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Michael Hansmeyer

Digital Grotesque III
Em sua série “Digital Grotesque”, Hansmeyer fabrica espaços arquitetônicos com a ajuda de algoritmos personalizados de aprendizado de máquina. Esses espaços não são pensados ​​no sentido usual: o papel do artista era apenas colocar em movimento e supervisionar os processos digitais que levaram à sua criação. É uma estratégia que tem mais a ver com “gerar” espaço do que plotá-lo no papel ou usar um software CAD. Ao aproveitar algoritmos, o artista pode produzir estruturas com um grau de complexidade que rivaliza com o mundo natural.24

MICHAEL HANSMEYER AND BENJAMIN DILLENBURGER

Digitale Grotesk
Digital Grotesque is de eerste volledig meeslepende, solide, gesloten structuur op menselijke schaal die volledig 3D-geprint is uit zand. Deze structuur van 16 vierkante meter is gematerialiseerd met details op de drempel van de menselijke waarneming. Elk aspect van deze architectuur is samengesteld door op maat ontworpen algoritmen.

Raquel Meyers

RAIN PART I – THE OWL – KYBDslöjd
“We live in a time where hardware and software become obsolete even before we have learned how to use them. KYBDslöjd is a brutalist storytelling about technology and keystrokes using Commodore 64 computer, Teletext System, and typewriters. These technologies are not souvenirs from the past. They are hard-won knowledge.”more

HITO STEYERL

태양의 공장
2015년 베니스 비엔날레 독일관에서 데뷔한 이 몰입형 작품에서 슈타이얼은 전례 없는 글로벌 데이터 흐름으로 정의되는 순간에 이미지 순환의 즐거움과 위험을 탐구합니다. 뉴스 보도, 다큐멘터리 영화, 비디오 게임, 인터넷 댄스 비디오 등 장르 간 충돌 – 태양의 공장은 빛과 가속을 모티브로 감시가 점점 더 가상의 일상적인 부분이 되었을 때 집단 저항에 여전히 사용할 수 있는 가능성을 탐구합니다. 세계. 태양의 공장은 모션 캡처 스튜디오의 강제 이동이 인공 햇빛으로 변하는 노동자의 초현실적 인 이야기를 전합니다.
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Fábrica del sol
En este trabajo inmersivo, que debutó en el Pabellón Alemán de 2015 en la Bienal de Venecia, Steyerl explora los placeres y peligros de la circulación de imágenes en un momento definido por el flujo global de datos sin precedentes. Rebotando entre géneros (reportajes de noticias, películas documentales, videojuegos y videos de baile en Internet), Factory of the Sun utiliza los motivos de la luz y la aceleración para explorar qué posibilidades están todavía disponibles para la resistencia colectiva cuando la vigilancia se ha convertido en una parte mundana de una realidad cada vez más virtual. mundo. Factory of the Sun cuenta la historia surrealista de trabajadores cuyos movimientos forzados en un estudio de captura de movimiento se convierten en luz solar artificial.

ADI MEYER

アポセマ
感情認識アルゴリズムと拡張現実の時代に、私たちのパーソナルデバイスとソーシャルメディアの乱用は、人々が意味のある対面の相互作用に代わる技術的な選択肢をますます選択する社会につながりました。顔の表情を読む能力が大幅に低下し、人間関係を築く能力が制限され、共感するのに苦労します。

SVEN MEYER & KIM PORKSEN

ソニックウォーター
ソニックウォーターはサイマティックスのインスタレーションです。
サイマティクスは、砂や水などの物質を通してや振動を視覚化するプロセスです。最初は音がしました cymaticsがそのような強い魅力を発揮する理由は、私たちが「音を見る」ように条件付けられていないからです。 Cymaticsは、聞こえるものの本質を明らかにする魔法の道具のようなものですが、通常は見えません。それを使えば、さまざまな形の自然の原型を再現することができます。ですから、音には形があり、サイマティックスはそれが物質に影響を与えるだけでなく、形を引き起こすことを理解することを可能にします。実際、私たちは音が宇宙自体の形成に根本的な影響を及ぼしたと考えています。しかし、それは別の話です。主に、私たちはこの主題の単純さに魅了されています。必要なのは、音と、水などの非常に基本的な媒体を作成することだけです…まあ、最もクールなサウンドビジュアライザーになる可能性があります(そして私たちの見解では)。

Michael Hansmeyer

Subdivided Cube 4
At best, a computational approach enables architecture to be embedded with an extraordinary degree of information. Structure and surface can exhibit a hyper-resolution, with seemingly endless distinct formations. The processes can generate highly specific local conditions, while ensuring an overall coherency and continuity. As such, the resulting architecture does not lend itself to a visual reductionism. Rather, the procedures can devise truly surprising topographies and topologies, offering a thousand unique perspectives. Computational architecture can defy classification, it can evoke curiosity and elicit individual interpretations. The projects presented here forecast an exuberant architecture in which the exceptional supersedes the standard.

HITO STEYERL

Factory of the sun
In this immersive work, which debuted at the 2015 German Pavilion at the Venice Biennale, Steyerl probes the pleasures and perils of image circulation in a moment defined by the unprecedented global flow of data. Ricocheting between genres—news reportage, documentary film, video games, and internet dance videos—Factory of the Sun uses the motifs of light and acceleration to explore what possibilities are still available for collective resistance when surveillance has become a mundane part of an increasingly virtual world. Factory of the Sun tells the surreal story of workers whose forced moves in a motion capture studio are turned into artificial sunshine.

