Blueskywhite
Devlin’s latest installtion is ‘BLUESKYWHITE’, a large-scale work commissioned by 180 Studios, which is currently showing at LUX: New Wave of Contemporary Art, a new exhibition co-curated by Fact and SUUM Project. The work combines light, music and language, and was conceived as a sculptural expression of our emotional response to the possible extinction of blue sky. The installation is formed of two parts: In Part I, text from Byron’s 1816 poem Darkness underscores the viewer’s passage through a 24m long red-lit tunnel. Part II draws from contemporary solar geo-engineering models documented by Elizabeth Kolbert and others which suggest that a haze of suspended particles might reduce global temperature to pre-industrial levels and might also turn the blue sky white.

SECHS
SECHS brings Bach’s heritage together with modern composition techniques and a refined kinetic light sculpture – emphasizing and re-interpreting his innovation in symmetry, repetition and composition. Following the likes of Wendy Carlos’ critically acclaimed ‘Switched on Bach’ — the first electronic interpretation of Bach’s work — and later re-interpreters such as Max Richter for Vivaldi, Acket & Vos present this completely new rendering of one of the world’s most influential composers. Together with the kinetic light sculpture by Christopher Bauder and spatial sound innovators 4DSOUND the composition is translated to a spatial immersive experience.

بول فريدلاندر
ポール·フリードランダー
The Brain Unravelled
“The installation is a development of the long standing wave series. It is the first light sculpture to be lit entirely by LEDs. Many thanks to my electronics engineer, Louis Norwood, for helping realise some ideas I have been contemplating for years and finally the technology has matured so I now have a completely new computer controllable light source.” Paul Friedlander

基督教波尔坦斯基
בולטנסקי
クリスチャン·ボルタンスキー
Кристиан Болтански

Homage

R.I.P 1944-2021

Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”

随机国际
future self

‘future self’ is a study in human movement. the installation captures movement in light to create a three dimensional ‘living sculpture’ based on the composite gestures surrounding it, mirroring the actions of those who pass around it. entirely hand-made, 30,000 LED lights line the brass rods which are arranged to create a structure reminiscent of a rectangular prism, 3D cameras record people’s motions which are expressed through a ghostly, illuminated image, constantly changing.

sound cloud
London-based designer kazuhiro yamanaka has created the ‘sound cloud’ a light-emitting quantum glass speaker system installation for saazs ‘a glass house’ program. the structure is composed of five interactive monolithic glass panels, formed with the intention of modelling the integration of innovative glass within architecture and design. the sound and light radiating from ‘sound cloud’ shift in unison, their synchronization may be altered by the viewer as they adjust their aural and visual experience by means of a touch-screen controller.
yamanaka aspired for the visitors to ‘be able to hear the sound move from one to another, jumping back and forth and echoing from the panels.’
a sound module is attached to each panel. as it vibrates,the three layers of glass move at a frequency, which creates optimum sound quality. the sound for the installation was developed by the france-based sound designer, gling-glang. yamanaka and gling-glang devised a soundscape by which ‘sound cloud’ visitors were able to sense the sculptural construction of the music in walking through the installation’s glass-paneled pathway.
the glass is outfitted with a light-emitting system known as ‘LED in glass’, invented by quantum glass. through this technology, the panels become a source of light. the ‘sound cloud’ is illuminated as the LED bars are fitted around the edge of the panel in order to direct beams of light through the edge of the extra clear glass sheet. as a result, light refraction occurs from the front side by means of a white enamel screen print on the opposite side.
yamanaka chose to slightly obscure the brightness of the glass sound system by creating a thin layer from millions of light dots, culminating in a cloud-like shape.

Harmonics
Harmonics challenges our perception of light and sound unfolding at great speed, an illusion of time blending. As the two kinetic sculptures speed up, rotating beams of light blend to form volumes of colour, while multiple discrete sounds become a major chord. Unable to process extremely fast information, our brain reads sequential sensory inputs as a single event in time. A disconnected reality perceived as a continuum, a harmonious whole.
VIDEO

White Circle
»White Circle« consists of fluorescent tubes that respond to musical impulses and illuminate the room. Five dedicated compositions by alva noto, byetone, frank bretschneider, and kangding ray playing in a continuous loop (one set takes ca. 45 minutes) model the interrelation between sound, light, and architecture in different ways. Each piece represents an independent and self-contained conceptual proposal by the respective composer. All tracks are multichannel compositions based on the idea of creating a vivid immediate experience of auditory space and visual stimuli. With acoustic material routed to twentyseven speakers placed throughout the gallery, sound itself takes on a threedimensional and indeed sculptural quality.

