Ethereal Fleeting
A series of clouds is generated by a machine-like sculpture. They appear, float over the surrounding environment and then dissolve into thin air again. The delocalization of this instant of natural beauty evokes a surreal experience. The installation forms a juxtaposition of a metallic structure and synthetic imitations of clouds. This supposed contrast between human technology and nature is explored in a space of unseen possibilities for symbiosis.

DAI – the Dancing Artificial Intelligence
DAI is an Artificial Intelligence artist. What this means is that it* thinks; it doesn’t follow a script or act randomly. In its first physical form, DAI is a performer and is inviting you to view its movement creation process. During the process DAI has been exploring its body and its environment, searching for ways to overcome some of the limitations that the physical world has imposed upon its virtual aspirations. This project is a reaction to the rapidly growing importance of artificial intelligence (AI) in our lives. Simple versions of AI are already everywhere, and today we are at a turning point where the first machines capable of learning through experience, like us, are making their appearance. This raises all kinds of ethical and moral issues and we want to be involved in this debate in our own way.

AEA.movi
Imitation is a part of being human. Eelco Brand uses both paint and digital techniques to create images that reflect his conception of nature. In this sense his works are not so much the depiction of an actual place or event, but the way he imagined it and modelled it in the calculated space of digital art. Viewing his work can be both an alienating and deeply human experience. His subjects are modelled to the utmost detail to create a kind of hyperreal cosmos, a simulacrum of nature. Still, we experience these models of forests, cars and mountains as pure conveyers of meaning. These static images speak the language of scale, light, repetition, infinite detail and the deeper meaning of a simple gesture.

Liminal Scope
Liminal Scope is an immersive light and sound installation, in which three rings frame the transit of light through space. The audiovisual score enmeshes harmonic frequencies, rhythmic motion,
and gradients of color, orchestrating a narrative which navigates tension and release. Our form of reality is mutually constructed by our perceptions along with their limitations. The installation’s rings form an aperture that focuses and reveals a spatial quality of light, which usually remains unseen. Liminal Scope is a meditation on these perceptual limitations as they
relate to our shared and individual perspectives on reality.

T4T LAB
RADICAL RAUMPLAN
The real but withdrawn qualities of the raumplan of the Muller House can be understood as the unknown excess of the object. This is the space of the architectural project that exists beyond the limits of human cognition. Although this space is finite, it is vast and abundant. Any attempt to enter into this space must be somehow framed. As a metaphor, or a vehicle to frame the unknown excess, we take in part the idea of viewing, which is epistemologically important to the raumplan. Using this framework, our project attempts to go beyond our cognitive limitations and enter into the unknown space of the architectural project. From here, we can extract new spatial phenomena that can be notated into the known layer, to be understood by the architectural audience. For us, this means using a series of metaphors to frame our exploration of the unknown and attempt to extract new phenomena that engage the raumplan independent of its relationship to a human subject. This allows us to operate in a jective framework, allowing for an understanding of the object autonomously.

Wall
Riccardo Blumer Atelier worked with a team of students to create this machine on show at the Venice Architecture Biennale, which is programmed to build and repair an 11-metre-long bubble wall. The robotic installation, called Wall, is designed to highlight the limitations of physical boundaries. It is programmed to fulfil one goal: maintain a complete wall-like structure made up of eleven bubble-like segments for as long as possible.

Synthetic Pollenizer
The Synthetic Pollenizer project Intervenes in real-world ecological systems using robotic flowers to Integrate in the reproductive cycle of local flora, these imitations offer a manufactured nectar supplement while attaching locally harvested pollen to bees.

slow drop
Slow Drop captures a distorted and dreamlike image of the city. Everything seems to become clear and natural. Slow Drop is free, fluid separate from the real world and all the limitations. It is a singular and pure form, as if it had come from another universe. It gives way to sleep, to contemplation.

