the shape of sound

80 mesh – the shape of sound’ is a project that investigates fragmentation, reconstruction and repetition generated through the morphogenetic
possibilities of sound waves – visualized through the modeling of fine grain sand. the work was curated by ravenna-based cultural association
marte and born from a collaboration under the artists group CaCO3 – coordinated by daniele torcellini. the multidisciplinary artwork – informed by the research of the german physicist ernst chladni – is a device composed of three 50 x 50 cm metallic plates that are placed horizontally alongside each other, with a quantity of garnet sand (80 mesh references the particles size) homogeneously dispersed over the plates. the dishes were electrically linked to the sound waves produced by an onde martenot – an early electronic musical instrument invented in 1928 with a similar sound to a theremin – played by ratsimandresy.

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

Replica
We begin with a tour of a virtual 3D model of the London house-cum-museum built by 19th-century architect Sir John Soane. The journey traverses the five floors of the museum’s meticulously restored rooms, each filled with original and duplicate fragments of antiquity. Sir John Soane (1753-1837) was one of the foremost British architects of the Regency era, a Professor of Architecture at the Royal Academy, and a dedicated collector of paintings, sculpture, architectural fragments and models, books, drawings and furniture. Soane was awarded the Royal Academy’s prestigious Gold Medal for Architecture, as a result receiving a bursary (funded by King George III) to undertake a Grand Tour of Europe. His travels to the ruins of Ancient Rome, Paestum and Pompeii would inspire his lifelong interest in Classical art and architecture. As an enthusiastic collector, later in life he began to repurpose his home at Lincoln’s Inn Fields as a Museum for students of architecture. With a collection containing thousands of objects ranging from Ancient Egyptian antiquities and Roman sculpture to models of contemporary buildings, Soane’s house had become a Museum by the time of his death.

Vision II
David Spriggs’ Vision artwork series have a distinct focus on the senses. Accentuated by an affinity between its subject matter and the fragmentary nature of the medium, there is a tension created between form and emptiness. Appearing both as an implosion and as an explosion depending on the one’s perception, the viewer has the sense that he/she is observing a form in becoming, yet at the same time breaking down. The immersive experience created by Vision provides the audience with the impression that they are in the midst of witnessing an event, something of monumental proportions akin to the Big Bang. In changing viewpoints by navigating around the work, Vision is continually altered, breaking down at the sides so that the viewer can only see the edge planes of multiple sheets, begging the question: Is there in fact a form, or just individual images?

Re-Wired / Re-Mixed: Event for Dismembered Body
“Re-Wired / Re-Mixed: Event for Dismembered Body” was a five-day, six-hour a day internet enabled performance, that explores the physiological and aesthetic experience of a fragmented, distributed, de-synchronized, distracted and involuntary body – wired and under surveillance. The artist wears a HUD (head up display) that enables him to see with the “eyes” of someone in London, whilst hearing with the “ears” of someone in New York. The body is also augmented by an 8 degrees-of-freedom exoskeleton so that anyone anywhere can generate involuntary movement of his right arm, using an online interface. The artist becomes optically and acoustically de-synchronized and performs partly involuntarily.

瓦妮莎比克罗夫特
נסה יקרופט
ヴァネッサ·ビークロフト
바네사 비크로프트
ВАНЕССА БИКРОФТ
La Membre Fantôme
For the installation ‘le membre fantôme’, vanessa beecroft takes the visitor back to the classical language of sculpture through a conceptual perspective, leading us towards an intimate gallery room inhabited by timeless statuary. shown at the 2015 venice biennale, beecroft presents a scene that is visible only at a distance, where the viewer must look through a crevice carved out of two marble walls. Through the panels, we see fragments of a stone garden, rich in archaeological allures and echoes of early twentieth century avant-garde. the archive of memory is here a tribute in bronze – placed at the centre of the installation – to marcel duchamp’s ‘étant donnés’, a reference model for her research that combines personal memories, historical and artistic impressions and a conceptual tension.

Azymut
AZYMUT offers a defragmented and detailed look at the architectural elements and pieces of sky that surround it. A rotating installation of 16 magnifying mirror discs, motorized and synchronized, slowly directs the visitor’s gaze to disjointed elements of the Riva degli Schiavoni and the Palazzo Ducale opposite to the Church of San Giorgio Maggiore.

