Formalidade Cerimonial
O trabalho de Frederik Heyman é um ato de equilíbrio que incorpora várias mídias – incluindo vídeo, instalações e fotografia – muitas vezes em um ambiente digitalmente alterado. Em seu trabalho, Heyman explora a memória e a duração, usando fotogrametria e digitalização 3D para retratar e representar a passagem do tempo. As marcas registradas do trabalho de Heyman são mecânicas e tecnológicas: fios, rodas, letreiros LED de rolagem, armações de metal, pinças, lâmpadas industriais, telas e câmeras. Corpos – ao contrário dos humanos – estão sujeitos a uma dinâmica incomum com essas armadilhas tecnológicas. Em Cerimonial Formality (2020), uma contorcionista está presa em uma gaiola de metal enquanto um espectador, preso a fios, observa.

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Zeremonielle Formalität Frederik Heymans Arbeit ist ein Balanceakt, der mehrere Medien einbezieht – darunter Video, Installationen und Fotografie – oft in einer digital veränderten Umgebung. In seiner Arbeit erforscht Heyman Gedächtnis und Dauer, indem er Photogrammetrie und 3D-Digitalisierung verwendet, um den Lauf der Zeit darzustellen und darzustellen. Die Markenzeichen von Heymans Arbeit sind mechanisch und technologisch: Drähte, Räder, scrollende LED-Schilder, Metallrahmen, Pinzetten, Industrielampen, Bildschirme und Kameras. Körper unterliegen bei diesen technologischen Fallstricken – anders als der Mensch – einer ungewöhnlichen Dynamik. In Ceremonial Formality (2020) ist ein Schlangenmensch in einem Metallkäfig gefangen, während ein kabelgebundener Zuschauer zuschaut.

IN MEMORIAM
Joachim Sauter

1959-2021

R.I.P

ART+COM Studios

MOBILITY
THE INSTALLATION SPANS A CORRIDOR OF 7-METRES WIDTH. ON THE LEFT WALL ONE HUNDRED PROSTHETIC HANDS ARRANGED IN A MATRIX REVOLVE AROUND THEIR OWN VERTICAL AXIS, THE MOVEMENTS BEING CONTROLLED BY MOTORS. THE MIRRORS THEY HOLD REFLECT THE BEAM OF A STRONG LIGHT ACROSS THE SPACE AND ONTO THE OPPOSITE WALL. WHAT INITIALLY SEEMS LIKE AN ASYNCHRONOUS, CHAOTIC PATTERN OF MOVEMENT SOON REVEALS ITSELF AS A COMPLEX, COMPUTATIONAL
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流动性
该安装跨越了7米宽的走廊。在左墙上，排列成矩阵的一百个假肢手绕其自身的垂直轴旋转，其运动由电动机控制。他们持有的镜子将强光光束反射穿过整个空间并射向对面的墙壁。最初看起来像是一个异步的，混乱的运动模式，很快就显示出一种复杂的计算编排：首先，一百个光点围绕一个中心点移动，类似于行星的天体动力学或昆虫群的飞行模式。并创造出三维空间的印象。然后突然之间，这种有机振动会聚成一个表示运动和动作的汉字。

Memória de acesso aleatório
A Memória de acesso aleatório é uma memória digital totalmente funcional. Em vez de operar em componentes semicondutores para representar os estados binários 0 (zero) ou 1 (um), a memória usa grãos de areia como material de armazenamento. Os grãos de areia podem ser lidos, colocados ou removidos em um disco giratório por um mecanismo de escolha e colocação de três eixos combinado com uma câmera de microscópio para rastrear a posição de um único grão de areia. Esse mecanismo de memória está sujeito a erros por meio de leituras incorretas, grãos saltando e outras imponderabilidades.

ダグエイケン
道格·艾特肯
Desde los años 90, Doug Aitken (Redondo Beach, EUA, 1968; vive en Los Ángeles, EUA) desarrolla una serie de películas, fotografías, instalaciones y vídeos que investigan la relación entre naturaleza, memoria, tiempo y espacio. Su obra habla de lugares inhabitables, ruinas, vestigios donde el tiempo parece tener otro ritmo. El artista ha concentrado buena parte de su investigación reciente en las instalaciones con vídeos y en sus filmes, aunque la preocupación por el espacio arquitectónico siempre esté presente en los trabajos.

