Jo Goes Hunting – Run Away

Amsterdam material designer Shai Langen made sculptural headpieces and covered models in hand-painted patterns for Jo Goes Hunting’s Run Away music video.Langen was approached by the Dutch artist’s manager with a brief for “something less conventional”, and was given complete artistic freedom in his approach.The video opens with a close up of a gleaming paint-covered black and white surface, which is gradually shown to be the form of a person.

Fallen Water
Fallen Water explores questions about why humans are drawn to waterfalls and flowing water as a source for renewal. Waterfalls imbue subconscious associations with pristine and healthy drinking water, but what happens when the fountain can no longer renew itself? Is the water no longer pure? Cooley’s choice of subject matter strikes a deep chord with current social consciousness and anxieties about contemporary water usage and the drought crisis faced by the American West. Cooley references Blake’s famous quote from The Marriage of Heaven and Hell as context for the diametric opposites of the current water conundrum: our deep sense of entitlement to and dire dependence on this precious commodity, coupled with a pervasive obliviousness concerning the sources which supply it. As a way to connect with his personal water use, Cooley hiked into the mountains to see firsthand the snowpack (or lack thereof), streams, and aquifers which feed the water sources supplying his Los Angeles home. This multi-channel installation is an amalgamation of videos made over numerous trips to remote locations in the San Gabriel Mountains, the Sierra Nevada Mountains, and locales as far away as the San Juan Mountains in Southwestern Colorado. These disconnected video vignettes coalesce, constructing a large water landscape canvasing the gallery walls and floors – reflecting the disparate and widespread origin of Los Angeles’s drinking water. The colorspace within the videos is inverted, turning the water pink, orange and yellow—channeling an altered vision of water—in which something is definitely amiss: a stark reminder of the current water crisis in the state of California.
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Breed
Breed (1995-2007) is a computer program that uses artificial evolution to grow very detailed sculptures. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfils this “fitness” criterion and thus yields a workable form. The designs were initially made in plywood. Currently the objects can be made in nylon and in stainless steel by using 3D printing techniques. This automates the whole process from design to execution: the industrial production of unique artefacts.
Computers are powerful machines to harness artificial evolution to create visual images. To achieve this we need to design genetic algorithms and evolutionary programs. Evolutionary programs allow artefacts to be “bred”, rather than designing them by hand. Through a process of mutation and selection, each new generation is increasingly well adapted to the desired “fitness” criteria. Breed is an example of such software that uses Artificial Evolution to generate detailed sculptures. The algorithm that we designed is based on two different processes: cell-division and genetic evolution.

No Longer Write – Mochiji
Powered by artificial intelligence’s Generative Adversarial Networks (GANs), the collected works from ancient Chinese Calligraphers, including Wang Xizhi, Dong Qichang, Rao Jie, Su Shi, Huang Tingjian, Wang Yangming, as input data for deep learning. Strokes, scripts and style of the masters are blended and visualized in “Mochiji”, a Chinese literature work paying tribute to Wang Xizhi. Wang is famous for his hard work in the pursuit of Chinese calligraphy. He kept practicing calligraphy near the pond and eventually turned the pond for brush washing into an ink pond (Mochi). The artwork provides a platform for participants to write and record their handwriting. After a participant finished writing the randomly assigned script from “Mochiji”, the input process is completed and the deep learning process will begin. The newly collected scripts will be displayed on the screen like floating ink on the pond, and slowly merge with other collected data to present a newly learnt script. The ink pond imitates process of machine learning, which observes, compares and filters inputs through layers of image and text, to form a modern edition of “Mochiji”.
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不再写 – Mochiji
以人工智能的生成对抗网络（GANs）为动力，将王羲之、董其昌、饶捷、苏轼、黄廷健、王阳明等中国古代书法家的作品作为深度学习的输入数据。向王羲之致敬的中国文学作品《麻糬》，将大师的笔触、文字、风格融为一体，形象化。王先生以对中国书法的刻苦钻研而著称。他一直在池塘边练习书法，最终把洗笔池变成了墨池（麻糬）。艺术作品为参与者提供了一个书写和记录他们笔迹的平台。参与者完成“Mochiji”中随机分配的脚本后，输入过程完成，深度学习过程将开始。新收集到的脚本会像池塘上的浮墨一样显示在屏幕上，并与其他收集到的数据慢慢融合，呈现出新学到的脚本。墨池模仿机器学习的过程，通过图像和文本的层层观察、比较和过滤输入，形成现代版的“年糕”。