Hito Steyerl

Power Plants
Hito Steyerl’s series of projects at the Serpentine Galleries is positioned around ideas of ‘power’. Beginning from the premise that ‘power is the necessary condition for any digital technology’, the artist considers the multiple meanings of the word, including electrical currents, the ecological powers of plants or natural elements, and the complex networks of authority that shape our environments. She addresses the notion of power through three interrelated research strands and projects: Actual Realityos, a collectively-produced digital tool; Power Walks, a series of guided walks and a tour that draws upon conversations with campaigners, community groups and organizations in the local area surrounding the Serpentine, and finally this exhibition, Power Plants, which features new video installations created using artificial intelligence trained to predict the future.

Pedro Reyes

Return to Sender
Disarm music box
For the work group Disarm, he was able to use 6,700 weapons confiscated in the Mexican drug war and transform these into musical instruments[…] They play well-known, classical music pieces from the respective manufacturer’s country of origin. A musical box made with Glock pistol parts plays Mozart, Beretta barrels Vivaldi, while Reyes’s weapon of choice for Swiss songwriter Mani Matter is the Carabine. Reyes is concerned with «upcycling» – transforming an instrument of death into a musical instrument that stands for dialog and exchange. He undertakes this transformation process with the conviction that the physical act is always accompanied by an idealistic one and appeals to the spiritual dimension of this quasi-alchemical operation towards the good.

Agnes Meyer-Brandis

Cloud Core Scanner

Her current installation IN THE TROPOSPHERE LAB provides insights into the material produced under conditions distant from earth. The exhibition tells of the formation of clouds and shows conditions and combinations of art and science during zero gravity. With the exhibition by Agnes Meyer-Brandis, the project space of the Ernst Schering Foundation once again presents a contemporary art project that stimulates interdisciplinary debate and builds bridges to scientific research. The lab as a gravimetric document of the “Cloud Core Scanner” experiment shows a world alternating between controlled and bound-less states – artistic research in search of the reality level of constructions of the matter that surrounds us.

adi meyer

borderline
Space Aware Wearable
Border Line is a 3D printed modular neck piece designed to alert the wearer of invisible urban boundaries through vibration and light stimuli. The data is fed by users and collected on a networked platform to redefine social boundaries throughout the city.

adi meyer

Aposema:Responsive Facial Prosthesis
In an age of emotion recognition algorithms and augmented realities, our overuse of personal devices and social media, has led to a society where people increasingly choose technological alternatives to meaningful in-person interaction. Our ability to read facial expressions is severely reduced, limiting our capacity to develop relationships and leaving us struggling to empathize.

hito steyerl

Robots today
32ª Bienal de São Paulo

Hito Steyerl was born in Munich in 1966. She studied in Tokyo, Munich, and Vienna before she moved to Berlin, where she lives and works today. As a filmmaker, visual artist, and author in the field of essayist documentary video, Steyerl is a frequent lecturer, has published influencial writings, and participated in numerous international exhibitions and biennials. She exhibited at documenta 12 in 2007 and in the German Pavilion at the Venice Biennale 2015.

NIEMEYER CENTER

Avilés, Asturias
The Oscar Niemeyer International Cultural Centre or Centro Niemeyer (Spanish: Centro Cultural Internacional Oscar Niemeyer), (popularly known as el Niemeyer), is the result of the combination of a cultural complex designed by the Brazilian architect Oscar Niemeyer and an international cultural project. The center is located on the estuary of Avilés, Asturias (Spain). It was inaugurated on 26 May 2011.

WARY MEYERS

The basement stacks
Books breaking through the (faux) wall downstairs, referencing the “basement stacks” every library has. In this case it’s as if those stacks had been sealed up during some remodel, and are anthropomorphically breaking through, referencing the old library, history, roots, poltergeists…

jaesik lim, ahyoung lee, jaeyeol kim and taegu lim

clear orb

“The sustainable architectural culture that aspires the coexistence of human, nature and the architecture itself” is a core value of Heerim Architects and Planners in South Korea, the team behind a sparkling orb designed for Santa Monica Pier. A finalist in the biennial site-specific 2016 Land Art Generator Initiative design competition, which promotes the uptake of energy-generating public art that informs, delights, and uplifts communities and visitors, The Clear Orb reveals a playful approach to holistic design. Using transparent luminescent solar concentrators, the installation is purportedly capable of producing up to half-a-million gallons of fresh water each year for California.

ZEGER REYERS

rotating kitchen

Zeger Reyersによるかなりクールなインスタレーション。これは女性が見ることはあまりお勧めできません(警告)。 「回転キッチン」のインスタレーションは、360度回転するスローモーションを行う設備の整ったすっきりとしたキッチンで構成されており、深刻な混乱を引き起こし、キッチンの内部が完全に破壊されて台無しになりました。これは、女性が素敵な料理を準備しているのを見た後でのみです。

HANS MEYER

Михаэль Ансмейер
Subdivided Columns

The subdivided columns are purely algorithmic forms. They are undrawable using conventional means – whether by pen or by mouse – as they have too much detail and differentiation. Knowledge and experience are acquired through search, demanding heuristics that work in the absence of categorization.

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