Modern Guru
Modern Guru is a translucent ovoid with four huge digital eyes, floating above a ceremonial ring of LEDs. From his mouth flows a ream of absurdist messages, and in a statement about the true nature of lived experience, a new message is delivered when visitors take a photo of Modern Guru – a missive produced only for those who seek to photograph life rather than live the moment. This immersive new media art installation uses the intersection of art and technology to explore modern paths to happiness through unique interactions with characters along a mystical journey of discovery. Visitors are asked to commit to the path – a tight and winding trail with subtle points of connection along the way – a glowing landscape of oversized, whimsical mountains that chant incantations and blink innocently from digital eyes.
Having communed with the Guru, visitors then weave their way back through this warped and strange world full of illusions and delusions, perceptions and deceptions, all the while bathing in luminescent light; embracing big, gentle forms; and following their own path up the pink tongue staircase to meet the one who oversees the whole fantastic dominion, the Sun God.

The Cage of Time

FILE 2024 | Installations
International Electronic Language Festival
Interactive installation that presents a kinetic instrument object and virtual reality glasses, functioning as a device that animates the illusion of the passage of time in virtual space. In the fabric of existence, time weaves a cage around our ephemeral moments, limiting our perceptions of the past, present and future. By embracing this paradox, we may discover that the cage of time becomes the crucible where the alchemy of experience transforms our understanding of existence.

Bio

Anna Vasof is a multi-award-winning artist who focuses on filmmaking, short videos, and time-based sculptures. VRinMotion is an artistic research project based at St. Pölten University of Applied Sciences in Austria that investigates how features of stop-motion animation and motion capture can be combined with virtual reality to enrich current artistic discourse.

Credits

VRinMotion Team: Franziska Bruckner, Christoph Schmid, Clemens Gürtler, Matthias Husinsky, Christian Munk, Julian Salhofer, Stefan Nebel, Vrääth Öhner.
Concept by: Anna Vasof.

Distortions of The Past

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Michael Sadowski (aka derealizer) – Distortions of The Past – Austria

Fractal elements that resemble cosmic structures evoke the illusion of traveling through a fractal universe. Rules, in the form of prompts, and chance interact with each other to create a visual fantasy.

Bio

Using Stable Diffusion, a visual synthesizer, the artist turns fantasies into videos using just a PC, similar to the invention of printing 600 years ago. Exploring the interplay between software algorithms that create visual worlds and the artist’s mind guiding this process is incredibly exciting. Unlike traditional cinema, there is no ‘reality’ or humans involved, making it a satisfying medium for creating visual art.

Credits

Visuals: Michael Sadowski
Music: Distortions of the Past by Dreamstate Logic

БОХЬЮН ЮН
윤보현
To Reverse Yourself

FILE FESTIVAL

My work poses the question: how does reality becomes exquisitely animated by certain social control systems such as politics, mass media, technology, science, and etc. It is my artistic goal to reveal how human beings are fragile and delicate in these social environments. By living in Korea, Japan and the U.S, I have first-hand experience in diverse social systems and have come to view my life experiences as raw material for my research. With my research in mind, my art utilizes the body as the tool for an intensive investigation of the public and private; examining the relationship between how people understand their body and how this understanding represents themselves in the greater context.
Currently, I am curious about human perception developing parallel with the ever-evolving progression of technological world. Thus, I question technology’s relationship to reality and illusion; asking what is reality? My work takes advantage of illusion to explore and answer this question, and often my artistic materials consist of the body and mirrors. I use mirrors for integrating reality and illusion.

Light High
The installation LIGHT HIGH is aimed at guiding the perception through targeted acoustic and visual phenomena into border areas in which ambivalent experiences set in and the habitual experience of space is abolished.[…] A mirrored ceiling together with a thin reflecting surface of water on the ground and a grid arrangement of lights are creating the spatial illusion of an infinite vertical space of light and darkness. By traversing a small bridge, the visitor can cautiously discover the immersing endlessness beneath his/her feats and above his/her head.

EYJAFJALLAJÖKULL
Inspired by the icelandic volcano, which wreaked travel havoc across europe, Joanie Lemercier presents the latest incarnation of its audiovisual mapping project painted directly onto a large wall, a wireframed scenery is slowly revealed by gentle light effects. The audience’s sense are progressively challenged as optical illusions question their perception of space.

