klängen von über 15.000 einzelnen Arten in ihren natürlichen Lebensräumen aus aller Welt zusammengetragen. Der kreative Ansatz von UVA verband die verschiedenen Elemente des Ausstellungsinhalts im gesamten Kellerraum – Klanglandschaften, Spektrogramme und Kunstwerke – zu einer zusammenhängenden, eindringlichen Erfahrung, die Krauses Aufnahmen dreidimensionalisiert und Szenen aus der Natur vorschlägt. Die Spektrogramme bilden eine abstrakte Landschaft, eine Interpretation der verschiedenen globalen Orte und Tageszeiten, zu denen Krause die Originalaufnahmen auf eine Weise gemacht hat, die das Publikum einhüllt und es ermutigt, im Raum zu verweilen.

numen / for use

tape sao paulo
file sao paulo 2016
Constant wrapping of pillars with a transparent adhesive tape results in a complex, amorphous surface through the process reminiscent of growing of organic forms. One line evolves into surface that forms an organic shape of extraordinary strength. The entrance of the audience inside the volume transforms the sculpture into architecture. It was practically “found” through the act of chaotic wrapping, where a one-dimensional line (“tape”) slowly turned into two-dimensional plane, which then finally curved into volume.

UVA United Visual Artists

Great Animal Orchestra
The Fondation Cartier invited United Visual Artists to collaborate on The Great Animal Orchestra, exhibition that celebrates the work of musician, bio-acoustician and scientist Bernie Krause. Krause has been recording animals for 45 years and has amassed a collection of more than 5,000 hours of sounds  recording of over 15,000 individual species in their natural habitats from all over the world. UVA’s creative approach linked together the various exhibition content elements throughout the basement space — soundscapes, spectrograms and art works — into a cohesive, immersive experience that three-dimensionalises Krause’s recordings and suggests scenes from the natural world. The spectrograms form an abstract landscape, an interpretation of the various global locations and times of day that Krause made the original recordings in a way that envelops the audience and encourages them to linger in the space.

Richard Vijgen

WiFi Impressionist
Wifi Impressionist is a field installation that draws electromagnetic landscapes inspired by the cityscapes of William Turner. The work consists of a directional antenna on a pan-tilt mechanism that listens for WiFi signals and builds a three dimensional model of the signals around it. From this model a viewport is selected that defines the perspective and the frame. Signals that are picked up within the frame are visualised as waves emitted from a specific origin and drawn using a mobile plotter. The antenna and the plotter are both mounted on a tripod and can be placed in the field much like a painter would set up his easel. Once positioned and oriented a drawing becomes denser over time depending on the density of networks around it. Wherever there is a WiFi signal, the drawing will eventually fill the frame.

Rino Stefano Tagliafierro

The Last Supper Alive
File Festival
A six minute video installation that brings to life the famous late 16th century work by Leonardo Da Vinci. The slight movements of the figures enhance the choral nature of the Last Supper, with a very measured and meticulous direction that overcomes the fixity of the painting adorning the wall of the refectory of the Convent of Santa Maria delle Grazie in Milan, bringing it back to life and providing it with a new spatial context.

Teamlab

The Infinite Crystal Universe
Pointillism uses an accumulation of distinct dots of color to create a picture. Here, light points are used to create three-dimensional objects. The light sculpture extends infinitely in all directions. People use their smartphones to select elements to throw The Infinite Crystal Universe. These elements are reborn in three dimensions, creating the artwork. The presence of people and their location within the work affect these three-dimensional elements, which in turn influence and are influenced by other elements in the space. This artwork is forever evolving, changing from moment to moment due to the people in the space.

Silvia De Gennaro

Travel Notebooks: Perugia
FILE SAO PAULO 2015
FILE VIDEO ART
“Perugia” is part of a series of works titled “Travel Notebooks”.
Perugia is a magical three-dimensional chessboard where shafts of light alternating with shadow cones show the soft pink of stone or the dark damp of time.
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michael maltzan

Bettina pavilion
The Bettina is a limited-edition architectural pavilion designed for REVOLUTION that debuted at Design Miami in 2015. It is simple in silhouette yet also a complex three-dimensional form. Recalling the iconic style and pyramidal form of the classic white tent, the contemporary pavilion is simultaneously geometrically taut and sensually draped across the structural frame. Each profile peak is extruded diagonally making a roof of two ridges that appear different from every angle.

EDWIN VAN DER HEIDE

LSP
LSP ist eine Forschungsbahn, die die Beziehung zwischen Ton und dreidimensionalem Bild mittels Laserprojektion untersucht. 1815 beschrieb Nathaniel Bowditch einen Weg, visuelle Muster zu erzeugen, indem eine Sinuswelle für die horizontale Bewegung eines Punktes und eine andere Sinuswelle für die vertikale Bewegung dieses Punktes verwendet wurden. Die Form der Muster hängt von der Frequenz- und Phasenbeziehung der Sinuswellen ab. Die Muster sind als Lissajous-Figuren oder Bowditch-Kurven bekannt.
LSP interpretiert Bowditchs Arbeit als möglichen Ausgangspunkt für die Entwicklung von Beziehungen zwischen Ton und Bild. Da Sinuswellen auch zur Erzeugung reiner (hörbarer) Töne verwendet werden können, ist es möglich, eine direkte Beziehung zwischen Ton und Bild herzustellen. Frequenzverhältnisse in Ton, Verstimmung und Phasenverschiebung können ein direktes visuelles Gegenstück haben.