理查德·杜邦
리처드 듀퐁
Mr. Dupont makes these sculptures based on a full-body scan of his own body. He says viewers relate to them like they’re three dimensional illusions: The viewer walks around the figures and gets all these different perspectives as the surfaces change. That’s one way the distortions are interesting, because no two perspectives are the same.
DARK DISTORTIONS
‘Dark Distortions’ – was inspired by Euclid, a forthcoming ESA mission to study the mysterious nature of dark matter and dark energy, which is due to launch in mid-2022. Dark matter is thought to account for 85% of the matter in the universe. Visible stuff within galaxies – such as stars and planets and dust – has insufficient gravitational pull to prevent galaxies from disintegrating as they rotate. But galaxies don’t fly apart in this way, so astrophysicists proposed that they must contain “dark” matter that has sufficient mass to keep galaxies intact – but which has never been seen directly.
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ТЕМНЫЕ ИСКАЖЕНИЯ
«Dark Distortions» – был вдохновлен Евклидом, предстоящей миссией ЕКА по изучению загадочной природы темной материи и темной энергии, запуск которой запланирован на середину 2022 года. Считается, что темная материя составляет 85% материи во Вселенной. Видимое вещество внутри галактик – например, звезды, планеты и пыль – обладает недостаточным гравитационным притяжением, чтобы предотвратить распад галактик при их вращении. Но галактики не разлетаются таким образом, поэтому астрофизики предположили, что они должны содержать «темную» материю, обладающую достаточной массой, чтобы сохранить галактики в целости, но которую никогда не видели напрямую.
Valla claimed to have collected a series of 60 “surrealistic” images, or that, at least, give that impression, during a long period “playing” in Google Earth.“The images are a kind of mirrors for a fun house.They are strange illusions and reflections of the real ”Despite the strong distortions, which easily resemble a surrealist painting, the images of the work do not have any manipulation of tools like Photoshop, for example.”The images are screenshots of Earth with basic color adjustments”, “This is a construction of 3D maps on two-dimensional bases, creating these fabulous and unintended distortions”.
Versus
Elaborated by the French/Japanese duo Nonotak, ‘VERSUS’ is an immersive A/V experience that questions the relationship between 360° image and sound. The viewer finds himself submerged, at the centre of a perfectly geometric environment that constantly redefines space by breaking distances between projection, audience and screen. The work gives the illusion of a new type of architecture, a world created from distortions that shatter boundaries, and that brings the idea of infinity.
Distortions in Spacetime
In a giant star’s final moments, atoms compress to a point where density becomes infinite, time stretches to a stop and the gravitational field is so strong that not even light can escape: a black hole. But the force that creates this dark shadow also spews out a supernova explosion of matter that can eventually coalesce to form planets, plants and people. In Distortions in Spacetime, visitors will see themselves reflected in this matter and will begin to understand the cosmic connection between black holes, dying stars and our very existence.
TIMÉE
In roughly 360BC, Plato shared his dialogue Timaeus, in which he imagined the universe as a geocentric system, including a concept called Music of the Spheres where each planet had its own sonic tone based on its unique orbital revolution. The entire system was divided into an octave, a fifth, a fourth, and tone, and as all the planets revolved around the Earth, the solar system would comprise a perfect musical score.
简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
МЕРС КАННИНГЕМ
« Scenario » de Merce Cunningham
Rei Kawakubo’s humorous costumes toy with the idea of physical distortions, such as humps and big rear ends. They are in mostly vertical blue stripes on white, or in pale green and white-checkered patterns. For much of the dance, five or six dancers twist and pose, each in his or her own space, with a rush of additional dancers to the stage toward the end of the performance. The bold electronic musical score is by Takehisa Kosugi.
coagulate
Mihai Grecu’s video work Coagulate is a visually immersive journey into a world of water which behaves against the laws of nature. This choreography of fluids explores absence, presence and aquatic distortions. In this world, man breathes water and fish breath air. Water seems impervious to gravity. Rather than narrative, Coagulate is based on sensation and atmosphere.
فريدريك هيمان
弗雷德里克·海曼
פרדריק היימן
フレデリックヘイマン
ФРЕДЕРИК ХЕЙМАН
His work, humorous and surreal, helps to erase boundaries between photography, graphic design and space shaping. With many distortions (real or digital), not to mention strange and imposing installations, Heyman creates a world both unstructured and fascinating. Part of a new generation of photographers, his aim seems to give birth to a new kind of collaboration between all the arts, definitely modern and complex.
واين ماكغريغور
韦恩·麦格雷戈
웨인 맥그리거
ויין מקגרגור
ウェイン·マクレガー
Уэйн МакГрегор
rAndom International
FAR
Wayne McGregor’s anatomy-defying choreography and ground-breaking approach across dance, science, film, music, visual art and technology has fuelled a string of truly unique works. FAR is no exception. Inspired by the controversial Age of Enlightenment, FAR mines an era that first placed ‘a body in question’. Ten incredible dancers confront the distortions, sensuality and feeling of the 18th Century‘s searing contemporary sensibility to a haunting score by the critically-acclaimed composer Ben Frost. Staged in a mesmerizing environment of shadow and light (rAndom International, Lucy Carter), object and film (Moritz Junge, Ravi Deepres), FAR binds cutting edge design with choreography made from a radical cognitive research process.
فريدريك هيمان
弗雷德里克·海曼
פרדריק היימן
フレデリックヘイマン
ФРЕДЕРИК ХЕЙМАН
His work, humorous and surreal, helps to erase boundaries between photography, graphic design and space shaping. With many distortions (real or digital), not to mention strange and imposing installations, Heyman creates a world both unstructured and fascinating. Part of a new generation of photographers, his aim seems to give birth to a new kind of collaboration between all the arts, definitely modern and complex.
DAYDREAM V.02
DAYDREAM is an audiovisual installation that generates space distortions. Relationship between space and time, accelerations, contractions, shifts and metamorphosis have been the lexical field of the project. This installation aimed at establishing a physical connection between the virtual space and the real space, blurring the limits and submerging the audience into a short detachment from reality. Lights generate abstract spaces while sounds define the echoes of virtual spaces. Daydream is an invitation to contemplation. The frontality of the installation leads the visitors to a passive position.
Construction N
Often occupying both physical and temporal space, my sculpture has always incorporated both conventional and experimental media, including woodcarving, metalworking, installation, kinetics, microelectronics and video. While it tends to be visually diverse, the friction between object and memory has been at the conceptual core of my sculptural practice since 1994. The images, objects and narratives of a particular place or experience undergo distortions each time they are represented, and it is these forms of abstraction I explore in my sculpture.
Earlier bodies of work have utilized the physical residue of my traveling – the souvenirs, postcards, snapshots and videotapes – as central elements of the sculpture, forcing them to reveal their own inadequacy, disengagement or transformation, to subvert the nostalgic ideal, or to disrupt the usual implications of value and validation in a cultural artifact. In later works I utilize the physicality of scale, motion, and orientation to extend and challenge the conventional representation of landscape. These pieces define specific places as indefinite spatial constructs that complicate the certainty of “being there,” and are part of a larger attempt to relate a fragmented travel narrative through architecture, landscapes and souvenirs.
I have been using IKEA products as raw material for several years, and continue to be interested in extracting conceptual value from it. I am currently exploring the relationship between the Modern avant-garde and contemporary consumer design culture. In my recent work, I attempt to articulate various points of connection and rupture between IKEA and the Bauhaus by constructing scale models of demolished or unrealized buildings by Bauhaus founder Walter Gropius using “hacked” IKEA products such as tables, bookshelves and flooring.
