1024 architecture

VORTEX

Architectural fragment made from scaffolding, VORTEX has a raw wood skin highlighted by 12 lines of LED light as many generative and constructive project’s lines. Merging organic materials with new technologies, this hybrid architectural artwork wraps around and embraces the footbridge between the complex’s two buildings, revealing and enhancing the venue’s dynamic energy while working as a live visualizer of energy consumption.VORTEX evolves like a living organism; it breathes, trembles and emits pulses of light created using 1024’s MadMapper software. Manually controlled via a joystick, the structure can be synchronized to music and also displays its location’s energy consumption through a series of illuminated tubes. It ultimately answers to the ambient environment around it, capturing the Darwin Ecosystem Project’s unique energy consumption footprint, and converting it into data that is processed to spawn realtime visuals.
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Ai-Da

“Poem for an artificial intelligence”

the sun is a beautiful thing

in silence is drawn

between the trees

only the beginning of light

this realm of rain

grey sky and cloud

it’s quite and peaceful

safe allowed

And, arguably, worse:

I am a coal-truck

by a broken heart

I have no sound

the sound of my heart

I am not

Lisa Rovner

‘Sisters with Transistors’, a documentary about the pioneers of electronic music

This November, a new documentary dedicated to the pioneers of electronic music will see the light under the name ‘Sisters with Transistors’. The feature centers around the work of figures such as Suzanne Ciani, Delia Derbyshire, Laurie Spiegel, and Clara Rockmore.
The feature aims to reveal a unique struggle for emancipation and restore the central role of women in the history of music and society in general.
‘We, women, were especially attracted to electronic music when the possibility of a woman composing was itself controversial. Electronics allow us to make music that others can listen to without having to be taken seriously by the male-dominated establishment’, says the director of the piece.

Marshmallow Laser Feast

NEST

Inspired by Homer’s Odyssey
Loosely based on Homer’s The Odyssey, Marshmallow Laser Feast’s light installation lit the primary performance space within the chapel’s hazy internal dome. Grid-like projections crossed with mobile structures (designed by the architectural practice Studio Weave) as agile bodies crept over, in and through the many lit towers and surfaces. This first act was seen by the audience from the left and right balconies above. The second act, down flights of rope-lined staircases in the concrete basement, was more disorienting, lit only with triangular neon tubing and an eerie glow that seeped from an open door. The style of dance, in keeping with the more rapid and percussive score, by Canadian composer Christopher Mayo and electronic music composer / performer Anna Meredith, confronted the audience and was staged without boundaries dividing the dancers (some of whom were in street clothes) and viewers.

Wayne McGregor

Atomos

Atomos grows out of the smallest unit of matter. Bodies, movement, film, sound and light are atomised into miniature shards of intense sensation.Ten incredible dancers perform the unique style of Wayne McGregor – sculptural, rigorous, jarring and hauntingly beautiful. McGregor is accompanied by a team of sensational artists including longtime collaborators lighting designer Lucy Carter and filmmaker Ravi Deepres, and neo-classical ambient composers A Winged Victory For The Sullen.

Gustav Mahler

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

NILS VÖLKER

Two Hundred and Seventy
Through the combination of an everyday material with precise technology the mixed media installation fills the whole columned hall from the 19th century with its fluid movement and peculiar sound. Concavely arranged and floating above the spectators heads the form of the artwork seems to pass the skylight like the sun’s rays. Subdivided into nine columns, the nearly 70 square metres large piece of art follows a site-specific choreography determined by a program. Its moving surface is made from 270 white garbage bags, being inflated and deflated. In this way shapes and the boundaries of the installation itself start to dissolve. “Two Hundred and Seventy“ is the first installation with an undisguised view behind the scenes and onto the origin of the wavelike and organic movement: 1080 fans, lots of cables and 45 circuit boards

Robyn Moody

Wave Interference
Any image can be made to elicit any emotional response based on the soundtrack that accompanies it. This is a fact that filmmakers have exploited for years; a soundtrack can make an image cheerful, or nostalgic, or (in a minor key) induce feelings of melancholy or dread. Wave Interference combines a beautiful and elegant vision of a wave of light with a gradually changing melancholic soundtrack;

Akram Khan

Until the Lions
In this partial adaptation of poet Karthika Naïr’s book Until the Lions: Echoes from the Mahabharata, an original reworking of the epic Mahabharata, Khan uses kathak and contemporary dance to tell the tale of Amba, a princess abducted on her wedding day and stripped of her honour, who invokes the gods to seek revenge. In an epic theatrical piece, Khan explores the notion and the physical expression of gender, bringing together some of the stellar artistic team behind his solo DESH: writer Karthika Naïr, visual artist Tim Yip, lighting designer Michael Hulls and dramaturg Ruth Little.

