Oliveira & Mateus Knelsen
FILE LED SHOW
Inspirado no “Herói de mil faces”, de Joseph Campbell, “Monomito” é uma performance multimídia em que um performer cruza o espaço público vestindo um aparato que reconhece padrões visuais de rostos humanos, “sequestrando-os” e projetando-os na máscara do performer, assim como em outros lugares do espaço por onde cruza.
La Airship Orchestra es una tribu mística de personajes de otro mundo que brotan de las estrellas nocturnas, la piel está teñida de galaxias y voces como polvo de estrellas. Se invita a los visitantes dentro de la formación a bañarse en el sonido volumétrico y la pulsación rítmica de la luz.
Het Airship Orchestra is een mystieke stam van buitenaardse karakters die stralen van de nachtsterren, een huid vol melkwegstelsels en stemmen als sterrenstof. Bezoekers worden binnen in de formatie gewenkt om te baden in volumetrisch geluid en ritmische lichtpulsaties.
Émilie Brout & Maxime Marion
“With Lightning Ride, it is now poles of technology, organics and mysticism that collide with electricity as a connecting point. The video is produced from excerpts of “Taser Certifications”, a sort of ceremony authorizing in the United States the use of Tasers in the condition of being tased by someone else. Filtered with the Photoshop’s “oil painting effect”, slowed down and accompanied by a disturbing soundtrack, the succeeding images show us bodies and faces whose deformations and positions evoke a feeling of pain as well as a Christian ecstacy. Everything unfolds as if the miracle of electricity, symbol of the rationalization of the world, revived paradoxically an aspiration to transcendence, antipodes joining each other and disappearing in profit of a new map of possibilities.” (Sarah Ihler-Meyer)
“Just be yourself, and nobody else”. Our motions, as distinctive as our faces, will soon be captured and interned. Gaitkeeper is a biometric control suite designed to counter the challenge of ‘Locomotive Camouflage’. LoCam, which combines the physical control of dance with the unpredictability of performance art, is rapidly being adopted by civic insurgents. Gaitkeeper units, based on the off-the-shelf Kiva chassis, are now being deployed as standard counter measures.
Alexander Ekman and Mikael Karlsson
Palco : Royal Swedish Opera, Stockholm
…sem nunca sacrificar a beleza lírica e a contemplação profunda à incongruência inútil, Eskapist prova mais uma vez que o palco teatral é verdadeiramente mágico lugar, onde o mundo como o conhecemos muda de forma apenas para se dissolver nas fantasias mais poéticas que alguém poderia imaginar.
Stage : Royal Swedish Opera, Stockholm
. …without ever sacrificing lyrical beauty and deep contemplation to pointless incongruity, Eskapist proves once again that the theatrical stage is a truly magical place, where the world as we know it changes shape only to dissolve into more poetic fantasies than anyone else. could imagine.
I tried to become a goat to escape the angst inherent in being a human. The project became an exploration of how close modern technology can take us to fulfilling an ancient human dream: to take on characteristics from other animals. But instead of the ferocity of a bear, or the perspective of a bird, the characteristic most useful in modern life is something else; being present in the moment perhaps.
Anyway I ended up in the Alps, on four legs, at a goat farm, with a prosthetic rumen strapped to my chest, eating grass, and becoming a goat.
A Bullet from a Shooting Star
Alex Chinneck nació en 1984 y es graduado del Chelsea College of Art y diseño. Más recientemente fue nominado para concesión de becas de la Royal British sociedad de escultores. Usando métodos contemporáneos de fabricación, Chinneck encuentra aplicaciones nuevas y ambiciosas para materiales de construcción cotidianos, los saca de su contexto funcional para crear instalaciones lúdicas. Creando trabajo que es indiferente a las disciplinas creativas sus esculturas e instalaciones conviven a través de los reinos de arte, diseño y arquitectura.