Марк Хансен и Бен Рубин
마르크 한센과 벤 루빈
Listening Post

Listening Post is an art installation by Mark Hansen and Ben Rubin that culls text fragments in real time from thousands of unrestricted Internet chat rooms, bulletin boards and other public forums. The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens.Listening Post cycles through a series of six movements, each a different arrangement of visual, aural, and musical elements, each with it’s own data processing logic.Dissociating the communication from its conventional on-screen presence, Listening Post is a visual and sonic response to the content, magnitude, and immediacy of virtual communication.

of soil

Of Soil explore la relation entre les modèles de la nature etl’infini. La pièce est composée de fragments photographiques et d’éléments géométriques, disposés en motifs complexes résultant en un jeu kaléidoscopique ressemblant à une transe du soleil scintillant et de la lune noire, du paysage, de l’ombre et de la lumière, alors que le jour cède la place à la nuit.

OCULUS
Oculus was a site-specific installation designed for Istanbul Design Biennale in 2016, and exhibited in Tophane-i Amire. A selection of HAS Architects’ projects is presented in a performance that blends digital technology with spatial design, forming a synthesis between the past and the present within the magical atmosphere of the historical Single-Dome Hall of the Imperial Arsenal. Taking the Single-Dome Hall as the focal point, the exhibition uses contemporary interpretations to alternate between old and new, whole and fragment, real and virtual, balanced and unbalanced states. Notions of time and space become blurred and the exhibition surrounds the visitors, offering them an unusual spatial experience.

Porca Miseria!
“Porca miseria!” , created from the free and always different assembly of fragments of porcelain and crockery.

“Moveable Type”

In the entrance hall of the New York Times Building there is an installation made by Mark Hansen and Ben Rubin “Moveable Type” with hundreds of small monitors where fragments of the newspaper’s electronic files, words, phrases, quotations, places, crosswords, etc… permanently appear in an endless series of combinations.
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Solar Egg
The egg is made out of stainless golden mirror sheeting, its multifaceted form breaking up the surroundings that it reflects into a multiplicity of different mirror images. Landscape, mine, town, sky, sun and snow are here combined into a fragmented image that can evoke associations with the complexity spanned by today’s discussion about climate and sustainable community development.more…

Untitled
Untitled is the most complex of Lee Bul’s series of monsters. It comprises a white central body composed of multiple parts that simultaneously evoke the physical and the technological or cybernetic. Exploding outwards into space from its core are other parts of the form, including an octopus-like head, that appear frozen in space as fragments of the one entity.more…

Mischief
La fuente principal de la artista es el objeto encontrado, muebles a menudo fragmentarios que recupera para dotarlos de una nueva dialéctica. A través de levísimas intervenciones es capaz de lograr tremendas transformaciones semánticas. El mero añadido de cualquier elemento trastoca bruscamente la percepción de un espectador que ha de estar constantemente en alerta.more…

ואליי אקספורט
ヴァリエエクスポート
ВАЛИ ЭКСПОРТ
Bilder der Berührung

Der Titel der Ausstellung stammt aus der Installationsarbeit Fragmente der Bilder einer Berührung von 1994. Diese Arbeit besteht aus Drahtglühbirnen, die rhythmisch in mit Milch, Altöl oder Wasser gefüllte Zylinder getaucht werden . Diese rhythmische Bewegung, die als Anspielung auf einen sexuellen Akt angesehen werden kann, wird ab 1998 in einer zweiten Installation, Die unendliche Melodie der Stränge, wieder verwendet. Hier Die Bewegung der Nadel der Nähmaschine ist genauso durchdringend oder stechend und störend wie die Glühbirne, die in der vorherigen Arbeit in die Flüssigkeit eingetaucht war.
Die Arbeiten von VALIE EXPORT erstellen ein Wörterbuch der Ikonographie des menschlichen Körpers, insbesondere des Körpers einer Frau, z. B. seiner Bedeutung, Symbole und Darstellung. Einzelne Körperteile übermitteln Botschaften, aber die Fähigkeit zum „Berühren“ ist noch aussagekräftiger: Sie zeugt nicht nur von Fleischlichkeit, Intimität und Sinnlichkeit, sondern auch von Aggression und Gewalt.

