Hibanana Studio
Liu Chang & Miao Jing
FILE SAO PAULO 2017
FILE LED SHOW
“INFINITE” is an audiovisual installation created by New York-based visual artist duo Liu Chang and Miao Jing, in collaboration with sound artist Gan Jian. “INFINITE” explores the connection between time and space, discusses about spatial gravity and its influence to human’s perception. Sound and visual elements are in completely in sync in order to contribute the immersive experience.
micro | macro
micro | macro transforms Hall E in the MuseumsQuartier into an oversized world of moving images and sounds. In his immersive installation, multimedia artist Ryoji Ikeda creates a field of imagination between quantum physics, empirical experimentation and human perception. In collaboration with nuclear scientists at CERN, Ikeda has translated complex physical theories into a sensory experience. The Planck scale is used by scientists to denote extremely small lengths or time intervals. Concepts like space and time lose their meaning beyond this scale, and contemporary physics has to rely on speculative theories. And on art. Visitors to micro | macro enter a world of data, particles, light and sound that makes the extremes of the universe perceptible to the eye and ear. In the micro world we penetrate the smallest dimensions of the unrepresentable, while in the macro world we take off into cosmic expanses that allow us to experience the infinite space beyond the observable universe. In this maelstrom of data, an acoustic and visual firework bridges the gap between theoretical understanding and sensual perception.
Jorinde Voigt is a contemporary German artist. Known for her coded drawing installations which resemble algorithms or sound waves, Voigt’s background in music and philosophical studies established her ongoing interest in probing scientific mapping processes. Throughout an inventive and playful drawing practice, her work visualizes thoughts and infinite spaces while examining the way in which information is represented visually.
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.
point of no return
With point of no return, Ryoji Ikeda condenses the unknowable chaos of the event horizon of a black hole into a work of order and balance. Composing a delicate assemblage of basic shapes, sounds, light and shadow, the artist eschews the intricacies of data for a more sculptural approach. While gesturing towards the sublime, the infinite expanse of space and the immense, reality-warping gravitational force of a black hole, he focuses in on the beauty of the physical, bringing together a few simple elements to make sense of something unthinkably complex. Through his own artistic process of playing with space, the artist finds purity in basic structures while drawing inspiration from the vast scope of the universal. “point of no return is a very simple, very intense piece,” he says.
Three Supermarkets
Three Supermarkets is an infinite loop film with a shopping cart riding across multiple coexisting fictional supermarkets. As the first episode of the Phygital Supermarket Trilogy, this film explores the hybrid compositing of the emerging physical and digital media and techniques. The production process of this film uses industrial-grade six-axis Staubli robot arm as shooting equipment, green screen shooting, volumetric video capture, photogrammetry, Cinema 4D Mograph, Redshift shading & rendering, 2D/3D compositing, and other custom build techniques and workflows. Familiar but neglected objects, such as apples and snack bags, were scanned as either static models or animated model sequences from the physical world to the digital space.
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.
Micro-Utopia
In response to London’s pressing housing crisis Micro-Utopia proposes a shared, immersive and interactive version of a home, where space is born from the finely-tuned sensorial interplay between the body and virtual/physical objects connected to the Internet of Things. A chair invites us to stay with it for a moment; we crawl through a demanding fireplace; our hands are washed in a bowl of digital liquid – the highly speculative model of domesticity explores the architectural implication of co-inhabiting a minimal physical infrastructure within infinitely bespoke virtual worlds. Drawing on radical art practice, interiors in historical painting and contemporary product design, Micro-Utopia is the dream of a house that is nothing, but the parameters of our perception are triggered through the metaphorical dimension of the objects we interact with on a daily basis.
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.
Spectrum
How intensely can you experience colour? Colour as a phenomenon which you don’t just see, but which totally absorbs… Spectrum is a spatial installation that makes colour tactile and tangible.
Fall backwards into a black hole and reawaken in an infinite spectrum. An immersive experience which will give you a whole new perspective on the coloured cycles of our everyday light. Following Blaas and Curve, Spectrum completes a triptych centred on white space, each piece created with spatial designer Cocky Eek in collabaration with Schweigman&. In Blaas you crawl through an inflatable balloon; in Curve you enter an endlessly spiralling tunnel. Spectrum starts by asking: how can we make the colour physically tangible?
