tabor robak

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

Push 1 stop and Woulg

Interpolate
Interpolate incorporates live coding and generative processes to create an audio/visual performance where visuals control audio, and audio controls visuals. Stark, minimal, generative 3D geometry and particle systems take the audience through the music, conveying the physicality of the sound while mapping out the emotional landscape of the melodies. To interpolate means to determine an intermediate value or term in a series by calculating it from surrounding known values; on stage Push 1 stop and Woulg send data wirelessly to each other in order to be able to patch new interactions between audio and visuals in real time, and interpolate the missing data between sound and image.

Troika

AVA

Ava’ is Troika’s first sculptural manifestation of their exploration of algorithms. ‘Ava’ is the physical result of emergence and self organisation brought about by ‘growing’ a sculpture through the use of a computer algorithm that imitates the emergence of life by which complexity arises from the simplest of things. As such the sculpture probes at the nature of becoming, existence and our strive to understand and replicate the complexities of life.In a landscape where our personal data is a raw material, and where we, humans, have become subordinate spectators of algorithms and a computerised infrastructure, we ask the question how much or little are we capable of influencing our surrounding reality, how much is predetermined, how much is down to chance.

Michaela Pnacekova

A Symphony of Noise
Created by Michaela Pnacekova, Jamie Balliu
Herbert’s everyday sound sources are the inspiration for A Symphony of Noise VR. This interactive virtual reality experience is a journey through four sonic landscapes. The first centers on breathing, which immediately makes you focus on listening to the world differently. This is followed by an arctic environment full of scraping and crunching sounds, and finally a shop interior. Using the controllers or by blowing or singing, you can add sounds to the audio palette, which is visualized as waves and colors in three-dimensional space. In the fourth and final landscape, all the sounds are combined in an ultimate symphony.

Onformative

Meandering River

Over time, landscapes are gradually shaped by natural forces. Indiscernible to the naked eye, we only perceive one moment at a time. The fluctuations and the rhythmic movement of rivers are a glimpse into the past, as traces provide evidence of the constant transformations that surround us.

Le Fawnhawk

Modern Desert Magic
Petecia Le Fawnhawk is a modern surrealist whose body of work is a meditation in form as monuments juxtaposed against minimal and ethereal desert landscapes. In placing elemental shapes in a vast dreamscape, Petecia strips away the unnecessary in an attempt to reveal truth in the mysterious and magisterial.

Jake Elwes

Cusp
A familiar childhood location on the Essex marshes is reframed by inserting images randomly generated by a neural network (GAN*) into this tidal landscape. Initially trained on a photographic dataset, the machine proceeds to learn the embedded qualities of different marsh birds, in the process revealing forms that fluctuate between species, with unanticipated variations emerging without reference to human systems of classification. Birds have been actively selected from among the images conceived by the neural network, and then combined into a single animation that migrates from bird to bird, accompanied by a soundscape of artificially generated bird song. The final work records these generated forms as they are projected, using a portable perspex screen, across the mudflats in Landermere Creek.

STUDIO FUKSAS

Matilda Home
The idea to bring design also in common life attracted us. This is a new concept of habitat of house. It’s a mobile home it can be everywhere around the world; everybody can be a client. It’s a modular unit so many of them can be added together like a cloud. It can even be a city .This is not an object, it is a concept, it can be a city, a landscape or simply an home. Easy to build, it can be done in different materials more or less expensive. Matilda is a completely different space since nowadays we don’t need so much storage space, you just need to have a screen. The only thing is important is to have a nice place to eat, to seat and to sleep but also this can be done with something you close when you don’t need

Iannis Xenakis

Oresteia Opera

Scored for soloists, mixed chorus, children’s chorus and chamber ensemble, Iannis Xenakis’ music for Oresteia has been cited as “ruggedly dissonant” since its 1987 première in Sicily. A wooden-planked stage is empty save three platforms, one each for the chamber players and percussion, another for a drummer on a separate perch. On a high screen to start, a loop video shows an almost-naked woman stretched out face down in a bathtub who is being hosed down uninterruptedly with water. No forewarning, and the clip changes to a thick forest, a small girl being physically abused by an adult man. While the same video images reappear at the end of the opera, but it’s nebulous soft-edged shapes –mood landscapes as it were – that are the usual backdrop for the 90-minute piece.

