Ling Li Tseng

Mist Encounter
Mist Encounter is a summer pavilion stands in the large outdoor plaza in front of the Taipei Fine Art Museum. The summer sun and breeze will drift in and animate the scaffold and mesh structure. An indistinct mist will arise from the outer square and draw visitors to come closer. As visitors walk from the outer to inner square, they will be gradually enveloped by the mist, and things will appear and disappear as the mist alternately gets heavier and lighter. The effect will be similar to an experience of passing through a heavy fog in a magical forest.

KURT HENTSCHLAGER

Zee
File Festival 

Immersive Audiovisual Environment Artificial Fog, Stroboscopes, Pulse Lights and Surround Sound, 2008

ZEE proposes a state of tabula rasa and unfolds without a narrative or reproducible imagery.The audience wanders freely in a space filled with extremely dense fog that fully obscures all of its boundaries. Stroboscopic- and pulse lights illuminate the fog, in a softened and evenly dispersed manner, creating kaleidoscopic three-dimensional structures in constant animation. An ambient and minimal sound-scape connects to the imagery, without directly synchronizing to it.The core visual impression of ZEE is of a psychedelic architecture of pure light, an abstract luminescent landscape enveloping the visitor. Time appears to stand still.

NED KAHN

Нед Кан
Tornado
A 10-foot tall vortex is formed by air blowers and an ultrasonic fog machine inside a sculpture installed in the atrium adjacent to the Winter Garden. The vortex continually changed shape in response to the surrounding air currents.These fluctuations gave the vortex an erratic and life-like appearance. Viewers were encouraged to alter the shape of the vortex with their hands. The calm, central core of the vortex is clearly evident.

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Kahn’s interactive scientific projects leave little doubt about his command of meteorological processes. Through his immense technical ability, he demonstrates the versatility of turbulent systems, such as the vortices of wind and water. He employs diverse mechanical, pneumatic and electrical technologies to design, build and refine his installations. This is how he constructs dazzlingly complex but comprehensible images of nature that respond to viewers, conform to architectural structures, and reveal environmental conditions.

DANIEL STEEGMANN MANGRANÉ

ড্যানিয়েল স্টেগম্যান ম্যানগ্রান
Даніэль Стыгман Мангранэ
ダニエル・スティーグマン・マングラネ
Fog Dog
Una intervención ligera de dos partes saluda al visitante al ingresar a la exposición. Iluminado completamente por luz natural, las paredes divisorias en ángulo transforman el espacio en una serie de habitaciones comunicadas. Una gran abertura triangular en el techo y una construcción en forma de embudo a la altura de la cabeza que se estrecha hacia una abertura alteran fundamentalmente la experiencia del espacio, controlando y dando forma a la luz entrante. Las obras evocan una larga tradición de encuentros con la luz natural, llamando la atención sobre la subjetividad de la percepción y sus asociaciones metafóricas.

TAO DANCE THEATER

6&7
Tao Ye rejects any attempts to harness his work to narrative, which is why he numbers his choreographies rather than naming them. Numbers 6 and 7 were choreographed one after the other, but are presented here as a single work. 6 takes us into a dark world: six black-clad dancers emerge out of a foggy landscape resembling smog-choked Beijing. They start moving with one ‘voice’, treading the ground firmly and dancing—chiefly with the upper part of their bodies—a ritualistic dance which stretches the human body to the very limits of its flexibility. An equally minimalist soundtrack and the exceptional lighting design of Sweden’s Ellen Ruge, a close collaborator of Mats Ek, who has done a lot of high-profile work here in Greece, complete the raw materials of this performance-experience.

ANGELA GLAJCAR

Анжела Глэйкар
Angela Glajcar scolpisce la luce. Con fine sensibilità al materiale (la carta) e alle sfumature cromatiche che si producono fra i giochi di luci ed ombre. Si avverte un movimento sacro, ascensionale, fra i fogli allineanti come fanoni.

Larry Bell

Recent venice fog

WILMA HURSKAINEN

Fog
Talk about blending into the background. Photographer Wilma Hurskainen and her sister wear clothes that perfectly match their natural surroundings. Whereas we’ve seen this style done before, never have we seen it done so naturally, almost as if it was all done by accident.They’re part of the larger series called No Name which deals with childhood and memory.“Invisible, was an idea that I once got while looking at snow and a forest line,” she tells us. “We have a lot of that in Finland! Even as a child I was very interested in the idea of hiding or mimicking an animal.” The woman in Invisible is actually one of her sisters.

Cao Fei

曹斐
ツァオ·フェイ
Чао Фей
Haze and Fog

Cao Fei’s ‘Haze and Fog’ is a new type of zombie movie set in modern China made by one of the most important Chinese artists working today. Working with film, photography, installation and performance Cao Fei probes her personal and cultural relationship to metropolitan China.Rather than positioning activity as good vs evil, Cao Fei’s major new video commission explores how the collective consciousness of people living in the time of what the artist calls “magical metropolises” emerges from seemingly tedious, mundane, day-to-day life. This magic reality is created through a struggle at the tipping point between the visible and the invisible.

FUJIKO NAKAYA

中谷芙二子

fog sculptures
ok-offenens kulturhaus linz

Fujiko Nakaya est la première artiste à travailler avec le brouillard comme moyen sculptural. Ceci ne veut pas dire qu’elle façonne ce moyen en se basant sur ses propres concepts. Elle collabore, plutôt, de façon subtile avec l’eau, l’atmosphère, les courants d’air et le temps. Ses sculptures de brouillard, de nature expérimentale et éphémère, montrent une certaine affinité avec l’art conceptuel et le Land art mais représentent également un tournant radical dans l’histoire de l’art et la technologie.L’œuvre de Nakaya avec le brouillard, qu’elle considère comme un moyen de transmission de la lumière et de l’ombre, similaire à la vidéo, surgit au départ de l’intérêt qu’elle ressentait pour ce qu’elle nomme « décomposition » ou « le processus de désintégration». Lorsqu’elle était étudiante d’art aux États-Unis (où elle arriva du Japon avec sa famille au début des années 1950), elle peignait des fleurs qui se fanaient, et une série de tableaux de nuages qu’elle réalisa après son retour au Japon à la fin de cette époque exprime sa fascination à l’égard des phénomènes naturels qui « se forment et se dissolvent encore et encore »[1]. La première sculpture de brouillard de Nakaya surgit lorsqu’elle était membre d’Experiments in Art and Technology (E.A.T.), une organisation consacrée à faciliter et à promouvoir la collaboration entre ingénieurs et artistes.

CHARLES SOWERS

Illuminated Fog