Hybe

Light Tree: Interactive Dan Flavin
HYBE’s Light Tree: Interactive Dan Flavin re-illuminates the minimalist fluorescent light tubes of Dan Flavin from the 1960s, through digital technology. Experimenting with light and its effect, Flavin explored artistic meaning in relationships between light, situation, and environment. The readymade fluorescent light fixtures he used created space divided and adjusted by light and composition, offering a newly structured space with light. HYBE’s work expands the logic of Flavin by reinforcing the physical property of light through interactive media. It presents an escape from traditional lighting, as light and color changes when touched by viewers. Lighting here is divided into front and back, and colors are programmed to maintain complementary colors. The front lighting constantly interacts with colors on a back wall through visual contrast and mixture. A random change and diffusion of light with the involvement of viewers provokes tension extending and segmenting space, turning space into a forum for emotional perceptual experience.

Ryoji Ikeda

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.

bill viola

比尔•维奥拉
빌 비올라
ביל ויולה
ビル·ヴィオラ
БИЛЛ ВИОЛА
martyrs (earth, air, fire, water)

“As the work opens, four individuals are shown in stasis, a pause from their suffering. Gradually there is movement in each scene as an element of nature begins to disturb their stillness. Flames rain down, winds begin to lash, water cascades, and earth flies up. As the elements rage, each martyr’s resolve remains unchanged. In their most violent assault, the elements represent the darkest hour of the martyr’s passage through death into the light.”

MASAKI FUJIHATA

beyond pages

The data projector loads images of a leather bound tome onto a tablet which a light pen activates, animating the objects named in it – stone, apple, door, light, writing. The soundscore immaculately emulates the motion of each against paper, save for the syllabic glyphs of Japanese script, for which a voice pronounces the selected syllable. Stone and apple roll and drag across the page, light illuminates a paper-shaded desklamp; door opens a video door in front of where you read, a naked infant romping, lifesize and laughing, in.

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.

László Moholy-Nagy

Light Space Modulator

“This piece of lighting equipment is a device used for demonstrating both plays of light and manifestations of movement. The model consists of a cube-like body or box, 120 x 120 cm in size, with a circular opening (stage opening) at its front side. On the back of the panel, mounted around the opening are a number of yellow, green, blue, rot, and white-toned electric bulbs (approximately 70 illuminating bulbs of 15 watts each, and 5 headlamps of 100 watts). Located inside the body, parallel to its front side, is a second panel; this panel too, bears a circular opening about which are mounted electric lightbulbs of different colors. In accordance with a predetermined plan, individual bulbs glow at different points. They illuminate a continually moving mechanism built of partly translucent, partly transparent, and partly fretted materials, in order to cause the best possible play of shadow formations on the back wall of the closed box”. László Moholy-Nagy

Chris Salter

n-Polytope: Behaviors in Light and Sound after Iannis Xenakis
N_Polytope: Behaviors in Light and Sound After Iannis Xenakis is a spectacular light and sound performance-installation combining cutting edge lighting, lasers, sound, sensing and machine learning software inspired by composer Iannis Xenakiss radical 1960s- 1970s works named Polytopes (from the Greek ‘poly’, many and ‘topos’, space). As large scale, immersive architectural environments that made the indeterminate and chaotic patterns and behaviour of natural phenomena experiential through the temporal dynamics of light and the spatial dynamics of sound, the Polytopes still to this day are relatively unknown but were far ahead of their time. N_Polytope is based on the attempt to both re-imagine Xenakis’ work with probabilistic/stochastic systems with new techniques as well as to explore how these techniques can exemplify our own historical moment of extreme instability.

TOMÁS SARACENO

توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
SOLAR BELL
Inspired by Alexander Graham Bell’s lesser-known experiments with flight behavior of tetrahedrons, Berlin-based artist Tomas Saraceno developed Solar Bell – a lightweight, wind and solar powered, sculpture that plays with the concept of flying buildings.