On Your Wavelength (Canary Wharf)
“The installation acts a feedback loop. It actively rewards concentration, visitors feel a sense of achievement at casting away their inhibitions and achieving clarity”.
Marcus Lyall

Halo
99 robotic mirrors continuously move throughout the day to follow the sun like sunflowers. These mirrors, arrayed across two 5 meter tall towers and one 15 meter long track, each emit a beam of sunlight into a cloud of water mist. The beams are computationally aligned so that together they draw a bright circle in the air. Dependent entirely on the presence of the sun for its completion, the work explores the possibilities and limitations of technology to capture what is out of reach, to harness nature and bring the sun down to earth. Collaborating with the natural fluctuations in the climate, Halo appears only for moments when the wind, sun, water, and technology coincide, creating a form which exists between the material and immaterial.

迈克尔·曼宁
Most known for his series Phone Arts and Microsoft Store Paintings, these works explore the boundaries and limitations of stock image making software like Microsoft Paint. Manning uses these technologies to create his digital works, that are Abstract Expressionist in nature but persistent in their idiosyncratic Manning aesthetic. While these works begin as JPEGS, they are then printed onto canvas and brushed with a clear acrylic for texture, able to transcend the screen into the three dimensional gallery.

growth table
Mathias Bengtsson developed unique computer software seven years ago to quickly design prototypes. Its initial intention was not to simply use a particular technology and deploy its possibilities, but to use it as a tool for the imitation of nature and natural forms. Such design software can, according to Mathias Bengtsson, be compared to the growth of a plant whose machine somehow registers the genetic code to calculate its final form. Mathias Bengtsson only has to guide this development to obtain the desired shapes.

ETHEREA
Coachella
Edoardo Tresoldi plays with the transparency of mesh and with industrial materials to transcend the time-space dimension and narrate a dialogue between Art and World, a visual summary which reveals itself in the fade-out of physical limitations. Mixing classical and modern language, he generates a third one, strongly contemporary.

Cages
Rothschild’s practice involves both conceptual and socio-political ideas alongside traditional approaches to making sculpture. Through an investigation into form and materiality, her works balance, stack, wrap and knot materials around geometric shapes and structures – such materials that often appear to transcend their physical limitations, hover between representation, symbolism and actual form. By deliberately destabilizing physical and visual characteristics in her work, Rothschild not only questions the aesthetics of art, in particular minimalism, but also those of belief in social liberation and spiritual movements.

Gallim Dance
Founded by choreographer Andrea Miller, Gallim Dance burst onto the New York dance scene in 2007 and immediately caught the attention of the New York dance community. The company includes an ensemble of dancers hailed for their quick wit and technical virtuosity. The mission of Gallim Dance is to play inside the imagination, to find juxtapositions of the mind and body that resonate in the soul, to investigate our limitations and pleasures, and to realize the endless human capacity for inspiration.

Living pod
file festival
Light, shape variations and mimicry meet in Living Pod. In front of the false twin pieces, the user can slowly set garment A in motion using a light source. Garment B then imitates piece A in an exaggerated and unbalanced fashion, changing structure through miniature electric motors activated by light sensors that are sown through the garment. Using flat-pattern cutting techniques, Ying Gao was able to give the process fluidity and flexibility. In addition to the mechanical movements of the garments, Living Pods underlines two fundamental aspects of today’s fashion system: confrontation and imitation. The garment plays a mediating role between man and his environment. By using light, Living Pod is similar to project Walking City, which uses air to make the pieces look like they are breathing.

Absent Engagement
Alexandra Zierle (DE) and Paul Carter’s (UK) collaborative work is interdisciplinary, multi-sensory and often site/context responsive, spanning performance, happenings and interventions, sound, video and installation. Through their collaborative practice, Zierle & Carter critically examine different modes of communication and what it means to be human, addressing notions of belonging, dynamics within relationships, and the transformation of limitations. Their work sites an embodied investigation into human interactions and encounters, acting as an invitation to venture into the spaces in-between the external and internal, permanent and transient, spoken and unheard. The work fundamentally explores society’s conventions, traditions, and rituals, often flipping them on their head, reversing orders, and disrupting the norm.

