Jakob Kudsk Steensen

Liminal Lands
Liminal Lands is an environmental multiplayer experience shared by four people at the same time. Each person transforms into the basic elements controlling life across the landscape: Algae, salt, water and mud. As they embark on a communal ritual experience, people morph and change throughout their journey, exploring each new world from a changed perspective of the landscape. Visitors move across different scales and global weather conditions, shedding their human perspective as they are pulled into six different realms inspired by the macro-landscape.

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.

FONG QI WEI

퐁 치 웨이

‘Time is a Dimension’

The beauty of photography, in its essence, is conveyed by capturing a moment in time and freezing it out of its context. Singapore-based photographer Fong Qi Wei, however, uses photography to show the passage of time. In his time lapse series called ‘Time is a Dimension’, Fong doesn’t use a typical long exposure trick. He captures the passing time by layering different photos of the same spot with clear edge lines of each frame. Each collage is digitally cut and created from pictures Fong takes within 2 to to 4 hours. Fong usually works at sunrise or sunset, as the light and color palettes are most varied at those times.
“The basic structure of a landscape is present in every piece. But each panel or concentric layer shows a different slice of time, which is related to the adjacent panel/layer. The transition from daytime to night is gradual and noticeable in every piece, but would not be something you expect to see in a still image. Similarly, our experience of a scene is more than a snapshot,” explains Fong.

Ned Kahn

Cloud Arbor
A 20-foot diameter sphere of fog forms inside a forest of stainless steel poles. High-pressure fog nozzles embedded in the 30-foot tall poles convert water into a cloud that appears and vanishes every few minutes. A collaboration with landscape architect Andi Cochran and the Pittsburgh Children’s Museum. Completed in 2012.

Marte Marte Architekten

State Gallery

Like a dancing cube shimmering in titanium, the new State Gallery of Lower Austria is placed between the picturesque inner cities of Krems and Stein, and links these with the surrounding natural and river landscape. The spherical curvature and the strongly outward-projecting external walls presented a challenge: titanium shingles and glass panes were individually produced, having been calculated in 3D. Inside, light-flooded areas alternate with daylight-free levels that can be used as required. The project is a strong illustration of the capabilities of the Vorarlberg architectural practice of Marte.Marte.

Michele Spanghero

Dià
Dià (from greek διά, through) is a sculpture installed on a piece of no man’s land on the top of mount Pal Piccolo on the border between Italy and Austria, where World War I was fought. The double-trumpet shaped sculpture symbolically connects, both visually and acoustically, the first lines’ trenches. Two arched doors, that refer to the entrance of the shelters and trenches, turn into cavities to listen or observe the surrounding landscape. The work, conceived as a symbolic link between the two fronts, combines the dimensions of silence and sound: dià is indeed a device that invites audience to interact with the two cavities as a megaphone or a peephole, to start an intimate dialogue through the sculpture.

Refik Anadol

Quantum memories
Quantum Memories is Refik Anadol Studio’s epic scale investigation of the intersection between Google AI Quantum Supremacy experiments, machine learning, and aesthetics of probability. Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. Quantum Memories utilizes the most cutting-edge, Google AI’s publicly available quantum computation research data and algorithms to explore the possibility of a parallel world by processing approximately 200 million nature and landscape images through artificial intelligence. These algorithms allow us to speculate alternative modalities inside the most sophisticated computer available, and create new quantum noise-generated datasets as building blocks of these modalities. The 3D visual piece is accompanied by an audio experience that is also based on quantum noise–generated data, offering an immersive experience that further challenges the notion of mutual exclusivity. The project is both inspired by and a speculation of the Many-Worlds Interpretation in quantum physics – a theory that holds that there are many parallel worlds that exist at the same space and time as our own.

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.

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

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.

Richard Vijgen

Hertzian Landscapes
Hertzian Landscapes (2019) is a live visualization of the radio spectrum. Unlike visible light, waves in the radio spectrum cannot be perceived by us directly yet this space is teeming with human activity. Hertzian Landscapes employs a digital receiver to scan large swaths of radio spectrum in near real-time and visualizes thousands of signals into a panoramic electromagnetic landscape. Users can zoom in to specific frequencies by positioning themselves in front of the panorama as if controlling a radio tuner with their body, giving them a sense of walking through the spectrum.

MIGUEL CHEVALIER

Мигель Шевалье
ミゲル·シュヴァリエ
מיגל שבלייה
미구엘 슈발리에
Power Pixels
L’exposition Power Pixels se compose de deux installations de réalité virtuelle génératives et interactives : Complex Meshes 2020 et Oscillations 2020, oeuvre présentée pour la première fois au public. Oscillations 2020 permet une visualisation graphique en 3D de la musique de Michel Redolfi. Une forme d’onde se génère en temps réel selon les fréquences et les amplitudes de la musique. Ces spectres sonores des différents sons de la musique génèrent des paysages imaginaires à l’infini. Image et musique se répondent dans une fusion de nature émotionnelle qui participe à une véritable synesthésie.

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.