Donald Davis

Internal view of the O’Neill cylinder
“One of my earliest Space Colony paintings was based on the giant ‘Model 3’ cylindrical habitats envisioned by Gerard O’Neill. I imagined the clouds forming at an ‘altitude‘ around the rotation axis. At this time the scene is bathed in the ruddy light of all the sunrises and sunsets on Earth at that moment as the colony briefly enters the Earths shadow, out at the L5 Lagrangian point where stable locations are easily maintained. Oil on canvas panel disposition unknown. “

Lebbeus Woods

The Light Pavilion
The Light Pavilion by Lebbeus Woods in collaboration with Christoph a. Kumpusch, in the Raffles City complex in Chengdu, China, by Steven Holl Architects.
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The Light Pavilion is designed to be an experimental space, one that gives us the opportunity to experience a type of space we haven’t experienced before. Whether it will be a pleasant or unpleasant experience; exciting or dull; uplifting or frightening; inspiring or depressing; worthwhile or a waste of time, it is not determined by the fulfillment of our familiar expectations, never having encountered such a space before. We shall simply have to go into the space and pass through it. That is the most crucial aspect of its experimental nature, and we – its transient inhabitants – are experimentalists.Lebbeus Woods and Christoph a. Kumpusch

Nicolas Bernier

frequencies (light quanta)

The project is part of an ongoing process entitled «frequencies», exploring basic sound and light dichotomic systems. Here, frequencies (light quanta) stems from a fascination towards science, light, and granular synthesis allowing to create clouds/grains of sounds. The conceptual focus lies in the quantum — the smallest measurable value of energy —, on the smallness of matter. The whole project is based on the possible conceptual relationships between basic quantum physics principles applied to the audio-visual creative process: particles, probabilities, wave/particle duality and discontinuity. Metaphorically structured around these notions, the audio-visual composition stems from 100 sound and light micro-sequences that develop themselves, generating an ever expending but yet disruptive form in time and space. With the use of randomness, the vectorial graphics are always creating new ways to look at the visual, physically superimposing pattern images.

CHRIS CUNNINGHAM

Björk: All Is Full of Love

The video reaches its harmonious climax as the robots join in embrace, still being detailed by the robotic machines beside them.
Each robot was designed by Cunningham, faces reminiscent of Björk’s own delicate visage. The sterility of the room and lighting and the rendered movements of the machines contrasts with the fluid motions of the robots as they connect in a purely human method.

Keith Lam

Heliocentric
“Heliocentric” is a lighting sculpture represents the movement of universe. It dialogues to its history (from temple to school to creative hub) and its functionality (welcoming people connect and learn the universe)
With the lighting arrangement, kinetic movement of the light, and the performer , it shows the relationship between universe, knowledge and human.

RAFAEL LOZANO-HEMMER

РАФАЭЛЬ ЛОЗАНО-ХЕММЕР
拉斐尔·洛萨诺 – 亨默
ラファエル·ロサノ=ヘメル
라파엘 로자노
רפאל לוזאנו, המר
Open Air
Depending on atmospheric conditions, Open Air could be seen up to 10 miles away from the Parkway each evening from 8 to 11 p.m. The Project Information Center at Eakins Oval was equipped with app download, free mobile loan stations and seating areas for watching the lights and listening to the messages. There was also be an Information Outpost located at Sister Cities Park (18th Street and Logan Square).The Open Air voice archive also features selected “Voices of Philly,” recorded messages from distinct individuals both past and present who have inspired and influenced the flavor of Philadelphia. “Voices of Philly” messages are accessible on this website and were played at various times throughout the project. Content for “Voices of Philly” was collected by project partner WHYY executive producer Elisabeth Perez-Luna and includes David Lynch, Sonia Sanchez, Sun Ra, Louis Kahn, M. Night Shyamalan, Tina Fey, ?uestlove, Marcel Duchamp, Buckminster Fuller, Jimmy Heath, Santigold, Maurice Sendak, Patti LaBelle and many more.

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.

