فيليب الزجاج
菲利普·格拉斯
פיליפ גלאס
フィリップ·グラス
필립 글래스
Филип Гласс
Einstein On The Beach
ROBERT WILSON
Portrait Trilogy:Einstein; Akhnaten; Gandhi

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Einstein on the Beach is an opera in four acts (framed and connected by five “knee plays” or intermezzos), scored by Philip Glass and directed by theatrical producer Robert Wilson. The opera eschews traditional narrative in favor of a formalist approach based on structured spaces laid out by Wilson in a series of storyboards. The music was written “in the spring, summer and fall of 1975.”Glass recounts the collaborative process: “I put [Wilson’s notebook of sketches] on the piano and composed each section like a portrait of the drawing before me. The score was begun in the spring of 1975 and completed by the following November, and those drawings were before me all the time.”
full opera

Threshold Release Ornament
MSHR is the art collective of Birch Cooper and Brenna Murphy. The duo collaboratively builds and explores systems composed of sound, light, sculpture, software and circuitry. Their practice is a self-transforming cybernetic entity with its outputs patched into its inputs, the resulting emergent form serving as its navigational system. These outputs primarily take the form of installations and performances that integrate interface design with generative systems and a distinctive formalist approach. MSHR’s name is a modular acronym, designed to hold varied ideas over time. MSHR emerged from the art collective Oregon Painting Society in 2011 in Portland, Oregon, USA.

Mortifications
Hart’s work is symbolist and poetic, not really narrative, but vaguely so, and is mesmerizing, hypnotic and formalist. Bodies or natural forms like flowers always appear in it. Hart calls her work, “post photography,” and has created a body of theoretic writings and exhibitions based on this concept The things in her worlds are generated from computer models instead of captured with a camera.

British-born artist Terry Haggerty, who currently lives and works in Berlin, is known for his paintings that express the formalist vocabulary of abstraction in a new way. Light-colored stripes alternate with darker ones to form regular, often horizontal arrangements, which also have a pattern like quality due to their dense structure. The special thing about them is, that Haggerty breaks this linear formation at the edges of the painting by bending the lines in a different direction as the boundaries of the painting would support. His method transforms the structure of the painting into a illusory perception of three-dimensionality within the image. The surface seems to continue beyond the boundaries of the picture and reflects the illusion of a third dimension back onto the pictorial motif.

Madeleine Boschan is a deliberate and wilful protagonist of a new generation of artists who, in recent years, have subjected abstract sculpture to a critical actualisation. By reinstating the social dimension of a merely formalist approach, once more, she bestows contemporary aptitude and relevance upon it.