 

Daan Roosegaarde

WINDLICHT
WINDLICHT is a artwork by Roosegaarde which shows the beauty of green energy by connecting windmill blades with lines of light. Special software and tracking technology detect the windmill blades rotating at 280 kilometres per hour. Visitors can tune into radio canal WINDLICHT FM 105.3 FM to hear the stories behind the artwork. WINDLICHT creates the missing link between the Dutch and the beauty of our new landscape.

Oscar Sol

Trinity
Trinity is an audiovisual interactive dance piece which tells the journey of a body going through different states of perception of the space. Through movement, the body is immersed in an environment of textures and audiovisual landscapes that not only accompany but will push to a transformation process.This work proposes a profound, clear and efficient interaction between its three elements: the triad of movement, sound and visuals. This interaction is understood as a dialogue which passes through different levels of intensity and transformations throughout the piece and is focused in the detection of the following qualities and patterns of movement like: forces and directions, acceleration, position, speed and body area.

jurgen h. mayer and juan rey

Mira Madrid
Jürge Hermann Mayer and Juan Rey sign this project whose flagship is the placement of seven bastions (one for each star of the Community flag) 100 meters high that would be illuminated at night. Km 0 and the statues would maintain their position, and the entrances to the Metro would be surrounded by landscaped areas and perimeter seats.

Andrew Schneider

YOUARENOWHERE
Conjuring a futuristic sort of shamanism, Andrew Schneider’s YOUARENOWHERE experiments with the virtues of sensory overload via quantum mechanics, parallel universes, and the “Missed Connections” board on Craigslist. Battling glitchy transmissions, crackling microphones, and lighting instruments falling from the sky, one guy on a mission and a tricked-out interactive new-media landscape merge to transform physical space, warp linear time, and short-circuit preconceived notions of what it means to be here now.

Katharina Grosse

It Wasn’t Us

A painting by Katharina Grosse can appear anywhere. Her large-scale works are multi-dimensional pictorial worlds in which splendid color sweeps across walls, ceilings, objects, and even entire buildings and landscapes. For the exhibition “It Wasn’t Us” the artist has transformed the Historic Hall of Hamburger Bahnhof – Museum für Gegenwart – Berlin as well as the outdoor space behind the building, into an expansive painting which radically destabilises the existing order of the museum architecture.

Nudes

the solar tree

Solar tree”presents a modular architecture consisting of prefabricated “cells” made of steel and wood.
The cells can also house “solar leaves” to contribute even more to the energy needs and make the structure more and more autonomous.The architects’ aim is not only to create something innovative and sustainable, but also to integrate the new project with nature and the surrounding landscape.

Stillness

THINK AND SENSE

Under the theme of Zen, this artwork represents a part of the philosophy of Zen with three-dimensional data created with photogrammetry technology composed of the most minimalistic landscape of “dots” and the soundscape of “undulations,” with the cooperation of Toryo Ito, vice priest of Ryosokuin, Kennin-ji Tacchu temple, Kyoto. The generated image reflecting the environmental information of the exhibition space creates “interaction between the environment and the image,” just like the trees and leaves swinging in the silence in the garden of a Zen temple.

