Echo Lens
Emerald Lake, Canada
Hybrid, Vincent Leroy’s work oscillates between the real and the virtual, the natural and the artificial, drawing its inspiration from both nature, which often sites his work, and from the digital world. Whether its kinetic sculptures, immersive installations or monumental works, movement is almost always Vincent Leroy’s raw material. The kind of movement that inspires life, amazement, and a permanently shifting viewpoint.

Henryk Górecki
Concerto for Harpsichord and String Orchestra Op. 40
Harpsichord: elisabeth chojnacka
Less than nine minutes long, the bipartite Concerto for Harpsichord (or Piano) and String Orchestra, which the composer sometimes called a “prank”, is a veritable volcano that carries the listener away from the very first bars with its immense energy. Its repetitive, motoric nature and rhythmic vigour suit the specific, slightly clattery sound of the harpsichord which is usually somewhat amplified, complemented by the chordal texture of the strings. In both parts, the mood of the piece clearly draws on the highlander music of the southern Podhale region, of which Górecki was a great admirer. In the context of his monumental sacred music from the same period, this Concerto is like the artist’s brief “respite”. It reflects the whirl and “profane” energy of a folk dance.
Elżbieta Chojnacka, to whom the piece was dedicated, has always stressed that every performance of the Concerto, which she has played throughout the world, ends with an encore. The piece meets with such acclaim from the audience, and is one of the most striking – and most joyful – compositions in the composer’s output. “A spectacular plaything”, as Teresa Malecka has described the piece.

Flexible Column

“Frei Otto “hesitates to pursue a project unless he is certain that its realization will be temporary enough to not be in man’s way.”
This position indicates a polite anarchism through death. A delicate rebellion against the monumental architectural quest.” Helen Levin

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„Frei Otto „zögert, ein Projekt zu verfolgen, es sei denn, er ist sich sicher, dass seine Realisierung nur vorübergehend genug ist, um dem Menschen nicht im Weg zu stehen.“ Diese Position weist auf einen höflichen Anarchismus durch den Tod hin. Eine zarte Rebellion gegen die monumentale architektonische Suche.” Helen Levin

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«Фрей Отто« не решается продолжать проект, если не уверен, что его реализация будет достаточно временной, чтобы не мешать человеку ». Эта позиция указывает на вежливый анархизм через смерть. Тонкое восстание против монументального архитектурного поиска ». Елена Левин

FILE SAO PAULO 2017
THE BREATHING CLOUD
“The Breathing Cloud” is a monumental floating organism. The work transforms a space by its motion, light, and rhythmic breathing. With this light art the phrase “let a room come to life” gets a new meaning. The clouds skin looks fragile and soft, and the movements are rhythmic, yet random, so the whole room feels like a living being. The technology is designed so that the strong LED modules and the mechanism support the pervasive breathing. It gets physically bigger and smaller and embraces with its bright light space.

Ascent
Ascent is a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level. The light and the fog create a monumental dynamic space that is participatory, the space that opens up a new dimension and directs the attention toward the bodily sensations in the explicit environment. The viewer is free to approach the work according to its own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.

Shenzhen Citizen Square
Cao Yuxi is een nieuwe mediakunstenaar wiens oeuvre zich uitstrekt over audiovisuele installaties, interactieve kunst, meeslepend ruimtelijk ontwerp en codering. Van zijn monumentale show in Shenzhen, waar 41 gebouwen van de skyline van de stad als canvas werden gebruikt, tot de hypnotiserende audiovisuele serie Dimensional Sampling en de op QR-codes geïnspireerde beelden, Cao’s werk confronteert de menselijke waarneming en daagt de kijker uit om na te denken over de veelzijdige aspecten van het moderne leven en het digitale tijdperk.

Rete Scintilla in Evoluzione
Rete Scintilla in Evoluzione utilizza 80 spark gap identici distribuiti regolarmente sotto forma di una griglia monumentale sopra il pubblico. Le scintille sono una metafora degli impulsi elettrici attraverso i quali i nostri nervi comunicano informazioni. Proprio come i neuroni formano reti nei nostri corpi, i ponti di scintilla formano una rete interconnessa nello spazio espositivo. La complessità nasce dalle interrelazioni tra i singoli ponti di scintilla. La struttura in rete costituisce il punto di partenza per un’installazione in cui il risultato è più della somma dei singoli elementi ma non potrebbe mai esistere senza questi singoli elementi. Il risultato è un ‘cosmo’ di scintille con regole e comportamenti propri.

