highlike

Maxim Zhestkov

Elements
Elements is an experimental art film by Maxim Zhestkov about nature, physics, art and love. More than 2 billion elements / particles governed by tensions and forces of nature were used to tell stories and show emotions through the motion of collective behavior.
The film is a trial to explore the idea that everything around us and inside us is made from simple elements / blocks which can be arranged in complex relationships and become compound structures. We could project this idea into emotions, behaviours, thought processes, relationships, life, planets and the 23.

RAFFAELLO D’ ANDREA AND MAX DEAN

The Robotic Chair
The Robotic Chair is a generic-looking wooden chair with the capacity to fall apart and put itself back together. With shuddering force, the chair collapses to the floor. With persistence and determination, it proceeds to seek out its parts and upright itself. Powered by MICROMO coreless dc motors, The Robotic Chair is distinguished in the world of objects for its capacity to elicit empathy, compassion and hope.

Gerard O’Neill

O’Neill cylinder

O’Neill was inspired by the papers written by his students. He began to work out the details of a program to build self-supporting space habitats in free space.Among the details was how to provide the inhabitants of a space colony with an Earth-like environment. His students had designed giant pressurized structures, spun up to approximate Earth gravity by centrifugal force . With the population of the colony living on the inner surface of a sphere or cylinder, these structures resembled “inside-out planets”. He found that pairing counter-rotating cylinders would eliminate the need to spin them using rockets.This configuration has since been known as the O’Neill cylinder.

EXTRAWEG

Pleasure
« Il y a une certaine forme de critique sociale dans chaque publication, mais elles ne correspondent pas à des faits précis. J’aime jouer avec des situations courantes et les présenter de manière ambiguë et inconfortable. Pour moi, ce n’est pas important de trop se concentrer sur le contenu dans un sens car je cherche à agiter le spectateur et à le forcer à penser par lui-même. Ils doivent trouver leur propre explication à ce qu’ils voient » Extraweg

zach blas

sanctum
Zach Blas(United States、1981)の作品は、テクノクラート社会の限界と基盤を描くことを目的として、視覚言語の慣習、価値体系、デジタル技術に内在する力のダイナミクスをさまざまな文脈で分析、調査、配置しています。 。 彼の分析とデジタル文化への反映のために、彼は映画、彫刻、執筆、パフォーマンスなど、さまざまな表現形式を使用しています。 ブラスはブラックユーモアと理論的研究に取り組んでおり、彼の最も顕著な影響の中には、神秘主義の伝統、サイエンスフィクションのジャンル、ップカルチャー、クィアの美学があります。

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sanctum

The work of Zach Blas (United States, 1981) analyzes and explores the dynamics of visual language practices, value systems, and the forces inherent in digital technology in a variety of contexts, with the aim of depicting the limits and foundations of technocratic societies. I have placed it. .. For his analysis and reflection in digital culture, he uses a variety of forms of expression, including film, sculpture, writing and performance. Brass works on black humor and theoretical research, and among his most prominent influences are the mystical tradition, the genre of science fiction, pop culture, and the aesthetics of queer.

 

ANDREW KUDLESS

P_wall (the self-organization of material)
P_Wall (2009) was commissioned by the SFMOMA Architecture and Design Curator Henry Urbach for the exhibition Sensate: Bodies and Design. The wall, part of a series started with P_Wall (2006), is an evolution of the earlier work exploring the self-organization of material under force. Using nylon fabric and wooden dowels as form-work, the weight of the liquid plaster slurry causes the fabric to sag, expand, and wrinkle.

Marco Barotti

The Egg
Ten thousand years ago, there were 1 million people living on the planet, fifty years ago there were 3 billion of us and, by the end of this century, we are estimated to reach a population of 10 billion people! We have modified almost every part of our planet and, as we continue to grow, our need for vital resources increases exponentially. We human beings are the main force behind every global problem we face. The work is a kinetic sound sculpture resembling an egg. The cycle of life, reflected in the shape of the sculpture with neither beginning nor end, symbolizes fertility and reproduction – and thus questions the impact of overpopulation. Driven by real-time data generated by the Worldometer, the sculpture constantly changes its shape.