随机国际
future self

‘future self’ is a study in human movement. the installation captures movement in light to create a three dimensional ‘living sculpture’ based on the composite gestures surrounding it, mirroring the actions of those who pass around it. entirely hand-made, 30,000 LED lights line the brass rods which are arranged to create a structure reminiscent of a rectangular prism, 3D cameras record people’s motions which are expressed through a ghostly, illuminated image, constantly changing.

Höhle der Wölfe
Den of Wolves ist eine Videoinstallation, die auf einer Reihe von Referenzen basiert, um eine neue vielschichtige Mythologie zu weben. Die Arbeit folgt drei bizarren Wölfen durch eine Reihe von zunehmend surrealen Einzelhandelsgeschäften, die nach den Insignien eines Monarchen suchen. Die Arbeit besteht aus einer kontinuierlichen Kameraaufnahme und ist eine eindringliche, traumhafte Reise, die Verbindungen zwischen Populärkultur, institutioneller Autorität und technologischer Überabhängigkeit herstellt.

Der unbeschreibliche Gärtner
“Loris zieht eine starke Anziehungskraft auf die Komposition, die durch die Verschmelzung von Leben und Kunst entsteht. In seinen Kreationen bezieht er häufig Segmente aus verschiedenen wissenschaftlichen Bereichen ein, zum Beispiel Chemie und Spitzentechnologie. Nach dieser philosophischen Linie ist der Begriff des organischen Elements einer der Hauptbestandteile und wesentlichen Konzepte seiner Arbeit. Dieser Begriff dient einem doppelten Zweck, mit der Absicht, ein bestimmtes Objekt und seine Relevanz in der materiellen Welt zu erforschen, aber auch den minimalistischen Ansatz im Kunsthandwerk zu betonen.” Hugo Hess

regenerative reliquary
Leveraging the intelligence of human stem cells, she created “Regenerative Reliquary”, a bioprinted scaffold in the shape of a human hand design 3D printed in a biodegradable pegda hydrogel that disintegrates over time. The sculpture is installed in a bioreactor, with the intention that human Mesenchymal stem cells (hMSCs from an adult donor) seeded onto that design will eventually grow into tissue and mineralize into bone along that scaffold.

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

دومينيك ويلكوكس
多米尼克·威尔科克斯
דומיניק וילקוקס
ドミニク·ウィルコックス
Доминик Уилкокс
I designed this product in an attempt to give those people a new, more acceptable alternative. I hope that this device will lower the bar for initiating reconciliation from the heights of the full contact hand on hand handshake to a more palatable non contact handshake. I plan to contact embassies around the world where resentment is prevalent. I would like to see all family counseling offices have one in their meeting rooms. I would encourage anyone who has fallen out with a friend, family member, work colleague, gang member or world leader to use the Pre-handshake Handshake Device and let bygones be bygones.

Pull over
French-israeli-swedish architect-designer bina baitel‘s lighting transcends the interaction between light and material, combining technological innovation with french handcraft. Her newest collection of lighting objects is commissioned and produced by nextlevel galerie in paris.‘Pull-over’: baitel’s previously designed ‘pull-over’ tactile luminaire is now also being produced by nextlevel gallery. The skin of the design is a variable luminous source thanks to its flexible nature – the light bulb, dimmer and lampshade are one.

L’électricité (electricity)

Frenchman Étienne-Léopold Trouvelot is best known for his astronomical illustrations, however he took the time to try his hand at photography by making this series of images which were taken by directly applying an electric current to a sensitive surface.

