CHLOÉ MOGLIA

Perigos
Longe do espetáculo da disciplina, Chloé Moglia transformou o trapézio em uma experiência espacial de suspensão. Uma revolução que envolve a reinvenção perpétua dos aparelhos, mas não apaga a dificuldade técnica e física. Chloé Moglia parece ter uma relação ambígua com seu aparato original: o trapézio. Uma relação de amor e ódio transcendida pela questão da suspensão. Para Aléas, o aparelho tem a forma de uma longa corda de aço com trinta metros de comprimento. As três fases do Aleas foram criadas entre junho de 2013 e fevereiro de 2015: Aléa # 1 La Ligne com Chloé Moglia, Aléa # 2 Suspensives com cinco trapezistas e Aléa # 3 Tracé com Chloé Moglia novamente. Em jogo: a intensidade, a violência, a experiência física, os códigos e outros limites da arte da suspensão para um espectáculo tripartido que fala da nossa fragilidade, da nossa condição humana.

AES+F

The Feast of Trimalchio: Arrival of Golden Boat

Del Satyricon di Petronio, spiritoso e lirico malinconico dell’epoca dell’imperatore Nerone, ci pervenne quasi intatto solo il capitolo dedicato alla cena di Trimalcione. La fantasia di Petronio fece del nome di Trimalcione il simbolo della ricezza e del lusso, del vizio della gola e della lussuria in barba alla fugacità della vita umana.
Abbiamo cercato di presentare qualcosa di simile nelle realta` del Terzo Millennio. Così, abbiamo visto Trimalchione, ex servo, liberto, nuovo ricco che dà conviti di molti giorni nel suo palazzo, invece che una persona, come un’immagine generalizzata di un hotel di lusso, una sorta di paradiso terrestre, il soggiorno in cui è prepagato.
Gli ospiti dell’hotel – i ‘padroni’, esponenti del “miliardo dorato”, cercano di dedicare parte del loro tempo, in qualsiasi stagione, al soggiorno presso Trimalcione odierno che ha arredato il proprio palazzo – hotel con il massimo esoticismo e lusso. L’architettura del Palazzo Hotel rappresenta un’assurda sintesi della spiaggia tropicale con la stazione sciistica. I ‘padroni’ indossano abiti bianchi che sembrano, da una parte, l’uniforme dei giusti dell’Eden temporaneo, dall’altra, la tradizionale uniforme coloniale, e, al contempo, una collezione estiva alla moda. I ‘padroni’ impersonano tutte le caratteristiche dell’umanità: ci sono, tra di loro, personaggi dai bambini ai vecchioni, hanno certi segni psicologici e sociali: un pofessore è dissimile da un broker, una donna di mondo da una intellettuale. I ‘servi’ di Trimalcione, giovani e carini esponenti di vari continenti (asiatici, africani, latinoamericani), il personale dell’industria alberghiera, dalle cameriere ai cuochi, ai giardinieri, alle guardie e ai massaggiatori. Sono tutti giovani e belli e indossano uniformi tradizionali di vario colore a seconda dell’etnia. Sono una specie di ‘angeli’ “di colore” del paradiso al quale i ‘padroni’ possono accedere per un certo tempo.

 

hyungjoong kim

Data.Nature.Anagenesis_2

I am working for audio-visual arts, performance, media installation, computational visual design and sound. Probably this is why I am considered to be a media artist whatever but in fact, I judge myself as a media addict. By using the materials, I love to make creations with a concept of ‘(beauty+despair)/2’ of our future, which has no boundaries between nature, technology and human being.

Stefan Tiefengraber

TH-42PH10EK x 5
Five screens were installed by the artist as pendulums that swing continuously. As soon as all five have come to a standstill, they are pulled back into their original positions with the help of cable winches and are made to swing again – triggered by pulling a rip cord, a performative act that cannot take place without human intervention and which involves the exhibition supervisor in the installation. Each cycle, which lasts approximately 45 minutes, ends as soon as all five screens have come to a standstill and no more sound is produced by their movement. The sound is produced by the amplification of the friction to which the joints of the moving pendulum are subjected. Multiplication thus creates five oscillating loops that merge into one another with a time offset.

