Metronome
Alter-Projects and Servaire & Co have partnered to design Metronome, an oscillating installation at the London Design Biennale created to trigger memories through sounds and smells. The installation is a room with a scent-diffusing physical metronome at its centre accompanied by an ASMR soundscape by designer Steve Lastro.

Anarchitecture

splitting house

“Of the many shows at the fabled 112 Greene Street gallery—an artistic epicenter of New York’s downtown scene in the 1970s—the Anarchitecture group show of March 1974 has been the subject of the most enduring discussion, despite a complete lack of documentation about it. Anarchitecture has become a foundational myth, but one that remains to be properly understood. Stemming from a series of meetings organized by Gordon Matta-Clark and reflecting his long-standing interest in architecture, the Anarchitecture exhibition was conceived as an anonymous group statement in photographs about the intersection of art and building. But did it actually happen? It exists only through oblique archival traces and the memories of the participants. Cutting Matta-Clark investigates the Anarchitecture group as a kind of collective research seminar, through extensive interviews with the protagonists and a dossier of all the available evidence. The dossier includes a collection of Matta-Clark’s aphoristic “art cards,” the 96 photographs that were produced by the various participants for possible inclusion in the exhibition, and images from a recently unearthed video of Matta-Clark’s now famous bus trip to see Splitting in Englewood, New Jersey.” Mark Wigley

瓦妮莎比克罗夫特
נסה יקרופט
ヴァネッサ·ビークロフト
바네사 비크로프트
ВАНЕССА БИКРОФТ
La Membre Fantôme
For the installation ‘le membre fantôme’, vanessa beecroft takes the visitor back to the classical language of sculpture through a conceptual perspective, leading us towards an intimate gallery room inhabited by timeless statuary. shown at the 2015 venice biennale, beecroft presents a scene that is visible only at a distance, where the viewer must look through a crevice carved out of two marble walls. Through the panels, we see fragments of a stone garden, rich in archaeological allures and echoes of early twentieth century avant-garde. the archive of memory is here a tribute in bronze – placed at the centre of the installation – to marcel duchamp’s ‘étant donnés’, a reference model for her research that combines personal memories, historical and artistic impressions and a conceptual tension.

Machine Hallucination
Refik Anadol’s most recent synesthetic reality experiments deeply engage with these centuries-old questions and attempt at revealing new connections between visual narrative, archival instinct and collective consciousness. The project focuses on latent cinematic experiences derived from representations of urban memories as they are re-imagined by machine intelligence. For Artechouse’s New York location, Anadol presents a data universe of New York City in 1025 latent dimensions that he creates by deploying machine learning algorithms on over 100 million photographic memories of New York City found publicly in social networks. Machine Hallucination thus generates a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques. The resulting artwork is a 30-minute experimental cinema, presented in 16K resolution, that visualizes the story of New York through the city’s collective memories that constitute its deeply-hidden consciousness.

史上第一位進入太空的藝術家
Bionic Angel
The work series “bionic angel” takes as its starting point the future transformation and technological control of human evolution. Rapid development in the field of so-called “g-r-i-n techno-logies” (genetics, robotics, information and nano-techno- logies) are changing our bodies, minds, memories, and identities, but also impact on our progeny. These technologies all converge with the aim of enhancing human performance. Prenatal genetic determination enables children to be built to plan.

Каарины Кайкконен
Forget Me Not
Kaarina Kaikkonen (born 1952) is known for installations that are modest and monumental at the same time – the scale is lofty, but the materials down to earth. Most often she uses recycled materials, such as clothes or paper. The meaning of a piece can arise from the great number and anonymity of the clothes’ former owners, such as in her jacket installations, or from the personal memories and emotions of the people who have used the objects. On the other hand, the jackets, shirts and ties she uses are connected to Kaikkonen’s deceased father, yet their sheer number steers associations towards crowds.