Rachel Rossin

Stalking the Trace
Stalking the Trace est une installation VR multi-spectateurs qui se déroule dans une série d’enceintes, renforcées par l’audio, l’éclairage et les projections pour créer une atmosphère immersive sensorielle dans la galerie. Rossin utilise le mouvement du spectateur à travers l’espace comme méthode pour interroger le désir humain de contrôle et d’agence, et la notion de temps avec le sujet humain en son centre.
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Stalking the Trace is a multi viewer VR installation, takes place within a series of enclosures, heightened by audio, lighting and projections to create a sensory immersive atmosphere within the gallery. Rossin utilises the movement of the viewer through the space as a method to interrogate the human desire for control and agency, and the notion of time with the human subject at its centre.
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Stalking the Trace – это многопользовательская VR-инсталляция, действие которой происходит в серии ограждений, усиленных звуком, освещением и проекциями для создания чувственной иммерсивной атмосферы в галерее. Россин использует движение зрителя в пространстве как метод исследования человеческого стремления к контролю и свободе действий, а также понятия времени с человеческим субъектом в его центре.

Lesia Trubat

Electronic Traces
E-TRACES, memories of dance
The shoes are based on the clone of Lilypad Arduino technology, which is designed for sewing into wearables. It appears that 3 force sensitive resistors are used as analog pressure sensors, measuring the force applied on the ground by the dancer’s feet.

ANDY LOMAS

Morphogenetic Creations
Created by a mathematician, digital artist and Emmy award winning supervisor of computer generated effects – Andy Lomas, Morphogenetic Creations is a collection of works that explore the nature of complex forms that can be produced by digital simulation of growth systems. These pieces start with a simple initial form which is incrementally developed over time by adding iterative layers of complexity to the structure.The aim is to create structures emergently: exploring generic similarities between many different forms in nature rather than recreating any particular organism. In the process he is exploring universal archetypal forms that can come from growth processes rather than top-down externally engineered design.Programmed using C++ with CUDA, the series use a system of growth by deposition: small particles of matter are repeatedly deposited onto a growing structure to build incrementally over time. Rules are used to determine how new particles are created, and how they move before being deposited. Small changes to these rules can have dramatic effects on the final structure, in effect changing the environment in which the form is grown. To create these works, Andy uses the GPU as a compute device rather than as a display device. All the data is held in memory on the GPU and various kernel functions are called to do things like apply forces to the cells, make cells split, and to render the cells using ray-tracing. The simulations and rendering for each of the different animated structures within this piece take about 12 hours to run, Andy explains. By the end of the simulations there are over 50,000,000 cells in each structure.The Cellular Forms use a more biological model, representing a simplified system of cellular growth. Structures are created out of interconnected cells, with rules for the forces between cells, as well as rules for how cells accumulate internal nutrients. When the nutrient level in a cell exceeds a given threshold the cell splits into two, with both the parent and daughter cells reconnecting to their immediate neighbours. Many different complex organic structures are seen to arise from subtle variations on these rules, creating forms with strong reminiscences of plants, corals, internal organs and micro-organisms.

German Ermics

Ombré Glass Chair

“German Ermics is a Latvian designer who has recently presented to the public his splendid Ombré Glass Chair, which embodies the perfect tribute to To Shiro Kuramata and his iconic Glass Chair (1976), considered one of the iconic furniture designers of the 20th century. The keyword of his creation is “simplicity” combined with the transparency and the apparent lightness of the material, the result is an elegant minimal work.Another peculiarity of the chair is that it was manufactured with a new industrial product, the Photobond 100, welded without the use of screws or mounting-reinforcements, thus eliminating any superficiality.” Claudia Fuggetti

SIMON CHRISTOPH KRENN

Parasitic endeavours
Simon Christoph Krenn’s 3D animation, Parasitic Endeavours, initially started out as the creative wanting to explore distorted perspectives on human evolution. “I think my main inspiration came from nature and its creative forces themselves. I used to study zoology at university and was especially fascinated by evolutionary biology and the development of animal morphologies. I realized the video’s strange and somehow creepy potential and decided to push the animation even more into this direction.”

