FILE SAO PAULO 2017
LES DISCIPLINES DU RECTANGLE
Inspired by Michel Foucault’s work, Les disciplines du rectangle is a videogame proposition about the nature of rules and norms at the digital age. If society provides models of accomplishment we are supposed to fit inside, then the rectangle is the pure abstraction of this idea. The geometrical shape works as a symbol of the very nature of normativity, blind to individual differences. The rectangle, existing only on the screen, reveals how digital technologies can in some ways become the new location for this normativity and the ambivalent results of their intangible and invisible nature. Besides, the installation offers an occasion to think about the way games can become manipulation tools. The fact that in the end, players act as if they were piloted by the rectangle (an inversion of the traditional relationship between player and avatar) gives an aesthetical highlight to this.

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Inspirado en el trabajo de Michel Foucault, Les disciplines du rectangle es una propuesta de videojuego sobre la naturaleza de las reglas y normas en la era digital. Si la sociedad proporciona modelos de realización en los que se supone que encajamos, entonces el rectángulo es la pura abstracción de esta idea. La forma geométrica funciona como símbolo de la naturaleza misma de la normatividad, ciega a las diferencias individuales. El rectángulo, que existe solo en la pantalla, revela cómo las tecnologías digitales pueden convertirse de alguna manera en la nueva ubicación de esta normatividad y los resultados ambivalentes de su naturaleza intangible e invisible. Además, la instalación ofrece la oportunidad de pensar en cómo los juegos pueden convertirse en herramientas de manipulación. El hecho de que, al final, los jugadores actúen como si fueran piloteados por el rectángulo (una inversión de la relación tradicional entre jugador y avatar) le da un toque estético a esto.

FILE SAO PAULO 2017
THE BREATHING CLOUD
“The Breathing Cloud” is a monumental floating organism. The work transforms a space by its motion, light, and rhythmic breathing. With this light art the phrase “let a room come to life” gets a new meaning. The clouds skin looks fragile and soft, and the movements are rhythmic, yet random, so the whole room feels like a living being. The technology is designed so that the strong LED modules and the mechanism support the pervasive breathing. It gets physically bigger and smaller and embraces with its bright light space.

Coro pêndulo
Pendulum Choir é uma peça coral original para 9 vozes A Cappella e 18 macacos hidráulicos. O coro é constituindo por um corpo vivo e sonoro. Esse corpo se expressa por meio de vários estados físicos. Sua plasticidade varia de acordo com sua sonoridade. Varia entre sons abstratos, sons repetitivos e sons líricos ou narrativos. Os corpos dos cantores e suas vozes brincam com e contra a gravidade. Eles se tocam e se evitam, criando polifonias vocais sutis. Ou, apoiados por sons eletrônicos, rompem sua coesão e explodem em um voo lírico ou se dobram em um ritual obsessivo e sombrio. O órgão viaja da vida à morte em uma alegoria robótica onde a complexidade tecnológica e o lirismo dos corpos em movimento se combinam em uma obra com acentos prometéicos.
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Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir is constituted by a living and sonorous body. This body expresses itself through various physical states. Its plasticity varies according to its sound. It varies between abstract sounds, repetitive sounds and lyrical or narrative sounds. The singers’ bodies and their voices play with and against gravity. They touch and avoid each other, creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and explode in a lyrical flight or bend in an obsessive and dark ritual. The organ travels from life to death in a robotic allegory where technological complexity and the lyricism of moving bodies combine in a work with Promethean accents.

Delusional Crime and Punishment

Who created life? I think this is the question everyone has been asking themselves since childhood? At least I have many doubts, the subjective feeling of the existence of consciousness allows us to face the world from that source. Why do humans eat like this for energy? Why not get energy in other ways? Why do you need energy to exercise? Why is this so joyful and so painful? What is the need for pain, pleasure, fear, excitement, etc.?Upon careful analysis, it appears that the source of many desires comes from the design of our physical structure. If God designed human beings, why was he designed that way and why was he designed as a biological mechanism for sin and hell? Why do human beings have desires because of such a physical structure and even they don’t understand self-control, they have sins, and they have to go to another hell of punishment system to atone for their sins? Who created this series of systems?

Winterreise
Captured moments are central in Kicsiny’s installations. His characters are simultaneously frozen still and in motion. In some works this paradox becomes literal, as in the installation Winterreise that depicts two priests skiing in different directions using the same skis, which makes forward motion impossible. The figures seem lost, isolated and their journey endless. In their hands they hold Jacob’s staffs, navigational instruments used in the 17th century. The work alludes to the continuous search for one’s place in life.

