Silo 468 Light Art Helsinki

solstis act

OVO

Sphere

EGO

FILE 2024 | Installations
International Electronic Language Festival

The mirror stage in psychology explains how the Ego forms through objectification, where one’s visual appearance comes into conflict with emotional experience, a concept called ‘alienation‘ by psychoanalyst Jacques Lacan. The interactive installation EGO reenacts and reverses this process by distorting the mirror image based on the user’s movements, highlighting the tension between the real and the symbolic, the Ego and the It, subject and object.

Bio

Klaus Obermaier is an interdisciplinary artist, director and composer who creates innovative works in the performing arts, music and installations using new media. Stefano D’Alessio researches social issues induced by the internet and explores how the web and its derivatives influence human behavior and the body. Martina Menegon creates intricate assemblages of physical and virtual elements, exploring the contemporary self and its hybrid corporeality.

HYSTERESIS

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Robert Seidel – HYSTERESIS – Germany

HYSTERESIS intimately weaves a transformative fabric between Robert Seidel’s projections of abstract drawings and queer performer Tsuki’s vigorous choreography. Using machine learning to mediate these delayed re-presentations, the film intentionally corrupts AI strategies to reveal a frenetic, delicate and extravagant visual language that portrays hysteria and hysteresis in this historical moment.

Bio

Robert Seidel is interested in exploring abstract beauty through cinematic techniques and insights from science and technology. His projections, installations and award-winning experimental films have been presented at numerous international festivals, art venues and museums, highlighting his innovative approach to visual art.

Credits

Film: Robert Seidel
Music: Oval
Performer: Tsuki
Graphics: Bureau Now
5.1 Mixing: David Kamp
Support: Miriam Eichner, Carolin Israel, Falk Müller, Paul Seidel
Financing: German Federal Film Board

Manta Ray Light
Aqua Creations creates hand crafted lighting design. Each piece is designed in their studio, on a made to order basis by their team of artisans who have been working for 30 years. Through spellbinding designs combined with master craftsmanship and innovative technology, light fuses with function and becomes art.

Empyrean Passage

Empyrean Passage is reminiscent of both a theoretical black hole and portal into the celestial worlds. Empyrean (notice the pyre in the word) is the final and fiery level of heaven as depicted by Dante- or aether in Aristotle’s cosmology. The form is constructed like a giant hoopskirt and gracefully moves in the wind creating a gossamer lighting effect overhead. While this project is an oculus to the heavens, more focus is usually paid to more terrestrial stars in this neighborhood.The interior of the spiral is designed with aqua and black dashes. The dashed interior creates optical effects with the eyes and at certain times of the day shifts your perception of the sky’s color.This project utilizes extremely “green” electroluminescent lighting. The entire sculpture consumes less electricity than a household nightlight and operates on a photo cell. Special thanks to the City of West Hollywood, Andrew Campbell, Maria Lusia de Herrera, Greg Coons, Glen Bundrick / Luminous Film.

Drawn Together, Held Apart

Caitlin is an artist that is interested in intentional social connection in public spaces. She creates experiences that allow participants to quietly communicate and listen to one another. In the live component of her installation, Caitlin hosts an conversation entitled ‘talking and listening about talking and listening’. ‘Drawn Together, Held Apart’ (2017), a custom made table with inbuilt surface transducer speaker, motion sensor activated LED lighting, proximity speakers and audio. Visitors rest their ears on the glass and listen.

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.

Present Shock
Present Shock confronts the viewer with a barrage of statistical clocks representing real-time information about the world—from life-changing global events to the banal trivia of everyday existence—highlighting how the speed and volume of data in the Information Age present new challenges to our limited cognitive apparatus. Many of the statistics presented occur at timescales and spatial horizons that similarly defy our perception or comprehension. Disturbing the inertia of the here and now, they reveal the fluctuating state of dynamic transformation that characterizes life on earth.

COW

Ekman talents extend to the lighting and stage design and his eye for structuring an environment is unerring. There is no set as such, excepting the plaster cow which dangles overhead, but the stage surface has its share of movement as little island-blocks rise up and pits sink down. The extreme tilting of the stage at one point causes unfortunate Bauch to roll, cow-like, almost into the pit. COW has its iconic Ekman moment in the scene that opens on a stage full of swirling dancers in white skirts set in a magical silvery mist. Mikael Karlsson, whose music partners the piece provides a subtle and evocative soundscape. He offers a hint of percussive rhythm picked up by the dancers who launch into an ecstatic dance: a stage full of whirling dervishes, until they collapse exhausted.