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Credit Concept / Technical Direction: Shuhei Matsuyama Point Cloud System Design:Takamitsu Masumi Sound Design: Intercity-Express (Tetsuji Ohno) Photogrammetry Shooting: Naoya Takebe Photogrammetry Engineering: Katsuya Sakuma

Diana Thater

Abyss of Light

Abyss of Light is divided into three screens and into three acts, the traditional structure of classic narrative film. In the first act, all the images synchronize to form a single panorama of Bryce Canyon in Utah. In the second, the screens break away from one another into three parallel sequences wherein each projection shows the same one hundred images at different speeds. In the third, all three images synchronize once again to form a single wrapping panorama of Death Valley, California. The work is an ode to the American western, one of my favorite film genres. Despite my admiration, however, my desire is not to imitate westerns. Instead, I set up an abstraction in opposition to the idea of narrative, something that can be seen in all of my work. In Abyss of Light, continuous disruptions of the American landscape document my refusal to see the land as backdrop for man’s heroic conquering of the wild; instead I see it as a foreground, a subject to be contemplated for itself and for which wildness is a state of grace.

Jeppe Hein

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
Distance

An immense circuit, conceived as a graphic composition, is extended across a forest of fine metal pillars. Arabesques, spirals and nodal interconnections support a track for a hundred or so white balls, razing the ground or very high up in the air. An infrared sensor detecting the arrival of each visitor triggers the propulsion of a ball, which then journeys through the vast visual and sonic landscape. The installation draws on different sources evoking a primitive industrial imaginary, such as the machines of Fritz Lang’s Metropolis and Tinguely’s assemblages, and the fairground universe of roller coasters and pinballs.

James Whitaker

Joshua Tree Residence

Whitaker has envisioned an “exoskeleton” made of shipping containers painted bright white. The containers appear like a starburst, with cuboid forms pushing out in all directions.The home is intended to offer a connection to the sun-baked landscape, while concurrently providing a sense of protection and privacy. Square windows frame views of the blue sky and rugged terrain. In some areas, faceted ceilings give the effect of being inside a crystalline form.

THOMAS ROBSON

Томас Робсон
توماس روبسون
トーマス・ロブソン

Art Remixer” Thomas Robson says he “develops collision art to confront received aesthetics & critically re-appraise imagery in a visually saturated world.” Whatever he says, the stuff is freaking cool. He has worked in graphic design and in interactive design for the web & TV for the BBC. But it seems like he’s more interested now in coloring outside the lines:
It is remarkable how diverse his work is in various series like Landscape with Data, Made in China and Luxe Art with styles and materials including collage, photography, computer graphics and even ceramics.

Haru Ji and Graham Wakefield

Infranet
Infranet is a generative artwork realized through a population of artificial lifeforms with evolutionary neural networks, thriving upon open geospatial data of the infrastructure of the city as their sustenance and canvas. Born curious, these agents form spatial networks through which associations spread in complex contagions. In this city as organism, the data grounds an unbounded, decentralized, open-ended, and unsupervised system. Non-human beings flourish in this environment by learning, discovering, communicating, self-governing, and evolving. The invitation is to witness, through immersive visualization and sonficiation of this complex adaptive system, how a new morphologic landscape emerges as a possible but speculative city.

ANDREI TARKOVSKY

أندريه تاركوفسكي
塔可夫斯基
アンドレイ·タルコフスキー
Андрей Тарковский
Solaris
In Solaris (1972), Andrei Tarkovsky presents a vision of contemporary society as one that has become cut off from nature, and provides a narrative that illustrates the possibility of remaining human in the inhuman world that is the result. The film contrasts a life-affirming natural landscape to an urban, constructed landscape where the natural world is submerged and invisible. The Solaris space station is both a projection of this second, inhuman, landscape and an allegory for Tarkovsky’s view of urban life. The narrative of the film concerns the journey by the central character, Kris Kelvin (Donatas Banionis), from emotional deadness to a rediscovery of his humanity as he charts a course between these two worlds, and the role that art, whether painting, music or film, plays in this.
cinema full

Florence To

NOQTURNL V1
Noqturnl is an audiovisual meditation exploring collective dreamstate. The audience is invited to spend the night in the 4DSOUND system. A group of listeners are immersed in a spatial experience while they flit around the threshold between waking state and dream. Slow, pulse driven musical constructs, vast landscapes of sound and visual patterns develop over hours as the listeners drifts in and out of sleep, blurring the boundaries between dream environment and physical space: in doing so, allowing conscious access to the vivid, intuitive imagery and sensation within the borders of dream experience.