VANGELIS
R.I.P
Horizon
In amongst the rings of confusion
Silencing the thought powers one by one
It seems all so incredible
Our own ability to confuse – to sacrifice
To enlighten like a shakespearian play
We foolish and happily hold on to sanity
While all around the pushing feelings
The twisting and turning of our hearts
Displaying an almost indefinable strength
Of purpose – a reason a reason a reason
Where no reasons seems to exist
Yet, as in a vision, a voice transcending
All our imagination, jewel of life
Guiding light heralding a joyous new dawn
Clear and gifted time
Divine nature – super nature
The supreme gift of knowledge and space
In this cacophony of life
Peace will come

Replica
We begin with a tour of a virtual 3D model of the London house-cum-museum built by 19th-century architect Sir John Soane. The journey traverses the five floors of the museum’s meticulously restored rooms, each filled with original and duplicate fragments of antiquity. Sir John Soane (1753-1837) was one of the foremost British architects of the Regency era, a Professor of Architecture at the Royal Academy, and a dedicated collector of paintings, sculpture, architectural fragments and models, books, drawings and furniture. Soane was awarded the Royal Academy’s prestigious Gold Medal for Architecture, as a result receiving a bursary (funded by King George III) to undertake a Grand Tour of Europe. His travels to the ruins of Ancient Rome, Paestum and Pompeii would inspire his lifelong interest in Classical art and architecture. As an enthusiastic collector, later in life he began to repurpose his home at Lincoln’s Inn Fields as a Museum for students of architecture. With a collection containing thousands of objects ranging from Ancient Egyptian antiquities and Roman sculpture to models of contemporary buildings, Soane’s house had become a Museum by the time of his death.

MAHLER

KEN RUSSELL

Russell had long been an admirer of Mahler’s music. He said he based the film on “the rondo form in music where you present the theme and follow it with variations, then return to the theme and so on. My theme was the composer‘s last train journey before he died. During the journey we flash back to incidents in his life, the variations on the theme as it were. They vary from passion to comedy. Like the scherzos from his symphonies some of the scenes are pretty grotesque, too.”
cinema full

netBody: Cuerpo aumentado y cuerpo virtual II
En “netBody: Augmented Body and Virtual Body II” conectamos el mundo real con la realidad online de Second Life a nivel físico: los movimientos corporales de una persona en el mundo real controlan un avatar en Second Life, mientras que los movimientos de un avatar controlar a una persona para liderar. Un avatar de Second Life se convierte en un medio de conectar físicamente al individuo con la sociedad. Esto podría permitir que personas de todo el mundo con el hardware adecuado se comuniquen entre sí a través de Internet. Jugamos con nuestra percepción del cuerpo de un individuo como su identidad.

Terraforming
The video work “terraforming” focusses on the transformation of a natural environment through energy input. The underpinning idea is that of three phase system change. This begins with the stage of equilibrium where a system is in a certain balance and not changing at all. In the next stage an evolving system enters a state of motion and change where it moves away from equilibrium. The third and final stage is the phase of transformation in which the original system becomes something else. The key element in this transformation process is the sun. This process is called terraforming, whereby a hostile environment, i.e. a planet that is too cold, too hot, or has an unbreathable atmosphere, can be altered to make it suitable for human life. Such a process is not merely a futuristic scenario but represents exactly what is happening on Earth at this moment as the process of atmospheric change brought about by increasing CO2 emissions heats up our planet and speeds up the process of climate change.
video

سيدي العربي الشرقاوي
西迪·拉比·切考维
Сиди Ларби Шеркауи
Sutra
artist: Antony Gormley
The 17 Monks performing in Sutra are directly from the original Shaolin Temple, situated near Dengfeng City in the Henan Province of China and established in 495AD by monks originating from India. In 1983 the State Council defined the ShaolinTemple as the key national Buddhist Temple. The monks follow a strict Buddhist doctrine, of which Kung fu & Tai Chi martial arts are an integral part of their daily regime. By visiting the Shaolin Temple in China, and working with the Shaolin Monks over several months, Sidi Larbi follows a life-long interest of exploring the philosophy and faith behind the Shaolin tradition, its relationship with Kung-Fu, and its position within a contemporary context.

airmorphologies

poster sky3

Deja’s work is so effective because it engages with the aesthetics of new technologies in order to critique their sociological, psychological, and physical impact on our embodied selves. At times idealistic and others damning, Deja avoids sorting technology into a
good-bad binary, but instead allows both ends of that spectrum to proliferate, allowing visitors to her supersensory exhibitions come to their own conclusion. She just asks “Technology enhances
and simplifies communication, but are we really more connected?”

a little death

Despite the broader reference to the traditional pictorial genre of “still life”, disseminated from the Dutch and Spanish painters of the 15th, 16th and 17th centuries, ‘Still life’ from 2001 and ‘A little death’ from 2002 refer especially to the painting of transient elements of the French Jean-Baptiste-Siméon Chardin (1699-1779) to discuss the distortion and inexorability of time, the finitude of life or, above all, the interdependence between life and death. The title makes a direct reference to the expression with which the French philosopher Georges Bataille defined the orgasm: ‘une petite mort‘.

SONNTAG aus LICHT

Sonntag aus Licht takes as its subject our solar system and the relationships of all the planets that orbit the sun. In this opera, the earth and life on it is represented as the result of the union of light and water. These two elements are presented in the first scene, and the rest of the opera celebrates the evolution of life, of plants, animals, humans, and above all this the planets, moons, and heavenly constellations. The opera has a pronounced ritualistic and meditative character, with very little that can be described as dramatic action.