Piegato Parallelamente
La monumentale installazione di Phillip K. Smith III Bent Parallel avvolge gli spettatori di luce, continuando il dialogo continuo dell’artista con la teoria del colore, l’ottica, la scala e la tecnologia. Apparendo come due pareti di campi di colore che si intersecano, la struttura a cerniera fonde le superfici per generare una percezione di spostamento e fusione. Crea un terzo piano, privo di materiale, a spessore zero, che mescola i colori adiacenti e sembra estendere i confini fisici dello spazio. L’ambiente che ne risulta appare allo stesso tempo infinito e finito.

Salle de pluie
Utilisant la technologie numérique, « Rain Room » est une averse soigneusement chorégraphiée, une œuvre monumentale qui encourage les gens à devenir des interprètes sur une scène inattendue, tout en créant une atmosphère intime de contemplation. Les visiteurs peuvent littéralement marcher sous la pluie, comme s’ils étaient entourés d’un champ magnétique invisible, et ne jamais se mouiller.

Mark Napier has been creating artwork exclusively for the Web since 1995. He combines his training as a painter with his expertise as a software developer to create “art interfaces,” software that addresses issues of authority, ownership, and territory in the virtual world.
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smoke
“A symbol of the human desire to monumentalize ideas in physical form, the Empire State Building is a subject of Mark Napier’s artwork in the past four years. This icon of American hegemony is key to exploring shifting structures of power, specifically the transition from steel to software as the medium of power in our time.”Mark Napier

Walking ghosts
Étienne Bardelli fue un apasionado joven por el graffiti y el street art antes de ser el destacado diseñador gráfico y artista que es hoy en día. Nació en 1977, vive y trabaja en París. El trabajo de Etienne ronda de manera meticulosa y elegante por las intervenciones callejeras, el desarrollo de productos industriales, la imagen corporativa y el embellecimiento de los espacios. La sofisticación, la simplicidad y el equilibrio marcan cada pieza en su portafolio. Sorprendiendo desde el mas pequeño gesto hasta la instalación mas monumental de su obra. El trabajo de Bardelli corresponde a la migración constante que desarrolla un artista hacia el diseño y viceversa.

La nuvola che respira
“La nuvola che respira” è un monumentale organismo galleggiante. L’opera trasforma uno spazio con il suo movimento, la luce e la respirazione ritmica. Con questa arte leggera la frase “lascia che una stanza prenda vita” assume un nuovo significato. La pelle delle nuvole sembra fragile e morbida, ei movimenti sono ritmici, ma casuali, quindi l’intera stanza sembra un essere vivente. La tecnologia è progettata in modo che i potenti moduli LED e il meccanismo supportino la respirazione pervasiva. Diventa fisicamente più grande e più piccolo e abbraccia con il suo spazio di luce brillante.

Kettenreaktion
Diese monumentale lichtskulptur von Henk Stallinga ist eine zusammensetzung von 144 kreisleuchten. die intensität der einzelnen lichter variiert allmählich von einem subtilen leuchten zu einem intensiven hellen licht. während eines natürlichen tages „bewegt“ sich dieser lichtkreis die kette auf und bietet dem besucher einen zeitsinn.

AVA_V2 / Particle Physics_Scientific_Installation
Ava; is the surface-volume shape coefficient. The main inspiration comes from monumental experimentations which focused on particle physics. AVA’s design originate from the Buckminster Fuller’s iconic dome structure. It has 360 traceable area from the exterior surface of the dome. Cosmic rays reinterpreted within the concept of AVA and the first version of the performance screened at Paris. AVA is a Commisioned Artwork and designed as a portable installation which can be transportable and positionable at any place.

Vision II
David Spriggs’ Vision artwork series have a distinct focus on the senses. Accentuated by an affinity between its subject matter and the fragmentary nature of the medium, there is a tension created between form and emptiness. Appearing both as an implosion and as an explosion depending on the one’s perception, the viewer has the sense that he/she is observing a form in becoming, yet at the same time breaking down. The immersive experience created by Vision provides the audience with the impression that they are in the midst of witnessing an event, something of monumental proportions akin to the Big Bang. In changing viewpoints by navigating around the work, Vision is continually altered, breaking down at the sides so that the viewer can only see the edge planes of multiple sheets, begging the question: Is there in fact a form, or just individual images?