Self Luminous 2 – Unbalance
Self-luminous 2 is an experimental handmade instrument shown as performance. It is a series-project which I have been working on since 2013 and finally developed into shape in 2014. I am looking for intimate and personal instrument that reflects on the relation of digital sound and light message. In computer language, light on is 1 and light off is 0. If more than 2 lamps, it could be code or readable possibility by the meanings. When I press the button or turn the knob, the message will be sent to Pure Data, and the sound will be triggered in live by Pure Data.
The Data of sound such as frequency and volume, are analysed and sent out to the second Arduino to control the light. The light, in thus case, is an intuitive element for human beings. From this point, it is really close to sound which disturbs our biological body directly. The lights are visualised and they can be transferred the into messages. The message might be readable by coincidence with the link to the code. The light is bright enough to let audience to have persistence of vision in mind. During the performance, the sound will be reproduced by code and part of it is impromptu.
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I employ visual cues culled from mass culture, excerpt processes from industry and patterns from the decorative arts to create handmade, one-off objects that manifest the nostalgia of history, the speed of progress and the memory of the human hand.

top shot helmet
The Top Shot Helmet alters one’s spatial perception. Wearers see themselves from above and must guide their movements and orient themselves from this perspective. The device consists of a round helmet, above which floats a helium balloon attached to the helmet with strings. The balloon carries a small video camera operated by radio signal, which points downward with a wide-angle lens. The view captured by the camera is projected onto a pair of video glasses in the helmet. Wearers of the helmet can only see the image produced by these glasses and must use this to make their way through a given space. By moving the head, the person wearing the helmet can turn and tilt the balloon and camera. A handle on the helmet makes it possible to adjust the height of the balloon and thereby adjust one’s field of vision.

Untitled Door and Door Frame
Robert Gober’s work focuses around the themes of sexuality, relationships, religion, politics and nature. Working mostly in sculpture, surprisingly Gober doesn’t use found objects as a part of his work, but recreates these found objects himself and handcrafts them in his studios. Objects such as sinks, doors, cribs, chairs and body parts feature heavily in his work but yet all meticulously handmade. All the objects and installations in which Gober creates have a certain humorous element to them be it the half body that sticks out from the wall or the sink that has legs coming out of it.

crocheted membrane

‘Crocheted Membrane’ experiments with creating a momentary fiction through fashion artifacts. Starting with the physical needs of one individual human body in an outdoor temperature of 10 degrees Celsius, seven hand-crocheted body forms were produced. The clothing’s texture got thinner or opened up completely on areas of the body that needed less warmth and were thicker where warmth was lacking. In this way, a fundamental change in the aesthetic and function of clothes was displayed. Fixed forms, such as trousers, were recreated into new, unique body forms. Instead of one uniform surface, the textures became alive and inimitable. “Her concept of clothing does not derive in the same way as most fashion design, from shape or historically patterned form with embedded social hierarchy and material richness, but is instead determined by the needs and sensations of the human body – performing in the same way that bacteria populations individually respond.” (Villeré 2014) The resulting fictional artifacts illustrate how we could use knowledge about our unique bacteria population to create a novel layer.

マウリツィオ·カテラン
Маурицио Каттелана
ARTISTA ITALIANO CONTEMPORÂNEO AUTO-APRENDIZADO, NASCIDO EM PÁDUA EM 1960 MORA ATUALMENTE EM NOVA YORK. SUA PROPOSTA ARTÍSTICA ESTÁ LOCALIZADA ENTRE ESCULTURA E DESEMPENHO (AÇÃO ARTÍSTICA ONDE UM ARTISTA OU UM GRUPO DE ARTISTAS PARTICIPA COM O USO DO CORPO COMO UM ELEMENTO ESCULTURAL “VIVO” NA FRENTE DO PÚBLICO), TRABALHANDO PRINCIPALMENTE NO JOGO. O SENTIDO DE HUMOR E A TRANSGRESSÃO DOS SÍMBOLOS ESTABELECIDOS CONSTITUEM SUAS PRINCIPAIS ARMAS EXPRESSIVAS.