Rook Jurk
Collega-ontwerper Valerie Lamontagne schrijft: “SMOKE DRESS is een samenwerking tussen fashiontech-ontwerper Anouk Wipprecht [NL] en technoloog Aduen Darriba [NL]. De jurk is een draadloze en draagbare tastbare couture “rookgordijn” doordrenkt met het vermogen om zichzelf plotseling visueel uit te wissen door de uitscheiding van een rookwolk. Omgevingsrookwolken worden gecreëerd wanneer de jurk een naderende bezoeker detecteert en zichzelf zo camoufleert in zijn eigen materialiteit. De ROOKJURK, met zijn losse net van metalen draden en elektrische draad, werkt op de schaal van de magische illusionistentruc, waardoor een hypothetische assistent van een goochelaar haar eigen verdwijnende act kan uitvoeren.

Pixel Nero Chiaro
“L’Origine du Monde” è un’installazione interattiva proiettata a terra (12 mx 7,50 m) ispirata alla biologia, ai microrganismi e agli automi cellulari. L’artista fonde le cellule, gli elementi base della vita con i pixel, gli elementi base dell’artificiale “vita”. Questi universi fluidi reagiscono visivamente in base ai movimenti dei visitatori. Le interruzioni nella traiettoria di queste cellule vengono create sotto i loro piedi. Le forme fluttuanti creano impressionanti illusioni ottiche.”

Metapixels
PROTOROOM es un colectivo de metamedia que trabaja con kits basados ​​en medios tecnológicos (KITs). Aquí, el kit es un meta-medio que conduce al sentido y al pensamiento, y se convierte en un mediador que hace posible conectar el pensamiento y el discurso sobre la tecnología que es parte del ecosistema, junto con la oportunidad de sentir directamente los elementos fundamentales de la informática. medios de comunicación. Bajo la temática de este, continúa su serie de trabajos para desentrañar a través de exposiciones y talleres. Hunida Kim y Kim Seung-beom han estado activos desde 2014. Recientemente, en el formato de Exposición X Taller, participé en exposiciones especiales en el Centro de Intercomunicación NTT [ICC] Media Art as an Awareness Filer y Nam June Paik Art Center “Our Bright Future – Cybernetics Illusion” en Japón en 2016.

Monument for Lost Time
Commissionato dalla Danish Arts Foundation per la 58a Biennale di Venezia, Monument for Lost Time prende un oggetto psicologico dalla finzione di In Vitro e lo converte in un fatto fisicamente imponente. La sfera è verniciata in Black 2.0, una tonalità così nera che non viene riflessa la luce. Questo trasforma la sfera in un’illusione ottica, rendendola virtualmente assente, ma allo stesso tempo intimidatoria e opprimente, come incarnazione di un trauma ereditato. I pavimenti sono in cemento, con piastrelle intervallate prodotte da una Anan Tiles di Nablus, creando un intervento architettonico. Le pareti sono grigio chiaro e un paesaggio sonoro basato su vibrazioni a bassa frequenza fa da sfondo.

Poiché la consapevolezza della realtà è soggetta all’individuo, »Frammenti di RGB« è un esperimento nella deformazione di questo fenomeno attraverso l’interazione e la proiezione di punti luce. Quando lo spettatore si avvicina a uno schermo illusorio, il contenuto cambia per alterare e dissolvere la realtà percepita.
»Frammenti di RGB« sperimenta la percezione e l’illusione a vari livelli. Il classico schermo a LED come supporto è stato simulato e successivamente disintegrato creando un’ottica pixel-like utilizzando una semplice proiezione anziché generare l’intera immagine da singoli punti luce.

理查德·杜邦
리처드 듀퐁
Mr. Dupont makes these sculptures based on a full-body scan of his own body. He says viewers relate to them like they’re three dimensional illusions: The viewer walks around the figures and gets all these different perspectives as the surfaces change. That’s one way the distortions are interesting, because no two perspectives are the same.

Valla claimed to have collected a series of 60 “surrealistic” images, or that, at least, give that impression, during a long period “playing” in Google Earth.“The images are a kind of mirrors for a fun house.They are strange illusions and reflections of the real ”Despite the strong distortions, which easily resemble a surrealist painting, the images of the work do not have any manipulation of tools like Photoshop, for example.”The images are screenshots of Earth with basic color adjustments”, “This is a construction of 3D maps on two-dimensional bases, creating these fabulous and unintended distortions”.