Distortions in Spacetime
In a giant star’s final moments, atoms compress to a point where density becomes infinite, time stretches to a stop and the gravitational field is so strong that not even light can escape: a black hole. But the force that creates this dark shadow also spews out a supernova explosion of matter that can eventually coalesce to form planets, plants and people. In Distortions in Spacetime, visitors will see themselves reflected in this matter and will begin to understand the cosmic connection between black holes, dying stars and our very existence.
Animistic Imagery
The exhibit introduces visitors to Duffy, the AI Artist, with an invitation to collaborate inside her Symbiotic Studio. This immersive space, made possible through projection mapping and interactive technology, invites guests to become the AI’s muse. As Duffy captures movements generated by visitors through real-time tracking, she draws links and connections, consulting a vast collection of colors and archetypal images of life on Earth. The result is an infinite series of surprising works of art—an artificial interpretation of humanity and the natural world.
ДЖОН МАК-КРАКЕН
约翰·麦克拉肯
ジョン·マクラッケン
STAR, INFINITE, DIMENSION, AND ELECTRON
John McCracken’s work embodies a threshold of physical matter and infinite mind/space. In his own words, this ‘character,’ of his work has been indefinable and difficult to write about as an integral whole. Typically referred to as one of the leading West Coast counterparts to the Minimalist regime of Donald Judd, Carl Andre, Robert Morris, Dan Flavin, Sol Lewitt and Robert Bladen, McCracken’s work extends the architecture of Minimalism, complicates the surface of simulated or real machine production, and reflects a mysticism of transcendence.
The Infinite Crystal Universe
Pointillism uses an accumulation of distinct dots of color to create a picture. Here, light points are used to create three-dimensional objects. The light sculpture extends infinitely in all directions. People use their smartphones to select elements to throw The Infinite Crystal Universe. These elements are reborn in three dimensions, creating the artwork. The presence of people and their location within the work affect these three-dimensional elements, which in turn influence and are influenced by other elements in the space. This artwork is forever evolving, changing from moment to moment due to the people in the space.
Morphosis
Morphosis uses artificial neural networks to create morphing images of scale. The system explores how natural structures from the most tiny to the most huge, share aesthetic properties, as recognized by the trained network, and recreated in continuous flowing sequence via these connections. It’s a study of the seemingly infinite nature of space and natural physical structure, which can loop back on itself to give endless visual exploration and variation.
Patterned by Nature
Patterned by Nature was commissioned by the North Carolina Museum of Natural Sciences for the newly built Nature Research Center in Raleigh, North Carolina. The exhibit celebrates our abstraction of nature’s infinite complexity into patterns through the scientific process, and through our perceptions. It brings to light the similarity of patterns in our universe, across all scales of space and time.
Het Wezen van de Stad
For a couple of years now I’ve been developing a series of works that engage, each in different ways, with what I propose to call filmic architecture. In these works, I explore the relationships between scale models, sets, architecture, and the moving image. Starting point is was the question: would it be possible to do a remake of a film, let’s say Ridley Scott Alien, with a set that would allow one to do so in one single shot? How to translate the combination of spaces, montage and shifts in size and angle as we see them in the film into the actual spatiality of a set that would allow one to shoot the film in a single continuity without the cut and paste of montage? This brought me to the idea of the Morphed Set as both a potential plan for a work and an intellectual exercise or figure of thought. Sometimes my works are extremely large “walkthrough INSTALLATIONS” – at other times, they are infinite small scale models and prototypes.
.
daemon
The reactive audio-visual installation Daemon (in collaboration with Hansi Raber) analyzes the never-sleeping and permanent alertness of an artificial intelligence. Consisting of three semi-translucent, spatial shifted surfaces, the installation represents a solid wall when entering the space. When no visitor is in the room, the installation is in balance and visualizes infinite planned tasks and processes: rational beauty. When visitors enter the room, the installation reacts and the perfect procedure gets more and more distorted. When the visitor walks into, through and behind the surfaces, his silhouette gets merged with the projected visuals and absorbed by the surfaces.