Stine Deja

Synthetic Seduction

Foreigner

Stine Deja and Marie Munk

The title of the exhibition was inspired by Sherry Turkle’s theory of how technology seduces us, making emotions “easy” by offering human relationships without the complexity of being together ‘face to face’. But if machines can become attentive and emotional, what is left to distinguish us as human beings? We are facing a paradigm shift in how we understand ourselves physiologically, as data and algorithms, and are being forced to question the role of our biological body. As the relationship between artificial and human intelligence becomes increasingly intermingled in our everyday lives, Synthetic Seduction provides immersive and timely insight into the limits of human empathy and intimacy. We are glad at SixtyEight Art Institute to host such a space for thought. We hope it will start conversations and maybe even encourage some intimacy among our visiting audiences in the coming weeks.

Pangenerator

The shimmering pulse
The installation consists of 451 independent modules arranged in a form of hexagon – each module reacts to light it receives by spinning iridescent disc that spreads out thanks to centrifugal force, creating a unique kinetic “physical pixel”. That field of shimmering pixels is combined with light projection mapped onto the installation surface to visualize real-time data of the traffic in the Shenzhen area – the hexagon is divided into sections corresponding the 9 city districts. As a result the public can observe and interact with the object that represents the pulse of life of the city in an artful and unexpected way.

Jonna Kina

Arr. for a Scene

“The sonic force of cinema’s most famous murder scene is investigated.Two foley artists recreate Hitchcock’s shower sequence, deconstructing the associations of aural signifiers, and the synesthetic power of sound. Jonna Kina contextualize this uncanny phenomenon — the “trans-sensory” quality of sound – within both Kina’s oeuvre, as well as other historical and contemporary works inside and outside the realm of art. In Arr. for a Scene (2017), Kina explores the structures and forms of cinematic sound – transforming an iconic image — the horrific shower scene in Alfred Hitchcock’s Psycho (1960) – into the sonic frequencies of quirky, seemingly innocent, domestic objects.” Melissa Ragona

 

Marcos Mauro

Pasionaria

Pasionaria represents the consequences of our current way of life, as conceived by choreographer Marcos Morau. A future where human beings would have lost their vitality through individualism and transhumanism. The gloomy universe of the spectacle thus seems sanitized of all affect, all passion, and consequently, humanity. All that remains is the labor force that is tirelessly busy vacuuming or handling packages of products. Ringing phones, doors or other objects constantly capture the attention of the protagonists who have become puppets. Manipulated by outside forces, instead of being driven by their deep desires, the humans of this dystopia merge into simple working robots.

Christopher Meerdo

Metadata
These videos are networked across multiple screens that have ben sculpturally shaped into a tall arch, asserting its physical presence like boding force. Embedded within one of the video sections is a poem the artist wrote about the ties the police have to slave catchers who then became police officers after abolition. The video also separately speaks to the artist’s own personal loss, affecting the video with an additional elegiac quality of the search for a missing friend.

Oscar Sol

Trinity
Trinity is an audiovisual interactive dance piece which tells the journey of a body going through different states of perception of the space. Through movement, the body is immersed in an environment of textures and audiovisual landscapes that not only accompany but will push to a transformation process.This work proposes a profound, clear and efficient interaction between its three elements: the triad of movement, sound and visuals. This interaction is understood as a dialogue which passes through different levels of intensity and transformations throughout the piece and is focused in the detection of the following qualities and patterns of movement like: forces and directions, acceleration, position, speed and body area.

Ief Spincemaille

Kiss Me

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.

Alisa Andrasek

Cloud Pergola
Inspired by the cloud formations and weather events, this mathematized cloud plays with visitor’s perception. Movement through the structure generates a series of dynamic interference views in its deep fabric, drifts and ruptures in visibility. A sea of redirecting vectors is pulling the visitor like an invisible gravity force through the fabric.

superbien studio

siderea
We presented our interpretation of a gravitational anomaly, entitled Siderea, an unknown force at the outer fringes of the Universe, in the centre of the Great Attractor. Beyond anything our eyes or our minds are capable of imagining and using geometric and scientific coordinates to create a palpable world to scale, we wanted to tell a deeply immersive tale exploring the emotions that the discovery of such a stellar phenomenon might rouse. Freely inspired by the explorations and incredible advances made in astronomy, we transformed the venue into the point of observation of this extraordinary celestial body, in the literal sense of the term.

