Ned Kahn

Cloud Arbor
A 20-foot diameter sphere of fog forms inside a forest of stainless steel poles. High-pressure fog nozzles embedded in the 30-foot tall poles convert water into a cloud that appears and vanishes every few minutes. A collaboration with landscape architect Andi Cochran and the Pittsburgh Children’s Museum. Completed in 2012.

Azuma Makoto

Encapsulated environmental system: Paludarium YASUTOSHI
This machine is fully equipped with a mist machine as if wrapping plants in a fog from both sides and drip feed-water system which can be activated depending on the situation in order to maintain the condition of a plant and control inside temperature and humidity. Also the cylindrical shape can fully capture the natural light by 365°angles from glasses, and it can correspond to plant growth by having the series’ largest scale of height. Fans on the ceiling play a role of wind, and a plant can listen music from the waterproofed speakers. The machine takes in essential elements – rain, wind, light and sound – by artificial means and completes a small world where its ecological cycle is condensed. It enables us to admire the beauty of the plants by not being affected by external environment.

Herman Kolgen

Eotone
With EOTONE, Kolgen and Letellier reflect on distance and weather, by staging something intangible yet powerful: the wind. Four sound and sculptural diffusers, containing elements of both the weather vane and the fog horn, make up this monumental installation that renders in movement and sound the direction and force of the wind blowing simultaneously on two continents: in Montreal and Quebec City on one side of the Atlantic, in Rennes and Nantes on the other. The wind data recorded in each city is transmitted live to the diffusers, controlling the orientation of each of the structures and orchestrating the combined chords that make up the harmonic whole perceived at the heart of the installation. By transforming weather data into sound, EOTONE offers a subtle artistic vision of the Internet of objects.

Edwin van der Heide

Fog Sound Environment
Fog Sound Environment is a site specific installation originally conceived for the foreland of DordtYart located nearby the junction of the three rivers that traverse Dordrecht. In this experiential artwork real fog is being created by pushing water under very high pressure through hundreds of nozzles. The fog system consists of independent sections that surround the foreland. The timing and distribution of the fog is part of a composition system that incorporates the on-site wind direction in real-time. The fog is dispersed across the, by high trees and water enclosed, grassy terrain . The behavior of the fog is under direct influence of the local weather; sun, rain and wind all have their influence on the behavior of the fog and experience of the work.

Boris Chimp 504

Future Sound of Aveiro
Future Sound of […]” is a site specific interactive installation which explores the audiovisual landscape of a specific city. The inhabitants of [insert city] are invited to enter in a dark room where the characteristic sounds of their city life. Through the exploration of the space, they may find changes in the space-time continuum that will modify these sounds, transforming them [or not] in hypothetic sounds of the future of [insert city]. Could these [new] sounds draw their future?

SEBASTIAN WOLF

Brume
In the collaborative work Brume fog emerges from and self-organizes on the surface on a sculptural element, congealing with light into an elusive stratum. The installation utilizes a series of ultrasonic transducers that generate thick clouds of dense, yet extremely lightweight water vapor. Fog is produced in an inner chamber contained within an enclosure that is outfitted with a porous surface. A small radial blower inside the apparatus gently pumps air into the inner chamber lifting the fog through the membrane, whereby it “settles” on the surface. Viewed from a distance, the fog appears as a visualized mass of air circumscribing the perimeter of the enclosure.

Sebastian WOLF

Drawhearts
Drawhearts eternally repeats the act of steaming up a pane of glass and lining out a heart, slowly fading away each time. A pulley system freely moves the body of the machine across the pane of glass, with its main part consisting of a miniature fog machine to steam up the glass and an articulated drawing arm.

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.
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.

FUJIKO NAKAYA

中谷芙二子

fog sculptures
ok-offenens kulturhaus linz

In 1970 Nakaya created her first fog sculpture when commissioned by the group Experiments in Art and Technology (E.A.T) to make a work for the Pepsi Pavillion of the Osaka World Exposition. In creating a work of white mist enclosing the building, Nakaya became the first artist to have used fog as a sculptural medium. E.A.T is an organisation devoted to facilitating working relationships between artists and engineers. Nakaya worked with American engineer Thomas Mee to create the fog for her Osaka commission, the technique for which she has continued to use, with minor moderations, for her subsequent fog sculptures since.Whilst Nakaya has also worked in film and video, it is her use of fog for which she is best known. Nakaya has used pure-water fog to create installations, performances, stage-sets and environmental park designs, often collaborating with other artists or with performers, choreographers and composers. Nakaya’s interest in fog has developed from its relation to our visual sense. In a thick fog we become disorientated, frustrated at our inability to see. In this way, Nakaya’s sculptures activate our other senses, to compensate for our loss of sight.

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.

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.

DILLER + SCOFIDIO

The Blur Building (an architecture of atmosphere)
The Blur Building is a media pavilion for Swiss EXPO 2002 at the base of Lake Neuchatel in Yverdon-les-Bains, Switzerland.From piles in the water, a tensegrity system of rectilinear struts and diagonal rods cantilevers out over the lake. Ramps and walkways weave through the tensegrity system, some of them providing a counterweight for the structure. The form is based on the work of Buckminster Fuller.The pavilion is made of filtered lake water shot as a fine mist through 13,000 fog nozzles creating an artificial cloud that measures 300 feet wide by 200 feet deep by 65 feet high. A built-in weather station controls fog output in response to shifting climatic conditions such as temperature, humidity, wind direction, and wind speed.The public can approach Blur via a ramped bridge. The 400 foot long ramp deposits visitors at the center of the fog mass onto a large open-air platform where movement is unregulated. Visual and acoustical references are erased along the journey toward the fog leaving only an optical “white-out” and the “white-noise” of pulsing water nozzles. Prior to entering the cloud, each visitor responds to a questionnaire/character profile and receives a “braincoat” (smart raincoat). The coat is used as protection from the wet environment and storage of the personality data for communication with the cloud’s computer network. Using tracking and location technologies, each visitor’s position can be identified and their character profiles compared to any other visitor.In the Glass Box, a space surrounded by glass on six sides, visitors experience a “sense of physical suspension only heightened by an occasional opening in the fog.” As visitors pass one another, their coats compare profiles and change color indicating the degree of attraction or repulsion, much like an involuntary blush – red for affinity, green for antipathy. The system allows interaction among 400 visitors at any time.Visitors can climb another level to the Angel Bar at the summit. The final ascent resembles the sensation of flight as one pierces through the cloud layer to the open sky. Here, visitors relax, take in the view, and choose from a large selection of commercial waters, municipal waters from world capitals, and glacial waters. At night, the fog will function as a dynamic and thick video screen.

Daniel Schulze / bitsbeauty

for those who see

In research of digital information the installation ‘for those who see’ shows the beauty of the unseen. The impulse of sound creates a vortex air ring‚ invisible, as the sound itself. Only fog is demonstrating this aesthetic phenomenon. Individually released to the air, our visual perception connects the single rings to patterns, surfaces or bodies, before they slowly dissolving. These could be viewed as a whole picture or an individual fragment – inviting one to contemplate and wonder.

ZHU JINSHI

朱金石
boat

Tra le opere presentate, Boat di Zhu Jinshi è un’installazione monumentale di 12 metri realizzata utilizzando bambù, cotone e 8.000 fogli di carta di riso legati tra loro. Si tratta di un lavoro che cerca di riconciliare due tradizioni diverse, mostrando come l’arte astratta cinese sia stata una forza inesplorata nel panorama contemporaneo.

CHARLES SOWERS

Illuminated Fog
Device for viewing the complex motions and patterns in fog.