Bloom
BLOOM is kinetic laser and sound installation by TRIBE investigating illusions of stillness unfolding at speeds unable to be registered by human sight. It is named for intangible flower-like shapes produced by moving lasers filling all the space and bringing new dimension to surroundings.

Dalston House
Located in Hackney, Dalston House by Leandro Erlich is a temporary installation comprising a reconstructed house facade lying face-up and a mirror positioned over it at a 45-degree angle. As a person walks over the surface of the house, the mirror reflects their image and creates the illusion that they are walking up the walls. Similarly, visitors can make it look like they are balancing over the cornices or dangling from the windows.

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.

Futures
Futures nutzt die optischen Täuschungen von Licht, Ton und Spiegeln, um das Publikum an einen Ort zu bringen, an dem gute Dinge geschehen sind und die Zukunft, die wir wollen, jetzt existiert. Futures ist ein immersiver Raum, in dem das Publikum Illusionen erlebt, die alles offenbaren können, von der Verarbeitung von Raum und Zeit bis zur Wahrnehmung des Bewusstseins. Es ist eine modulare Lichtinstallation, die verschiedene Formen annimmt. Es wird hier als Gehweg aus Spiegeln und Lichtern gezeigt, die nach innen zu einem Fluchtpunkt tunneln.

Illusionslinse
Der französische Künstler Vincent Leroy hat eine geodätische Installation vorgeschlagen, die auf dem Roppongi Hills Mori Tower in Tokio sitzen soll. Die jenseitige Sphäre nimmt eine ähnliche Form an wie ein Raumschiff, wobei drei starke Industriebeine ihren Sitz halten. Die Installation befindet sich 238 Meter hoch in der Mitte des Hubschrauberlandeplatzes auf dem Dach und bietet einen ruhigen Blick auf Tokios weitläufiges Stadtbild. Leroy bezeichnet den Kaleidoskopeffekt der Kugel genau als “Sampler of the Sky”, da er das umgebende Klima erfasst und das Bild in mehrere Teile zerlegt. Der Künstler entwarf die vorgeschlagene Installation als Flucht aus den geschäftigen Straßen Tokios, einem Ort, an dem man allein oder mit geliebten Menschen in Frieden nachdenken und reflektieren kann.

Versus
Elaborated by the French/Japanese duo Nonotak, ‘VERSUS’ is an immersive A/V experience that questions the relationship between 360° image and sound. The viewer finds himself submerged, at the centre of a perfectly geometric environment that constantly redefines space by breaking distances between projection, audience and screen. The work gives the illusion of a new type of architecture, a world created from distortions that shatter boundaries, and that brings the idea of infinity.

Through the Membrane
We define the space around us by observing and perceiving light and shadow. That is to say, our perception shapes our basic understanding of this sensory world, and hence the “reality” we believe in. If our experiential knowledge and awareness of space are challenged, would our definition of a “real phenomenon” also be changed? Through the Membrane utilizes optical polarizers to change how light passes through space. The installation does not rely on any electromechanical devices. Simply with creative use of material and structure, it presents a super-sensory experience in space where reality and illusion are inextricably juxtaposed.

Futures
Futures uses the optical illusions created by light, sound and mirrors to transport audiences to a place where good things have happened and the future we want exists now. Futures is an immersive space in which audiences experience illusions that can reveal everything from how they process space and time to their perception of consciousness. It is a modular light installation that takes a number of forms. It is shown here as a walkway of mirrors and lights, tunnelling inwards towards a vanishing point.

Point Cloud Old Growth
Forest on Location
In the video work Forest on Location, we see the avatar of the Iranian opera singer Shahram Yazdani walking through a forest. One moment, the forest wraps around him protectively, the next moment the trees crumble away into loose pieces of bark, or melt into a static green mass. At the same time, the forest as a whole floats around in darkness, uprooted. It is a forest without a location, except on our screen. The young man’s avatar appears to be wandering around there aimlessly. It is a wonderland that he exits from towards the end of the video, when his body slips straight through the green wall. This finally breaks the spell of the illusory forest, and everything is revealed to be no more than staged decor. But the forest does exist as a real forest, somewhere. This virtual green world is a digital back-up of Bia?owie?a Forest: the last remaining stretch of primeval low land forest that once covered much of Central Europe. Inspired by what the historian Simon Schama wrote about Bia?owie?a in Landscape and Memory (1995), Persijn Broersen and Margit Lukács journeyed to Poland to capture the forest suffused by old-Germanic nostalgia and mythical atmosphere.