Carsten Nicolai

reflektor distortion

The installation reflektor distortion – conceived as a rotating, water-filled basin – is inspired by the shape of a parabolic mirror that ‚rotates‘ water via centrifugal force. The work consists of the three main components mirror, reflection and distortion. Both curve and distortion of the water surface is affected by speed and integrated resistors that generate a permanently new and re-organizing mirror reflection. The water surface will be supplementary distorted via speaker by resonating low sound frequencies. The function of the mirror is hereby eminent: The mirror surface is the medium that reveals reality as distorted reflection. Rising the question of the observed and the real image the installation plays with the artist’s thesis that we all have a permanent distorted perception of reality.

THORSTEN FLEISCH

Energie!
Thorsten Fleisch creates films that reveal the shapes and patterns of natural forces and phenomena. In this work he reveals what energy in one of its simplest forms looks like in motion. Energie! is a sequence of still images created on light-sensitive photographic paper. The artist exposed dozens of sheets of paper to enormous electrical discharges, each leaving its imprint as a trail of light. Animating these images reveals patterns in their flow of energy, akin to tracing the flow of electricity at each moment of a lightning strike. As the images are photographs created without cameras, they are records of single moments. Accordingly we see dozens of split-second documents animated to reveal the shape and power of energy.

David O’Reilly

Everything
FILE GAMES 2017
Everything is an interactive experience where everything you see is a thing you can be, from animals to planets to galaxies and beyond. Travel between outer and inner space, and explore a vast, interconnected universe of things without enforced goals, scores, or tasks to complete. Everything is a procedural, AI-driven simulation of the systems of nature, seen from the points of view of everything in the Universe.

Nicholas Stedman

After Deep Blue

ADB is a modular robot designed for tactile interactions with people. It is composed of a chain of prism-shaped robotic modules. Through the modules’ coordinated behavior, the robot writhes, wriggles and twists in response to the presence of skin and force. The robot is animated only when actively engaged by a person, otherwise it is at rest. Stroking, rubbing or grasping ADB results in it pushing back, retreating or occasionally grasping onto a body part, depending on the combination of stimulus. Participants may experience the object at their leisure. They can play with the device, exploring how it feels, and how it responds to their touch.

JOSEF SVOBODA

جوزيف سفوبودا
ЙОЗЕФА СВОБОДЫ
la traviata de verdi (Scenografia)
La technologie et la scénographie
Svoboda utilise les techniques de pointe en éclairage, en projection d’image et en mécanique de scène (scène cinétique) afin de s’affranchir des contraintes du lieu théâtral. La scène est pour Svoboda un instrument et un espace magique, lieu d’action de forces dramatiques, réelles, et non pas un espace illusionniste. La scénographie est une des disciplines de l’art théâtral, une composante de la mise en scène et un élément essentiel de la représentation. Elle doit donc d’être dynamique et se transformer dans le temps pour épouser l’action dramatique. La scénographie a un langage propre en tant que discipline à part entière. Svoboda apporte une contribution importante à ce langage par son travail sur la lumière et l’espace.
Lumière, matière et espace
Svoboda dit percevoir la lumière physiquement, et non pas simplement visuellement ; il trouve en elle l’inspiration pour son travail. Tout en reconnaissant son statut ” immatériel “, il la considère comme l’élément fondamental de la scénographie et la traite comme un matériau. D’abord formé en menuiserie, Svoboda affectionne particulièrement les matières brutes, notamment le bois. L’architecture représente pour lui, et ce dès son jeune âge, la somme des connaissances humaines. Formé en architecture d’intérieur, il s’intéresse à l’organisation de l’espace, à la rencontre scénique de l’architecture et du décor. Il privilégie les formes simples : la sphère, le cube et l’escalier. Svoboda croit que ” la mise en scène à l’italienne, bien qu’elle ne corresponde plus aux exigences des méthodes scénographiques actuelles, reste toujours la meilleure “.

tangible media group

transdock
Ken Nakagaki, Yingda (Roger) Liu, Chloe Nelson-Arzuaga, and Hiroshi Ishii
TRANS-DOCK is a docking system for pin-based shape displays that expand their interaction capabilities for both the output and input. By simply interchanging the transducer modules, composed of passive mechanical structures, to be docked on a shape display, users can selectively switch between different configurations including display sizes, resolutions, and even motion modalities such as rotation, bending, and inflation.
In our paper accepted to TEI 2020, we introduce a design space consisting of several mechanical elements and enabled interaction capabilities. Our proof-of-concept prototype explores the development of the docking system based on our previously developed 10 x 5 shape display, inFORCE. A number of transducer examples are shown to demonstrate the range of interactivity and application space achieved with the approach of TRANS-DOCK.