Patricia Olynyk

Oculus
Oculus is a large-scale, collaborative light sculpture that depicts a colossal abstracted drosophila eye, replete with compound faceted surfaces. It both recalls the circular opening at the apex of a cupola and alludes to a surveillance device or drone hovering in mid-air. Oculus is inspired in part by a series of scanning electron micrographs produced in a transgenic lab while researching human and non-human sensoria. The work evokes affective encounters with scale such as viewing miniature particles through the lens of a microscope or wandering through monumental physical environments. As each viewer’s reflection plays across the sculpture’s undulating surface, the apprehension of the self affects both individual and collective behavior in unexpected ways. This affective dynamic plays on the precariousness of our coexistence with other lifeforms in the world, one that is always contingent upon viewers’ bodies and the variability of the environment around them. The act of gazing at Oculus also puts into play the reciprocal condition of both seeing and being seen.

Michael Najjar

Terraforming
The video work “terraforming” focusses on the transformation of a natural environment through energy input. The underpinning idea is that of three phase system change. This begins with the stage of equilibrium where a system is in a certain balance and not changing at all. In the next stage an evolving system enters a state of motion and change where it moves away from equilibrium. The third and final stage is the phase of transformation in which the original system becomes something else. The key element in this transformation process is the sun. This process is called terraforming, whereby a hostile environment, i.e. a planet that is too cold, too hot, or has an unbreathable atmosphere, can be altered to make it suitable for human life. Such a process is not merely a futuristic scenario but represents exactly what is happening on Earth at this moment as the process of atmospheric change brought about by increasing CO2 emissions heats up our planet and speeds up the process of climate change.
video

Neri Oxman

Wearable Structures for Interplanetary Voyages
Muchos del proyectos de Oxman usan impresión 3D y técnicas de fabricación. Incluyen el Silk Pavilion, hilado por gusanos de seda en un marco de nylon,3​ Ocean Pavilion, una plataforma de fabricación a base de agua que construyó estructuras de quitosano,4​ G3DP, la primera impresora 3D para vidrio ópticamente transparente y un conjunto de vidrio producido por ella,5​ y colecciones de ropa impresa en 3D y utilizables en espectáculos de alta costura.
Viajar a destinos más allá del planeta Tierra implica viajes a paisajes hostiles y entornos mortales. La gravedad aplastante, el aire amonioso, la oscuridad prolongada y las temperaturas que hervirían el vidrio o congelarían el dióxido de carbono, casi eliminan la probabilidad de visitas humanas.

Joris Strijbos

DARK ECOLOGY

IsoScope

IsoScope is a kinetic audiovisual outdoor installation, a sensorial experience in which the audience wanders through rotating lights and an ever-changing sonic cloud. This new work by Dutch artist Joris Strijbos consists of multiple robotic wind objects interacting with each other and with their surroundings. Strijbos aimed at creating a human-constructed phenomenon, an abstract entity which, like most natural phenomena, can only be experienced in certain weather conditions. IsoScope can be seen as a proposition for a new kind of machinic and artificial lifeform. IsoScope was commissioned by Sonic Acts for the second Dark Ecology Journey (2015) and realised in collaboration with Jeroen Molenaar, Daan Johan and Erfan Abdi.

Lauren Lee McCarthy

SOMEONE
SOMEONE imagines a human version of Amazon Alexa, a smart home intelligence for people in their own homes. For a two month period in 2019, four participants’ homes around the United States were installed with custom-designed smart devices, including cameras, microphones, lights, and other appliances. 205 Hudson Gallery in NYC housed a command center where visitors could peek into the four homes via laptops, watch over them, and remotely control their networked devices. Visitors would hear smart home occupants call out for “Someone”—prompting the visitors to step in as their home automation assistant and respond to their needs. This video installation presents documentation from the initial performance on four screens throughout the space.

Keith Lam

Heliocentric
“Heliocentric” is a lighting sculpture represents the movement of universe. It dialogues to its history (from temple to school to creative hub) and its functionality (welcoming people connect and learn the universe)
With the lighting arrangement, kinetic movement of the light, and the performer , it shows the relationship between universe, knowledge and human.