After Party
(AI) infinite simulations
‘After Party’ is an animation about two young girls, Ada and Milica. They find themselves in a strange space where an adult party is happening. With every new simulation their personalities evolve in unpredictable ways: between Childhood and Adolescence, Refined and Savage. Our digital work consists of creating artificial environments in the form of real-time animation using our own custom software, where artificial intelligence characters interact with each other as well as with the virtual world that surrounds them. These pieces are usually inspired by stories or myths found in different cultures.
オラファー·エリアソン
اولافور الياسون
奥拉维尔·埃利亚松
אולאפור אליאסון
Олафур Элиассон
Infinite Staircase (Umschreibung)
Permanently installed in the atrium of an office building in Munich, two spiral staircases interlock with each other, creating a continuous loop in the form of a double helix. To plan the work, a double helix was projected onto the surface of a sphere. The heights of the steps vary slightly to compensate for the curvature of the staircases, growing shallower at the poles. Precise engineering was necessary to enable the structure to balance on one point.
The continuous loop of Umschreibung contrasts starkly with the office courtyard in Munich where it is installed. Umschreibung – which can be translated as ‘circumscription’ or ‘periphrasis’ – proposes a movement without destination, a space defined by motion rather than walls.
Max-Planck-Institut
The CMS consists of an industrial robot arm with six independent axes, extended with an L-shaped cabin axis. The seventh axis allows for varying the orientation of the cabin with respect to the robot arm by changing the location of the cabin’s attachment point from behind the seat to under the seat, or any intermediate position. Recently, the CMS has been further extended with a linear axis of ten meters. The resulting eight degrees-of-freedom (DOF) provide an exceptionally large workspace. Several extreme motions and positions can be achieved, such as large lateral/longitudinal motions, sustained centrifugal motions, infinite head-centered rotation, and up-side-down motions.
على فوجيموتو
후지모토에
על פוג’ימוטו
НА ФУДЗИМОТО
infinity ring pavilion
An investigation into the ergonomics of seating in both private and public environments, the Infinity Ring takes the preconception of predefined spaces and their rituals and wraps it around a ring, creating a continuous strip of inhabitable spaces. The entire ring is then rotated, thereby generating infinite configurations of space-between-space, creating endless ways to sit, climb, lie down, crawl on…resulting in spatial configurations that are much richer than the sum of its parts.
HOW TO GROW AND STILL STAY THE SAME SHAPE
If Comte’s sculptures are rooted in the naturalness of biomorphic forms, her mural interventions transform surfaces into optical sequences and infinite graphic signs with a digital age aesthetic. The monochromatic vocabulary that invests all her work brings her visually close to the abstraction of Sol LeWitt, Bridget Riley and even John Armleder, an artist with whom she studied. On the occasion of her exhibition at Castello di Rivoli, Comte has carried out a gigantic mural intervention consisting of eleven individual wall paintings specially designed for the galleries on the third floor of the historic residence. Also inspired by some eighteenth-century decorative motifs present on the ceilings and walls of the main museum building, the work develops repeated modules through space.
Digital Substance
The parametric technology allows to generate a self-organizing system, that is, to open the essence of the universe as an infinite variety of possible self-organizing systems. The world is in constant process of self-development, but it is not chaos and not a set of known forms (cube, sphere, cylinder, from which you can build everything as Cezanne believed). Everything in the world (in the physical, biological and other reality) is in fluid, flexible, flowing, accelerating and decelerating movements that create tension, tears, force fields. And they are amazingly beautiful (attractors and fractals are their individual symptoms) and they exist before form and after form. It is not a solid, or lines in a space, but something that stands before and after the space.
Infinite Cityscapes
Sack’s work explores architecture as a flexible medium capable of expressing the unique space between realism and abstraction; where interpretation and our ability to create meaning is in flux. Within this space, Sack, furnished with pen and ink, encapsulates both the infinite and infinitesimal. His work invites the eye to explore drawings of the “big picture,” to gaze into a kaleidoscope of histories and to look further into the elemental world of lines and dots.
