بيتر غريناواي
彼得·格林纳威
פיטר גרינווי
ピーター·グリーナウェイ
피터 그리너웨이
Питер Гринуэй
The Pillow Book
Beautiful to behold and impossible to forget, THE PILLOW BOOK is auteur Peter Greenaway’s erotically-charged drama about love, death, revenge and the indelible nature of our earliest memories. Each year on her birthday, Nagiko (Vivian Wu) would became her father’s canvas, as he painted the creation myth in elaborate, elegant calligraphy on her body. Years later, she continues the practice with a succession of lovers, including a bisexual translator (Ewan McGregor) who becomes a pawn in an escalating game of vengeance against her beloved father’s exploitative publisher. Told in a series of chapters and featuring innovative cinematography and picture-in-picture techniques, Roger Ebert called THE PILLOW BOOK “a seductive and elegant story [that] stands outside the ordinary.”

cinema full

Apfel
»Apfel« ist ein Spiel ohne Regeln. Es beginnt mit einer Wand, die überall mit einer signalroten Klebefolie bedeckt ist. Die Folie besteht aus Tausenden von kreisförmigen Aufklebern, die in einem schmalen Raster vorgeschnitten sind und darauf warten, von den Besuchern abgezogen und in eine neue Reihenfolge gebracht zu werden. Die Aufkleber und ihr weißes Negativ an der Wand bilden sich ähnlich wie binär codierte Pixel, Ornamente, Nachrichten und Bilder – an der ursprünglichen Wand und weit darüber hinaus: Sie bewegen sich in angrenzende Räume, auf Gesichter und verlassen sogar die Stadt.

ROSA
A short film based on the work of choreographer Anne Teresa de Keersmaeker to Bartók music
Rosa (1992 ; ca. 16 min., b&w ; letterboxed format) / La Monnaie/De Munt & Rosas ; based on a choreography by Anpeter-greenaway-and-anne-teresa-de-keersmaekerne Teresa de Keersmaeker in collaboration with Jean-Luc Ducourt ; with Fumiyo Ikeda, Nordine Benchorf ; directed by Peter Greenaway ; a production of Entropie

Anarchitecture

splitting house

“Of the many shows at the fabled 112 Greene Street gallery—an artistic epicenter of New York’s downtown scene in the 1970s—the Anarchitecture group show of March 1974 has been the subject of the most enduring discussion, despite a complete lack of documentation about it. Anarchitecture has become a foundational myth, but one that remains to be properly understood. Stemming from a series of meetings organized by Gordon Matta-Clark and reflecting his long-standing interest in architecture, the Anarchitecture exhibition was conceived as an anonymous group statement in photographs about the intersection of art and building. But did it actually happen? It exists only through oblique archival traces and the memories of the participants. Cutting Matta-Clark investigates the Anarchitecture group as a kind of collective research seminar, through extensive interviews with the protagonists and a dossier of all the available evidence. The dossier includes a collection of Matta-Clark’s aphoristic “art cards,” the 96 photographs that were produced by the various participants for possible inclusion in the exhibition, and images from a recently unearthed video of Matta-Clark’s now famous bus trip to see Splitting in Englewood, New Jersey.” Mark Wigley

Light Space Modulator

“This piece of lighting equipment is a device used for demonstrating both plays of light and manifestations of movement. The model consists of a cube-like body or box, 120 x 120 cm in size, with a circular opening (stage opening) at its front side. On the back of the panel, mounted around the opening are a number of yellow, green, blue, rot, and white-toned electric bulbs (approximately 70 illuminating bulbs of 15 watts each, and 5 headlamps of 100 watts). Located inside the body, parallel to its front side, is a second panel; this panel too, bears a circular opening about which are mounted electric lightbulbs of different colors. In accordance with a predetermined plan, individual bulbs glow at different points. They illuminate a continually moving mechanism built of partly translucent, partly transparent, and partly fretted materials, in order to cause the best possible play of shadow formations on the back wall of the closed box”. László Moholy-Nagy

cursive II
Ross MacGibbon
Cloud Gate Dance Theatre of Taiwan
Lin Hwai-min’s Cursive II is inspired by the aesthetics of calligraphy. Set to music by John Cage, it is an exquisite meditation on the balancing of opposites presented in delicate simplicity, allowing no distraction from the details of the dance.

简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
МЕРС КАННИНГЕМ
« Scenario » de Merce Cunningham
Rei Kawakubo’s humorous costumes toy with the idea of physical distortions, such as humps and big rear ends. They are in mostly vertical blue stripes on white, or in pale green and white-checkered patterns. For much of the dance, five or six dancers twist and pose, each in his or her own space, with a rush of additional dancers to the stage toward the end of the performance. The bold electronic musical score is by Takehisa Kosugi.

octopuss garden
Adeline Tan aka mightyellow is an illustrator and visual artist based in Singapore.Singapore is a modern city-state that people call the “garden city”. It is really like a garden, lots of arranged greenery and manmade stuff, not a lot of naturally occurring forests. Taking inspiration from personal experiences, the environment and popular culture, Adeline imagines alternate realities to current situations

Psychoprosa

The exhibition PSYCHOPROSA focuses on mucus as a biochemical substance and sculptural material. The production of mucus takes place as a real process within the exhibition spaces, transforming the Frankfurter Kunstverein into an interconnecting ensemble of greenhouse, laboratory, walk-in refrigerator, cinema, and factory. Through tubes connected to one another, equipment and objects produce and transform their interior substances, refrigerators open and close automatically and transparent threads of mucus drip from expansive glass sculptures.