Mens SS 2020
“After the scene shifted from a selection of 2D garments, removed to reveal Browne’s brilliant designs below, the show began in earnest. The looks, as gleefully playful as ever, took on elements of Browne’s typical offerings and elevated them to the level of supreme costume design. Several imposing silhouettes recalled dresses worn by Antoinette-era aristocracy, with gargantuan trousers and shapely sportcoats crafted to resemble distorted Ivy League staples. Elsewhere, pleated skirts emerged as a prime trouser replacement, with cropped jackets and seersucker jockstraps to introduce a sporty motif.” Jake Silbert
Samuel Fasse & Morgan Belenguer
The look elsewhere
The work, which in this video version is coupled with uncanny virtual landscapes, blurs the boundaries between the real and the simulated, while expanding the artwork into the virtual via the VR-headset wearing dancers. The artwork captures the entangled play between the participants, but also provides the viewer with a new perspective—opening a window onto the virtual dimension of the performance. The borders keep on fading, from the point where technology begins and physicality ends.
The video work “terraforming” focusses on the transformation of a natural environment through energy input. The underpinning idea is that of three phase system change. This begins with the stage of equilibrium where a system is in a certain balance and not changing at all. In the next stage an evolving system enters a state of motion and change where it moves away from equilibrium. The third and final stage is the phase of transformation in which the original system becomes something else. The key element in this transformation process is the sun. This process is called terraforming, whereby a hostile environment, i.e. a planet that is too cold, too hot, or has an unbreathable atmosphere, can be altered to make it suitable for human life. Such a process is not merely a futuristic scenario but represents exactly what is happening on Earth at this moment as the process of atmospheric change brought about by increasing CO2 emissions heats up our planet and speeds up the process of climate change.
Wall in Blue Ash Tree
“I think that nature as a subject is often seen as something outdated or cliché in contemporary art and especially in nature photos. But I think there is still a lot of scope to play and push the boundaries, “Letha Wilson said. She thus dust off the subject through installations, videos and photo-sculptures and breathe new life into the gallery.
Using photography as a material in its own right, she shakes up conventions and does not hesitate to manipulate her photographs and associate them with other elements such as wood, paint, light or more recently, concrete, giving them a new dimension. One way for her to suggest that the viewer question the desire to be elsewhere and the representation of nature. Letha plays on the fragile balance that exists between the beauty of her images and their sculptural strength and thus creates relationships between nature, objects, exhibition space and wild landscapes. »Géraldyne Masson.
CARBON merges the aesthetics of space exploration and scientific imaging with the interpretation of abstract symbols. I’m interested in extremophiles, the origins of life on earth, and what forms sentience might assume elsewhere in the universe. Would we recognize it hovering in front of us? What began with a camera-less method I discovered while experimenting with photograms, and drawing, has grown into immersive environments including large stills, video, multi-point sound and inter-active sculptures.
Reclining StickMan is a 9m long robot, actuated by pneumatic rubber muscles. Visitors at the AGSA can intuitively animate the robot from a control panel. At indicated periods, people online elsewhere can choreograph its movements and sounds. A background algorithm animates the robot intermittently if no-one intervenes, locally or remotely.
You hold a small mirror to your nose, like a pair of glasses, while kissing someone. You look into your own eyes, but kiss someone else’s lips.
Despite the world being connected through an intricate network of fiberglass, more than ever we seem to be alone together. ‘Kiss Me’ brings these two opposing forces – unbridled narcissim on the one hand and a deep longing for connection on the other -together in one object through reinvention of an age-old instrument: the mirror.
As it were
As it were, Sang Jijia’s first creation for GöteborgsOperans Danskompani, is about communication – about the joy of getting through to someone else, but also about everything that gets lost or is misunderstood. As humans, we share the same space but are detached from one another. We know what we want to say, but intentions can become confused.