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Ekmans Talente erstrecken sich auf die Beleuchtung und das Bühnenbild, und sein Auge für die Strukturierung einer Umgebung ist unfehlbar. Es gibt kein Set als solches, außer der Gipskuh, die über ihnen baumelt, aber die Bühnenoberfläche hat ihren Anteil an Bewegung, wenn kleine Inselblöcke aufsteigen und Gruben sinken. Das extreme Kippen der Bühne an einer Stelle führt dazu, dass der unglückliche Bauch kuhartig fast in die Grube rollt. COW hat seinen legendären Ekman-Moment in der Szene, die auf einer Bühne voller wirbelnder Tänzer in weißen Röcken in einem magischen silbernen Nebel beginnt. Mikael Karlsson, dessen Musikpartner das Stück ist, bietet eine subtile und eindrucksvolle Klanglandschaft. Er bietet einen Hauch von perkussivem Rhythmus, der von den Tänzern aufgenommen wurde, die einen ekstatischen Tanz beginnen: eine Bühne voller wirbelnder Derwische, bis sie erschöpft zusammenbrechen.

Noumenon

A truly universal artist, the American Alwin Nikolais (1910-1993) devoted his life to a radical form of staged art he called “dance theater.” Inspired (perhaps unconsciously) by the experiments of Bauhaus members such as Oskar Schlemmer and László Moholy-Nagy in the 1920s, Nikolais devised a style of abstract dance that encompassed costumes, stage sets, choreography, lighting, and music, all under his control. Also in 1963, Nikolais met analog synthesizer pioneer Robert Moog, who was at the time just starting his business in New York. He was fascinated by the sounds of Moog’s machines, and with the money provided by a a Guggenheim Fellowship, Nikolais bought the first ever commercially produced Moog synthesizer. It was the primary sound-source for all of Nikolais’ scores from 1963 to 1975. The instrument is now housed at the Stearns Collection of Musical Instruments at the University of Michigan in Ann Arbor.

ألكسندر سوكوروف
亚历山大·索科洛夫
Александр Сокуров
Russian Ark

“Alexander Sokurov’s desire to film The Russian Arch in one continuous take required extraordinary technical solutions. Since it is physically impossible to shoot more than twelve minutes of conventional film, we had to shoot on video. However, it was only the relatively recent arrival of 24p high definition compact cameras that offered the visual quality and the ability to make this film for theaters, including transferring the digital image to a 35mm negative.With the help of German specialists a complex portable platform was designed to meet the demands of the scenario which included precise architectural plans, highlighting the distance of 1300 meters covered by the course of the action. It was decided that the only way to move the camera would be to use a steadycam, although we could not be sure until after the final image that such a long steadycam shot would be possible, given the physical performance. extreme demanded from the German cinematographer, Tilman Büttner. After months of rehearsals, the 867 actors and extras, the three “live” orchestras all had to know their position and precise roles “. It’s just amazing.

cinema full

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.

Tube
S E T U P is a stage design and lighting design international studio founded by Znamensky Dmitry, Novikov Stepan and Zmunchila Pavel. The studio works in the field between contemporary art, lighting design and programming with a mission to explore the expressive opportunities provided by new digital technologies. S E T U P aims to create installations and multimedia works that can sharpen the physical perception of the environment and help explore more possibilities of image manipulation. Our creative product is high-tech multimedia work, concepts and laser installations. Our studio is open for experiments and is ready to cooperate with various artists to find the right visual interpretations for their work.

Lighting the Sails
Аудиовизуальная постановка Сиднейского оперного театра – это поэтическая дань уважения архитектуре и ее конструктивной концепции архитектора Йорна Утцона. Как сказал Утцон о своей архитектуре, он хотел придать ей человеческое выражение, проецируемый видеослой в том же смысле направлен на создание немедленного архитектурного выражения.

Stalking the Trace
Stalking the Trace est une installation VR multi-spectateurs qui se déroule dans une série d’enceintes, renforcées par l’audio, l’éclairage et les projections pour créer une atmosphère immersive sensorielle dans la galerie. Rossin utilise le mouvement du spectateur à travers l’espace comme méthode pour interroger le désir humain de contrôle et d’agence, et la notion de temps avec le sujet humain en son centre.
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Stalking the Trace is a multi viewer VR installation, takes place within a series of enclosures, heightened by audio, lighting and projections to create a sensory immersive atmosphere within the gallery. Rossin utilises the movement of the viewer through the space as a method to interrogate the human desire for control and agency, and the notion of time with the human subject at its centre.
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Stalking the Trace – это многопользовательская VR-инсталляция, действие которой происходит в серии ограждений, усиленных звуком, освещением и проекциями для создания чувственной иммерсивной атмосферы в галерее. Россин использует движение зрителя в пространстве как метод исследования человеческого стремления к контролю и свободе действий, а также понятия времени с человеческим субъектом в его центре.