ROB MULHOLLAND

روب مولهولاند
罗布穆赫兰
롭 멀홀랜드
ロブマルホランド
Роб Малхолланд

Rob studied at Edinburgh College of Art and graduated with a BA [Hon ] degree in 1986[…] His work explores the human relationship with the wider environment. His approach is not judgmental, more reflective and questioning about the ever-changing world around us. The human desire to leave a trace of ones-self for future generations has always intrigued him. It’s a driving force to create and leave a semblance of our-selves as individuals and as a society. The reflective figures ask us to look again and consider the symbiotic relationship we have with our natural and man-made environment.

Oleg Soroko

Digital Substance

The parametric technology allows to generate a self-organizing system, that is, to open the essence of the universe as an infinite variety of possible self-organizing systems. The world is in constant process of self-development, but it is not chaos and not a set of known forms (cube, sphere, cylinder, from which you can build everything as Cezanne believed). Everything in the world (in the physical, biological and other reality) is in fluid, flexible, flowing, accelerating and decelerating movements that create tension, tears, force fields. And they are amazingly beautiful (attractors and fractals are their individual symptoms) and they exist before form and after form. It is not a solid, or lines in a space, but something that stands before and after the space.

Aurélien Bory

Sans Objet
“Avec Sans objet j’ai voulu introduire sur scène un robot industriel ayant la force de déplacer des éléments de décor aussi bien que des acteurs. La machine devient un protagoniste à part entière. Il s’agit d’un bras articulé, mécanique. On l’utilise comme une « marionnette » – un être 100% technologique – dans son dialogue avec un homme contemporain ordinaire.”

ANDREW HIERONYMI

move
File Festival
MOVE is an interactive installation divided into six distinct modules, JUMP, AVOID, CHASE, THROW, HIDE and COLLECT. Each module offers a single-user interaction, based on a verb corresponding to the action the participant is invited to perform. Each verb corresponds to a common procedure acted out by avatars during videogame play. Each module offers an interaction with abstracted shapes (circles, rectangles) behaving according to simplified rules of physics (collision, friction). Each module is color-coded with consistency, where the color red is used for the graphical element that poses the core challenge. Each module increases difficulty in a similar linear manner.What makes MOVE unusual is that unlike most computer vision or sensor based games like Eye-toy or Dance Dance Revolution, the participant IS the avatar, he is not seeing a representation of herself or an indirect result of her actions on a separate screen but instead interacts directly with the projected graphical constituents of the game. Because those graphical elements are non-representational they do not allow for a projection in a fictional space. The combination of abstracted shapes and direct interaction reinforces in the player the focus on the action itself (JUMP, AVOID, CHASE, THROW, HIDE or COLLECT) instead of an ulterior goal.

TAKIS

electromagnetique

Takis cherche à matérialiser des forces secrètes et mystérieuses, comme l’électricité ou le magnétisme, en les révélant par les mouvements qu’elles induisent ou les sons qu’elles produisent.
Il y a de la magie à voir bouger des objets durs et lourds, mus par une force obscure, soulignée par un dispositif plastique. Ses œuvres sont des pièges à énergie.

REJANE CANTONI & LEONARDO CRESCENTI

Túnel
«Tunnel» est une sculpture cinétique, immersive et interactive, composée de 92 portiques qui se désordonnent en fonction de la position et de la masse corporelle de l’interacteur. De nombreux utilisateurs peuvent simultanément entrer et interagir avec la machine. Les interacteurs agissent sur la machine par leur position et leur poids. Un exemple d’interaction est: vous entrez dans le «Tunnel» et vous vous tenez près de l’un des murs latéraux. Dans ce cas, la position relative et la force gravitationnelle de votre corps provoquent des variations de hauteur du sol. Le sol s’incline jusqu’à 5 °, les portiques associés tournent progressivement dans la direction et l’angle correspondants, ce qui propage des mouvements ondulatoires dans toute l’installation. Pour l’observateur extérieur, le mouvement interne ou votre déplacement par rapport à l’installation produit des effets optiques cinétiques.