Realistic and Interactive Robot Gaze
System for lifelike gaze in human-robot interactions using a humanoid Audio-Animatronics® bust. Previous work examining mutual gaze between robots and humans has focused on technical implementation. We present a general architecture that seeks not only to create gaze interactions from a technological standpoint, but also through the lens of character animation where the fidelity and believability of motion is paramount; that is, we seek to create an interaction which demonstrates the illusion of life. A complete system is described that perceives persons in the environment, identifies persons-of-interest based on salient actions, selects an appropriate gaze behavior, and executes high, fidelity motions to respond to the stimuli. We use mechanisms that mimic motor and attention behaviors analogous to those observed in biological systems including attention habituation, saccades, and differences in motion bandwidth for actuators.

Illusion Lens
French Artist Vincent Leroy has proposed a geodesic installation imagined to sit atop the Roppongi Hills Mori Tower in Tokyo. The otherworldly sphere takes on a similar form to that of a spaceship, with three strong industrial legs holding up its perch. Sitting 238 meters high in the center of the rooftop’s helipad, the installation quietly overlooks Tokyo’s sprawling cityscape. Leroy accurately refers to the sphere’s kaleidoscope effect as “a sampler of the sky,” as it captures its surrounding climate and twists the image into multiple pieces. The artist designed the proposed installation as an escape from the busy streets of Tokyo, a place to contemplate and reflect in peace either alone or with loved ones.

Smoke Dress
Fellow designer, Valerie Lamontagne, writes: “SMOKE DRESS is a collaboration between fashiontech designer Anouk Wipprecht [NL] and technologist Aduen Darriba [NL]. The dress is a wireless and wearable tangible couture “smoke screen” imbued with the ability to suddenly visually obliterate itself through the excretion of a cloud of smoke. Ambient clouds of smoke are created when the dress detects a visitor approaching, thus camouflaging itself within it’s own materiality. The SMOKE DRESS, with its loose net of metallic threads and electrical wire, works at the scale of the magical illusionists trick, permitting a hypothetical magician’s assistant to perform her own disappearing act.

CHBL Jammer Coat
The CHBL Jammer Coat is a piece of clothing that enables its user to disappear: Google cannot find you anymore. The piece is made of metallized fabrics, which are blocking radio waves and shielding the wearer against tracking devices. You are no longer reachable on your mobile phone and no information from your credit card can be captured. The Wave Circle pattern of the fabric gives an illusion of strange multiple body parts, which hides and frees the individual physicality.

Harmonics
Harmonics challenges our perception of light and sound unfolding at great speed, an illusion of time blending. As the two kinetic sculptures speed up, rotating beams of light blend to form volumes of colour, while multiple discrete sounds become a major chord. Unable to process extremely fast information, our brain reads sequential sensory inputs as a single event in time. A disconnected reality perceived as a continuum, a harmonious whole.
VIDEO

FILE SAO PAULO 2017
OVERVIEW

Astronauts who were able to observe planet Earth from outer space for the first time, all experienced a strong emotional reaction later called the overview effect. A euphoric feeling of oneness with the planet and all living beings as a collective biotope where ‘my molecules are yours’ and vice versa and individuality seems an illusion.
The Overview-installation consists of a motorized video screen that can slowly pan, tilt and lift. The screen is 3m x 4m wide and has LED light on the backside. An abstracted globe is projected on the front.

object no. 9

Marleen Sleeuwits is inspired by impersonal environments—places that could be anywhere and nowhere—such as vacant zones in airports, unoccupied corridors of hotels, and empty rooms in office buildings. The Netherlands-based artist is attracted to these non-spaces for the lack of impression they leave on people; her work focuses on finding ways of visualizing the identity of these voids and connecting to them in novel ways. Through structural contradiction, illusion, and the manipulation of scale, she aims to transform viewers’ awareness of their surroundings.