Constellations
File Festival
FILE HIPERSONICA

This work begins from the exploration of an imaginary celestial space which is translated into sound space. How does each celestial sphere – starting from its manifestation as a unit – interact with the cosmos where it belongs? How does it react to its law? How does it transform itself integrating with the system, until the loss of identity? In contrast to this process, the constellations act by highlighting the bodies in their uniqueness through the creation of symbolic links: beyond their meaning, they stand as a classification and articulation device of the individual within the system.
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Questo lavoro parte dall’esplorazione di uno spazio celeste immaginario che si traduce in spazio sonoro. In che modo ogni sfera celeste – a partire dalla sua manifestazione come unità – interagisce con il cosmo a cui appartiene? Come reagisce alla sua legge? Come si trasforma integrandosi con il sistema, fino alla perdita di identità? In contrasto con questo processo, le costellazioni agiscono mettendo in evidenza i corpi nella loro unicità attraverso la creazione di collegamenti simbolici: al di là del loro significato, si pongono come dispositivo di classificazione e articolazione dell’individuo all’interno del sistema.

PLUG-IN ECOLOGY: Urban Farm Pod with Agronomy
The Plug-In Ecology; Urban Farm Pod is a “living” cabin for individuals and urban nuclear families to grow and provide for their daily vegetable needs. It is an interface with the city, potentially touching upon urban farming, air quality levels, DIY agronomy techniques in test tubes, algal energy production, and bioluminescent light sources, to name a few possibilities. It can be outfitted with a number of optional systems to adapt to different locations, lighting conditions, and habitation requirements. While agricultural food sources are usually invisible in cities such as New York, the pod archetype turns the food system itself into a visible artifact, a bio-informatic message system, and a functional space.

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.

Orchisoid

“Mobility, technological invention, and artistic invention “It’s not just about putting new media into art, or even making new media art. It is about making new media as an artist, about being an artist in new media. Therefore, if it is not only a question of renewing art by injecting it with new means, new tools, new subjects, it may be a matter of shifting its borders to the point of considering experiments, technological inventions, such as art-related events, as part of the artistic project ”. In my opinion, here is how to re-found art and breathe new life into it for years to come! Fujihata’s work leads us to think of Art as “technical conduct”. In this conduct, technique is not instrumentalised, it is therefore freed from having to serve FOR something, it does not have to be effaced in front of what it serves. But this notion is very “fragile” as Pierre-Damien Huyghe points out to us. Indeed, if the technique “is no longer used for” it is no longer “necessary”. We must therefore consider that what is not necessary is precisely what is useful. Highlighting the usefulness in a technique without going through a notion of service is precisely what is at stake in Masaki Fujiata’s artistic position. In his work, it is about exploring the possibilities of a group of techniques so that they do not end up in the use where they are usually agreed. At the heart of Fujihata’s work we are dealing with techniques rich in possibilities. The artist has an artistic conduct which does not seek the means to do something with these techniques but which seeks to discover them. The artist positions himself as a discoverer making both learned and humorous attempts … “Jorane Rest

PLEXUS
Aurélien Bory is a Toulouse-based choreographer working at the intersection of dance, circus and visual art. In Plexus, he encloses the Japanese dancer Kaori Ito in a forest of tensioned vertical cables. It’s as if she’s in a transparent cuboid cage. We can see her, but her image is blurred by the shimmer of Arno Veyrat’s lighting as it moves across the cables. Ito strains against these confines, writhing, flailing and hurling herself against the cables. Every sound is hugely amplified, so with her every movement we are assailed by a high-tensile jangling and groaning. At intervals she subjects her environment to furious challenge, racing backwards and forwards within the limited inner space so that the cage rocks on its axis. At other times she positions herself between the cables so that they bear her weight, and hangs there like an exhausted insect, faintly articulating her limbs.

