zach blas

sanctum
Zach Blas(United States、1981)の作品は、テクノクラート社会の限界と基盤を描くことを目的として、視覚言語の慣習、価値体系、デジタル技術に内在する力のダイナミクスをさまざまな文脈で分析、調査、配置しています。 。 彼の分析とデジタル文化への反映のために、彼は映画、彫刻、執筆、パフォーマンスなど、さまざまな表現形式を使用しています。 ブラスはブラックユーモアと理論的研究に取り組んでおり、彼の最も顕著な影響の中には、神秘主義の伝統、サイエンスフィクションのジャンル、ップカルチャー、クィアの美学があります。

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sanctum

The work of Zach Blas (United States, 1981) analyzes and explores the dynamics of visual language practices, value systems, and the forces inherent in digital technology in a variety of contexts, with the aim of depicting the limits and foundations of technocratic societies. I have placed it. .. For his analysis and reflection in digital culture, he uses a variety of forms of expression, including film, sculpture, writing and performance. Brass works on black humor and theoretical research, and among his most prominent influences are the mystical tradition, the genre of science fiction, pop culture, and the aesthetics of queer.

 

thomas thwaites

GoatMan

I tried to become a goat to escape the angst inherent in being a human. The project became an exploration of how close modern technology can take us to fulfilling an ancient human dream: to take on characteristics from other animals. But instead of the ferocity of a bear, or the perspective of a bird, the characteristic most useful in modern life is something else; being present in the moment perhaps.

Anyway I ended up in the Alps, on four legs, at a goat farm, with a prosthetic rumen strapped to my chest, eating grass, and becoming a goat.

Jonas Vorwerk and Yoren Schriever

Pixel
Les œuvres qu’il crée introduisent souvent des chevauchements surprenants et ludiques entre le physique et le numérique dans l’espace public, où ils sont confrontés à un large public. Ses œuvres ne sont pas destinées à être présentées dans l’espace traditionnel du cube blanc, mais plutôt dans des rues bondées, des festivals en plein air ou des paysages ouverts où elles deviennent un sujet à diverses influences, où elles peuvent non seulement être regardées mais aussi touchées et jouées. L’élément de participation est en fait souvent inhérent à la conception des installations de Vorwerk, qui sont complétées par l’engagement du public. Leur caractère organique leur permet de changer continuellement et d’être toujours influencés par le contexte dans lequel ils sont placés.

Thomas Thwaites GoatMan

GoatMan

J’ai essayé de devenir une chèvre pour échapper à l’angoisse inhérente au fait d’être un humain. Le projet est devenu une exploration de la façon dont la technologie moderne peut nous amener à réaliser un ancien rêve humain: prendre les caractéristiques d’autres animaux. Mais au lieu de la férocité d’un ours, ou de la perspective d’un oiseau, la caractéristique la plus utile dans la vie moderne est autre chose; être présent dans le moment peut-être.
Quoi qu’il en soit, je me suis retrouvé dans les Alpes, sur quatre pattes, dans une ferme caprine, avec un rumen prothétique attaché à ma poitrine, mangeant de l’herbe et devenant une chèvre.

Kyle & Liz Von Hasseln

Phantom Geometry
“We are developing a system of moving streaming information through space, in the form of light, to generate material form. This system is a full-scale, generative fabrication process that is innately non-linear, is interruptible and corruptible at any time, and does not rely on periodic flattening to 2D. Light is the medium for data in our system. There resident data can be drawn through physical space, at full scale, to generate a photographic artifact, or to instantiate material form through the selective polymerization of proximal photo-responsive resin. This thesis, then, begins to investigate a design paradigm centered on the material reification of light. That paradigm questions the supremacy of the digital model, and the static flattening and stacking logics inherent to typical fabrication workflows. It is part of a conversation about representation, about the role of the designer, and about the way we make.”

Einar Sneve Martinussen, Jørn Knutsen and Timo Arnall

Immaterials: Satellite Lamps
“Satellite Lamps shows that GPS is not a seamless blanket of efficient positioning technology; it is a negotiation between radio waves, earth-orbit geometry and the urban environment. GPS is a truly impressive technology, but it also has inherent seams and edges.”

Kaoru Okumura

Butoh

DeepDream

Okumura dances through morphing DeepDream projections by Michael Tyka. Her piece explores the contrast between Butoh’s inherent downward motion and DeepDream’s “obsessive expansion”. The two systems diverge but find harmony in the alien.