森永邦彦
쿠니히코 모리나가
くにひこ もりなが
КУНИХИКО МОРИНАГА
Anrealage

Kunihiko Morinaga, the creative director of cult Japanese label Anrealage, has a thing for sensations and optical illusions. His debut Paris show last season was about light and shadow. Today, his sophomore outing focused on light and dark. Or, better, on the impressions you get from flashing or projecting light in pitch black. The Anrealage sculptural silhouettes were cut in a special black fabric that revealed a printed texture only under ultraviolet lights, or had needle-punched white circles—like a spotlight projection—splattered across the front. To emphasize the depth of such darkness, everything was black, including models’ faces, a heavy stroke that made things a little too dramatic.

A gate between illusion and reality. An invisible border between the inside and the outside. The walk-in installation IF exaggerates both subjective and objective sensory and spatial perception, offering time to find ourselves and position.

Felice Varini est un grand maître dans l’art complexe de l’illusion d’optique. Depuis 1979, ce peintre suisse utilise l’architecture comme toile de fond. À partir de relevés, il définit un point de vue à partir duquel la forme, toujours géométrique, pourra être vue dans son ensemble par le spectateur. Lorsque l’on se déplace, une infinité d’autres points de vue se créent pour offrir de multiples lectures de la forme déconstruite.

“Adam Ferriss is one of those technologically-minded creatives who is able to put his ever-growing knowledge of code and processing to use building aesthetically wondrous digital art for the rest of us to enjoy. His images make me feel like I’ve just taken some psychedelics and stepped into one of those crazy houses you get in funfairs, where there are giant optical illusions on every wall and the floor keeps moving under your feet, except these are made using algorithms and coding frameworks […]”

led-explosion

“Jim Campbell (b1956) is a San Francisco-based artist who has embraced the connections of light, space and time, as few others have. He uses LED technology and his skills in electrical engineering to masterfully achieve what Andrei Tarkovsky called “sculpting in time”. He introduces the illusions and our minds complete them.” DARRAN ANDERSON

جوزيف سفوبودا
ЙОЗЕФА СВОБОДЫ
la traviata de verdi (Scenografia)
La technologie et la scénographie
Svoboda utilise les techniques de pointe en éclairage, en projection d’image et en mécanique de scène (scène cinétique) afin de s’affranchir des contraintes du lieu théâtral. La scène est pour Svoboda un instrument et un espace magique, lieu d’action de forces dramatiques, réelles, et non pas un espace illusionniste. La scénographie est une des disciplines de l’art théâtral, une composante de la mise en scène et un élément essentiel de la représentation. Elle doit donc d’être dynamique et se transformer dans le temps pour épouser l’action dramatique. La scénographie a un langage propre en tant que discipline à part entière. Svoboda apporte une contribution importante à ce langage par son travail sur la lumière et l’espace.
Lumière, matière et espace
Svoboda dit percevoir la lumière physiquement, et non pas simplement visuellement ; il trouve en elle l’inspiration pour son travail. Tout en reconnaissant son statut ” immatériel “, il la considère comme l’élément fondamental de la scénographie et la traite comme un matériau. D’abord formé en menuiserie, Svoboda affectionne particulièrement les matières brutes, notamment le bois. L’architecture représente pour lui, et ce dès son jeune âge, la somme des connaissances humaines. Formé en architecture d’intérieur, il s’intéresse à l’organisation de l’espace, à la rencontre scénique de l’architecture et du décor. Il privilégie les formes simples : la sphère, le cube et l’escalier. Svoboda croit que ” la mise en scène à l’italienne, bien qu’elle ne corresponde plus aux exigences des méthodes scénographiques actuelles, reste toujours la meilleure “.

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.

Her Contour
My work involves creating a 3-dimensional flexible organic form of a comfortable ambiance that is yet dynamic and possibly mystical or illusionary. It is an abstract representation of objects or concepts that recreates our surroundings. It can be interpreted in various ways including landscapes, living organisms, social ideas or values, anything that we accept as given that they exist. Through my work, I try to create an opportunity for audiences to see, think and most of all feel our surroundings from various perspectives.

White Water and Dust
Set to the piano scores by Erik Satie and other composers, White Water is a lyrical dance of pure movement that flows beautifully as its title suggests. The curtain opens to a projected colour image of a flowing river; it slowly transforms into black and white. In serenity and in turbulence, whiteness of waves and ripples streams out of the blackness. Green netting and girds used for digital design interrupt the flow of water, thus revealing the process of creating virtual images and illusion of light, providing a pleasant surprise to the dance.
Cloud Gate
Cloud Gate is the name of the oldest known dance in China. In 1973, choreographer Lin Hwai-min adopted this classical name for the first contemporary dance company in the greater Chinese-speaking community.