Thixotropes
They’re called Thixotropes. Compositions comprised of eight illuminated mechanized structures create choreographies of lighting effects that alternate form warm to cold light. Designed by London based design firm Troika, these suspended systems merge technology with art and explore the realm in which rational observations intersect with the metaphysical and surreal. Each of the structures is shaped as a composition of intersecting angular and geometric forms, made of thin tensed banding lined with rows of LED’s. The constructions continuously revolve around their own axis thereby materializing the path of the light and dissolving the spinning structures into compositions of aerial cones, spheres and ribbons of warm and cold light while giving life and shape to an immaterial construct.

Red Lighting Machine
Steel, Aluminum, Microprocessor, DC motor, Light. UJOO + LIMHEEYOUNG은 UJOO와 LIMHEEYOUNG 미디어 아티스트의 남편이자 아내입니다. 2004 년 처음으로 디자인 경쟁을 준비하기 위해 함께 작업 한 이래, 그들은 다양한 시각적 표현 수단을 사용하는 프로젝트에 참여했습니다. KINECT 표현 조각, 도면, 실시간 인터랙티브 비디오 – 절대성의 주제를 해결하기 위해.

Telestron DTLA
Conceptually, at its foundation, the installation was an exploration of the absence and presence of light and how it defines a space. The team wanted to play with dramatic scale, and to do so they employed two Quantec KR150s as Robotic Conductors, wielding large, fabricated geometric shades to manipulate the various light sources and cast brilliant arrays of graphic shadow work throughout the space. They upgraded the show for The Row to be more immersive, adding more synchronized lighting fixtures and laser projectors around the perimeter of the space to embellish the ambient lighting states, and as a result amplified the user experience even further – creating a more sculptural and geometric installation for the masses.

FALIN MYND
Falin Mynd is an audiovisual installation dedicated to the city of Milan that draws inspiration from the concept of the latent image in the photographic field: an invisible imprint left by the light on the film that is revealed only after its development. Similarly, the data generated by the inhabitants and visitors of the city of Milan produce abstract digital landscapes, leaving a trace from their analysis and interpretation in real-time. In this way, the work makes visible the indissoluble bond between individual and community, highlighting how the two entities influence one another changing the perception of the reality surrounding us made of places, people, colors, and sensations. The data thus constitute an invisible image of the city, a map of what is not manifest and which is revealed in Falin Mynd.

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.

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

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 Xenakis’s 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.

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.

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.

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.

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.

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

holistic strata
Tokyo-based choreographer and video artist Hiroaki Umeda creates mesmerizing visual environments for his visceral solo works, appearing as a fine-spun swirl of movement in a digital storm of light and sound—an elusive figure, by turns frantic and still, awash in pulsating electronic waves. In a program of acclaimed companion pieces, Haptic and Holistic Strata, Umeda’s distinctive dance vocabulary draws on a range of butoh, ballet and hip-hop. He conceives his interdisciplinary events as a sensorial whole, creating the beats and sonic textures as well as the entrancing video and lighting effects. Designed to elicit primal emotion, Umeda’s work is minimalist and radical, subtle and violent, abstract yet precise, and thrillingly physical.

The Contemporary Art Center in Córdoba is not a centralized building: the center moves from one space to another, it is everywhere. It is configured as a sequence of precincts linked to a public space, onto which all the different functions of the building flow. Conceived as a place for interaction, it is a common space in which one can express and exchange ideas, see an installation, access exhibitions, visit the cafeteria, spend time in the media library, wait for a performance to begin in the black box, or maybe simply look out onto the Guadalquivir River. The materials help to achieve the art factory character pervading the entire project. In the interior, bare walls, slabs of concrete, and continuous paved flooring establish a spatial structure susceptible to being transformed individually through different interventions. A network of electric, digital, audiovisual, and lighting infrastructures ease access to sockets and connections throughout the building. On the exterior, the building asserts its presence by means of a single material: prefabricated concrete fiberglass panels, or GRC.

APPARITION
Materiality and process are central to Rebecca Ward’s practice and evoke “architectural garments” ripped, unwoven, and re-stitched from fleshtoned canvas duck, leather hide, and silk organza. In her canvas works, the artist removes the weft (horizontal) threads of the fabric to reveal the underlying stretcher bars, highlighting the physical structure of the painting itself. Ward’s artworks reveal and obscure, and by their nature, entice viewers to closely investigate contrasts in line and material, modulations in color, and multi-dimensional layers.

The Petal Room
The Petal Room consists of 3,500 real flowers, 6 million paper petals designed to fall with beautiful trajectories, a signature scent, and sensor-activated lighting that incorporates microscopic scans of flowers. These elements stimulate the senses and allow visitors to feel physically connected to flowers and nature.