….the Illuminating Gas
Concepita come una composizione armonica di luce, energia e suono, “….the Illuminating Gas” è la più grande mostra mai realizzata da Cerith Wyn Evans (Llanelli, Galles, Regno Unito, 1958; vive e lavora a Londra) e presenta una straordinaria selezione di ventiquattro opere tra sculture storiche, complesse installazioni monumentali e nuove produzioni, che offrono ai visitatori un’esperienza sinestetica unica.

Eotone
With EOTONE, Kolgen and Letellier reflect on distance and weather, by staging something intangible yet powerful: the wind. Four sound and sculptural diffusers, containing elements of both the weather vane and the fog horn, make up this monumental installation that renders in movement and sound the direction and force of the wind blowing simultaneously on two continents: in Montreal and Quebec City on one side of the Atlantic, in Rennes and Nantes on the other. The wind data recorded in each city is transmitted live to the diffusers, controlling the orientation of each of the structures and orchestrating the combined chords that make up the harmonic whole perceived at the heart of the installation. By transforming weather data into sound, EOTONE offers a subtle artistic vision of the Internet of objects.

Oculus
Oculus is a large-scale, collaborative light sculpture that depicts a colossal abstracted drosophila eye, replete with compound faceted surfaces. It both recalls the circular opening at the apex of a cupola and alludes to a surveillance device or drone hovering in mid-air. Oculus is inspired in part by a series of scanning electron micrographs produced in a transgenic lab while researching human and non-human sensoria. The work evokes affective encounters with scale such as viewing miniature particles through the lens of a microscope or wandering through monumental physical environments. As each viewer’s reflection plays across the sculpture’s undulating surface, the apprehension of the self affects both individual and collective behavior in unexpected ways. This affective dynamic plays on the precariousness of our coexistence with other lifeforms in the world, one that is always contingent upon viewers’ bodies and the variability of the environment around them. The act of gazing at Oculus also puts into play the reciprocal condition of both seeing and being seen.

A Monumental Offering of Potential Energy
Hill’s installation and performance, A Monumental Offering of Potential Energy (2016), places him atop a plywood platform embedded in the sculpture, which resembles a classic wooden roller coaster. Embodying the abstracted vehicle for which the track is laid, Hill’s physical presence in the work is undeniable and a central part of a 512-hour long performance that runs the course of the exhibition.

Riverbank House
Located on a narrow strip of land, sandwiched between a quiet riverbank and a residential neighborhood, the home’s unique form was inspired by the juxtaposed views offered by the surrounding environment. Standing on the riverbank you had views of the calm stream traveling to an unknown destination, unfazed by the birds, joggers and other small life form taking advantage of its natural serenity. However, a few steps down the bank, away from the river, revealed a startlingly contrasting view; homes and more homes, so grounded and monumental.

随机国际
rain room
Using digital technology, “Rain Room” is a carefully choreographed downpour—a monumental work that encourages people to become performers on an unexpected stage, while creating an intimate atmosphere of contemplation. Visitors can literally walk through rain, as though surrounded by an invisible magnetic field, and never get wet.

ماریکو موری
森万里子
Мори, Марико
Infinite Energy
Redefining the architecture of the space Louis Vuitton are eight monumental pieces by internationally-renowned japanese artist mariko mori. The exhibition ‘Infinite Review’ amasses sculptures and experiential installations in a series of works that metaphorically reflect the never-ending circulation of life and death as well as fragments from the artist’s personal experiences. Towering above visitors and traversing the space between the floor and ceiling are a triptych of luminous spirals. The soaring ‘infinite energy’ series is a visualization of an invisible force, felt and seen through their unseen participation with gallery entrants.

CIRCLE BLUE
Influenced by the seascapes and skies of Southern California, Valentine was an early pioneer of using industrial plastics and resin to produce monumental sculptures that reflect and distort the light and space that surround them. For Valentine, a smooth surface was the whole point of the work and he did not want it to look old. While he was teaching a course in plastics technology at UCLA in 1965, he wanted to produce a polyester resin in large volumes that would not crack from curing.

