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.

INFLUENCER
“There is a certain kind of social criticism in each publication, but they do not correspond to specific facts. I enjoy playing with common situations and presenting them in an ambiguous and uncomfortable way. For me, it is not important to focus on the content too much in one direction because I seek to agitate the spectator and force them to think for themselves. They must find their own explanation to what they are seeing,” Extraweg

.

„In jeder Veröffentlichung steckt eine gewisse Art von Gesellschaftskritik, aber sie entsprechen nicht bestimmten Tatsachen. Es macht mir Spaß, mit alltäglichen Situationen zu spielen und sie mehrdeutig und unbequem darzustellen. Mir ist es nicht wichtig, den Inhalt zu sehr in eine Richtung zu fokussieren, denn ich versuche den Zuschauer zu agitieren und zum Mitdenken zu zwingen. Sie müssen ihre eigene Erklärung für das Gesehene finden.“ Extraweg

.

« 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

POPPY
FILE FESTIVAL SÃO PAULO
As a giant poppy flower, this piece of tarpaulin unfolds itself above the viewer to show an elegant dance of waves and curls while within this dance a violent battle emerges between gravity, friction and centrifugal forces.

Needle Tower
“Inspired by architect Buckminster Fuller’s interest in the geometry of structure, Snelson’s experiments led to a prototype for a “floating compression structure.” Fuller subsequently credited Snelson with having invented a new structural principle which the architect named tensegrity, a contraction of the words tension and integrity.
These investigations into the physical properties of structure became more fully realized as an art form beginning in the 1950s. Snelson created sculptures consisting of tubes and cables. Cylinders of steel seemingly dance through space in defiance of gravity, yet it is the structural competition between tension and compression which underlies their construction. Snelson finds beauty in bringing these forces of nature into balance: the rigid compression tubes pushing outward, the flexible tension cables pulling inward. His sculptures would maintain their structural integrity beyond gravity, in the vacuum of outer space.” Joelle Burrows

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.

让汤格利
ז’אן טינגלי
ジャン·ティンゲリー
장 팅겔리
Жан Тингели
Le Cyclop
jean tinguely and niki de saint phalle
Aux premiers abords, cette masse perdue dans la forêt de Fontainebleau m’a laissé assez sceptique. Je ne la trouvais pas forcément esthétique et elle n’a pas retenu mon attention. Et pourtant… Plus la vidéo avançait, plus cette installation permanente m’intriguait. Il faut préciser que c’est une oeuvre bruyante (grincements, roulements répétés de boules, mécanismes…) et qui interpelle le spectateur/visiteur par tous ses sens, il observe, touche, entend, sent, il est présent et peut participer. Le spectateur est donc acteur et c’est une caractéristique essentielle dans l’oeuvre.
C’est l’oeuvre de Jean Tinguely mais qui existe telle qu’elle est grâce à la contribution de plusieurs artistes comme Klein, Arman, César, Soto, Weber… Le Cyclop se parcourt à l’extérieur mais aussi par l’intérieur où plusieurs salles sont dédiées aux oeuvres des divers artistes souvent sculpteurs. Le visiteur est au coeur de la structure, constate et se questionne. La créature, qui est recouverte de milliers d’éclats de miroirs, contraste totalement avec l’environnement qui l’entoure. On a une construction plutôt moderne placé dans un paysage réel et vivant, ce qui fait ressortir l’oeuvre et lui donne toute son originalité. Cela m’intéresserait de me balader dans le bois-des-Pauvres et d’y trouver une création aussi riche et complète. J’ai l’espoir et l’envie de la voir et de pouvoir la parcourir par moi-même, un jour, peut être…

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.

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.

Somatic Field Project
In 2014, he started Somatic Field Project, aiming at nurturing young dancers as well as his own movement method ‘Kinetic Force Method’.

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.

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.

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.

ДЖЕННИС МАРКОПУЛОС
Cartoon Skull Mask

“The mask is an object worn over or in front of the face of a skull to hide the identity of it and by its own features to establish a part of a cartoon being. This essential characteristic of hiding and revealing personalities or moods is common to all masks. As cultural objects they have been used throughout the world in all periods and have been as varied in appearance as in their use and symbolism.
The wearer of the cartoon mask is considered to be in direct association with the spirit force of the mask and is consequently exposed to personal danger of being affected by it.The wearer of the cartoon mask is a skull and the person behind to the skull is not under the living persons.The ironic combination of two inappropriate items is to the stoic thinking to owe.”

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 “.

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.

Analogia Inusual Dance Performing
Lending itself to all sorts of metamorphoses, the body is a receptor and a symbol of myriad violations and affronts, a subject/object for all purposes, a depository and creative force for the projected imagination

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.

Skid
Pushing further his exploration of a more intense and intimate relationship of the body to the force of gravity, Damien Jalet created “Skid” (2017) for the Gothenburg Dance Company. The dancers performed for 40 minutes on a 34 degree inclined platform of 40 square meters. Together with dancer Aimilios Arapoglou and other members of the company, they developed an alphabet of new physical possibilities, alternating control and surrendering, of accelerations and slow motions, to be performed alone or with partners.

Spacestream
The project uses generative computational strategies to generate series of special stream paths within 3D space frame, giving it structural stiffness and aesthetic values. The generative algorithm is based on use of multi-agent systems, shortest path calculation, lattice stigmergy and structural analysis. The goal is to create continuously thickened bundle paths within the fuzzy 3D space frame structure, where the bundles double as camouflage and reinforcement for the joints/seams between the welded components, allowing for fabrication of large scale structures, mediating between the discreet components and continuous system.Space Stream is a student project which aims to explore influence of rule-based design systems on low-tech fabrication technique of welding. The research concentrates on wireframe structures, which are strengthened through subdivision of basic geometrical units and bundling and reinforcing of the main structural strands. The custom software used for this project is centered on Dijkstra’s shortest path algorithm in combination with agent-based modeling techniques.

The roots
The Roots c’est 12 danseurs et chorégraphes au parcours chargés d’expériences qui incarnent cette création sur scène avec une force, une générosité, un poésie, une technicité et une sincérité sans borne. Comme aime dire Kader des danseurs d’excellence au service de cette création, The Roots “les racines” le lien direct avec ces quelques 30 années de hip hop que nous avons parcouru, de h.i.p h.o.p présenté par Sidney et nos cartons de training dans la rue, jusqu’aux scènes les plus prestigieuse d’europe et du monde. .

Gravicells
Gravicells puts the senses on edge. This installation produces a visualization and sonification of the force of gravity acting upon the visitor. Interconnected sensors continuously measure the visitor’s weight, movements and speed. The resulting data are converted into physical audio-visual experience by various media systems.

“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.

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.