In close collaboration with biochemists, Thomas Feuerstein has developed the synthetic molecule Psilamin, derived from algae and fungi. In its production, large quantities of viscous biofilm are generated. If one were to take Psilamin, one would begin to feel psychotropic effects. Perception would liquefy, and objects in the room would appear soft and shapeless. Simultaneously, the flowing nature of the sculptural matter, which escapes solid form, externalizes an inner psychic process. At the end of the biochemical production process, which visitors can track in the different exhibition spaces, there is the expan-sive sculpture Accademia dei Secreti over whose glass containers vast amounts of mucus pour.

Xenobots – the First “Living Robots”
Researchers used the Deep Green supercomputer cluster and an evolutionary algorithm to design new life-forms that could achieve an assigned task. Then they built them by combining together different biological tissues from Xenopus laevis embryos, hence the name Xenobots.
Credit:A scalable pipeline for designing reconfigurable organisms
Sam Kriegman, Douglas Blackiston, Michael Levin, and Josh Bongard
PNAS, DOI: 10.1073/pnas.1910837117

A Dream in Green
Seduction has begun in secrecy. A green clay body-mask beauty routine becomes a science-fiction metamorphosis.

The Blur Building (an architecture of atmosphere)
The Blur Building is a media pavilion for Swiss EXPO 2002 at the base of Lake Neuchatel in Yverdon-les-Bains, Switzerland.From piles in the water, a tensegrity system of rectilinear struts and diagonal rods cantilevers out over the lake. Ramps and walkways weave through the tensegrity system, some of them providing a counterweight for the structure. The form is based on the work of Buckminster Fuller.The pavilion is made of filtered lake water shot as a fine mist through 13,000 fog nozzles creating an artificial cloud that measures 300 feet wide by 200 feet deep by 65 feet high. A built-in weather station controls fog output in response to shifting climatic conditions such as temperature, humidity, wind direction, and wind speed.The public can approach Blur via a ramped bridge. The 400 foot long ramp deposits visitors at the center of the fog mass onto a large open-air platform where movement is unregulated. Visual and acoustical references are erased along the journey toward the fog leaving only an optical “white-out” and the “white-noise” of pulsing water nozzles. Prior to entering the cloud, each visitor responds to a questionnaire/character profile and receives a “braincoat” (smart raincoat). The coat is used as protection from the wet environment and storage of the personality data for communication with the cloud’s computer network. Using tracking and location technologies, each visitor’s position can be identified and their character profiles compared to any other visitor.In the Glass Box, a space surrounded by glass on six sides, visitors experience a “sense of physical suspension only heightened by an occasional opening in the fog.” As visitors pass one another, their coats compare profiles and change color indicating the degree of attraction or repulsion, much like an involuntary blush – red for affinity, green for antipathy. The system allows interaction among 400 visitors at any time.Visitors can climb another level to the Angel Bar at the summit. The final ascent resembles the sensation of flight as one pierces through the cloud layer to the open sky. Here, visitors relax, take in the view, and choose from a large selection of commercial waters, municipal waters from world capitals, and glacial waters. At night, the fog will function as a dynamic and thick video screen.

Anarchitecture

maison de fractionnement

«Parmi les nombreuses expositions à la légendaire galerie 112 Greene Street – un épicentre artistique de la scène du centre-ville de New York dans les années 1970 – l’exposition de groupe Anarchitecture de mars 1974 a fait l’objet de la discussion la plus durable, malgré un manque complet de documentation . L’anarchitecture est devenue un mythe fondamental, mais qui reste à bien comprendre. Issue d’une série de rencontres organisées par Gordon Matta-Clark et reflétant son intérêt de longue date pour l’architecture, l’exposition Anarchitecture a été conçue comme une déclaration de groupe anonyme en photographies sur l’intersection de l’art et de la construction. Mais est-ce vraiment arrivé? Il n’existe qu’à travers les traces d’archives obliques et les souvenirs des participants. Cutting Matta-Clark étudie le groupe Anarchitecture comme une sorte de séminaire de recherche collective, à travers des entretiens approfondis avec les protagonistes et un dossier de toutes les preuves disponibles. Le dossier comprend une collection de «cartes d’art» aphoristiques de Matta-Clark, les 96 photographies qui ont été produites par les différents participants pour une éventuelle inclusion dans l’exposition, et des images d’une vidéo récemment déterrée du désormais célèbre voyage en bus de Matta-Clark pour voir Splitting à Englewood, New Jersey. » Mark Wigley

مارسيل دوشامب
马塞尔·杜尚
מרסל דושאן
マルセル·デュシャン
Марсель Дюшан
Étant donnés
Duchamp worked secretly on the piece from 1946 to 1966 in his Greenwich Village studio.[2] It is composed of an old wooden door, nails, bricks, brass, aluminium sheet, steel binder clips, velvet, leaves, twigs, a female form made of parchment, hair, glass, plastic clothespins, oil paint, linoleum, an assortment of lights, a landscape composed of hand-painted and photographed elements and an electric motor housed in a cookie tin which rotates a perforated disc. The Brazilian sculptor Maria Martins, Duchamp’s girlfriend from 1946 to 1951, served as the model for the female figure in the piece, and his second wife, Alexina (Teeny), served as the model for the figure’s arm. Duchamp prepared a “Manual of Instructions” in a 4-ring binder explaining and illustrating how to assemble and disassemble the piece.