Lily Cho & Chun Hua Catherine Dong
Shame leaves us helpless in the face of the bad behavior of others. What is more, shame is relational. Maybe we feel shame because of something we have done. But, for us in this moment of seeing ourselves being seen, we realize that it is much more often that we feel shame because of something that someone else has done. We are defenselessly bound to people whose names we will never know only because we have somehow identified ourselves as one of them, at one with them, and the pain of it never ceases.
MIT Media Lab
Hybrid living materials (HLMs)
A method for printing 3D objects that can control living organisms in predictable ways has been developed by an interdisciplinary team of researchers at MIT and elsewhere. The technique may lead to 3D printing of biomedical tools, such as customized braces, that incorporate living cells to produce therapeutic compunds such as painkillers or topical treatments, the researchers say.
Nanine Linning is responsible for die best niederländischen Choreographers. After the successful performance “Synthetic Twin”, the fiery “Requiem” and the apokalyptic “Voice Over” she is once again going big. ‘ZERO’ is an excitement Crossover, In which Dance, Game, Film, Music and costumes – by Iris van Herpen – ensure that you are short of eyes and ears. Was it born there when the world changed drastically? What are people different in the last hours before everything else? To the spherical music of, among others, Julia Wolf, Ralph Vaughan Williams, Arvo Pärt and Philip Glass phantasieren von Linning und Haarspangen von faszinierenden Ideen.
Xiao Wen Ju
Tim Walker (født i 1970) er en engelsk modefotograf med base i London. Hans interesse for fotografering begyndte allerede før han ville på universitetet, og arbejdede for Conde Nast Publications i London. Da han senere blev nummer 3 i en fotografikonkurrence i den engelske avis The Independent, valgte han at tage tre år på Photography BA Hons degree på Exter college of art. I 2008 blev hans første egen udstilling holdt på Design Museum i London, hvilket også resulterede i en udgivelse af en bog med hans billeder. Flere museer som Victoria and Albert Museum og National Portrait Gallery i London har alle permanente udstillinger med billeder taget af Tim Walker.
Cerith Wyn Evans
СЕРИС ВИН ЭВАНС
Form in Space…By Light
‘Cerith’s installation sits beautifully within the space, unfolding as you walk through,’ explains Clarrie Wallis, Tate’s Senior Curator of Contemporary British Art. The neon experience builds, from a single ‘peep hole’ ring in the South Duveens, through which you can glimpse swirls of radial light and an imposing octagon in the central gallery. The fractured neon fragments look like frantically drawn sparkler-lines on fireworks night.But there’s method and logic within these celestial scribbles. Hidden in the design are references to a host of highbrow sources, from Japanese ‘Noh’ theatre, to Marcel Duchamp’s The Bride Stripped Bare by her Bachelors, Even (The Large Glass), 1915-23. Don’t worry if you missed them. The beauty of rendering precise (verging on obscure) references in such a celebratory neon explosion allows for multiple – if not endless – interpretations.Each way you look at the sprawling 2km of neon tubing, a different shape or symbol emerges. No small thanks to the elegant way in which the structures have been painstakingly suspended. ‘There were over 1000 fixing points, and obviously we couldn’t drill 1000 holes in the Grade II listed building,’ Wallis explains. ‘We had to work with structural engineers very intensely, so as to be completely happy and convinced that we would be able to remove it without damaging the fabric of the building.’Though it seems too soon to be discussing the installation’s removal, Wallis has a point. It’s a visibly fragile, delicate sculpture – whose impermanence makes it more intriguing. As it is a site-specific sculpture, it can’t be recreated elsewhere. What’s more, because the neon tubes are filled with a constantly moving stream of pulsing, vibrating gasses, visitors will never see the same sculpture twice.
MORPHs, short for Mobile Reconfigurable Polyhedra, are motive architectural structures which can crawl and self-assemble in order to encourage social interaction through play. These playful robotic creatures encourage the public to choreograph them into dance routines, assemble them into complex sculptural geometries or else play music at them, which they will play back over time. Groups of people can interact at any one time and eventually develop a dialogue amongst participants, through the use of contemporary digital technology.