RAFAEL LOZANO-HEMMER

Рафаэль Лозано-Хеммер
拉斐尔·洛萨诺 – 亨默
ラファエル·ロサノ=ヘメル
라파엘 로자노
רפאל לוזאנו, המר
Pulse Room

Pulse Room is an interactive installation featuring one to three hundred clear incandescent light bulbs, 300 W each and hung from a cable at a height of three metres. The bulbs are uniformly distributed over the exhibition room, filling it completely. An interface placed on a side of the room has a sensor that detects the heart rate of participants. When someone holds the interface, a computer detects his or her pulse and immediately sets off the closest bulb to flash at the exact rhythm of his or her heart. The moment the interface is released all the lights turn off briefly and the flashing sequence advances by one position down the queue, to the next bulb in the grid. Each time someone touches the interface a heart pattern is recorded and this is sent to the first bulb in the grid, pushing ahead all the existing recordings. At any given time the installation shows the recordings from the most recent participants.

Phillip K. Smith

10 Columns
His newest work, simply titled “10 Columns,” inaugurates Bridge Projects by transforming the 7,000-square-foot exhibition space in Hollywood into a synthetic sunrise/sunset[…] Smith has programmed the light-emitting diodes in each panel to cycle through an hourlong sequence of colors. The palette is space-age baroque its primaries and secondaries endowed with the artificially enhanced zing of exquisitely mixed tertiaries.

FRANCK SORBIER

On stage, the ample white strapless dress of a still model serves as a screen for all kinds of projections that echo those of a big screen in the background. “Mixing 3D video with certified fairy tale stories and tailoring tradition” is the idea of the atypical Mountain Ash. Intel technology brings to life on the fabric all kinds of patterns simulating embroidery or painting on silk: stripes of neon lights, butterflies flapping their wings, “mapping” of crystal tassels or the northern lights …

 

daan roosegaarde

waterlicht

Dubbed “the northern light of the Netherlands” by Studio Roosegaarde, the Waterlicht installation is designed to create the impression of a “virtual flood”.The waving lines of light spread across 1.6 hectares bear a resemblance to the northern lights – the natural phenomenon created when charged particles enter the Earth’s atmosphere – when viewed from underneath.

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.

Wow

Beyond Cassini
“BEYOND CASSINI” uses this narrative to celebrate the accomplishments of one of the most successful and beloved Satellites in space exploration history. As Cassini begins its final flight into Saturn’s upper atmosphere with a mission of disintegration, visuals flash back through time giving viewers highlights of this dying satellite’s life.

Teresa van Dongen

Electric Life
Teresa van Dongen explores the specific bacteria as a means to generate electricity for domestic use. Electric Life is the latest translation in Dongen’s ongoing exploration for alternative and natural sources of energy and light. The light installation is entirely powered by micro-organisms that have electrons as a waste product.

Émilie Brout & Maxime Marion

Lightning Ride
“With Lightning Ride, it is now poles of technology, organics and mysticism that collide with  electricity as a connecting point. The video is produced from excerpts of “Taser Certifications”, a sort of ceremony authorizing in the United States the use of Tasers in the condition of being tased by someone else. Filtered with the Photoshop’s “oil painting effect”, slowed down and accompanied by a disturbing soundtrack, the succeeding images show us bodies and faces whose deformations and positions evoke a feeling of pain as well as a Christian ecstacy. Everything unfolds as if the miracle of electricity, symbol of the rationalization of the world, revived paradoxically an aspiration to transcendence, antipodes joining each other and disappearing in profit of a new map of possibilities.” (Sarah Ihler-Meyer)

Jeppe Hein

Breath from Pineal to Hara

Coloured neon rings light up in a specified sequence behind a two-way mirror, layered with reflections of the visitors and the surrounding space. Starting with the inner ring, the individual rings light up one after the other. Once all rings are illuminated, they switch off again from the outer ring to the inside. The sequence and colours are reminiscent of the breathing technique from Pineal to Hara and the artwork invites the viewer to breath accordingly. Combined with the two-way mirror in front of it, it seems to awaken viewers to the present moment and make the usually unconscious process of breathing conscious for a while. Breathe in. Breathe out.

