Arcangelo Sassolino

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.

Refik Anadol, Kilroy Realty Corporation and SOM Architects

Virtual Depictions
Parametric data sculptures
The main idea of ‘Virtual Depictions:San Francisco’ is to bring 21st century approach to public art to define new poetics of space through media arts and architecture and to create a unique parametric data sculptures that has an intelligence, memory and culture. Through architectural transformations of media wall located in 350 Mission’ lobby, home of Salesforce, main motivation with this seminal media architecture approach is to frame this experience with a meticulously abstract and cinematic site-specific data-driven narration. As a result, this media wall turns into a spectacular public event making direct and phantasmagorical connections to its surroundings through simultaneous juxtapositions. The project also intends to contribute to contemporary discourse of public art by proposing a hybrid blend of media arts and architecture in 21st century.

Frederik Heyman

CEREMONIAL FORMALITY
Frederik Heyman’s work is a balancing act incorporating multiple media – including video, installations and photogaphy – often in a digitally altered environment. In his work, Heyman explores memory and duration, using photogrammetry and 3D scanning to depict and represent the passage of time. The hallmarks of Heyman’s work are mechanical and technological: wires, wheels, scrolling LED marquees, metal frames, clamps, industrial lights, screens and cameras. Bodies–as opposed to humans–are subject to unusual dynamics with these technological trappings. In Ceremonial Formality (2020) a contortionist is encased in a metal cage while a spectator, hooked up to wires, looks on.

Vanessa Beecroft

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.

MONA VATAMANU & FLORIN TUDOR

Widely shown in Europe, Vatamanu and Tudor’s artistic practice involves bringing history into the present tense, whether in the form of performative re-enactment or symbolic recuperation. A deep interest in architecture as a repository of both personal and collective memory and as a mark of communist power underlies many of their projects