Memoria frammentata
Phillip Stearns utilizza in modo creativo tutte le forme di elettronica nel suo lavoro, spesso mescolando luce e suono con tecniche tradizionali come la tessitura. Un aspetto del suo lavoro è la trasformazione della glitch art in disegni intrecciati attraverso il suo marchio tessile concettuale Glitch Textiles, fondato nel 2011. Questo spazia dalla visualizzazione di dati binari grezzi delle applicazioni alla scrittura di algoritmi personalizzati per generare modelli che possono essere trasformati in tattili e funzionali opere d’arte. Un’altra impresa è il trittico Fragmented Memory di grandi arazzi tessuti completato nel maggio 2013 al TextielMuseum di Tilburg, nei Paesi Bassi. Questo progetto ha utilizzato pratiche e processi digitali per sfumare i confini tra fotografia, visualizzazione dei dati, design tessile e informatica.

Dannazione della memoria
Dal latino, damnatio memoriae descrive un atto di cancellazione dal record storico riservato a quelli che hanno recato disonore allo Stato romano. Impiegato come la punizione più severa per tradimento, damnatio memoriae rade fisicamente tutte le tracce di un individuo dalla società, tipicamente attraverso la distruzione della fisionomia di una statua o l’abrasione dei monumenti inscritti. In tutto il passato due decenni, Sassolino ha sviluppato un corpo di lavoro che esamina il rapporto tra industriale macchine e impulsi umanistici in cui gli spettatori sono destinati a mettere in discussione la cinetica di una scultura la funzione, esteticamente e concettualmente, allegora le esperienze umane e le condizioni culturali.

SHIBUYA HYPER CAST. 2
Shibuya Hyper CAST. 2 is a showcase of most cutting-edge urban innovations combined into one building. Shibuya CAST., an existing development designed by noiz, has been an urban lab of mixed function and culture located in the middle of one of the hottest areas in Tokyo. This hypothetical project has started for the 5-year memorial celebration of the CAST., to project future possibility of the building, the area, our society, and potentially a form of future city. It demonstrates how cities of the future could be structured and operated. The project is based on urban studies in the area of mobility, social welfare, administration, funding, security, sustainability and more. Shibuya Hyper CAST. 2 translates the best features of vibrant downtown districts into vertical language of ever-growing cities of the future.

Damnatio Memoriae

From the Latin, damnatio memoriae describes an act of erasure from the historical record reserved for
those who have brought dishonor to the Roman State. Employed as the most stringent punishment for
treason, damnatio memoriae physically razes all traces of an individual from society, typically through
the destruction a statue’s physiognomy or the abrasion of inscribed monuments. Throughout the past
two decades, Sassolino has developed a body of work that examines the relationship between industrial
machines and humanist impulses where viewers are meant to question how an sculpture’s kinetic
function aesthetically and conceptually allegorizes human experiences and cultural conditions.

Spirit Molecule
Spirit Molecule II, engages local community members as DNA donors to be memorialized in a site-specific commission for the Broad Museum at Michigan State University, created in collaboration with University scientist Dr. Bjoern Hamberger. The work consists of a large mound of moss growing in the gallery, with four embedded cylinders containing genetic memorial plants. In this iteration we embed both human DNA and a gene for the scent of patchouli into lab-strain moss Physcomitrella patens.

Mindscapes
FILEFESTIVAL
La serie Mindscapes incluye videos, impresiones sobre plexiglas, una instalación interactiva y una performance audiovisual donde se explora la idea de paisaje relacionada a la actividad cerebral. No se trata de buscar una literalidad, si no que se recurre a algoritmos generativos para especular sobre los procesos, flujos y relaciones entre los diversos dispositivos que nos forman e influencian el modo cómo entendemos el mundo, construimos el conocimiento y articulamos las memorias.

No filme Johnny Mnemonic, o diretor Robert Longo vai ao limite da ficção científica ao colocar um chip de prodigiosa memória no cérebro do personagem principal, representado por Keanu Reeves. O espectador fica com a nítida sensação de que num futuro próximo a informação estará disponível, transportada de um lugar a outro no cérebro de ciborgues mensageiros. O chip pode transportar uma quantidade quase infinita de dados plugando um pino no orifício de um implante eletrônico colocado bem na região occipital.
cinema full

ghost_2
El artista húngaro David Szauder, conocido como Pixel Noizz, indaga los rincones de la memoria donde las ideas y los recuerdos se fragmentan, y traduce estas composiciones en fotografías “dañadas”. La serie de Szauder, que lleva por nombre Failed Memories, explora la “naturaleza imperfecta de la memoria”, la que coarta la imagen clara de los pensamientos que generamos. Cuando por alguna causa física o emocional se pierden trozos de alguno, estas lagunas inundan la imagen y la vuelven borrosa.