KURT HENTSCHLAGER

Zee
File Festival 

Immersive Audiovisual Environment Artificial Fog, Stroboscopes, Pulse Lights and Surround Sound, 2008

ZEE proposes a state of tabula rasa and unfolds without a narrative or reproducible imagery.The audience wanders freely in a space filled with extremely dense fog that fully obscures all of its boundaries. Stroboscopic- and pulse lights illuminate the fog, in a softened and evenly dispersed manner, creating kaleidoscopic three-dimensional structures in constant animation. An ambient and minimal sound-scape connects to the imagery, without directly synchronizing to it.The core visual impression of ZEE is of a psychedelic architecture of pure light, an abstract luminescent landscape enveloping the visitor. Time appears to stand still.

guli silberstein

Field of Infinity

Inspired by both Italian Renaissance paintings and contemporary news broadcasts of protests at the border of Gaza with Israel – the work processes human gestures and figures in a landscape into a dark and colorful mix, opening up a series of reflections on the political image, the image of the political, the politics of the image, and the image of the image.

file sao paulo 2019 videoart

Juliana Mori & Matteo Sisti Sette

timeLandscape woolrhythms

“timeLandscape – wool rhythms” 2010. Part of timeLandscape series, 2009 – 2010. Video, audio, projector, speakers, custom patch (PD-Gem), sensor, wool engine. Variable dimensions and duration, loop. “timeLandscape – woolrhythms” is an interactive audiovisual installation in which a landscape is depicted from its multiple time possibilities and [re]composed through users’ real time interaction. The installation was developed in Biella, Italy, an area economically attached to textile industry, and deals with the cyclical perception of time and human, linear, interference on it. It gathers nature and artefact, by connecting a physical wool engine to digital imagery of daily cycles. By turning the wheel crank, users generate movement starting the engine. Through a sensor attached to the machine, software calculates the rotation speed, altering parameters for mixing audio and video fragments in real time. Every turn of the machine leads to different time thread combinations in response to the rhythm and speed of each interactor.

FILE FESTIVAL

MIAO XIAOCHUN

МЯО СЯОЧУНЬ
缪晓春
مياو شياو تشون

The large-scale nine-panel installation, Microcosm, is based on Hieronymus Bosch’s 15th century masterpiece, The Garden of Earthly Delights. Microcosm is an imaginative reinvention of the sumptuous landscape of sin, salvation, and tawdry visions of those who never made it to paradise. The structure and narrative pattern of Bosch’s triptych, such as the architecture of heaven, earth and hell, as well as the basic forms of Bosch’s pictures, have been preserved in Miao Xiaochun’s work. But new digital means and computer technologies have allowed Miao Xiaochun to explore a contemporary visual vocabulary. He abolishes the traditional fixed single-point perspective aesthetic, instead favoring the Chinese tradition of multiple points of view in a single landscape.

Fellini

Satyricon
Fellini Satyricon, or simply Satyricon, is a 1969 Italian fantasy drama film written and directed by Federico Fellini and loosely based on Petronius’s work Satyricon, written during the reign of Emperor Nero and set in imperial Rome. The film is divided into nine episodes, following Encolpius and his friend Ascyltus as they try to win the heart of a young boy named Gitón within a surreal and dream-like Roman landscape.
The film opens on a graffiticovered wall with Encolpius lamenting the loss of his lover Gitón to Ascyltus. Vowing to win him back, he learns at the Thermae that Ascyltus sold Gitón to the actor Vernacchio. At the theatre, he discovers Vernacchio and Gitón performing in a lewd play based on the “emperor’s miracle”: a slave’s hand is axed off and replaced with a gold one. Encolpius storms the stage and reclaims Gitón. On their return to Encolpius’s home in the Insula Felicles, a Roman tenement building, they walk through the vast Roman brothel known as the Lupanare, observing numerous sensual scenes. They fall asleep after making love at Encolpius’s place. Ascyltus sneaks into the room, waking Encolpius with a whiplash. Since both share the tenement room, Encolpius proposes they divide up their property and separate. Ascyltus mockingly suggests they split Gitón in half. Encolpius is driven to suicidal despair, however, when Gitón decides to leave with Ascyltus. At that moment, an earthquake destroys the tenement.

