Liam Young

In the robot skies
In the Robot Skies is the world’s first narrative shot entirely through autonomous drones. In collaboration with the Embedded and Artificially intelligent Vision Lab in Belgium the film has evolved in the context of their experiments with specially developed camera drones each programmed with their own cinematic rules and behaviours. The film explores the drone as a cultural object, not just as a new instrument of visual story telling but also as the catalyst for a new collection of urban sub cultures. In the way the New York subway car of the 80’s gave birth to a youth culture of wild style graffiti and hip hop the age of ubiquitous drones as smart city infrastructure will create a new network of surveillance activists and drone hackers. From the eyes of the drones we see two teenagers each held by police order within the digital confines of their own council estate tower block in London. A network of drones survey the council estates, as a roving flock off cctv cameras and our two characters are kept apart by this autonomous aerial infrastructure.

ADRIEN M, CLAIRE B & MOURAD MERZOUKI

Pixel
Ein kleiner Vorgeschmack auf die einstündige Präsentation Die Verflechtung von Körperbewegungen mit Technologie ist keine leichte Aufgabe. Die Tanzshow besteht aus 11 Tänzern in einer virtuellen und lebendigen visuellen Umgebung. Es bedurfte der gemeinsamen künstlerischen Bemühungen der Künstler Adrien Mondot, Claire Bardainne von der Adrien M / Claire B Company und Mourad Merzouk von seiner Tanzkompanie Käfig, um Pixel zum Leben zu erwecken. Eine Illusionsarbeit, die Energie und Poesie, Fiktion und technische Leistung, Hip Hop und Zirkus kombiniert.

Adrien M / Claire B et Mourad Merzouk

Pixel
A Small tease of the hour long presentation Intertwining body movement with technology is no easy feat. The Dance show is 11 dancers in a virtual and living visual environment. It took the collaborative artistic efforts of artists Adrien Mondot, Claire Bardainne from Adrien M/Claire B Company and Mourad Merzouk from his dance company Käfig to bring to life Pixels. A work on illusion combining energy and poetry, fiction and technical achievement, hip hop and circus.

Kader Attou

The roots
The Roots c’est 12 danseurs et chorégraphes au parcours chargés d’expériences qui incarnent cette création sur scène avec une force, une générosité, un poésie, une technicité et une sincérité sans borne. Comme aime dire Kader des danseurs d’excellence au service de cette création, The Roots “les racines” le lien direct avec ces quelques 30 années de hip hop que nous avons parcouru, de h.i.p h.o.p présenté par Sidney et nos cartons de training dans la rue, jusqu’aux scènes les plus prestigieuse d’europe et du monde. .

BOUNCE STREETDANCE COMPANY

Insane in the brain

‘Insane in the Brain’ is a reworked producion of One Flew Over the Cuckoo’s Nest as a feast of stunning street dance. Injecting a healthy dose of contemporary styles fused with breathtaking hip hop moves. ‘Insane in the Brain’ features a pulsating soundtrack with cuts from Missy Elliot, Dizzee Rascal, Gotan Project, David Holmes and Cypress Hill. Inventive set design and choreography are mixed with film and multimedia sequences to produce a fast-paced show that is funny, moving and packed with high-octane dance.

bill shannon

Public Works
Bill Shannon é dançarino, coreógrafo e artista interdisciplinar com um estilo muito próprio, sendo conhecido no mundo da dança como The CrutchMaster (O Mestre das Muletas) pois é o criador de uma técnica única de dança com muletas, a Técnica Shannon, desenvolvida a partir da sua vasta experiência no manuseio das mesmas. O artista realiza intervenções urbanas, vídeos e workshops fortemente influenciados pela cultura hip-hop, breakdance e grafite.

Stine Deja

Synthetic Seduction

Foreigner

Stine Deja and Marie Munk

The title of the exhibition was inspired by Sherry Turkle’s theory of how technology seduces us, making emotions “easy” by offering human relationships without the complexity of being together ‘face to face’. But if machines can become attentive and emotional, what is left to distinguish us as human beings? We are facing a paradigm shift in how we understand ourselves physiologically, as data and algorithms, and are being forced to question the role of our biological body. As the relationship between artificial and human intelligence becomes increasingly intermingled in our everyday lives, Synthetic Seduction provides immersive and timely insight into the limits of human empathy and intimacy. We are glad at SixtyEight Art Institute to host such a space for thought. We hope it will start conversations and maybe even encourage some intimacy among our visiting audiences in the coming weeks.