ТАТЬЯНА ТРУВЕ
L’artista italo-francese TATIANA TROUVÉ è nata a Cosenza, nel 1968. Vive e lavora a Parigi dalla metà degli anni novanta. La sua opera esplora gli interstizi, gli intervalli, le trasformazioni che definiscono uno spazio mentale al confine tra passato e futuro, memoria e potenzialità, presenza e assenza, realtà e finzione. Le sculture, le installazioni, i disegni dell’artista attingono al linguaggio dell’architettura[…]

Etnomats 001
Francisco Larios es un artista multidisciplinario (México, 1960) cuyo trabajo despuntó en la década de los noventa. Larios ha practicado la pintura, el dibujo de concepto abierto, el uso de “software” para crear entornos visuales bidimensionales y tridimensionales. En su imaginario se cumple la condición postmoderna, en la que la cultura contemporánea es el punto de arranque para la elaboración de escenas que manifiestan un retorno a referentes sacros, temáticas filosóficas y fabulaciones inmemoriales.

Draped Column
Standing ten feet tall and suggesting an elegant obelisk as much as a shower curtain, this curious sculpture raises questions: Is this a functional object? What function is implied? The title refers to an architectural element or a memorial, but this totem defies gravity and it unclear what could be memorialized. Instead, it exists as a conundrum, a surreal manifestation of an object of the imagination that shouldn’t be able to exist, but does so with its imposing, tangible presence. Draped Column holds our attention and our curiosity as a fully realized poetic statement.

Folding the Chesapeake
Maya Lin has maintained a careful balance between art and architecture throughout her career, creating a remarkable body of work that includes large-scale site-specific installations, intimate studio artworks, architectural works and memorials.

Desiring Machine: and/or the female reincarnation of Sisyphus
Née en Argentine, Paula Gaetano Adi est artiste et chercheure dans les domaines de la sculpture, de la performance, et des installations interactives et robotiques. Elle utilise le corps humain et non humain comme point de départ de ses recherches, et s’intéresse aux effets discursifs et aux impacts affectifs des technosciences sur la subjectivité humaine et dans l’art. Ses œuvres ont été présentées sur la scène internationale à Beijing, Berlin, Madrid, Moscou, Stockholm, São Paulo, New York, Poznan et Buenos Aires, entre autres. Elle a reçu de nombreux prix et bourses, tels que le premier prix à la compétition VIDA 9.0 sur l’art et la vie artificielle, organisée par la Fundación Telefónica, et le premier prix LIMbØ du Musée d’art moderne de Buenos Aires, la bourse Fergus Memorial en 2009 et 2010 de même que la bourse accordée à un artiste ibéro-américain dans le cadre de la compétition VIDA 14.0. À l’heure actuelle, Paula Gaetano Adi est professeure adjointe dans le programme de Studio Art du College of Visual Arts and Design de l’Université de North Texas, où elle coordonne le secteur réservé aux nouveaux médias. À cette université, elle s’est également jointe au groupe Initiative for Advanced Research in Technology and the Arts (iARTA).

Strange Fruit
Using both sculpture and musical performance in his practice, Kevin Beasley explores the physical materiality and cultural connotations of both objects and sound. His sculptures typically incorporate everyday items like clothing, housewares, or sporting goods, bound together using tar, foam, resin, or other materials. Often they also contain embedded audio equipment that warps and amplifies the ambient tones of their surroundings. For Storylines, Beasley has created two new works specifically for the Guggenheim’s Frank Lloyd Wright–designed building. Within this vast and open sonic environment, Strange Fruit (Pair 1) and Strange Fruit (Pair 2) (both 2015) offer an experience of intimacy, absorbing and reflecting the sound of the crowd at the scale of a personal conversation. Each work embodies this spirit of dialogue in its two-part structure—at its core are two athletic shoes, one merged with microphones, the other with speakers. Suspending these objects in space, Beasley compounds their technological interchange with additional layers of meaning, bringing to mind the urban phenomenon of shoes hanging from overhead wires or poles (itself an open-ended form of communication). At the same time the works’ titles refer to history of lynchings in the American South memorialized by Bronx schoolteacher Abel Meerepol in the 1937 protest song “Strange Fruit.” In these contexts, the hanging forms of Beasley’s sculptures resonate not only with his body, which molded them by hand, or with the bodies moving through the museum, but also with those inscribed in the problematic history of race and class in the United States.