“My goal is always to create work that has impact and enhances and emboldens the emotions of the performances, editing and soundscape of the work it is part of. I constantly strive to find new ways of approaching subjects and to find new creative angles – whether through lighting, technique or composition – to capture the imagination of an audience.” more…

Shan Hai Jing
Producer & Media Artist: Zhang Yinan
Media Artist & Director: Jung Hyun Moon
Art Director: Li Yuejuan
Choreographer & Dancer: Chiayi Jess Seetoo, Yu Chien Cheng, Zheng Lingmin
Media Art Support: Zhou Xing, Cao Yanbin, Bin Xue
Music: Jung Min Moon, Paul Yip
Stage Manager December Yang
Costume: Sophia Zhao
Lighting: Li Mingfang
Project Assistant: Liu Zhao

于爾根·邁爾
يورغن ماير
위르겐 마이어
יורגן מאייר
ユルゲン・マイヤー
Юрген Майер
a f a s i a

The one hundred meter long Lazika Pier with its 31 meter high landmark sculpture is one of the first structures to mark the beginning of the development of this new metropolis. The sculpture is built out of 8mm steel plates. Exterior and interior lighting features will provide a dynamic and pulsating look to the sculpture

Ричард Барбридж
リチャードバーブリッジ
리처드 버 브리지
ريتشارد بيربريدج
masks
Richard Burbridge, an influential British fashion photographer. Unfortunately any biographical info on him was impossible to find, but guessing by some of his early work, he has been a staple of the fashion industry for some time now. He is an absolute genius with lighting, and whether it’s commercial or editorial, we love all of his work. Richard Burbridge was part of 90s fashion bible i-D, and shot some of my favourite covers for the magazine from 1999 to mid-2000s, has also brought his hyper technical lighting and perfectionism to The New York Times T Magazine, V Magazine and Italian Vogue. He is represented by Art + Commerce.

Julia Fullerton-Batten is a worldwide acclaimed and exhibited fine-art photographer. Her body of work now encompasses twelve major projects spanning a decade of engagement in the field[…]Julia’s use of unusual locations, highly creative settings, street-cast models, accented with cinematic lighting are hallmarks of her very distinctive style of photography. She insinuates visual tensions in her images, and imbues them with a hint of mystery, which combine to tease the viewer to re-examine the picture, each time seeing more content and finding a deeper meaning. These distinctive qualities have established enthusiasts for her work worldwide and at all ends of the cultural spectrum, from casual viewers to connoisseurs of fine-art photography.

Вадим Штейн
Vadim Stein is an Ukrainian artist resident in St. Petersburg (Russia). He worked as an actor and a lighting designer in the Theater of Plastic Drama and later on decorative sculpture and graphics. Taking photos of his own works he became keen on photography. His photos are able to recreate a parallel universe, to tell a story made of eroticism and mystery through a great mastery of the light and the elegance of bodies.

6&7
Tao Ye rejects any attempts to harness his work to narrative, which is why he numbers his choreographies rather than naming them. Numbers 6 and 7 were choreographed one after the other, but are presented here as a single work. 6 takes us into a dark world: six black-clad dancers emerge out of a foggy landscape resembling smog-choked Beijing. They start moving with one ‘voice’, treading the ground firmly and dancing—chiefly with the upper part of their bodies—a ritualistic dance which stretches the human body to the very limits of its flexibility. An equally minimalist soundtrack and the exceptional lighting design of Sweden’s Ellen Ruge, a close collaborator of Mats Ek, who has done a lot of high-profile work here in Greece, complete the raw materials of this performance-experience.

6&8
In 6, his six dancers move in dynamic and hypnotising unison, in a shifting landscape of light created by Swedish lighting designer Ellen Ruge. His latest work 7 continues Tao Ye’s fascination with pattern, precision and ritual, and is distinguished by a sound track of acoustic effects generated by the seven dancers’ own bodies. Both 6 & 7 will be accompanied by specially commissioned music from Chinese indie folk composer Xiao He.

Rek
With ‘Rek’ (stretch in Dutch) I explore the aesthetic possibilities of the human skin through a mixture of image capturing techniques. By manipulating this curious stretchable material with various low budget materials like nylon fishing rope and cello tape I am able to temporarily shape it into surprising textures and shapes. Highlighting not only it’s flexibility and adaptability but also it’s function as our own biological upholstery that aside from it’s protective capabilities could also serve as a medium for aesthetic expression, possibly in the form of a dress less fashion.