CERN

Globe of Science and Innovation
History of the universe
Did you know that the matter in your body is billions of years old?

According to most astrophysicists, all the matter found in the universe today — including the matter in people, plants, animals, the earth, stars, and galaxies — was created at the very first moment of time, thought to be about 13 billion years ago.
The universe began, scientists believe, with every speck of its energy jammed into a very tiny point. This extremely dense point exploded with unimaginable force, creating matter and propelling it outward to make the billions of galaxies of our vast universe. Astrophysicists dubbed this titanic explosion the Big Bang.
The Big Bang was like no explosion you might witness on earth today. For instance, a hydrogen bomb explosion, whose center registers approximately 100 million degrees Celsius, moves through the air at about 300 meters per second. In contrast, cosmologists believe the Big Bang flung energy in all directions at the speed of light (300,000,000 meters per second, a million times faster than the H-bomb) and estimate that the temperature of the entire universe was 1000 trillion degrees Celsius at just a tiny fraction of a second after the explosion. Even the cores of the hottest stars in today’s universe are much cooler than that.
There’s another important quality of the Big Bang that makes it unique. While an explosion of a man-made bomb expands through air, the Big Bang did not expand through anything. That’s because there was no space to expand through at the beginning of time. Rather, physicists believe the Big Bang created and stretched space itself, expanding the universe.

MARIA MARTINS

“O impossivel”

They touch. They bite. They get warm. They penetrate. They are made. They get rid of. They stick their tongues in. They put the body in. They get body. They split up. They exist.
They want to be one. It is impossible (“O impossivel”). Which means that a single body, as you would like, is impossible. It can not. For a moment yes, for a moment they can. But no, they can’t. Impossible. They cannot be one. Despite the bites. Their bodies are different. They were born and will die self-absorbed, in themselves. Between them there is an abyss, a discontinuity. But they want to be continuous, they want their bodies to be one body. Since they cannot, they celebrate the sacrifice of the meat. “Essentially,” says Georges Bataille, “the field of eroticism is the field of violence, the field of rape.” Isn’t it violent, perhaps, to want to break the discontinuity of the other closed in on itself? Isn’t it violent to force the discontinuity of the other to be a continuous whole with him? O impossível by the Brazilian Maria Martins (1894/1973) shows the excesses of sex (take note: excess, sex). Or impossível is the moment in which the organs swell with blood and gush sexuality. The moment when animality makes us gloriously human.

E.V. DAY

Butterfly
E.V. Day ist ein in New York ansässiger Installationskünstler und Bildhauer, dessen Arbeit Themen wie Sexualität und Humor unter Verwendung schwerkraftwidriger Aufhängungstechniken untersucht. Sie hat ihre Arbeit als “futuristische abstrakte Malerei in drei Dimensionen” beschrieben. Day erhielt ihren MFA in Skulptur von der Yale University School of Art. Die erste Arbeit in ihrer Exploding Couture-Reihe, Bombshell, wurde in die Biennale 2000 des Whitney Museum of American Art aufgenommen und befindet sich jetzt in der ständigen Sammlung des Museums. Sie hatte zahlreiche Einzelausstellungen, darunter die Installation G-Force von 2001 im Whitney Museum in Altria, in der sie Hunderte von Riemen in Kampfjetformationen von der Decke hängte, und eine zehnjährige Übersichtsausstellung im Jahr 2004 im Herbert F. Johnson Museum of Art an der Cornell University. Bride Fight, eine Hochspannungsreihe aus zwei sich duellierenden Brautkleidern, wurde 2006 im Lever House als Teil ihrer Sammlung ausgestellt.

William Forsythe

ויליאם פורסיית
ウィリアム·フォーサイス
威廉‧科西
윌리엄 포사이드
УИЛЬЯМ ФОРСАЙТ
Swinging Pendulum

Suspended from automated grids, more than 400 pendulums are activated to initiate a sweeping 15 part counterpoint of tempi, spacial juxtaposition and gradients of centrifugal force which offers the spectator a constantly morphing labyrinth of significant complexity. The spectators
are free to attempt a navigation this statistically unpredictable environment, but are requested to avoid coming in contact with any of the swinging pendulums. This task, which automatically initiates and alerts the spectators innate predictive faculties, produces a lively choreography of manifold and intricate avoidance strategies.