States of Mind
Brussels-based artist Ann Veronica Janssens’ practice is concerned primarily with light, colour, and perception. Janssens makes very few art objects. Instead, her work attempts to escape the ‘tyranny of objects’ and what she describes as their ‘overbearing materiality’. Since the late 1990s, Janssens has filled spaces with washes of coloured light or ‘haze sculptures’: dense, illuminated clouds of vapour that render surroundings unfamiliar and sensory perception altered.

森永邦彦
쿠니히코 모리나가
くにひこ もりなが
КУНИХИКО МОРИНАГА
Anrealage

Kunihiko Morinaga, the creative director of cult Japanese label Anrealage, has a thing for sensations and optical illusions. His debut Paris show last season was about light and shadow. Today, his sophomore outing focused on light and dark. Or, better, on the impressions you get from flashing or projecting light in pitch black. The Anrealage sculptural silhouettes were cut in a special black fabric that revealed a printed texture only under ultraviolet lights, or had needle-punched white circles—like a spotlight projection—splattered across the front. To emphasize the depth of such darkness, everything was black, including models’ faces, a heavy stroke that made things a little too dramatic.

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.

Untitled (to Barnett Newman) two
Dan Flavin was an American artist and pioneer of Minimalism, best known for his seminal installations of light fixtures. His illuminated sculptures offer a rigorous formal and conceptual investigation of space and light, wherein the artist arranged commercial fluorescent bulbs into differing geometric compositions. “I like art as thought better than art as work,” he once said. “I’ve always maintained this. It’s important to me that I don’t get my hands dirty. It’s not because I’m instinctively lazy. It’s a declaration: art is thought.”

Spatial Environments with neon
Ambiente spaziale con neon
Fontana’s “Spatial Environments” are considered the most innovative outcome of the theories about space that Lucio Fontana first expressed in his Manifiesto Blanco of 1946. Here and in later manifestos, he described a new form of visual representation linked to space and time, which would move past the classic materials of sculpture and painting and employ modern technology to create “artificial forms, rainbows of wonder, words written in light” […] Ambiente spaziale con neon had a single red bent neon hanging from the ceiling in a room covered with pink fabric.

Jacob’dream: a luminous path
San Francisco-based electronic-media artist Jim Campbell creates work that combines film, light emitting diodes (LEDs) and sculptural elements. His choice of materials is often complex, and he uses them to create imagery that is allusive and open-ended. His exploration of the distinction between the analog world and its digital representation metaphorically parallels the difference between poetic understanding versus the mathematics of data.

Chain Reaction
This monumental light sculpture from Henk Stallinga is a composition of 144 circle lights. The intensity of the individual lights gradually varies from a subtle glow to an intense bright light. During the course of one natural day, this circle of light ‘moves’ up the chain, providing the visitor with a sense of time.

Dissonant Equilibrium
Isabelle Andriessen is a visual artist born in the Netherlands (1986). She studied at the School of the Arts Institute of Chicago and the Gerrit Rietveld Academie (NL), where she received her BFA in 2013. Currently she is an MFA candidate at Malmö Art Academy (SE). She lives and works in Amsterdam and Malmö. She is a recipient of the Prins Bernhard Cultuurfonds Fellowship. Her work consists sculpture, installation and performance and has been presented in places like Optical Pavilion, Moscow, Unfair, Amsterdam and Mediamatic Amsterdam. Her work has been presented in online art magazines like Metropolis M and Mister Motley. In July 2014 her work has been mentioned in VOGUE Russia. Recently she has been collaborating with the Dutch National Ballet. Her recent work concern the sensory experience examined through light installations and performances.

Shenzhen Bao’an International Airport

The new terminal of Shenzhen Bao’an International Airport, the first airport by Massimiliano and Doriana Fuksas, encompasses 63 contact gates, with a further 15 remote gates and significant retail space.
It increase the capacity of the airport by 58%, allowing the airport to handle up to 45 million passengers per year.The sculptural 500,000 sqm terminal evokes the image of a manta ray and features an internal and external double skin honeycomb motif that wraps the structure.1.5 km long, with roof spans of up to 80 m, honeycomb shaped metal and glass panels punctuate the façade of the terminal allowing natural light to filter through. Inside, the terminal is characterized by distinctive white conical supporting columns that rise to touch the roof at a cathedral-like scale.The focal point of the design is the concourse located at the intersection of the building.
Consisting of three levels – departure, arrivals and services – vertically connected to create full height voids and allowing natural light to filter from the highest level down to the lowest.