Aranda\Lasch

阿兰达\拉希
アランダ\ラッシュ
Primitives

Primitives is an installation that combines the romantic tradition of ruined landscapes with modular fractals. First realized across the entry of the Venice Biennale in 2010, it is comprised of loosely dispersed furniture elements that appear like rock piles, each one unique but formed from the same universal building block. Like microcosms in the distance, the clusters are imagined as islands falling apart and building back up, organizing and eroding at once.

WILMA HURSKAINEN

waves
“The latter image, Waves, was taken in Benin, West Africa last winter where I spent a lot of time on the beach, just looking at the ocean and thinking. I had the skirt made for it after I once realized my shirt was the same color as the ocean. Although the two images share the same idea, for me the’re very different: In Invisible the woman looks hollow whereas in Waves it’s as if the landscape grew through her.”

Ricardo Barreto and Maria Hsu

Avactor (A.I.)

FILE FESTIVAL
Thus, we could define computers not only as object-machines for the use of natural subjectivity, but also as machines of artificial subjectivity, in such way that the subject- machines would operate the object-machines, the same happening for automata, robots and digital avatars. However, we observe the need of another element, whose absence prevents artificial subjectivity’s manifestation. In the present moment, rather than an artificial ego or an artificial conscience, in a structuralizing sense, it must have, in a tactical sense, a persona or a personality, in sum, an actor. Without that persona, artificial subjectivity becomes a mere landscape, lacking subjective referential; without that actor, there is not empathy between artificial subjectivity and natural subjectivity. We call that artificial personality: the Avactor.

OTA+

Taipei Museum of Contemporary Art
This building proposal challenges the traditional definition of a museum and the conventional relationship between building and site. The ground floor of the building is reduced to a nominal footprint, enclosing only enough space for basic services, structure and ticketing functions. The ground plane is primarily reserved for exterior public space, including an art park, Hall of Fame, and garden walk. The bulk of the program and building mass are split by the open ground floor. Half of the building is coupled with the earth while the other half hovers in the air. The purpose is twofold; to minimize the damaging effects of extreme local weather by harnessing environmental flows toward productive outcomes and to re-conceptualize the identity of a modern art museum. The manicured roof plane of the below ground program is pocketed with water absorbing vegetation and catchment systems, while the hovering museum above expands to form open atriums, allowing diffuse light to brighten the space and passive airflow to comfortably condition the building.The program of the museum is interconnected. The Contemporary Museum of Art, Children’s Museum of Art and Administration are located within the floating mass. The lecture hall, parking, art resource center, library and classrooms are located below ground. The programs below ground are easily accessible and directly connected through vertical circulation tubes, providing both structural support for the floating mass above and space for movement systems, such as escalators, stairs and elevators between levels. All of the below ground programs are flooded with diffuse light passing through skylights that penetrate the landscape.