[ME]morial – Memorial architecture for the individual
VIA HIGHLIKE SUBMIT

Árvores

Afonso Tostes vem se dedicando nos últimos anos ao que se pode chamar de investigação sobre as estruturas. As esculturas são feitas em madeiras recuperadas de demolições e canteiro de obras pela cidade. Estas peças são colocadas estrategicamente nos espaços, provocando a cada montagem uma sensação diferente no que se refere ao apoio, escora, e interdependência entre as partes. A série “prédios” remete à memória da origem do material, são peças que têm pulsação própria e ativam o espaço em torno através dos antagonismos entre o bruto e o refinado, o espontâneo e o erudito. Afonso Tostes tem uma produção irrequieta, suas esculturas assim como pinturas e desenhos nunca se acomodam no lugar comum, o artista imprime a velocidade do mundo em que vive; a observação daquilo que a princípio passaria desapercebido, para ele é matéria prima e fundamental.

아말리아 피카
АМАЛИИ ПИКИ
Memorial for intersection

孙原和彭禹
ВС Юань и Пэн Юй
Old persons home
Sun was born in Beijing and Peng in Heilongjiang. Sun and Peng are contemporary conceptual artists whose work has a reputation for being confrontational – they have previously used live animals in their installations. As their contribution to the 2005 Venice Biennale, the duo invited Chinese farmer Du Wenda to present his home-made UFO at the Chinese Pavilion. They won the Contemporary Chinese Art Award in 2001. Their 2009 solo exhibition, “Freedom”, at Tang Contemporary in Beijing, was seen by some critics as a memorial to the Tiananmen Square incident. The installation featured a large fire-hose hooked to a chain that erupted water spray at a distance of 120 meters.

Урс Фишер
nomadic art tent
The nomadic sculpture that Urs Fischer created for Station to Station is something of a steamy interior dreamscape, a glittery, shimmering vision that hypnotizes with lights and textures that both welcome and disorient. In the center of the piece is a plush Hasten’s bed on which viewers lie surrounded on all sides by mirrors and cloud-like smoke. A disco ball rotates above. Is this a place for disco naps? Or is it a glamorous fantasy of decadence and visual riches? Spend some time, look at yourself in the many reflective surfaces, and feel the bedding against your skin and decide for yourself. Dreamy as it is, this space is grounded in the real world and governed by the laws of physics. This place seems like a fantasy, but it is entirely real. As one critic noted of an earlier Fischer work:In a world increasingly defined by virtual realities and digital imaging, is the creative mastery of hand manufacture merely a quaint artistic throwback — nostalgia for a lost cultural past? Is this sculpture a memorial? Given today’s ubiquitous special effects wizardry, shouldn’t art clasp technology to its bosom? There’s nothing virtual about the softness of the bed, nothing digital about the gleam of those lights or the mist surrounding you. Take off your shoes. Climb inside. This is real life.

ロバート＆シャナ パークハリスン
로버트와 샤나 파커해리슨은
Роберт и Шана ПаркеХэррисон
שאנה פארקר והאריסון רוברט
memorial

In memoriam

maiastra
O trabalho de Nino tem uma intensa relação com objetos cotidianos. Para o artista, os objetos de uso doméstico referem-se ao desejo de apropriar-se da memória do objeto, a fim de ganhar as experiências do tempo. Equilíbrio e delicadeza são duas características que podem ser atribuídas aos arranjos entre o corpo de Nino e os objetos. Neles, seu corpo se integra aos objetos, muitas vezes amparando-os, em outras sendo amparado por eles.

Cénotaphe à Newton

Boullée promoted the idea of making architecture expressive of its purpose, a doctrine that his detractors termed architecture parlante (“talking architecture”), which was an essential element in Beaux-Arts architectural training in the later 19th century. His style was most notably exemplified in his proposal for a cenotaph (a funerary monument celebrating a figure interred elsewhere) for the English scientist Isaac Newton, who 50 years after his death became a symbol of Enlightenment ideas. The building itself was a 150 m (500 ft) tall sphere, taller than the Great Pyramids of Giza, encompassed by two large barriers circled by hundreds of cypress trees. The massive and spheric shape of the building was inspired by Boullée’s own study called “theory of bodies” where he claims that the most beautiful and perfect natural body is the sphere, which is the most prominent element of the Newton Memorial. Though the structure was never built, Boullée had many ink and wash drawings engraved and circulated widely in the professional circles in 1784. The small sarcophagus for Newton is placed at the lower pole of the sphere. The design of the memorial is intended to create the effect of day and night. The night effect occurs when the sarcophagus is illuminated by the sunlight coming through the holes in the vaulting, giving the illusion of stars in the night sky. The day effect is an armillary sphere hanging in the center that gives off a mysterious glow. Thus, the use of light in the building’s design causes the building’s interior to change its appearance.