ماریکو موری
森万里子
Мори, Марико
Infinite Energy
Redefining the architecture of the space Louis Vuitton are eight monumental pieces by internationally-renowned japanese artist mariko mori. The exhibition ‘Infinite Review’ amasses sculptures and experiential installations in a series of works that metaphorically reflect the never-ending circulation of life and death as well as fragments from the artist’s personal experiences. Towering above visitors and traversing the space between the floor and ceiling are a triptych of luminous spirals. The soaring ‘infinite energy’ series is a visualization of an invisible force, felt and seen through their unseen participation with gallery entrants.
ديفيد كروننبرغ
大卫·柯南伯格
데이비드 크로넨버그
דיוויד קרוננברג
デビッド·クローネンバーグ
ДЭВИД КРОНЕНБЕРГ
eXistenZ
cinema
David Cronenberg’s eXistenZ is a creepily downbeat near-future techie thriller, starring Jennifer Jason Leigh as Allegra Geller, the super-cool games designer, who has just unveiled “eXistenZ”, a game you plug directly into your neuro-system and play in the infinite cyberspace of your mind.
Super Asymmetry
Vincent Mauger’s sculptures do not just stand on a site, they bring pressure into it. The relationship to the site is an intrinsic part of the artist’s work, he questions the space in order to reveal its breaking and equilibrium points. From the adequacy between the occupied space and the shown volume, resonances rise towards the spectators’ sensitivity. The spectator is caught by the play of the surfaces, the hollow and the solid, he experiences a stimulated landscape which scale oscillates between the infinitesimal and the colossal.
Cycles
Created by COCOLAB from Mexico and commissioned by ARCA, Cycles is an audio visual installation comprised of a series of laser projectors to visualise short cycle audio compositions by a collection of A/V artists including Julian Placencia – Disco Ruido (MX), Shiro Schwarz (MX), Eduardo Jiménez (MX), Tijs Ham (NL) and Sebastian Frisch (DE). The concept of the installation relies on the idea that our lives are ruled and defined by cycles. Cycles which at their core appear to be chaos, however at a distance they reveal to us the harmony and beauty of each repetition and their infinite possibilities. Our daily interaction with life’s cycles is an invitation to take the space and reflection time necessary to change our perspective.
in transit
Two swift beams of light travel through a room creating infinite shadows on a series of floating white frames. This is In Transit X, a darkened, room-based installation that alludes to an endless void.The dizzying effects of In Transit X place the viewer into a monochromatic man-made space. The fifty-foot-wide animated light installation by artist Hc Gilje was originally made for the Wood Street Galleries in Pittsburgh in 2012, and recently went on display last month at Kulturkirken Jakob in Oslo. Using block-like frames and light as the mediums, Gilje creates dynamic visual dimensions that lend themselves to a mesmerizing noirish experience.
CHAMPIONS OF ENTROPY
As a sculptor, I am interested in objects that act as catalyst for an anti-environment – a mindset or space that is not defined, and therefore, infinite in possibilities.The human tendency towards ordering has become an extension of ownership – to understand opens up the possibility of manipulation.Sculpture works in opposition to this.Sculpture is a demonstration of entropy – entropy being the measurable amount of disorder within any system. The system, in this case, is all order. Sculpture is potentially anarchy. The sculptural object is a celebration of wavering logic and structure, exposing the eminent disorder within all systems.
Джон Мак-Кракен
约翰·麦克拉肯
ジョン·マクラッケン
Star, Infinite, Dimension, and Electron
“The geometric forms McCracken employed were typically built from straight lines: cubes, rectangular slabs and rods, stepped or quadrilateral pyramids, post-and-lintel structures and, most memorably, tall planks that lean against the wall. Usually, the form is painted in sprayed lacquer, which does not reveal the artist’s hand. An industrial look is belied by sensuous color.His palette included bubble-gum pink, lemon yellow, deep sapphire and ebony, usually applied as a monochrome. Sometimes an application of multiple colors marbleizes or runs down the sculpture’s surface, like a molten lava flow. He also made objects of softly stained wood or, in recent years, highly polished bronze and reflective stainless steel.Embracing formal impurity at a time when purity was highly prized, the works embody perceptual and philosophical conundrums. The colored planks stand on the floor like sculptures; rely on the wall for support like paintings; and, bridging both floor and wall, define architectural space. Their shape is resolutely linear, but the point at which the line assumes the dimensional properties of a shape is indefinable.” Christopher Knight