Nature Morte
Nature Morte focuses on Nauman’s long relationship to his own studio, a variation on his four unique multi-projection videos, Mapping the Studio (2001). Three viewing stations, each consisting of an iPad linked to a wall-sized projection, provide an interactive exploration of the 3D studio space. Only now the artist is absent, and the participant becomes performer as he/she manipulates the large scale video projections on an iPad using touch control. The participant is free to navigate anywhere throughout the space, selecting broad vistas or individual objects. Using a hand-held 3D scanner, Nauman recorded hundreds of images that allow participants to select an object and locate close-up anything found there, and further reorient the image to see an object from above and below, and at times inside-out. The resulting mobility intensifies the experience of the viewer/performer. Presenting a static, but immersive re-creation of his studio space, Nauman’s pieces once again play at the tenuous lines between the body and space, perception and physical material.

“6 Sided Plane in 5 Masses and 3 Scales with 2 Free Regions
The drawings also clarify the schema underlying the locations of the bored holes in the sculptures. Situated along lines linking vertices at the perimeter of the forms, they recall constellation maps or, as with 8 Sided Plane in 7 Masses and 2 Scales with Free Region (1975/2018), the plans of Romanesque cathedrals. Here, again, the relationship is inverted. The black shapes representing the solid stone columns in the plans echo the shafts of air bored through the steel. The term “Romanesque” appears frequently in Rabinowitch’s titles. Though absent here, the conglomeration of shapes visible in Romanesque church plans, like those of Cluny in France, bear an affinity with the additive sensibility evident in Rabinowitch’s structures. Donald Kuspit has focused attention on the artist’s interest in Northwest Coast traditions, especially the totem pole. Like the totem pole, Rabinowitch’s works manifest a “disrupted continuum,” a whole built out of distinct parts. For me, the presence of the drawings in this exhibition subtly undermined that assertion. The lines along which the bored holes are situated form a network that passes over all (or at least most) of the components in each work, in effect linking them. Though no longer visible in the steel versions, the connective links act as a reminder of this second related principle of organization. Some may see it as a complication, a discrepancy, or be disappointed by the realization, but I think it helps demystify these “new” early sculptures. At the same time, the proximity of the studies by no means diminished the deep-rooted and intriguing complexity of Rabinowitch’s sculptural work.”John Gayer

State Gallery

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

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

digital sculptures

Motion sculptures for CCTV Documentary Channel is a digital metaphor of phenomenal blinks and moments that life consists of. A visual performance of organic and vital substance, animated using data of actors movements. Dents visualize four different themes. Motion sculpture of steel reflects old Chinese adage that true power is mastering yourself. Youthful energy of dancers evolve into beautiful organic sculpture.

Breaking News: Flooding of the Louvre
Natural disaster increasingly linked to a climate change has arrived to the museum of Louvre, which responds to the flooding of Paris in 2018. The artwork also respresents the issue of cultural leftover. Recycling is the main value of the process. By destruction of model that was a part of previous project Put Your Head into Gallery, the leftovers are reconstructed and new meanings and possibilities are created. The flooding of the Louvre Museum speaks about news culture and our fluctuating perception of disasters as it is seen through media. The scale of the disaster is often difficult to assess from news coverage. In the work “Breaking News” flood goes slowly into the room of the Louvre, letting the viewer to gradually watch the destruction of interior. it brings the viewer shochinkly close to what has not happened but easily could have, viewer sees the before and after effect in a highly visualized manner, which is as convincing and threatening, as fake.

OPPO’s new headquarters
Four interconnected towers reaching a height of 200m (42 floors), the 185,000 square meters design incorporates two towers of flexible, open-plan spaces linked by a 20-storey vertical lobby, and two external service towers providing vertical circulation.

Self Luminous 2 – Unbalance
Self-luminous 2 is an experimental handmade instrument shown as performance. It is a series-project which I have been working on since 2013 and finally developed into shape in 2014. I am looking for intimate and personal instrument that reflects on the relation of digital sound and light message. In computer language, light on is 1 and light off is 0. If more than 2 lamps, it could be code or readable possibility by the meanings. When I press the button or turn the knob, the message will be sent to Pure Data, and the sound will be triggered in live by Pure Data.
The Data of sound such as frequency and volume, are analysed and sent out to the second Arduino to control the light. The light, in thus case, is an intuitive element for human beings. From this point, it is really close to sound which disturbs our biological body directly. The lights are visualised and they can be transferred the into messages. The message might be readable by coincidence with the link to the code. The light is bright enough to let audience to have persistence of vision in mind. During the performance, the sound will be reproduced by code and part of it is impromptu.
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square portraits
Manuel Archain was born in Buenos Aires, Argentina, in 1983. He stareted his studies when he was 5, sculpture, drawing and painting at his mother’s studio, the artist Silvina Viaggio. At the age of 13 he adds to his drawing studies a comic background, studying with Carlos Pedrazzini. At the same time he starts his work as a photographer in a practical way, working with different professionals. From here he evolves in his art achieving a personal style. At age of 17 he started to work on commercials, movies and video clips in the art department and as a photographer. Has been assistant photographer of Peter Rad, Blinkk, Samuel Bayer, Tony Kaye and Marc Trautmann. Since 2004 he works as a professional photographer for advertising and cinema.