Brad Troemel and Lauren Christiansen
JOGGING uses the microblogging platform Tumblr as a stage for immaterial works of art both real and digitally manipulated. The site functions as an evolving sketchbook in which ideas are conceived and executed with a speed and immediacy unconstrained by physical or institutional limitations, with as many as twenty pieces of work posted per day. This is in deliberate contrast to personal websites and curated portfolios in which an artist limits his or her production in an attempt to carve out an identifiable brand. Instead, JOGGING sees itself as both artist and art object, composed of multiple pieces or individual works but functioning as a single schizophrenic body, an abstract machine.

Body Systems I
British-born artist Rachel Garrard creates a range of multi-disciplinary work that explores the great unknown, looking to quantum physics and other theories of the universe for inspiration and guidance. Both her video performance pieces and works on paper capture, despite their earthly limitations, the infinite nature of life on this planet and beyond. In a personal statement on her blog, the artist explains “that exploring the outer reaches of the universe can be similar to exploring the inner reaches of the human psyche and that both are governed by the same forces.

ДЖЕЙМС КЛАР
freefall
James Clar creates work that is a fusion of technology, popular culture, and visual information. His work explores the limitations of various communication mediums and it’s effect on the individual and society. Clar is a great artist, particularly for his attention to precision, and his experimental approach, which allows his concepts and executions to continuously stretch the boundaries of his studio practice.

Brad Troemel and Lauren Christiansen
soup base
JOGGING uses the microblogging platform Tumblr as a stage for immaterial works of art both real and digitally manipulated. The site functions as an evolving sketchbook in which ideas are conceived and executed with a speed and immediacy unconstrained by physical or institutional limitations, with as many as twenty pieces of work posted per day. This is in deliberate contrast to personal websites and curated portfolios in which an artist limits his or her production in an attempt to carve out an identifiable brand. Instead, JOGGING sees itself as both artist and art object, composed of multiple pieces or individual works but functioning as a single schizophrenic body, an abstract machine.

WATCHING, WAITING, COMMISERATING
Working with a few basic materials; concrete, metal, and dirt, I’ve been able to develop them into a practice that continues to motivate my next body of work. Every space comes with its unique restrictions and limitations, but as reflected in my sculptures, I’m constantly finding ways to twist and meld these conceptual concerns to fit in these spaces. If not, I just cut it out.

Александра Беллиссимо
Female Imitation
She was born and raised in the Los Angeles area and attended the Art Center College of Design in Pasadena, CA. where she received her BFA in photography. Her body of work strongly revolves around the theory of “making” pictures instead of simply, “taking” pictures. She executes her visual intentions through incorporating traditional collaging techniques, as well as digital manipulation to each surreal photograph.

Multidisciplinary in his practice, Markus Schinwald alternately uses painting, video, photography, installation, performance, theater, dance and even the art of the puppeteer. From his training as a fashion designer, the artist has retained a keen interest in the human body, exploring its capabilities and limitations, both physically and psychologically.

Ways of Water – A Love Potion for Nature
Alexandra Zierle and Paul Carter’s collaborative work is interdisciplinary, multi-sensory and site and context responsive spanning performance, happenings, interventions, sound, video and installation. Through their practice, Zierle & Carter critically examine different modes of communication and what it means to be human both as individuals and as a ‘collective entity’. Their work addresses notions of belonging, cultural identity, the dynamics within relationships, harmony through conflict and the transformation of limitations.

Limes
Edoardo Tresoldi plays with the transparency of mesh and with industrial materials to transcend the time-space dimension and narrate a dialogue between Art and World, a visual summary which reveals itself in the fade-out of physical limitations. Mixing classical and modern language, he generates a third one, strongly contemporary.