JOACHIM SAUTER, ART+COM AND ÓLAFUR ARNALDS

Symphonie Cinétique

The exhibition project focuses mainly on the cor­relation and inter­action of three elements: reflection, sound and movement. Symphonie Cinétique narratively inter­relates the three elements, and brings out their inherent, almost mystic harmony. The result of this process is an artistic synthesis, a unique spatial experience. At the premiere, Arnalds performed the Symphonie Cinétique live on piano and tablet. This fascinating interplay between music, light and movement served as a prelude to the exhibition.

Oleg Soroko

After Form
Transformation, fluidity, incompleteness, self-organization are inherent to this forms and images. My mission is to create and bring to our reality images and forms, that was impossible to create with traditional…

ROWAN MERSH

Роуэн Мерш
The essence of Rowan Mersh’s work lies primarily within the complete understanding of a fabric or material. From understanding a textile’s inherent characteristics, from their structure and the way they are knitted, woven or formed, to the yarns used in their construction, an intuitive sense is able to develop. It is this affinity with the cloth that informs possible capabilities and potential for manipulation, and subsequently all his creations.

Milena Naef

Morphing
Milena Naef questions ‘existing’ structures that are inherent to herself. The work tries to create the right manifestation of the assumed duality between body and mind. She translates characteristics of a subjective experience into material, transforming the mental into physical to find a new relation between the two. Once tangible, the interaction with the concrete material allows for a space to ‘open’ in which a given context can be changed. The body itself with its physical presence and its absence becomes a vital aspect of the work.

lizzie fitch and ryan trecartin

whether line
Commissioned by Fondazione Prada for its Milan venue, “Whether Line”, the large-scale multimedia installation, conceived by Lizzie Fitch (USA, 1981) and Ryan Trecartin (USA, 1981), represents the first output of a creative process begun in late 2016, investigating the perpetual promise of “new” terrain and the inherent instability of territorial appropriation.

Melanie Bonajo

Last Child in the Woods
In her work, Melanie Bonajo examines the paradoxes inherent to ideas of comfort with a strong sense for community, equality, and body-politics. Through her videos, performances, photographs and installations, she studies subjects related to how technological advances and commoditybased pleasures increase feelings of alienation, removing a sense of belonging in an individual. Captivated by concepts of the divine, Bonajo explores the spiritual emptiness of her generation, examines peoples’ shifting relationship with nature and tries to understand existential questions by reflecting on our domestic situation, ideas around classification, concepts of home, gender and attitudes towards value.

Richard Wentworth

ريتشارد وينتوورث
リチャード·ウェントワース
ריצ’רד וונטוורת
Ричард Вентворт

Wentworth’s sculpture takes as its subject the semantics of the everyday world, taking readymade and frequently incongruous objects and arranging them in a fashion that forces us to recognise the drama inherent in that which we too easily dismiss as routine. His photography captures the unusual or counter-intuitive behaviour of things, treating the (generally urban) landscape as consisting of readymade works that merit the same attention as more traditional art objects.

MELANIE BONAJO

梅拉妮·柏娜桥
progress

Melanie Bonajo exams the paradoxes inherent in our future-based ideas of comfort. Through her photographs, performances, videos and installations Bonajo examines subjects related to progress that remove from the individual a sense of belonging and looks at how technological advances and commodity-based pleasures increase feelings of alienation within the individual. Captivated by concepts of the divine, she explores the spiritual emptiness of her generation, examines peoples’ shifting relationship with nature and tries to understand existential questions by looking at our domestic situation, idea’s around classification, concepts of home, gender and attitudes towards value.

Rina Banerjee

She’s my country
The Indian born, New York City based artist Rina Banerjee has a love of materials, heritage textiles, ethnicity and fashion, colonial objects and furnishings, historical architecture, and their ability to disguise, animate, locate their inherent meanings in her art work. While sculptures and drawings, paintings use a fusion of cultures and unravel our connected experiences an explosion of differences alternate the way we receive our identity. Banerjee says her work explores “specific colonial moments that reinvent place and identity as complex diasporic experiences intertwined and sometimes surreal.”

milena naef

Body
Milena Naef questions ‘existing’ structures that are inherent to herself. The work tries to create the right manifestation of the assumed duality between body and mind. She translates characteristics of a subjective experience into material, transforming the mental into physical to find a new relation between the two. Once tangible, the interaction with the concrete material allows for a space to ‘open’ in which a given context can be changed.

MARK GARRY

[…] Mark Garry is driven by a fundamental interest in observing how humans navigate the world and the subjectivity inherent in these navigations. Though he uses a variety of media and mechanisms in his practice, he primarily focuses on institution-based installations. These delicately considered site-specific installations are measured and quiet, requiring meticulous systems of construction.