Mansai Nomura

MANSAI: Kaitai-Shinsho No.30 Special Edition “5W1H”
5W refers to the five interrogatives; “When, Where, Who, What and Why”, while 1H refers to the interrogative “How”. In this work, Manabe attempts to encode humans’ attitudes to these six enquiry words in an effort to explore the primitive roots of interpersonal expression, and illuminate the fundamental sources of human behavior. By converting such factors into numerical information, while drawing also on analog thinking, the piece is a search for further understanding human nature.
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Planned by Mansai Nomura
Visual Design/Technical Direction:Daito Manabe+Motoi Ishibashi+Rhizomatiks Research
Music: Daito Manabe + Hopebox
Cast: Mansai Nomura, Yuichi Otsuki, Mansaku no kai

Frederik Heyman

CEREMONIAL FORMALITY
Frederik Heyman’s work is a balancing act incorporating multiple media – including video, installations and photogaphy – often in a digitally altered environment. In his work, Heyman explores memory and duration, using photogrammetry and 3D scanning to depict and represent the passage of time. The hallmarks of Heyman’s work are mechanical and technological: wires, wheels, scrolling LED marquees, metal frames, clamps, industrial lights, screens and cameras. Bodies–as opposed to humans–are subject to unusual dynamics with these technological trappings. In Ceremonial Formality (2020) a contortionist is encased in a metal cage while a spectator, hooked up to wires, looks on.

Jennifer Steinkamp

EON
“I considered the first life forms on Earth and how we came to be as a way to refer to the Natural Sciences. I looked at fossil records of the first multi cellular organisms of the Ediacaran Period, 555 million years ago for inspiration. I was struck by the theory of symbiosis in evolution; our DNA ancestors are the resultant fusion of single cellular organisms and bacteria. The millions of bacteria in our bodies are our foremothers. EON is a speculative fiction, a depiction of early life forms underwater. The Universe was formed 13.7 billion years ago. The Earth is 4.543 billion years old. Cyanobacteria or blue-green algae were the first microbes to create oxygen on Earth via photosynthesis 3.5 billion years ago. First humans 200,000-300,000 years ago.” Jennifer Steinkamp

YURI ANCARANI

DA VINCI

“Da Vinci”: a name evocative of masterpieces in the history of art, but also a remotely manipulated medical robot allowing surgeons to perform operations. Yuri Ancarani, filmmaker and artist, with this film gives us access to the interior of a human body, in shades of blue evoking the “grotta azzura”, a mythical maritime cave in Capri. Here is observed the dance of the machines, a sign not of a dehumanized environment, but on the contrary of a human intelligence at work.

Ying Yu

airmorphologies

Humans, as social beings, use language to communicate. The human voice, as a biometric authentication mechanism, is constantly used throughout daily life applications, such as speech recognition, speaker verification, and so on. Currently, language-based communications mainly fall into two categories: voice over air, and voice over internet protocol. Can we add a new dimension for voice communication such as a wearable material? If so, how could we shape matter in order to physicalize vocal information?

airMorphologiesis an interactive installation that uses soft materials, such as silicon, fabric, and air, to realize these physicalizations. The human voice controls the actuation of a soft wearable structure, changing the appearance of the human body.

Katja Heitmann

Eggs Are Good For Your Hair
Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?

Seiran Tsuno

Appearing like ghostly cages which seem to float above the body, Seiran Tsuno’s designs are delicately abstract, distorting and disrupting the human-form. Emphasising the shoulders, chest, and thighs, there is a subtlety to her pieces: they don’t scream and shout but instead sit quietly in their uniqueness […] Creating a base is the first step, which Tsuno then draws on using the 3D pens. As it becomes airborne, the strands of melted plastic ink solidify, before Tsuno removes the base. The result is a piece that has the delicacy of fine jewellery, only in garment form.