JENNIFER RUBELL

جنيفر روبل
제니퍼 루벨
ジェニファールベル
Portrait of the Artist

Jennifer Rubell, the American artist and niece of Studio 54 co-founder Steve Rubell, brings a maternal touch to this year’s Frieze Art Fair with her autobiographical piece Portrait of the Artist. The pristine white nude, cast from steel-reinforced fibreglass, reclines like an odalisque at the Stephen Friedman Gallery stand. The sculpture is a replica of Rubell’s own eight-months-pregnant body, except it is eight metres high: the large belly, which is carved out to leave an egg-shaped void, can accommodate a fully grown adult. Spectators are able to clamber into the artwork and curl up inside as if they are the artist’s unborn child.Rubell’s intention was to create a monumental gesture of unconditional motherly love. There is a feminist statement here, too: Rubell has appropriated a style and scale historically reserved for male leaders to show, she says, “an emotion that is intensely personal and un-heroic”. The artist adds that watching members of the Frieze audience enter in the sculpture’s womb is “tremendously satisfying” – in her eyes the enlarged form was “incomplete until the first viewer entered”. Amid the hustle of Frieze’s mini-city there is something undeniably appealing about the opportunity to put your feet up in the foetal position in the name of art. Not to mention the comfort factor.

POTLATCH

Gretchen at the Potlatch Feast

“Potlatch is a festive event within a regional exchange system among tribes of the North pacific Coast of North America, including the Salish and Kwakiutl of Washington and British Columbia.”
The potlatch takes the form of governance, economy, social status and continuing spiritual practices. A potlatch, usually involving ceremony, includes celebration of births, rites of passages, weddings, funerals, puberty,and honoring of the deceased. Through political, economic and social exchange, it is a vital part of these Indigenous people’s culture. Although protocol differs among the Indigenous nations, the potlatch could involve a feast, with music, dance, theatricality and spiritual ceremonies. The most sacred ceremonies are usually observed in the winter.
Within it, hierarchical relations within and between clans, villages, and nations, are observed and reinforced through the distribution of wealth, dance performances, and other ceremonies. Status of families are raised by those who do not have the most resources, but distribute the resources. The host demonstrates their wealth and prominence through giving away the resources gathered for the event, which in turn prominent participants reciprocate when they hold their own potlatches.
Before the arrival of the Europeans, gifts included storable food (oolichan [candle fish] oil or dried food), canoes, and slaves among the very wealthy, but otherwise not income-generating assets such as resource rights. The influx of manufactured trade goods such as blankets and sheet copper into the Pacific Northwest caused inflation in the potlatch in the late eighteenth and earlier nineteenth centuries. Some groups, such as the Kwakwaka’wakw, used the potlatch as an arena in which highly competitive contests of status took place. In rare cases, goods were actually destroyed after being received. The catastrophic mortalities due to introduced diseases laid many inherited ranks vacant or open to remote or dubious claim—providing they could be validated—with a suitable potlatch.
Sponsors of a potlatch give away many useful items such as food, blankets, worked ornamental mediums of exchange called “coppers”, and many other various items. In return, they earned prestige. To give a potlatch enhanced one’s reputation and validated social rank, the rank and requisite potlatch being proportional, both for the host and for the recipients by the gifts exchanged. Prestige increased with the lavishness of the potlatch, the value of the goods given away in it.

AL AND AL

The Creator

Decades ago, Turing famously asked, ‘Can machines think?’ and ever since, the notion of computers exceeding human intelligence has transfixed researchers and popular culture alike. For their fantastical Turing interpretation, the directors conjoin Lynchian nightmare with the prophetic themes of J.G. Ballard. Audiences will enter the haunting dream world of the legendary scientist, who gave birth to the computer age. Turing’s binary children embark upon a mystical odyssey to explore their creator’s dream diaries in a quest to discover their origins and destiny in the universe.
Probing the infinite possibilities of technology, AL and AL investigate the shaping forces of fantasy and reality. Having established themselves as pioneering artist filmmakers, they combine performance with computer-generated 3D environments to create dream worlds.