’98m

Le travail d’Elizabeth McAlpine est souvent lié à la question du temps et à l’expérience du regard. Dans « The Height of the Campanile », l’artiste a calculé la durée de son film en fonction de la hauteur de son sujet, le Campanile, de sorte qu’au final la longueur de la pellicule soit équivalente à celle de la tour. De même, le temps nécessaire pour visionner le film et le rythme du travelling effectué par la caméra correspondent. Ainsi, tandis que nombre des oeuvres de McAlpine sont basées sur le montage, la répétition et la fragmentation, « 98m » se présente comme un simple plan-séquence.
L’image, au grain apparent, est projetée au mur à la taille d’une carte postale, pendant que le film forme une boucle au sein d’une structure en verre pensée par l’artiste. La taille de la projection rappelle que Venise est devenue une destination touristique incontournable. L’utilisation du Super 8 est une évocation de la pratique amateur – précédant l’invention de la vidéo, du touriste fixant le souvenir de ses vacances pour le projeter une fois rentré à la maison. Si ce support procure à l’oeuvre un caractère daté, la boucle continue et hypnotique formée par la pellicule suggère au contraire une certaine intemporalité, semblable à celle que peut ressentir le touriste qui découvre San Marco.

تاي غون كيم
Robes de mémoire

Amant imaginaire
L’œuvre éthérée de Tae Gon Kim, Dresses of Memory, façonne des centaines de brins de fibre optique sous la forme de quatre robes magnifiques et extravagantes. Suspendues dans l’obscurité, les robes apparaissent comme des apparitions, scintillantes des royaumes de la fantaisie. Lentement, la fibre optique illuminée de chaque robe change de couleur, symbolisant son histoire et sa transformation au fil du temps.En créant l’œuvre, l’artiste s’est inspirée de l’écriture du théoricien et philosophe littéraire français Roland Barthes. Dans sa publication de 1978 A Lover’s Discourse: Fragments, Barthes écrivait: «Je veux être un, je veux que ce soit comme si nous étions unis, enfermés dans le même sac de peau, les vêtements étant l’enveloppe lisse du matériau fusionnant qui est en fait mon amant imaginaire.
Tae Gon Kim a interprété ce texte en créant des œuvres qui reflètent également sa propre fascination pour les relations et l’amour. Il veut que les robes amènent le spectateur à imaginer «que nous devenons les gens que nous aimons». En projetant des images sur les robes, il invite le spectateur à l’intérieur, «comme si nous portions nos désirs». Les différentes images racontent également l’histoire et en constante évolution de chaque robe.

Dan Pinchbeck, Robert Briscoe, Jessica Curry, Jacky Morgan, Nigel Carrington, Ben Andrews & Samuel Justice
Dear Esther

“A deserted island… a lost man… memories of a fatal crash… a book written by a dying explorer.”

“Dear Esther” is a ghost story, told using first-person gaming technologies. Rather than traditional game-play the focus here is on exploration, uncovering the mystery of the island, of who you are and why you are here. Fragments of story are randomly uncovered when exploring the various locations of the island, making each journey a unique experience.

file festival

高松次郎

No End Neon
Os trabalhos de François Morellet são executados segundo um sistema: cada escolha é definida por um princípio previamente estabelecido. Com isso, ele quer dar a impressão de controlar a criação artística, deixando um elemento do acaso, que dá uma imagem imprevisível. Ele usa formas simples, um pequeno número de cores sólidas e composições elementares (justaposição, superposição, acaso, interferência, fragmentação). Assim, ele cria suas primeiras “molduras”, redes de linhas pretas paralelas sobrepostas em uma ordem determinada que cobrem toda a superfície das pinturas.
Esses sistemas são uma reminiscência das estruturas propostas por Oulipo (Ouvroir de Littérature Potentielle) e descritas por Raymond Queneau: “Qual é o propósito do nosso trabalho? Oferecer aos escritores novas “estruturas” de cunho matemático, ou ainda inventar novos processos artificiais ou mecânicos, contribuindo para a atividade literária “.
Posteriormente, François Morellet continuará a usar sistemas baseados em um universo matemático.