James Turrell

جيمس توريل
詹姆斯·特瑞尔
ג’יימס טורל
ジェームズ·タレル
설치작품 제임스 터렐
ДЖЕЙМСА ТАРРЕЛЛА
Gard Blue
James Turrell’s pivotal 1968 work Gard Blue represents a transformative period in his career, marking the crucial juncture when Turrell shifted the viewer’s attention to perception and the phenomenon of light rather than an object. Appearing in a large, box-like room constructed within the Central Court, Gard Blue is a projection of light. The clarity of Gard Blue’s presence is held by a single, arresting color.

Regine Schumann

colormirror dornbirn
Regine Schumann is a minimalist artist who works with Light Art, initially inspired by Color Field Painting and artists as Mark Rothko, Donald Judd and Dan Flavin. Schumann’s boxes and installations are made of acrylic colour plates especially produced for her. Her work is more than just Concrete Art. Conceptualized as emotive spaces, Schumann’s colour– lled light rooms provoke intense feelings of something otherworldly. Her minimalistic approach affects everything from her choice of materials to the way she plays with form and colour.

BINA BAITEL

Pull over
French-israeli-swedish architect-designer bina baitel‘s lighting transcends the interaction between light and material, combining technological innovation with french handcraft. Her newest collection of lighting objects is commissioned and produced by nextlevel galerie in paris.‘Pull-over’: baitel’s previously designed ‘pull-over’ tactile luminaire is now also being produced by nextlevel gallery. The skin of the design is a variable luminous source thanks to its flexible nature – the light bulb, dimmer and lampshade are one.

UVA UNITED VISUAL ARTISTS

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
volume

Volume is one of the projects that could be bestowed with the adjective “poetic“. Composed of multiple columns, this scultpure, both luminous and sound, comes to life as the participants travel in it. The more visitors there are, the more the “forest” is adorned with bewitching colors and sounds, harmoniously blending interaction with immersion.

JORIS STRIJBOS

SVNSCRNS
SVNSCRNS is a commissioning project that is initiated by Klankvorm after a concept by Joris Strijbos. The project consists of the realization of a kinetic audiovisual installation for which artists are invited to realize content. The installation can be used for live performances as well as for playing prearranged compositions. The installation consists of seven rotating projection screens and speakers that can be controlled from a central point. Custom build software and hardware are accessible for artists from different backgrounds to experiment with this new dynamic field for audiovisual composition. Light, sound and movement come together with different forms of digital media to create a multi sensorial experience for the audience. In this way the project functions as a platform in which makers and creators of all kinds can collaboratively explore this kinetic audiovisual medium. The result is a slow moving robotic structure which can display different sorts of media but in it’s presence will have a strong influence on the experience of the spectator.

South Georgia Heritage

NEON – Fantastical Architecture, Art and Design

FROM DARKNESS TO LIGHT
South Georgia Heritage Trust launched an open call for a site-specific commission to be located on Grytviken the former whaling station of sub-Antarctic Island of South Georgia. The project was required to celebrate the whale through a reinterpretation of the former Flensing Plan (a large timber deck used to process the captured whales) and offer a message of hope for future generations by demonstrating how humankind can move from exploitation to conservation. Our proposal imagines that the deck of the Flensing plan has been cut like a piece of flesh from the ground and bent upwards to form an arc. The timber deck is replaced with concrete pavers which are coloured based on the activities which took place in the sites past and present (whale processing and whale watching). The coloured pavers are positioned to create a gradient which provides the visitor with a visual representation of the way the site has changed over time.

BERENIKE CORCUERA

Purple Light

À travers des photographies kiriliennes de son aura capturées pour la première fois en 2014, elle a commencé à étudier le champ aurique électromagnétique du corps humain:L’aura est une ellipse métaphysique 3D composée de 7 bandes de corps de lumière autour du corps physique. L’énergie de l’aura est transmise vers / depuis le corps via 7 centres d’énergie – des chakras («roue» en sanskrit) situés le long de la colonne vertébrale du corps humain, ce qui a inspiré sa collection d’études supérieures.Berenike traduit la légèreté dans toute sa collection, en dédiant 6 looks aux centres spécifiques et à leur couche de corps léger.

Philippe Parreno

ФИЛИПП ПАРРЕНО
فيليب بارينو
菲利普·帕雷诺
H {N)Y P N(Y} OSIS
H {N)Y P N(Y} OSIS includes a vast collection of sculptural lighting that suspends from the cavernous ceiling. glowing white shapes informed by the design of movie marquees hang above visitors in bundles and as single geometries, casting dynamic patterns on the ground. as a participant walks through the site, they meet video installations, projections, pianos, chairs, speakers and sounds, all which have been carefully orchestrated to produce an immersive, sensory, and constantly-unfolding creative environment.