골란 레빈
ГОЛАН ЛЕВИН
Eyecode
Eyecode (Golan Levin, 2007) is an interactive installation whose display is wholly constructed from its own history of being viewed. By means of a hidden camera, the system records and replays brief video clips of its viewers’ eyes. Each clip is articulated by the duration between two of the viewer’s blinks. The unnerving result is a typographic tapestry of recursive observation.

Reface [Portrait Sequencer]

Reface [Portrait Sequencer] by Golan Levin and Zachary Lieberman (2007) is a surreal video mash-up that composes endless combinations of its visitors’ faces. Based on the Victorian “Exquisite Corpse” parlor game, the Reface installation records and dynamically remixes brief video slices of its viewers’ mouths, eyes and brows. Reface uses face-tracking techniques to allow automatic alignment and segmentation of its participants’ faces. As a result, visitors to the project can move around freely in front of the display without worrying about lining up their face for the system’s camera. The video clips recorded by the project are “edited” by the participants’ own eye blinks. Blinking also triggers the display to advance to the next set of face combinations. Through interactions with an image wholly constructed from its own history of being viewed, Reface makes possible a new form of inventive play with one’s own appearance and identity. The resulting kinetic portraiture blends the personalities and genetic traits of its visitors to create a “generative group portrait” of the people in the project’s locale.

Shapeshifter Heartbreaker

Shapeshifter, Heartbreaker, is an installation on two levels composed of sculptural work and 3D computer animations that are both abstract and figurative. On the first level Pakui Hardware has designed an office desk using the typical components of a trading floor. However, this is not a work station for individuals; it is for computer aided trading, non-human activities which are approximated in the three channel videos atop desks noticeably lacking keyboards and mice. These activities often occur at an exceedingly fast pace, in the blink of an eye, an expression that lends its name to a video installed on the second floor. There, the blinks of a humanoid form have been accelerated to illustrate how fast the body would have to consciously react if it were operating at the speed of decision making that resulted in the stock market’s ‘flash crash’ of 2010.

Shapeshifter, Heartbreaker

Shapeshifter, Heartbreaker, is an installation on two levels composed of sculptural work and 3D computer animations that are both abstract and figurative. On the first level Pakui Hardware has designed an office desk using the typical components of a trading floor. However, this is not a work station for individuals; it is for computer aided trading, non-human activities which are approximated in the three channel videos atop desks noticeably lacking keyboards and mice. These activities often occur at an exceedingly fast pace, in the blink of an eye, an expression that lends its name to a video installed on the second floor. There, the blinks of a humanoid form have been accelerated to illustrate how fast the body would have to consciously react if it were operating at the speed of decision making that resulted in the stock market’s ‘flash crash’ of 2010.
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transamorem transmortem
Als sie 2004 zusammen mit Lionel Marchetti meine Hilfe bei der Digitalisierung ihrer Archive annahm, entdeckte ich „Transamoren – Transmortem“. Sofort war ich beeindruckt von der majestätischen Anmut dieses sehr langen Frequenzgewirrs, dieser Reihe von scheinbar unveränderlichen Tönen, deren Variationen von feiner Subtilität sind. “Transamoren – Transmorten” ist als eine der radikalsten Kompositionen von Radigue erkennbar, vergleichbar mit dem ersten “Adnos”, dem Werk, das chronologisch auf “Transamoren – Transmortem” folgt. Sehr wenige Transformationen, eine scheinbare formale Trockenheit, die dann durch das physische Spiel der Frequenzen widerlegt wird, wenn die Hörerin ihren Kopf sanft von rechts nach links dreht, oder noch besser, wenn sich die Hörerin langsam durch den Musikraum bewegt. Beim Bewegen durch Zonen mit bestimmten Frequenzen erfährt der Körper des Hörers lokalisierte Zonen mit niedrigen, mittleren und Höhenfrequenzen, die je nach den akustischen Eigenschaften des Raums variieren. Wie Radigue über „Adnos“ schrieb: „Das Verschieben von Steinen im Flussbett beeinflusst nicht den Wasserlauf, sondern verändert die Art und Weise, wie das Wasser fließt.“ Hier finden wir dieselbe meditative Spannung, die eine friedliche Bewegung durch die Räume vorschlägt, die durch die verschiedenen Frequenzen erzeugt werden, aus denen „Transamoren – Transmortem“ besteht.

the liquid room

Elizabeth Ogilvie is a Scottish artist who uses water as a medium and as a research focus. Water is the obsession which returns in most of her works and it becomes experience through the use of installations and videos. Her work embraces universal and timeless concerns, offering her public an innocent pleasure and at the same time underlining philosophical and ecological issues.
Through her installations, the artist isolates water inside an artificial state, creating a process which highlights its fundamental qualities in order to return to its place of origin which is the natural habitat. Among her most important works there is Liquid Room realized in 2002. Inside a derelict warehouse the artist created basins with water which were crossed by a footbridge. By linking art, architecture and science, she realized an interactive installation where the visitor, walking on the footbridge, can touch the water, whose movement is reflected on the walls of the installation. In 2006 she created Bodies of Water, whose operation took over from her previous work.
Once again, through a series of installations, the public was able to share the experience of sensorial involvement within an environment dominated by water.