Albert Merino

The Present Condition

The landscapes of ‘The Present Condition’ derive from a journey of more than 15,000 km by land by the artist between the two geographical extremes of South America. The video is suffused with a surreal atmosphere, where real and imaginary spaces intersect. Concepts such as human intimacy, desire, work, the savage capitalism that builds cathedrals in the desert, the perverse bureaucracy and the construction of the border wall are just some of the elements that are mixed in a striking and suggestive mosaic of images.

file sp 2019 videoart

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

wim wenders

two or three things i know about edward hopper
As part of their spring exhibition Edward Hopper, which focuses on the iconic representations of the infinite expanse of American landscapes and cityscapes of one of the 20th century’s most important American painters, the Fondation Beyeler in Basel will show Wim Wenders’ new 3D film installation.
Organized by the Fondation Beyeler in cooperation with the Whitney Museum of American Art, New York, the major repository of Hopper’s work.

Asif Khan

UK Pavilion at the Astana Expo 2017
At the heart of the UK pavilion is a stunning 60 metre panorama depicting a living, universal landscape generated entirely by computer. It captures the relationship between the Sun, the Earth and its climate in incredible detail through virtual day and night. At a stunning 40,000 pixels wide it is the largest project of its kind ever undertaken.

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

GIUSEPPE LICARI

朱塞佩 利卡里
The sky in a room

“Nature has always been a big passion and the relation of nature and man-made environments is something I often try to confront in my work. The Sky in a Room was first inspired by the forests’ fires that in 2007 destroyed a big part of the south of Europe. They were largely man-made fires, intending to generate new land available for building speculation. A sick tree was cut down by the municipality of Rotterdam, cut in smaller pieces, archived and re-built inside the exhibition space, against the architectural surfaces of the gallery. The trunk of the tree was removed in order to give the public a different physical relation to the tree itself and to the white sterilized space of the gallery. The dead tree presents its branches covered with a layer of moss and molds creating a suspended landscape.”

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.

Pierre Cardin

Palais Lumière
Pierre Cardin and his architect nephew Rodrigo Basilicati have axed plans for their 60-storey, three-finned Palais Lumière (Palace of Light) skyscraper, due to criticisms about how the building would fit into the Venetian landscape […] Opposition and criticism over the glass skyscraper began in 2012. Locals have been concerned over the impact the 245 metre-high structure would have on the Venetian landscape and its medieval city.

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.

Clausthome & Martins Ratniks

UNKNOWN PLANET
The Latvian sound artists collective “Clausthome” (Lauris Vorslavs, Girts Radzins) and video artist Martins Ratniks will present a sound and video modulation performance unclosing saturated sound landscapes and collages of the electromagnetic waves, created by scanning and retranslating a real-time audio and video signal modulations. In their daily practices “Clausthome” collective is engaged in experiments with modulations and sound feedback as well as in collecting diverse radioa signals and scanning of radio frequences. Martins Ratniks is one of most renowned Latvian video artists, whose experiments in the field of art and technologies has been acknowledged both in Latvia and abroad. This will not be the first collaboration between “ Clausthome” and Martins Ratniks, previously they have been working togeher on such projects as “ Spectrosphere” (2006) and “ Unknown Planet” (2012).

REYNALD DROUHIN

РЕЙНАЛЬД ДРУХИН
LANDSCAPE MONOLITH

MONOLITH is the title of French multimedia artist Reynald Drouhin’s latest art project which consists of a series of digitally manipulated images of stunning natural landscapes. In the middle of picturesque sunsets and serene Arctic landscapes, Drouhin pastes a mysterious prismatic shape and then flips it, thus creating a mind-boggling visual effect of an otherworldly transparent object hovering in desolate locations. The entire project is an ingenious appropriation of the famous monolith from Stanley Kubrick’s film ”2001: A Space Odyssey” where mysterious dark rectangular objects (dubbed as monoliths) were scattered across the solar system by an unknown alien civilisation which seemed to guide humans along a risky interplanetary journey. Reynald Drouhin’s MONOLITH series captures exactly the double nature of Kubrick’s monoliths: the inverted shapes in the photographs seem to be a window to another dimension, a physical anomaly which distorts the nature around it, and is both menacing and inviting.

VOLKER KUCHELMEISTER

transmutation
In the weird and wonderful world of quantum mechanics, dimensional transmutation describes a phenomena which changes the state of a parameter by adding dimensions to its dimensionless condition. This experimental film applies this principle to visualize the complex interactions between atmosphere and climate. It utilizes a six-dimensional framework, comprised of regular space-time augmented with climate data collected between 1993 and 2011.Changes in global tropospheric temperature, mean sea level, and atmospherical co2 concentration are mapped onto the color palette, shape, and stereoscopic depth of a video clip, depicting a low-lying shoreline in Indonesia, threatened by rising sea levels.The film begins ‘flat’, but over time, with increasing co2 concentration in the atmosphere, its stereoscopic depth expands, and the landscape opens up to the observer, while temperature and sea-level changes modify color and shape.