YUNCHUL KIM

Impulse
The Cascade Project explores matter by capturing the pattern of muons: i.e. electrically charged subatomic particles. It does so through an installation comprised of three live elements: a muon detector; a complex assemblage of pumps; and an arrangement of tubes through which fluid flows. When muons are detected, a light and connected pumps are activated, triggering the movement of an uncanny, viscous fluid through the sculptural system.

ANN HAMILTON

アン·ハミルトン
앤 해밀턴
Filament

This piece consisted of a high curtained structure which circulated the material around in one space. It stopped every 15 seconds or so, enough time for one or two people to enter into the spinning vortex of linen material. Whilst standing inside the whirlwind of fabric I felt as though I myself were almost flying or being transported to another dimension or something (ok, this description might be slightly exaggerated, but I have quite an ambitious imagination!) Either way, I fully enjoyed the experience of the piece immensely.

karolina halatek

halo
The title of the work HALO refers to the natural optical phenomena seen around the sun or moon, produced by light in the interaction of ice crystals. The first references of the atmospheric phenomenon can be found in a section of the “Official History of the Chin Dynasty” (Chin Shu) from 637, on the “Ten Haloes”, giving technical terms for 26 solar halos. In the exhibition, the place of the celestial body is given to the art viewer, who becomes a central part of the piece.

Elisabeth Chojnacka

Henryk Górecki
Concerto for Harpsichord and String Orchestra Op. 40
Harpsichord: elisabeth chojnacka

Less than nine minutes long, the bipartite Concerto for Harpsichord (or Piano) and String Orchestra, which the composer sometimes called a “prank”, is a veritable volcano that carries the listener away from the very first bars with its immense energy. Its repetitive, motoric nature and rhythmic vigour suit the specific, slightly clattery sound of the harpsichord which is usually somewhat amplified, complemented by the chordal texture of the strings. In both parts, the mood of the piece clearly draws on the highlander music of the southern Podhale region, of which Górecki was a great admirer. In the context of his monumental sacred music from the same period, this Concerto is like the artist’s brief “respite”. It reflects the whirl and “profane” energy of a folk dance.
Elżbieta Chojnacka, to whom the piece was dedicated, has always stressed that every performance of the Concerto, which she has played throughout the world, ends with an encore. The piece meets with such acclaim from the audience, and is one of the most striking – and most joyful – compositions in the composer’s output. “A spectacular plaything”, as the musicologist Teresa Malecka has described the piece.

Samuel Mathieu

Guerre

A struggle that seems to be of particular relevance today. A metaphorical title, poetry of the line and of colour, that highlights the challenge that each of the parties represents. A kind of symbolic correspondence that flirts with our world, with our history, our human condition. War opens up perspectives of matter, a struggle both real and poetic that blends lines and directions, inscribing the trace, the hue, in the flesh of the dancing body but also in a seductive paradox between line and colour.

Lauren Bowker

The Unseen Collection
Lauren Bowker describes herself a materials alchemist. After developing a pollution sensing compound while studying at Manchester School of Art, she went on to study textiles at the Royal College of Art in London and created a series of inks which change colour in response to heat, light, wind and environmental changes.

Karlheinz Stockhausen

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.

THORSTEN FLEISCH

Energie!
Thorsten Fleisch creates films that reveal the shapes and patterns of natural forces and phenomena. In this work he reveals what energy in one of its simplest forms looks like in motion. Energie! is a sequence of still images created on light-sensitive photographic paper. The artist exposed dozens of sheets of paper to enormous electrical discharges, each leaving its imprint as a trail of light. Animating these images reveals patterns in their flow of energy, akin to tracing the flow of electricity at each moment of a lightning strike. As the images are photographs created without cameras, they are records of single moments. Accordingly we see dozens of split-second documents animated to reveal the shape and power of energy.

