Render Ghost
Render Ghost 是由新媒體藝術團隊NAXS Corp.所創作的虛擬實境結合沉浸式劇場作品。參與的六名觀者將換上白色無塵衣，由服務人員協助配戴虛擬實境裝備，緩步進入白色充氣帳篷之中；藉由虛擬場景的誘導，徒步繞行於螺旋構造的高塔，開啟一場肉身的科幻儀式。當步入高塔的頂端，觀者將卸除虛擬實境裝備，沉浸於燈光、雷射、煙霧、聲響、漂浮粒子與風共同構成的超現實景觀之中，並在聲響漸次驅動的高頻閃光與濃霧中漸漸進入出神狀態。

blind

It’s an image that evokes a moment in history seared into our collective consciousness. This is “Blind” by Italian artist Maurizio Cattelan. The sculpture of an aircraft spearing a towering monolith recalls the 9/11 attack on New York’s Twin Towers. The simple black pillar carries a heavy meaning. It’s the final artwork in a new Milan exhibit called “Breath Ghosts Blind”.

Walking ghosts
Étienne Bardelli fue un apasionado joven por el graffiti y el street art antes de ser el destacado diseñador gráfico y artista que es hoy en día. Nació en 1977, vive y trabaja en París. El trabajo de Etienne ronda de manera meticulosa y elegante por las intervenciones callejeras, el desarrollo de productos industriales, la imagen corporativa y el embellecimiento de los espacios. La sofisticación, la simplicidad y el equilibrio marcan cada pieza en su portafolio. Sorprendiendo desde el mas pequeño gesto hasta la instalación mas monumental de su obra. El trabajo de Bardelli corresponde a la migración constante que desarrolla un artista hacia el diseño y viceversa.

山海塾

butoh

TOBARI

“Over the 90 minute performance, I feel no less than transported. There are eight male performers, including Ushio Amagatsu himself. The dancers often move slowly, with incredible muscular control, fluidity and elegance. And suddenly the spell will be broken and they’ll run across the stage, their painted bodies leaving clouds of white powder hanging in the air like a shadow or ghost. Slow sustained movements are countered with tiny, minute gestures of the fingers. Hands are often gnarled, the joints contorted with incredible tension. It is mysterious, hypnotic and strange. The countenance of the performers is most arresting – behind the white paint, their faces reveal the fragility, humility, vulnerability and truth of their humanity.”Day Helesic

Anato-me
Cette installation initie un cycle de recherche visant à augmenter ou détourner la notion d’écran par le biais de dispositifs additionnels transparents. L’image est ici constituée d’un masque gravé en 3D au laser dans 3 blocs de verre. Il est prolongé dans sa partie réelle par des impressions 3D. Une image interactive à l’arrière des blocs vient donner vie à l’ensemble. Le masque de Geisha fait référence au manga “Ghost in the Shell” de Shirow Masamune et à son adaptation en film réalisé en 2017 par Rupert Sanders.

FILE SAO PAULO 2017
KAGE-TABLE
Since old times, the shadow proved the existence (for a ghost has no shadow). However, like the image projected on the TV monitor (which is “virtual” in this sense) the shadow itself doesn’t have substance. And at the same time, as we can see in the shadow picture, the shadow or silhouette stands as the basis of the image. In “KAGE-table”, we took the notice of this shadow-substance characteristic and by using cone-shaped object I created its shadow with computer graphics.

THERE IS A GHOST
BOB WILSON
Os retratos em vídeo tomaram forma em 2007, após mais de dois anos de trabalho de Wilson com a VOOM HD Networks […] Eles são repetidos em rotação contínua para não ter um começo e um fim, criando uma obra de arte em quadros. O resultado final no monitor é semelhante ao de uma fotografia. Os “retratos”, que duram de 30 segundos a 20 minutos, parecem imóveis, mas os personagens realmente realizam pequenas ações – um movimento simples, um piscar de olhos, um toque no pé – que ampliam o potencial narrativo do retrato tradicional, aproximando-o da história cinematográfica, sem perder a aura de fixidez icônica que caracteriza o retrato pictórico de todos os tempos.

ghost_2
El artista húngaro David Szauder, conocido como Pixel Noizz, indaga los rincones de la memoria donde las ideas y los recuerdos se fragmentan, y traduce estas composiciones en fotografías “dañadas”. La serie de Szauder, que lleva por nombre Failed Memories, explora la “naturaleza imperfecta de la memoria”, la que coarta la imagen clara de los pensamientos que generamos. Cuando por alguna causa física o emocional se pierden trozos de alguno, estas lagunas inundan la imagen y la vuelven borrosa.