NETWORK
Sara Schnadt explores technology in her work both as subject and media. Her installations and performances use found objects, interactivity, projection, spatial illusions, and movement derived from common gestures. Much of her work involves representations or data that translate large quantities of socially resonant information into poetic forms, including data visualization. Schnadt often performs within accompanying sculptural environments, or sites works within functioning everyday spaces, attempting to articulate the personal within virtual and technological innovation.

Saturn Submerged

Saturn Submerged is part of an ongoing series of infinite boxes that creates an expanded infinite space within itself. The sculpture is composed of multiple mirrored surfaces and LEDs, which are fused to create the illusion of infinite depth and imagery. Mirrors include convex domes and walls; LEDs are programmed to continuously change in randomized combinations of almost infinite colors and sequences based on several variables.

British-born artist Terry Haggerty, who currently lives and works in Berlin, is known for his paintings that express the formalist vocabulary of abstraction in a new way. Light-colored stripes alternate with darker ones to form regular, often horizontal arrangements, which also have a pattern like quality due to their dense structure. The special thing about them is, that Haggerty breaks this linear formation at the edges of the painting by bending the lines in a different direction as the boundaries of the painting would support. His method transforms the structure of the painting into a illusory perception of three-dimensionality within the image. The surface seems to continue beyond+the+boundaries of the picture and reflects the illusion of a third dimension back onto the pictorial motif.

Bangkok-born artist Tintin Cooper‘s collages weave different images in popular media, such as sporting figures, to cut away the different faces and obscuring their identity. The themes of her work highlight society’s obsession with celebrity, and undermines this illusion by forming work that seems to shatter her subjects from within.

483 Lines
The artwork 483 lines magnifies this analogue video picture until it is 16 meters wide, and then folds this image several times so that it fits vertically into the gallery space, therein adding oscillations of depth into the image which can be activated by ‘tuning’ the projected video to match these waves. The strictly arranged lines can be illusionary, creating a confusing architecture of horizons, whilst the video played through it displays a parallel past, present and future.

sensescapes

Eine rundum 360 ° Wandprojektion ermöglicht ein eindringliches Erlebnis und erstaunliche sensorische Illusionen. In Sensescapes spiegeln sich die Präsenz und Bewegungen der Besucher in der Änderung der Raumzusammensetzung wider. Historische Kunstbewegungen, die in der Ausstellung mit Sensescapes gezeigt werden, werden spielerisch aufgegriffen und interpretiert.

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.

La industria del ocio-The leisure industry
Die Freizeitindustrie schafft Illusionen und künstliche Räume, die sich an die Wünsche ihrer Verbraucher anpassen. Zwischen diesen beiden Extrempunkten der Achse von Tourismusnachfrage und -angebot werden erfundene Szenarien generiert, um das wirtschaftliche Wohlergehen der Region zu gewährleisten, in der dieses Wirtschaftsmodell umgesetzt wird.
Der Künstler Ralph Kistler visualisiert dieses Dilemma mit der Schaffung schwerer Maschinen, die von einem Phenakistiskop inspiriert sind, einem der ersten optischen Geräte, das die Illusion von bewegten Bildern erzeugt. Die ausgestellte Maschine besteht aus zwei 3,50 m breiten rotierenden Rädern mit einem Durchmesser Es gibt eine Folge von 64 Fotos, die eine Bewegtbildschleife von etwa 5 Sekunden erzeugt. Während auf der einen Seite die Sequenz einer Person zu sehen ist, die ein Bad am künstlichen Strand von Las Vistas in Los Cristianos genießt, zeigt sie auf der anderen Seite Bilder des Baus eines neuen Strandes in der Gemeinde Guía de Isora Insel Diese Bilder in Bewegung und kontinuierlicher Wiederholung kontrastieren mit ihren reduzierten Abmessungen mit der Größe der sich bewegenden Industriemaschinen, die diesen Teufelskreis von Produktion und Verbrauch erzeugen.
Die neue Nutzung des “touristischen” Territoriums wird sowohl durch seine räumliche Barriere als auch durch seine zeitliche Grenze definiert und steht im Gegensatz zum romantischen Konzept einer individuellen Erfahrung in einer Umgebung von erhabener Natur. Ob es sich um Vergnügungsparks, Einkaufszentren, künstliche Strände oder Sehenswürdigkeiten handelt; Diese neuen Verbrauchereinrichtungen lassen keine großen Spielräume für individuelle Maßnahmen und führen dazu, dass die Anweisungen zum Üben sich wiederholender Gesten freiwillig befolgt werden.