Squarepusher

Nervelevers
if “Nervelevers” is anything to go by, Squarepusher’s upcoming album, Be Up A Hello, will be the closest thing we’ve had to vintage Squarepusher in years. This will be welcome news for many fans. Much like the best of Squarepusher’s catalogue, there’s a brilliant live quality to “Nervelevers.” His music often doesn’t sound like a single producer staring into a computer, but more like an incredibly tight jazz band, totally in sync. The track might not feature his virtuosic bass playing, but you can picture him slapping his bass guitar during its frantic acid line. You’re pulled through a chaotic wormhole, with only a brief respite when the glitched jungle drums break down to an almost hip-hop stagger. It’s fast, unpredictable, and most importantly, fun. Only a handful of artists can make music this complex feel like such a good time.

Kaws

Expanded Holiday
Expanded Holiday demonstrated the enormous potential of AR technology, which provides virtual perspectives on real-world environments, and conveys KAWS’s mischievous humour through the juxtaposition of physical and virtual worlds. These virtual sculptures were accessible via the Acute Art app and could be experienced in conjunction with the NGV’s exclusive exhibition KAWS: Companionship in the Age of Loneliness, a comprehensive survey of 25 years of KAWS’s oeuvre and his largest solo survey to date. Full of humour, hope and humanity, the exhibition featured more than 100 works including iconic paintings reappropriating pop-culture figures to more recent largescale, layered works, and an impressive collection of KAWS’s celebrated sculptural figures.

Vincent Lapp

“To me couture is the best source of excitement in fashion. Our debut collection was mix between couture orientated fashion and ready-to-wear. With AV Couture, I hope to create a true couture atelier, which stands for traditional craftsmanship and perfection.
Working for my own label was always my biggest dream. AV Couture is an instrument to visualize our thoughts, and all the society’s absurdities we think are essential to tackle.” Vincent Lapp

HIROAKI UMEDA

holistic strata
Tokyo-based choreographer and video artist Hiroaki Umeda creates mesmerizing visual environments for his visceral solo works, appearing as a fine-spun swirl of movement in a digital storm of light and sound—an elusive figure, by turns frantic and still, awash in pulsating electronic waves. In a program of acclaimed companion pieces, Haptic and Holistic Strata, Umeda’s distinctive dance vocabulary draws on a range of butoh, ballet and hip-hop. He conceives his interdisciplinary events as a sensorial whole, creating the beats and sonic textures as well as the entrancing video and lighting effects. Designed to elicit primal emotion, Umeda’s work is minimalist and radical, subtle and violent, abstract yet precise, and thrillingly physical.

Manon Kündig

Bowerbird
Manon Kündig’s master 2012 graduate menswear collection called ” Bowerbird” is full of digital prints and acid colours. Photoshop is probably one of the most important tools of her collection and she confesses being completely addicted to online research. Like the bird, she was inspired by to create her collection, bird stealing rubbish to create its nest; Manon stole Google images to create her prints. We asked Manon about her work and the relationship between the Internet and her collections.

Mourad Merzouki

Répertoire#1
A la manière d’un chef d’orchestre, Mourad Merzouki a adapté Têtes d’Affiche pour le mêler à l’intensité de Douar, la force intérieure de In The Middle et l’énergie de Urban Ballet. Dans cette pièce à la frontière des styles, les signatures sont exaltées, chaque esthétique se trouve sublimée. En tricotant les passages les plus forts des pièces de ses confrères avec les siennes, le directeur du Centre chorégraphique national de Créteil contribue à créer la mémoire vive du hip-hop.

Anne Nguyen

Autarcie
Autarcie (….) is a game of strategy, alternating between forward-facing dance moves and free digression, in which two hip-hop dance specialties, breakdance and popping, are brought into contact. For 50 minutes, four dancers, using very different performance spaces and techniques, engage in a frantic ritual. The front of stage is the rallying point where the four powerful individualities come together and devise a warrior dance directed at the audience. They are drawn towards the empty space beyond this common point of harmony, and each dancer thrusts herself into that space, in pursuit of territory, alliances and hierarchy.

Jerszy Seymour

The Workshop Chair
Jerszy Seymour is a designer working in the most expanded sense of the field. He sees design as the creation of situations, as the general relationship we have with the built world, the natural world, other people and ourselves, and as much about the inhabitation of the planet as the inhabitation of the mind. The goal is the transformation of reality guided by constant humour and a tainted sense of poetry and the idea of the NON-GESAMT GESAMTKUNSTWERK.