Signe Lykke & Yoshi Sodeoka

BODY TEXTURES

“The textural work Body Textures by Signe Lykke is a beautiful sonic journey into the human body’s different cells. Cross-sectional images of cell types such as fat, protein and connective tissue form the basis of this orchestral work, and have served as an inspirational source for the different texture areas and movements. Morten Ryelund conducts the Danish Youth Ensemble.”

mette ingvartsen

moving in concert
Moving in Concert imagines a universe where humans, technologies and natural materials coexist to create an abstract set of movement. Inspired by how bodies are sensorially affected by living in a digitalized world, the performance explores a poetics of plasticity, abstraction and imagination.

HUANG YI & KUKA

A DUET OF HUMAN AND ROBOT
Huang’s pioneering work is steeped in his fascination with the partnership between humans and robots. He interweaves continuous movement with mechanical and multimedia elements to create a form of dance which corresponds with the flow of data, effectively make the performer a dancing instrument.

Mark Napier

Mark Napier has been creating artwork exclusively for the Web since 1995. He combines his training as a painter with his expertise as a software developer to create “art interfaces,” software that addresses issues of authority, ownership, and territory in the virtual world.
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smoke
“A symbol of the human desire to monumentalize ideas in physical form, the Empire State Building is a subject of Mark Napier’s artwork in the past four years. This icon of American hegemony is key to exploring shifting structures of power, specifically the transition from steel to software as the medium of power in our time.”Mark Napier

MICHAEL NAJJAR

史上第一位進入太空的藝術家
Bionic Angel

The work series “bionic angel takes as its starting point the future transformation and technological control of human evolution. Rapid development in the field of so-called “g-r-i-n techno-logies” (genetics, robotics, information and nano-techno- logies) are changing our bodies, minds, memories, and identities, but also impact on our progeny. These technologies all converge with the aim of enhancing human performance. Prenatal genetic determination enables children to be built to plan.

Andrea Ling

The Wild Swans

The project is the creation of a series of kinetic garments that tell the story of “The Wild Swans” by Hans Christian Anderson. In the fairy tale, 11 princes have been turned into swans from a transformative spell cast by their wicked stepmother. Their sister, the princess, rescues the princes by collecting stinging nettles and knitting them, under a vow of silence and in great pain, into magical shirts so that her brothers can return to their human shape. She is very nearly done knitting them all when she runs out of time; she throws the sweaters onto her brothers to transform them, but the last one is incomplete, leaving her youngest brother forever with a swan’s wing instead of an arm.

erik söderberg

Turbulent Flow
Gif
No início de 2011, eu estava explorando as relações da geometria, da natureza e do ser humano em uma série de 25 fotos que eu chamei de “Experiência Fractal”. Esta é a parte dois – continuando a exploração de formas geométricas, padrões e fractais com um elemento adicional: espaço-tempo. Desta vez, trabalhei em 3D e produzi um conjunto de gifs animados em loop.
Limitei cada animação a no máximo 48 quadros, a maioria tem entre 10 e 15 quadros – para manter o tamanho do arquivo pequeno e maximizar a criatividade com esses quadros.

mike winkelmann (Beeple)

迈克·温克尔曼
Майк Винкельман
minor peon

La cantidad no es lo mismo que la calidad, ya lo sabemos, pero el diseñador gráfico estadounidense Mike Winkelmann (alias Beeple) ha logrado hacer coincidir las dos cosas. Beeple, con su carácter autocrítico, decidió que la mejor manera de mejorar su talento artístico era completar una obra completa en un día, todos los días. Así nació el proyecto Everydays, que ya se encuentra en su octavo año consecutivo, y en 2015 la ciencia ficción es la principal inspiración. Cada año Beeple utiliza un medio diferente para crear sus obras artísticas, y este año el artista ha utilizado herramientas digitales como Cinema 4D, Octane Renderer, Z-Brush y X-Particles. En menos de 24 horas, Beeple es capaz de crear una ilustración digital hiperrealista que parece haber tardado mucho más en hacer. Los increíbles resultados resaltan paisajes y escenarios futuristas que parecen sacados de una película de ciencia ficción, donde hay un claro contraste entre la pequeñez de la figura humana (a veces casi imperceptible) y el aparato tecnológico que tiene frente a él. Otras obras, en cambio, representan formas más abstractas, que, sin embargo, nunca se apartan de su carácter futurista. Profundamente detallada y minuciosa, parece imposible que cada una de estas obras se cree y complete en un día, pero lo cierto es que la estadounidense El artista ya está en el 3030 de trabajo consecutivo y no parece querer frenar el ritmo. Es decir, es un artista reacio a la dilación.