레오 비야 레알
Лев Вильярреал
multiverse

Multiverse is one of Villareal’s largest and most complex light sculptures. It is experienced by visitors as they pass through the Concourse walkway between the East and West Buildings. The work features approximately 41,000 computer-programmed LED (light-emitting diode) nodes that run through existing channels along the 200-foot-long space. The programming both instructs the lights and allows for an element of chance, so that it is very unlikely that any pattern will repeat during a viewer’s experience.

Structure volante

Thomas Lanfranchi uses lightweight materials to create environmentally responsive sculptures. Many of his projects have been wind blown, taking the form of kites or wind socks. He has installed these pieces at sites across France and on buoys at sea. On a recent visit to Australia he made a journey around the outback, creating and documenting a new airborne sculpture each day to suit the site. Working with a type of plastic commonly used for shopping bags, Lanfranchi is able to make very large structures that are capable of being supported by the lightest breeze. When they are destroyed after the exhibition an object the size of a blue whale collapses into a carrier bag.

Electrical Walks

Christina Kubisch was born in Bremen in 1948. She studied painting, music (flute and composition) and electronics in Hamburg, Graz, Zürich and Milano, where she graduated. Performances, concerts and works with video in the seventies, subsequently sound installations, sound sculptures and work with ultraviolet light. Her compositions are mostly electroacoustic, but she has written for ensembles as well. Since 2003 she works again as a perfomer and collaborates with various musicians and dancers.

왕 유양
artificial moon
Artificial Moon is a sculptural piece by Beijing-based artist Wang Yuyang constructed from hundreds of various compact fluorescent lightbulbs. At over 13 ft. wide (400cm) the piece is an imposing recreation of Earth’s moon, using strategically placed lights to mimic craters and other surface features. Its creation is also particularly poignant, as it was originally put on exhibit in Shanghai, a city that due to light pollution is often unable witness the actual moon moving through the night sky.

Electric Dress
«‹Electric Dress› is a powerful conflation of the tradition of the Japanese komono with modern industrial technology. Prior to her conception of this work, Tanaka had appeared in a larger than-life paper dress that was peeled away layer by layer, not unlike the peeling away of Murakami’s paintings; she was ultimately disrobed to a leotard fitted with blinking lights. Tanaka began to envision ‹Electric Dress› in 1954, when she outlined in a small notebook a remarkably prophetic connection between electrical wiring and the physiological systems that make up the human body. (…) After fabricating the actual sculpture, she costumed herself in it in the tradition of the Japanese marriage ceremony. Hundreds of light bulbs painted in primary colors lit up along the circulatory and nerve pathways of her body.»
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بول فريدلاندر
ポール·フリードランダー
SPINNING COSMOS
via highlike submit

Paul Friedlander is one of the greatest representatives of kinetic art in our time, a scientific artist, as he describes himself on his personal website, which also tells the origin and development of his interest in creating works with light. The long-term goal is to integrate light sculptures with digital art to create three-dimensional projections. He developed his own CEP / ART software for anyone to experiment with their computer’s light and color effects. This software is available on its website in an online version and one for download is free.

The Harmonic Series

File Festival

Created by Manuela Donoso and Luisa Pereira, The Harmonic Series is a collection of mechanical devices , software, sculptures and prints that explore the relationship between musical and visual harmony.Inspired by the nineteenth century mathematician Jules Lissajous who invented a device to visualize sound vibrations using two tuning forks and a beam of light reflected from one mirror to the next to a screen, Manuela and Luisa have re-created and extended this experiment using recent tools. An electronic version of the device replaces the tuning forks with microphones and speakers, allowing people to sing different musical intervals, and contrast the resulting figures with the more chaotic ones generated by percussive sounds. An application plays groups of three notes and plots 3d Lissajous figures for their frequency ratios. The frequency ratios for major, minor and diminished chords are 4:5:6, 10:12:15 and 20:24:29 respectively. These chords were plotted using the app, and then printed as posters and sculptures that reveal a tight relationship between aural and visual harmony.

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.