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
360º illusion
耶普·海因（Jepp Hein）的个展幻觉（Illusion）包括一项新的主要作品360º幻觉（Illusion），这是专门为SculptureCenter的戏剧性中央空间而创作的，另外四幅作品来自《改造的社会长凳》。海因（Hein）的工作重点是对雕塑，观赏者和环境之间的传统关系提出质疑。幻影是由SculptureCenter著名的常驻艺术家计划制作的。
360ºIllusion由两面镜子组成，每面镜子大约六乘十六英尺，它们以90º角连接并悬挂在天花板上。最初，该装置镜像其周围环境并溶解到该空间中。但是，由两个连接的反射镜产生的双重反射会在反射内产生反射，并且随着反射镜的缓慢旋转，两个反射似乎会以不同的速度旋转。 360º幻觉直接​​颠覆并取代了观看者的身体和心理体验，同时解决了观看行为中的局限性和内在可能性。

Клементу Валла
Postcards from Google Earth
Valla behauptete, eine Reihe von 60 “surrealistischen” Bildern gesammelt zu haben, oder die zumindest diesen Eindruck während eines langen “Spielens” in Google Earth erwecken. “Die Bilder sind eine Art Spiegel für ein lustiges Haus. Sie sind es.” seltsame Illusionen und Reflexionen des Realen “Trotz der starken Verzerrungen, die leicht einem surrealistischen Gemälde ähneln, können die Bilder der Arbeit keine Werkzeuge wie beispielsweise Photoshop manipulieren.” Die Bilder sind Screenshots der Erde mit grundlegenden Farbanpassungen. ” “Dies ist eine Konstruktion von 3D-Karten auf zweidimensionaler Basis, die diese fabelhaften und unbeabsichtigten Verzerrungen erzeugt.”

aeronef

“Um die Arbeit von Clément Bagot vollständig zu erfassen, muss man von seiner Zeichenpraxis ausgehen. Eine Praxis, bei der das Streben nach epidermaler Beschreibung konvergiert, indem sie die Bemühungen um die Konstitution eines” Textur “-Begriffs verbirgt, der auch den Titel von ausmacht eine der Serien des Künstlers – und eine demiurgische Versuchung durch die Konstruktion von Universen, deren Darstellung durch eine imaginäre Kartographie verläuft. Indem die Zeichnungen “die Haut des Ortes” in der Art eines mentalen Ausmaßes zeigen, das man untersuchen möchte von Clément Bagot ermöglichen es, seine Werke in Form von Bänden in Bezug auf Porosität besser zu denken. Während er an eine Science-Fiction-Architektur erinnert, erscheinen seine Assemblagen, die aus Materialien wie Holz, Linealen, Pappe, Harz oder Neon bestehen, als das Objekt singulärer Wahrnehmungserfahrungen. An ihren Grenzen, wo der Blick über seine Strukturen kreuzt oder stolpert, können wir von außen wie von innen sehen oder auf der Ma stehen bleiben Illusion durch die Kombination der beiden offenbart. Die Ausstellung in Thonon-les-Bains vereint den grafischen Teil seiner Arbeit und seine „Modelle“ sowie eine vor Ort produzierte Arbeit im selben Raum und ermöglicht es dem Besucher, seine atopischen Räume mental zu bewohnen. “ Tom Laurent

Виктор Хорстинг и Рольф Снерен

Viktor Horsting und Rolf Snoeren sind die Meister der Illusion. Schauen Sie sich das trippige Kleid an, das sie über ihre Spring’10-Landebahn geschickt haben. Es sieht so aus, als wäre Anja Rubik halbiert worden – keuch! Wie haben sie das gemacht? Wenn Sie sich nähern, werden Sie einen schwarzen Streifen zwischen den beiden Tüllschichten bemerken. Ich frage mich, welcher Promi es wagen wird, diesen über den roten Teppich zu führen. Was halten Sie in der Zwischenzeit davon – ausgeflippt oder fabelhaft?