JIM CAMPBELL

led-explosion

“Jim Campbell (b1956) is a San Francisco-based artist who has embraced the connections of light, space and time, as few others have. He uses LED technology and his skills in electrical engineering to masterfully achieve what Andrei Tarkovsky called “sculpting in time”. He introduces the illusions and our minds complete them.” DARRAN ANDERSON

onformative

Anima
»ANIMA« is a sculptural installation developed to explore the relationship between itself and its surroundings through the use of movement, texture, light and sound. The installation consists of a giant glowing sphere measuring two meters in diameter. This larger-than-life entity is suspended from the ceiling, as if in mid-air, in a darkened room. The luminescent sculpture acts as the sole light source for the space, drawing viewers in as it reacts to their presence.

Cho Gi Seok

“I will always focus on portraits. My aim is to try to express the characteristics of Seoul and my generation in my work.” In terms of visual motifs, Giseok’s portfolio features a few consistent elements. Firstly, a soft use of light, often accompanied by washes of colour. And, secondly, flowers of all shapes and sizes. These form a large part of Giseok’s compositions, dictating the aura of an image.
Styled by: Hyunji Shi.

Lauretta Suter

Swiss photographer Lauretta Suter has developed a recognisably clean and distinctive style. Her work is both dynamic and bright, utilising sets and lighting seamlessly.

JEONGMOON CHOI

Three-Dimensional UV Thread Installations
El artista Jeongmoon Choi utiliza la luz y el hilo para crear instalaciones que juegan con los aspectos de la perspectiva y la ilusión. Con reminiscencias de algo producido en un espectáculo de luces láser, sus campos tridimensionales formados por líneas lumínicas, están instalados en un espacio ultravioleta para crear entornos interactivos.

kite & laslett

Orbit
Orbit is a kinetic light installation designed for a former railway tunnel. A series of rotors of increasing diameter and speed are positioned along the 80m space, projecting laser beams into the void. Their orbiting constellation targets towards a circular plane at the end of the tunnel.

Tomas Saraceno

توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
Aerocene

In the desert of New Mexico, artist Tomás Saraceno realized the very first human flight in a zero carbon solar-powered hot air balloon, propelled by Studio Tomás Saraceno and curated by Rob La Frenais. For three hours without touching the ground, the balloon rose into the air without the usual burner, its black fabric heated by the sun and the infrared rays reflected by the white dunes.
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DORETTE STURM

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.

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.

JOSEF SVOBODA

جوزيف سفوبودا
ЙОЗЕФА СВОБОДЫ
la traviata de verdi (Scenografia)
La technologie et la scénographie
Svoboda utilise les techniques de pointe en éclairage, en projection d’image et en mécanique de scène (scène cinétique) afin de s’affranchir des contraintes du lieu théâtral. La scène est pour Svoboda un instrument et un espace magique, lieu d’action de forces dramatiques, réelles, et non pas un espace illusionniste. La scénographie est une des disciplines de l’art théâtral, une composante de la mise en scène et un élément essentiel de la représentation. Elle doit donc d’être dynamique et se transformer dans le temps pour épouser l’action dramatique. La scénographie a un langage propre en tant que discipline à part entière. Svoboda apporte une contribution importante à ce langage par son travail sur la lumière et l’espace.
Lumière, matière et espace
Svoboda dit percevoir la lumière physiquement, et non pas simplement visuellement ; il trouve en elle l’inspiration pour son travail. Tout en reconnaissant son statut ” immatériel “, il la considère comme l’élément fondamental de la scénographie et la traite comme un matériau. D’abord formé en menuiserie, Svoboda affectionne particulièrement les matières brutes, notamment le bois. L’architecture représente pour lui, et ce dès son jeune âge, la somme des connaissances humaines. Formé en architecture d’intérieur, il s’intéresse à l’organisation de l’espace, à la rencontre scénique de l’architecture et du décor. Il privilégie les formes simples : la sphère, le cube et l’escalier. Svoboda croit que ” la mise en scène à l’italienne, bien qu’elle ne corresponde plus aux exigences des méthodes scénographiques actuelles, reste toujours la meilleure “.

asif khan

Radiant Lines

“People are naturally drawn to light, It’s intuitive. What I want people to feel is a sense of familiarity even though they haven’t seen it before. There’s a sense that it’s pseudo-natural, which I think is why people are drawn to it. It uses crazy technology – there’s a lot of stuff happening – but it doesn’t show it and the result is more humanistic and almost biological.” asif khan