A Surge of Power
Within 24 hours Marc Quinn’s statue A Surge of Power (Jen Reid) 2020 has been erected in secret on a Bristol plinth and as quickly removed by the council. Life-sized, cast in black resin, it showed the campaigner Jen Reid standing, one fist raised, in a pose in which a photographer had captured her a few weeks earlier when she had stood on the empty plinth after Black Lives Matter (BLM) protesters tore down a bronze monument to the 17th-century slaver Edward Colston.

insect microscope
The scientist at Howard Hughes Medical Institute’s Janelia Farm Research Campus, has been using laser-scanning microscopes to capture the incredible details of the insect world unseen to our naked eyes. Not only that, he also colors the pictures to show the tree-like structures that turn the pictures into these vibrant blueprints of life.

Xenobots – the First “Living Robots”
Researchers used the Deep Green supercomputer cluster and an evolutionary algorithm to design new life-forms that could achieve an assigned task. Then they built them by combining together different biological tissues from Xenopus laevis embryos, hence the name Xenobots.
Credit:A scalable pipeline for designing reconfigurable organisms
Sam Kriegman, Douglas Blackiston, Michael Levin, and Josh Bongard
PNAS, DOI: 10.1073/pnas.1910837117

Autobiography
Autobiography is an abstract meditation on aspects of self, life and writing, a non-linear approach to a life story refracting both remembered pasts and speculative futures. McGregor worked with dancers from his company in 2017 to create choreography from old writings, personal memories, pieces of art and music that have been important in his life. From these elements, 23 sections of movement material were created, reflecting the 23 pairs of chromosomes of the human genome. The choreographic events from the 23 sections were then fed into an algorithm based on McGregor’s genetic code.

Interstitial Space Helmet
Der Interstitial Space Helmet (ISH) ist ein Erfahrungskommentar zur zeitgenössischen Kommunikation, wie sie durch Technologie vermittelt wird. Die ISH befasst sich mit dem Aufstieg der digitalen Vermittlung menschlicher Repräsentation und wie dies normative Vorstellungen von Bild, Persönlichkeit und Kommunikation in Frage stellt. Während sie vor dem Bildschirm platziert werden und über Webkameras und künstliche Personas mit anderen interagieren, könnte der moderne Computerbenutzer auf sie stoßen Probleme im Umgang mit realen Menschen in physischen Interaktionen. Das Konzept verwischt diese beiden Welten und nimmt Elemente des Virtuellen in das Physische auf. Als Produkt für die Otaku-Generation erkennt es die Tatsache an, dass das Internet neue Formen der sozialen Interaktion geschaffen hat, die neue Verhaltensweisen ermöglichen. Beispiele hierfür sind Online-Chatrooms, Spiele und virtuelle Welten wie Second Life, in denen wir derjenige sein können, für den wir uns entscheiden. Normative Verhaltensweisen und Regeln existieren nicht und für einige sind diese Orte komfortabler als die physische Welt. Der Interstitial Space Helmet besteht aus zwei vakuumgeformten Standardhälften von A.B.S. Diese werden individuell mit einer akustischen Innenpolsterung an den Benutzer angepasst, um eine bequeme und schalldichte Passform zu gewährleisten. Das ISH in der Standardform verfügt über einen A / V-Ausgang, einen internen LCD-Bildschirm in einem Abstand von 17,5 cm vom Auge und ein internes Mikrofon.

Scrap Tires

Photographer – Pilot – Aerial Archaeologist
Already in his childhood Klaus Leidorf enjoyed taking photographs from all kind of perspectives – that this is going to be his profession one day he would not think of yet. He studied protestant theology, but realized soon that this is not what he wants to do his whole life. So he changed the subject to pre- and early history.
After his studies he worked at the Bavarian State Office for the Preservation of Historical Monuments and after two years there was the possibility to continue the aerial archaeology for Bavaria. Therefor he got his pilot license and from the late 80ies on, his workplace is several hundred meters above ground in a Cessna 172.

让汤格利
ז’אן טינגלי
ジャン·ティンゲリー
장 팅겔리
Жан Тингели
homage to new york
JEAN TINGUELY’S “Homage to New York” was billed as the ultimate homemade gadget — a towering contraption composed of found junk, dismembered bicycles, dismantled musical instruments, glass bottles, a meteorological balloon and electric motors in questionable condition. It was slated to come to life and spectacularly self-destruct in a one-night-only performance for some 250 patrons and reporters in the Abby Aldrich Rockefeller Sculpture Garden at the Museum of Modern Art on March 17, 1960. And self-destruct it did, but not quite according to plan.Mr. Tinguely’s self-destructive sculpture had failed — and thereby, in a sense, succeeded. Mr. Tinguely, a Swiss artist who died in 1991, was by 1960 well known for such Dada-inflected works; he posed with the wreckage after the performance and took a bow.