“I move, reverse, manipulate the rules so that they cannot integrate in any frame. My measure is dynamic, it always ties and unties, endlessly exceeding itself. I overflow, going past the initial measure. The resulting drift becomes my new measure and imposes on me another frame, a palette with rigid outlines. I am confronted to strict and solid delimitations. One more time bored of being subjected to the measure.”

פיטר קופין
ピーター·コフィン
Interested in the way people perceive and interpret, Peter Coffin’s conceptual interdisciplinary practice plays with both the limitations and possibilities of our perception. Drawing on art history, science, psychology, and epistemology, Coffin creates multimedia works that reassemble the world around us in a way that makes us question our preconceptions and gain new perspective.

스털링 루비
スターリング·ルビー
СТЕРЛИНГА РУБИ
Sterling Ruby propose un contrepoint à l’héritage moderniste à travers un corpus d’oeuvres multiformes, qui opèrent par transformation, imitation et assimilation, ce que les « soft sculptures » révèlent tout particulièrement. Dans ces oeuvres, l’utilisation qui est faite de larges pièces de tissus renvoie à l’univers domestique. L’artiste transforme les oreillers, couvertures et autres kilts qu’il utilise en objets sculpturaux, révélant que les sentiments de sûreté et de sécurité qui leurs sont associés ne sont finalement qu’une illusion.

埃米尔·阿尔萨莫拉
ЭМИЛЬ АЛЬЗАМОРА
“The human form is a constant within my work. I often exaggerate or distort it to reveal an emotional or physical situation, or to tell a story. Limitation and potential are as human as the flesh, yet hardly as tangible. In my works I strive to make visible this interaction.”

Animal Works
In his interdisciplinary work, encompassing video, performance, dance, theatre, painting, photography, installation, and even puppetry, Markus Schinwald creates mysterious and unsettling atmospheres that hint at their Viennese production context, through references to austere Biedermeier style or to psychoanalysis. His seminal studies in fashion left him with a wide interest in clothing and, furthermore, in the human body’s potential and limitations in both physical and psychological senses.

马亚花神
sleep levitations
French artist Maia Flore in a cool series entitled “Sleep Elevations”. A very feminine, surreal, sort of romantic artwork. Her subjects are young women being levitated by objects. Flore wishes to emphasize the attraction the girls feel towards their new, boundless surrounding, and the lightness of the reality they are entering into. Their contorted movements is meant to articulate a contrast between physical limitation and the limitlessness of imagination.

Studio Fantasy
By manipulating the human body into contorted geometries and abstracted formations, american photographer bill durgin plays with the observers perception of the scene. the curled up, fractured anatomies — some semi-concealed behind boxes and wooden blocks – study the corporal limitations from a fresh angle, resulting in a series photographs that are both fascinating and slightly disturbing.

ويلي دورنر
威利·多纳
Вилли Дорнер
photographer LISA RASTL
“Bodies in urban spaces” is a temporarily intervention in diversified urban architectonical environment. The intention of “bodies in urban spaces” is to point out the urban functional structure and to uncover the restricted movement possibilities and behaviour as well as rules and limitations.

埃米尔·阿尔萨莫拉
Эмиль Альзамора

“The human form is a constant within my work. I often exaggerate or distort it to reveal an emotional or physical situation, or to tell a story. Limitation and potential are as human as the flesh, yet hardly as tangible. In my works I strive to make visible this interaction.”

In 20 Steps
Amsterdam based Studio Drift has created In 20 Steps, an installation of moving glass bars, arranged in pairs and moving at different times to each other creating an impression of wings slowly flapping.In 20 Steps is a tribute to the human desire to be able to fly, despite the force of gravity and the poetry of persistence in the face of adversity. Studio Drift is intrigued by the continuous attempts of humankind to deal with its limitations, so miraculously opposed to nature as these ventures might be.

Stitching The Stories We Dare To Tell
My investigation of the limitations of a visual language within fine art leads me to explore the fundamental elements of language that contribute to a story. This overlap plays on one’s senses of memory and imagination. I place myself at the centre of the work, both physically as the object and emotionally as the subject.