迈克尔·海泽
マイケル·ハイザー
마이클 하이저
Майкл Heizer
Levitated Mass
Levitated Mass by artist Michael Heizer is composed of a 456-foot-long slot constructed on LACMA’s campus, over which is placed a 340-ton granite megalith. The slot gradually descends to fifteen feet in depth, running underneath the boulder. As with other works by the artist, such as Double Negative (1969), the monumental negative form is key to the experience of the artwork.

Эмилио Ambasz
Residence au Lac
Célebre por sua bioarquitetura, onde os panos de fachada em vidro, concreto ou alvenaria, cedem lugar ao verde, profuso e exuberante, como a prefeitura da cidade de Fukuoka no Japão. Seus prédios evocam os lendários jardins suspensos da Babilônia, uma das sete maravilhas do mundo antigo, referidos na Bíblia. Emílio Ambasz famoso arquiteto e designer argentino, nasceu em Buenos Aires em 1943 e formou-se na Universidade de Princeton, EUA. No Arizona imaginou uma torre monumental em ferro e vidro, ícone da cidade de Fenix. Um dos seus poucos projetos onde o verde não aparece.

Tube Innsbruck
Le collectif d’artistes Numen/For Use, dont nous avions déjà parlé avec leur structure organique gigantesque installée dans le Palais de Tokyo, viennent de réaliser une nouvelle installation monumentale et immersive dans la galerie autrichienne Architektur Forum. Cette immense structure en corde baptisée simplement Tube propose aux visiteurs de déambuler à travers les tunnels tortueux de l’installation, découvrant l’architecture des lieux sous différents angles et perspectives tout en flottant à plusieurs mètres au dessus du sol…

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.

Flying Stone No.2
Zhan Wang’s most celebrated work to date is his series of “artificial rocks” – stainless steel replicas of the much-revered “scholar’s rocks” traditionally found in Chinese gardens. The mirrored surfaces of these often monumental objects absorb the viewer and its surrounding environment, enticing them to become part of the work, an abstraction and distortion of reality, thus creating a visual interplay between positions of tradition and modernity.

Chain Reaction
This monumental light sculpture from Henk Stallinga is a composition of 144 circle lights. The intensity of the individual lights gradually varies from a subtle glow to an intense bright light. During the course of one natural day, this circle of light ‘moves’ up the chain, providing the visitor with a sense of time.

КАТАРИНА ФРИЧ
卡塔琳娜弗里奇
קתרינה פריטש
カタリーナフリッチュ
Giant
Por medio del humor sarcástico, Fritsch examina el mundo de todos los días la vida, el turismo y el consumo. Símbolos colectivos y recuerdos personales, emergente en sus cuadros y esculturas de objetos de gran tamaño, puede causar profunda emociones en el observador. Durante los últimos años, Katharina Fritsch tiene particularmente ocupado de la fotografía y su conversión en imágenes monumentales así como con los recuerdos personales de la infancia

Джузеппе Рандаццо
stone fields (Using computer algorithms)

This project has started from a search for a 3d-objects optimal packing algorithm over a surface, but evolved in something rather different. I love the work by Richard Long, from which this project takes its cue. The way he fills lonely landscapes with arcaic stones patterns and its eroic artistic practice, in his monumental vision, is in strong contrast with this computational approach that – ironically – allows virtual stones creation and sorting in a non physical, mental way, a ‘lazy’ version, so to speak. The virtual stones created from several fractal subdivision strategies, find their proper position within the circle, with a trial and error hierarchical algorithm. A mix of attractors and scalar fields (some with Perlin noise) drives the density and size of the stones. The code is a C++ console application that outputs a OBJ 3d file.

Everything Was Forever, Until It Was No More

Konrad Smoleński represents Poland at the Venice Art Biennale 2013. His monumental installation in the Polish Pavilion in the Biennale’s Giardini is titled Everything Was Forever, Until It Was No More. The work is a continuation of the previous explorations of Konrad Smoleński, who focuses his interest on sound. Two church bells that have been cast especially for this exhibition are at the center of the installation. Two walls of loudspeakers and other elements complete the work. In regular intervals, the traditional bronze bells, full-range speakers and other sonorous objects play a symphony. The create both a visual and aural experience, where the delaying and modifying of the initial sound of the bell is important. The exhibition Konrad Smoleński: Everything Was Forever, Until It Was No More is curated by Daniel Muzyczuk and Agnieszka Pindera.
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kiss garbage

“We create a new and honest, heroic and monumental form of art.”
Voina means war in Russian. Voina is a collective of about twenty artists/activists who challenge the Russian establishment with their radical actions in the public space. According to Voina’s principles, the battleground of the art collective are not contemporary art galleries (“conformist art-junk”). The war takes place in the street, among dirt and ice, in police stations, in restaurants, museums, and courts.Owing to their direct method of intervention against the symbols of power and repression, they are regarded as one of the most disturbing and controversial elements of the arts scene. One of Voina members is currently waiting for trial, another member was arrested illegally during the recent demonstrations to protest against fraud in the Russian election (but he managed to escape from the police station), and yet another one had to flee from the country.