Budor Dora

The Architect, Mind Falls Apart
Exploring cultural phenomena surrounding mainstream cinema in America, Dora Budor creates sculptures and films that expose the technical and otherwise overlooked elements of movies. Budor most regularly engages with movie props—objects which are inherently fake or flawed, yet appear real and perfect on-screen—in order to “reanimate” them and give them a second life through recontextualization

RICHARD WENTWORTH

ريتشارد وينتوورث
リチャード·ウェントワース
ריצ’רד וונטוורת
Ричард Вентворт

Wentworth’s sculpture takes as its subject the semantics of the everyday world, taking readymade and frequently incongruous objects and arranging them in a fashion that forces us to recognise the drama inherent in that which we too easily dismiss as routine. His photography captures the unusual or counter-intuitive behaviour of things, treating the (generally urban) landscape as consisting of readymade works that merit the same attention as more traditional art objects.

ZHENG LU

Mao Never Down
Classical culture, along with a profound interest in religions, and the exploration of the self, also inspire his artwork. The artist uses language as a sculptural element. Each sculpture derives from or literally cites pieces of literature or counts a story, in a readable or unreadable way depending on the chosen script. The rendering in three dimensions of an art or a philosophy, which is either ephemeral and spoken, or written and two-dimensional, is esthetically and technically astonishing. His works translate to the viewer the balance and contradiction inherent in human nature.

Robert Morris

Glass Labyrinth
“Setting up a maze with invisible walls may not seem like a challenge, but Morris’s creation harkens to ancient archetypes, while acting as a commentary on modernism and its reliance upon glass. Additionally, glass’s inherent reflections, refractions and other qualities promise to be as confusing to visitors as solid walls.” John Hill
video

JOYCE HINTERDING

Field and Loops

Loops and Fields, is a collection of drawings that resonate sympathetically to the electromagnetic fields within the gallery. These graphite drawings function as graphic antennas and explore the qualities and inherent nature of a combination of hand-drawn and mathematically generated forms. Delving into algorithmic structures, fractals and the chaotic nature of the hand drawn line, these drawings are an exploration of conductive materials and the possibilities for drawing electronic components. When connected to a sound system they make audible their interior activity and reveal the energy that exists in the immediate environment.Relying on the basic principles of the directional loop antenna, the drawings in Loops and Fields, like any receiving antenna, convert an electromagnetic wave into a voltage; the loop antenna is particularly sensitive to magnetic fields and outputs a voltage proportional to that field. Monitoring this activity allows us to experience the local fields and generates a site-specific and dynamic aural landscape.The different shapes and line qualities that make up the algorithmically generated and stencilled drawings come from thinking about the possibilities of extending a line. Fractal mathematics and the research into fractal antennas has focused on reducing the overall size and space an antenna needs to occupy. My interest is in the frequency range at the lower regions of the spectrum, where the wavelength is large; so my interpretation of recent antenna design research has led me to explore the possibilities for drawing antennas that can receive large wavelengths, on something the size of a standard piece of fine art paper.

BEN JACK

Elucidating Feedback
File Festival

The more we look, the more we see, the more we see the more we look. “Elucidating feedback” is a brain-controlled installation about the creativity inherent in the act of observation. The more attention that is paid to the installation, the more order is reflected in the video and audio. The idea is that we create the finer details of our experience through the act of being attentive. The more we observe our environment, the more we discover, and the result of this active process is the creation of the rich details of our experience. The project uses neuro feedback supplied through interaction between the user and a BCI (brain-computer interface) device. The mindset (the BCI device) reads your brainwaves and this alters how the installation creates form from static. The more attention is paid, the more pattern is formed; as less attention is paid, the pattern breaks back into static. This is intended to form a feedback loop between the user’s attention and the subject of their attention (the projected patterns). The audio-visual aspect of the installation produces pattern, order and detail in direct proportion to the attention that the user is currently paying. If the user is in a state where the mind is freely wandering and not focused on any one thing, the patterns decay into static, bringing the installation back to a state of stasis.

DAVID FRIED

Self Organizing Still Life
Acoustically stimulated Interactive Sculptures
David Fried’s “Self Organizing Still-Life” (SOS) is a series of interactive, sound-stimulated kinetic sculptures, which reveal his exploration into the inherent qualities of networked and emergent systems operating far-from-equilibrium intrinsic to nature, individual psyche, communication and social relationships.