Nieto Sobejano Arquitectos and realities:united

Contemporary Art Centre in Cordoba
BUILDING FAÇADE WITH AN INTEGRATED LIGHT AND MEDIA INSTALLATION

To transform the façade into a light and media display without fundamentally changing its solid appearance as envisioned by Nieto Sobejano turned out to be the biggest challenge in the project. The façade is accordingly designed to deliver a tactile and solid appearance in the daytime while it turns at night into a unique and dynamic communication wall that reacts very specifically to the architecture. The 100-meter façade consists of 1,319 hexagonal, recessed and pre-fabricated “bowls” on different scales. Each of the bowls serves as a reflector for an integrated artificial light source. The intensity of each lamp can be controlled individually, forming a huge irregular low-resolution grey scale display. The thorough immersion of the “pixel-bowls” – like negative impressions – in the volume of the façade turns the architectural scheme itself into a digital information carrier. During the day, the façade shows a three-dimensional landscape with no sign of being a media facade. Additionally, this tectonically modulated surface topography is characterized by a playful composition of light and shadow that constantly changes with the movement of the sun.

Daniel Widrig and Melih Altinisik

Kartepe 30.Meridien Landmark

30.Meridien is located on the North side of the Istanbul-Adapazari D-100 Road and it will become the key Landmark for the development of the Kartepe Region. All the visitors approaching the site from all other cities to the region for skiing or visiting the Sapanca Lake will experience the amazing Vista so it will turn into an attraction point for the developing prestige of the Kartepe. The design concept for Landmark is like the dance of two eliptical steel rings which are balanced with the cables located in between them. This fluid interaction gives various visual perspectives to the structural Landmark design. 30M with its fluid form and its well integrated landscape design will attract the visitors not only to the site also inside the landmark. When the visitors are standing under the center of the 20m high Meridien Structure, they will experience the elevated 30.Meridien.

EELCO BRAND

1.movi
The oeuvre of Eelco Brand belongs to a pictorial tradition in which landscape and genre scenes play a leading role, but goes beyond the traditional forms of this genre. Realistically looking landscapes are combined with abstract components, absurdity and humour are constantly accompanying the artworks of Eelco Brand. The landscapes seem familiar to us, evoking the impression of having seen them before – stereotypes, completely virtually constructed, but of a strong expressive power. But is not any form of visualisation of landscapes constructed, even those we see in our mind’s eye when we imagine a landscape? The artworks of Eelco Brand encourages us to think about our perception of reality.

MAURICE BENAYOUN

Морис Бенаюн
莫里斯·贝纳永
Cosmopolis
Overwriting the city

Cosmopolis endeavours to examine urban realities through people’s eyes. It is an artistic, and scientific interpretation of urbanization, making a visit a physical and intellectual experience.
The visitor enters a big, moving panorama of a constantly changing city. Twelve observation binoculars, much like those found at scenic lookout points, allow one to be surrounded 360° by twelve urban environments. Seven Occidental cities and five Asian cities: Paris , Berlin , Barcelona , Chicago , Johannesburg , Cairo , Sao Paulo , Beijing , Shanghai , Chongqing , Chengdu , Hong Kong , can thus be discovered, each from different viewpoints. Bearing no resemblance to the touristy landscapes one may expect to see, these scenes lay out major urban issues simply through a choice of viewpoint: transportation, environment, architecture, energy, health…

MARCEL DUCHAMP

مارسيل دوشامب
马塞尔·杜尚
מרסל דושאן
マルセル·デュシャン
Марсель Дюшан
Étant donnés
Duchamp worked secretly on the piece from 1946 to 1966 in his Greenwich Village studio.[2] It is composed of an old wooden door, nails, bricks, brass, aluminium sheet, steel binder clips, velvet, leaves, twigs, a female form made of parchment, hair, glass, plastic clothespins, oil paint, linoleum, an assortment of lights, a landscape composed of hand-painted and photographed elements and an electric motor housed in a cookie tin which rotates a perforated disc. The Brazilian sculptor Maria Martins, Duchamp’s girlfriend from 1946 to 1951, served as the model for the female figure in the piece, and his second wife, Alexina (Teeny), served as the model for the figure’s arm. Duchamp prepared a “Manual of Instructions” in a 4-ring binder explaining and illustrating how to assemble and disassemble the piece.