Craco

Tobias Stretch channels the beauty and melancholia of Hauschka’s single “Craco” in his uncanny video filmed in Philadelphia’s answer to Brooklyn’s High Line, Reading Viaduct Park. With music videos for Radiohead, Crystal Fighters and Christopher Bono to his name, the Philly-based animator is known for his distinct aesthetic and method, pairing landscape photography with life-size stop-motion puppets. “I thought right from the beginning when I saw Tobias’s work that it has a mixture of analog and handmade elements and a surreal atmosphere. In my music you have similar elements,” says Hauschka himself, aka the German pianist and composer Volker Bertelmann, who headline’s London’s Union Chapel tonight as part of his European tour. Although best known as a 21st-Century protagonist of the prepared piano practice championed by John Cage, Bertelmann “left all the preparations at home” in order to work with a pure sound on this track. Named after the Italian ghost town,“Craco” is taken from his entropy-laced album Abandoned City and played to Stretch’s own fascination with urban decay. “The music was there beforehand, but I had a bowl of music and a bowl of names and I tried to pair them up. I think the music sounded not only like an abandoned place but also like a nostalgic place and that’s why I thought it was a great match.”

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

Re-projection: Hoosac

Influenced by the utopian projects — and notable failures — of innovative artists and designers such as Buckminster Fuller, Frederick Kiesler, and Charles Eames, Tobias Putrih likens his works to experiments, or design prototypes. His use of cheap materials, including egg crates, cardboard, and plywood signify both a sense of potential and impending collapse. Many of the artist’s works reference the architecture and spectacle of the cinema: a space suspended between fantasy and reality, image and environment. With Re-projection: Hoosac Putrih distills the cinema to its most basic element: fishing line stretched across the gallery mimics the conical trajectory of a beam of light. A spotlight hits the strands of monofilament which in turn become a screen, reflecting an image in illuminated dots. Inspired by the Hoosac Tunnel just east of North Adams — a storied, engineering marvel that draws ghost-hunters to the area — Putrih’s tunnel is, likewise, both real and a representation, an optical trick that invites both wonder and investigation.

Рейнальд Друхин

Der 1969 geborene zeitgenössische Künstler Reynald Drouhin lebt und arbeitet in Paris und unterrichtet Multimedia an der School of Fine Arts in Rennes. Er studierte Bildende Kunst an den Beaux-Arts de Paris (DNSAP und Masters in Hypermedia Multimedia, 1998) und an der Universität Paris 1 (Maîtrise, 1994). Seine Praxis umfasst digitale Werkzeuge, Fotografie, Video, Installation und Skulptur. Er ist nicht zufrieden mit einem dedizierten Raum (dem des Internets, einer Projektionsfläche oder der Räumlichkeit einer Galerie), sondern erfasst wiederum verschiedene Möglichkeiten und versucht so, etwas anderes als das Sichtbare zu enthüllen, wie einen parallelen Raum, gespenstisch, seltsam, oder er hat sich aus kodifizierten Daten ergeben. Er hat an Veranstaltungen teilgenommen, die von Digital Arti (2011), auf der Rennes Biennale (2010), beim File Festival (2013) Media Art, organisiert wurden. Ghost Walk “(2009) und„ Es war einmal… “(2007) in der Galerie der schönen Künste in Lorient („ Ohne Titel “, 2006) in der Galerie Biche de Bere („ Natural / Digital “, 2005), bei Confluences (2003), in der Public Gallery (2001), beim Belfort International Urban Multimedia Arts Festival (2000), auf der Montreal Biennale und bei der von Champ Libre organisierten internationalen Veranstaltung Video & Electronic Art (Montreal, 2000 und 1999) und bei ISEA (Chicago, 1997).