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.

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
.
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。

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

Perpetual (Tropical) Sunshine
Perpetual (Tropical) Sunshine is an architectural, climatic and temporal installation. Thanks to a “screen” composed of several hundred infrared light bulbs, Perpetual (Tropical) Sunshine retransmits the journey and intensity of the sun as perceived on the 23rd parallel south, according to information transmitted live by weather stations all around the Tropic of Capricorn. Perpetual (Tropical) Sunshine thereby creates a displaced architectural space, which confronts the visitor with an abstract form of day and endless summer. It represents the increasingly artificial nature of our environment and suggests a form of “static mobility” or “displaced tropicality”.

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.

Q-Games
FILE FESTIVAL GAMES

In “PixelJunk Eden”, players, swing from abstract plant shapes to move about the garden, attacking the six-sided pollen carriers in order to gather the small pollen particles that can turn dormant seeds into activated seeds. The new seeds can be used to create new plants and gain further mobility in the garden.swing from abstract plant shapes to move about the garden, attacking the six-sided pollen carriers in order to gather the small pollen particles that can turn dormant seeds into activated seeds. The new seeds can be used to create new plants and gain further mobility in the garden.

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 choreography: at first the hundred light spots move around a central point, akin to the celestial dynamics of the planets or the flight pattern of a swarm of insects and creating the impression of a three-dimensional space. Then suddenly this organic oscillation converges to form a Chinese character denoting movement and action.

The Autonomous Human Drone Taxi

We keep hearing how technology will eventually solve the problem of vehicular traffic for good. Self-driving cars will only get us halfway to that future — they’re still cars, clogging up our roads, speeding down our freeways. The personal mobility future that I’m waiting for includes autonomous drone taxis that can sail high over the city, delivering me safely to my destination.

ウスマン·ハック
Flightpath

“Flightpath Toronto’s swarms of flying people experiment with an urban-scale participatory proposition: one that demonstrates the pleasures of emissionless urban mobility and creates a shared memory of a possible future. Flightpath Toronto is a collaboration between Usman Haque, architect/artist and Natalie Jeremijenko, engineer/artist, uniting his expertise in participatory urban spectacle with her expertise in bird flight and urban natural systems.”A panoramic 4-loop animation showed imaginative 3D-generated city featured some art projects by Usman Haque and Natalie Jeremijenko from a “flyer” ‘s point of view. Images of the art projects gradually appeared in each loop.