Charles Atlas Rashaun Mitchell and Silas Riener

Tesseract
Tesseract is a collaboration between Charles Atlas, Rashaun Mitchell, and Silas Riener. It is an evening-length presentation in 2 parts separated by an intermission: a 3D dance film featuring 7 dancers and a live proscenium performance with 6 dancers. The film offers speculative worlds and alternate possibilities in bold visual environments. The performance includes live-video capture with multiple cameras, mixed by Atlas and projected into the stage space. Images obscure and reveal moving bodies behind a translucent scrim, magnified and refracted by Atlas. Through collective action we forge a link between human ritual conjuring and new technological magic. Between the past and the future.

Oliveira & Mateus Knelsen

Monomito
FILE LED SHOW
FILE FESTIVAL
Inspirado no “Herói de mil faces”, de Joseph Campbell, “Monomito” é uma performance multimídia em que um performer cruza o espaço público vestindo um aparato que reconhece padrões visuais de rostos humanos, “sequestrando-os” e projetando-os na máscara do performer, assim como em outros lugares do espaço por onde cruza.

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
БОБ УИЛСОН
Odyssey (Οδύσσεια)
The great epic work of ancient Greek poetry tells the story of Odysseus’s journey home after the Trojan War and what happens when the hero arrives at Ithaca. It is a transcendental tale that has always been the symbolic text par excellence about human adventure and the wanderings of existence in a harsh but exciting world.
Robert Wilson’s encounter with Homer is one of the major artistic events of this season. One of the most influential and acclaimed artists in world theatre brings his own unique approach to the material. The sensitivity, inventiveness and imagination of the great American director resonate with the Homeric spirit, creating a spellbinding new theatrical language. Eighteen carefully chosen performers and Wilson’s own internationally renowned collaborators bring all their artistry to bear on this unique venture, which is intended for all audiences, regardless of age or experience of the theatre.

Mari Velonaki

Diamandini
Diamandini is a 155cm tall custom-made humanoid robot incorporating an omni-directional wheeled motion platform; cameras, laser scanners and computers for real-time tracking and installation control. The humanoid robot is being developed through a five year research project between Mari Velonaki and robotics scientists at the Centre for Social Robotics, Australian Centre for Field Robotics, the University of Sydney.

BRADLEY SABIN

“The inspiration for my ceramic sculpture is the natural world around me. I moved to Louisiana 15 years ago from Michigan and since that time have used my observations and love of gardening as my library of forms. I equate the care and time needed to have a healthy garden to human relationships that also require nurturing and protecting to flourish[…]”

Zarko Baseski

Zarko Baseski est un artiste macédonien, né en 1957, qui a exposé dans de nombreuses galeries et musées à travers le monde. Il a représenté son pays à la 54ème Biennale Internationale de Venise en 2011. L’apparition phénoménale de son oeuvre dans le paysage contemporain nous questionne alors qu’ Eve, Adam, Ezekiel et David nous renseignent sur nous-mêmes infiniment mieux que la plus subtile des psychanalyses. Cet artiste exceptionnel est inclassable, il ne transforme pas l’homme en monstre mais nous montre la monstruosité qu’il peut y avoir en l’homme lorsqu’il s’est débarrassé de l’illusion humaniste qu’il se fait de lui-même. Zarko Baseski m’a tellement stupéfiée que j’ai tout de suite décidé de l’exposer.

YCAM InterLab + Yoko Ando

Dividual Plays
While the antonym of individual is “collective” in general, Gilles Deleuze (1925-95), a French philosopher, came up with the notion of “dividual” since the preposition “in” disaffirms the following word. Notions of “individual” and “dividual” have been, and continue to be, discussed in various contexts such as the economy, civil society, personal identity and more.
Through her time at The Forsythe Company, Yoko Ando came to define improvisation as “being individual but with the possibility of being collective at the same time”. While each agent performs independently, he/she is synchronized with other dancers simultaneously. RAM project began by finding shapes for the ideas in Yoko’s dancer’s mind. The piece expands on the idea of “dividual” and explores new dance, new notions of the body and the new relationships between the human body and technology by pursuing deeper interaction between dancers and the notion of system.