מוניקה סוסנובסקה
Tower
“Tower” ist kein schlechter Beitrag zum Genre. Sein drehmomentstarker Tunnelrahmen, der die starren Linien von Mies ‘Architektur den Drehungen und Wendungen unterwirft, die mit Richard Serra oder Vladimir Tatlin verbunden sind, zwingt zu einer genauen Beobachtung aus mehreren Blickwinkeln. Der Blick von seinen offenen, sich entwirrenden Enden ist besonders effektiv und führt zu einer Art Schwindel. Währenddessen sorgt Frau Sosnowskas Liebe zum Detail – sie hat Fenstergriffe eingebaut, obwohl kein Glas vorhanden ist – dafür, dass die Lyrik der skulpturalen Form dies nicht tut völlig ablenken vom unangenehmen Schauspiel eines umgestürzten Wohngebäudes. Das Verhältnis dieser monumentalen Skulptur zum Galerieraum ist jedoch etwas Seltsames; „Tower“ erinnert an die Träger oben und sitzt ehrerbietig in einer Ecke des riesigen Raums. Er verweist Sie bescheiden auf die umgebende Architektur, anstatt seine eigene Ästhetik der zerstörten Moderne zur Schau zu stellen.

Monumental

질 아자로
BARACK OBAMA: NEXT INDUSTRIAL REVOLUTION
This monumental 3D Printed sculpture is the three-dimensional materialisation of President Obama’s voiceprint. The 3D voiceprint portrays an extract of President Obama’s February 2013 State of the Union Address. It represents the materialisation of the very thoughts and words of the President of the USA. The sculpture is interactive. A movement sensor activates the system and a laser beam scans the 3D recording to reveal the President’s words and message. The work was printed using a 3D desktop printer and the housing designed by Patrick SARRAN.

جنيفر روبل
제니퍼 루벨
ジェニファールベル
Portrait of the Artist

Jennifer Rubell, the American artist and niece of Studio 54 co-founder Steve Rubell, brings a maternal touch to this year’s Frieze Art Fair with her autobiographical piece Portrait of the Artist. The pristine white nude, cast from steel-reinforced fibreglass, reclines like an odalisque at the Stephen Friedman Gallery stand. The sculpture is a replica of Rubell’s own eight-months-pregnant body, except it is eight metres high: the large belly, which is carved out to leave an egg-shaped void, can accommodate a fully grown adult. Spectators are able to clamber into the artwork and curl up inside as if they are the artist’s unborn child.Rubell’s intention was to create a monumental gesture of unconditional motherly love. There is a feminist statement here, too: Rubell has appropriated a style and scale historically reserved for male leaders to show, she says, “an emotion that is intensely personal and un-heroic”. The artist adds that watching members of the Frieze audience enter in the sculpture’s womb is “tremendously satisfying” – in her eyes the enlarged form was “incomplete until the first viewer entered”. Amid the hustle of Frieze’s mini-city there is something undeniably appealing about the opportunity to put your feet up in the foetal position in the name of art. Not to mention the comfort factor.

Дэйв Коул
the music box

‘the music box’, a monumental sculptural piece commissioned by the cleveland institute of art and developed in partnership with ohio CAT, sees the american artist dismantling a 22, 000 lb steamroller in which he refabricates more than 80% of the machine–though still maintaining its identifiable physical qualities–transforming it into a fully functioning musical box, and at a fraction of its original weight.
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朱金石
boat

Tra le opere presentate, Boat di Zhu Jinshi è un’installazione monumentale di 12 metri realizzata utilizzando bambù, cotone e 8.000 fogli di carta di riso legati tra loro. Si tratta di un lavoro che cerca di riconciliare due tradizioni diverse, mostrando come l’arte astratta cinese sia stata una forza inesplorata nel panorama contemporaneo.