Evelyn Bencicova

ecce homo

The expressive capacity of the human body is infinite. A naked body, beyond any sexual connotation, is pure art. Conceptual photographs about the idea of the body is what Evelyn Bencicova brings us in her series Ecce Homo (Latin term that means “here is the man” and which is cited in terms of violence or war), in which we see a lot of bodies pile up and form strange sculptural forms. At no time do we see any faces, which helps to depersonify each of the participating actors. The result is somewhat disturbing: we do not know why those bodies are there, or what they are trying to do. It is a mix between choreography, aesthetics and a theatrical performance. Of great artistic sensitivity, there is something in these figures that evokes the feeling of a human collective. Feelings to the surface.

Sam Buxton

Clone Chaise

A Chaise Clone é uma espécie de espreguiçadeira luminosa que possui a forma anatômica de um ser humano, ela possui um detector que é capaz de dizer quando tem alguém sentado nela. A partir desse detector ela interage com o usuário conforme a sua respiração e batimentos cardíacos.Os designers estão cada vez mais integrando tecnologia de ponta com seus projetos para produzirem criações inovadoras. Uma das coisas mais comuns hoje em dia é ver trabalhos que lembram filmes de ficção cientifica, e a Clone Chaise é um ótimo exemplo disso. Ela foi criada pelo designer britânico Sam Buxton que apresentou o seu projeto no Montreal Museum of Fine Arts, ele diz em seu site que essa é apenas a primeira edição da cadeira de seis que ainda estão por vir.
A cadeira consegue detectar quando uma pessoa está sentada nela, e as luzes começam a acender conforme isso acontece. Dessa maneira o coração digital e os pulmões da cadeira começam a funcionar. É como se a cadeira ganhasse a vida quando está junta de um ser humano.
A Clone Chaise tem um design bastante criativo, ela é feito com aço, acrílico e alguns equipamentos eletrônicos para produzir a luz quando a cadeira detecta as pessoas que estão sentadas nela. Essa cadeira mede 600 x 750 x 1.850 milímetros, um tamanho mais do que o suficiente pra maioria dos seres humanos.

Arcangel Constantini

Phonotube
Phonotube are experimental instruments for live audio visual performance, constructed as Luminous instruments and sound sequencers, that use fluorescent lamp tubes and LED strips, as light sources. The tubes are covered with negative ofsset, printed with sound patterns that spin at variable speed. The oscillation from the light emitted by these patterns is transduced to sound, processed by light excitation, a variety of electronic circuits as pre-amps with photo-cells and phototransitors, voltage control oscillators, relays, Filters, 1bit attiny85 micro controler. The technological principle is based on the photophone, patented by Graham Bell and inspired by audio visuals experimenters as Norman Mclaren,that used the optical sound technology of Film. In the history of the invention of electronic sound instruments, the study of light and its behavior as a particle or wave, and its application to sound processes, had a relevant position and is currently, one of the areas of scientific research with the greatest potential in human communication.

KLAUS OBERMAIER, CHRIS HARING

Vivisector

o what extent does the quality of movement of the virtual world influence real sequences of human movement? Will the real world of the 21st century assume via nanotechnology attributes of the virtual world? Are there still significant differences between a body that is made of synthetic material and warmed artificially and the deep glow of trillions of living cells? VIVISECTOR is an examination of the different speeds of people/nature and technology/information society and of their acceleration; an experiment to overcome the space-time continuum in the real world. It breaks the linearity of movement and in doing so shows the absurdity of momentum. Based on the video-technological concept of the moving body-projection that made D.A.V.E. an international hit, VIVISECTOR now goes one step further: the exclusive concentration on video light and video projection produces a new stage aesthetic in which light, body, video and acoustic space form an unprecedented unity.