highlike

CHRISTIAN BOLTANSKI

基督教波尔坦斯基
בולטנסקי
クリスチャン·ボルタンスキー
Кристиан Болтански

Homage

R.I.P 1944-2021

Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”

REVITAL COHEN & TUUR VAN BALEN

The Immortal
A number of life-support machines are connected to each other, circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering.
A web of tubes and electric cords are interwoven in closed circuits through a Heart-Lung Machine, Dialysis Machine, an Infant Incubator, a Mechanical Ventilator and an Intraoperative Cell Salvage Machine. The organ replacement machines operate in orchestrated loops, keeping each other alive through circulation of electrical impulses, oxygen and artificial blood.
Salted water acts as blood replacement: throughout the artificial circulatory system minerals are added and filtered out again, the blood gets oxygenated via contact with the oxygen cycle, and an ECG device monitors the system’s heartbeat. As the fluid pumps around the room in a meditative pulse, the sound of mechanical breath and slow humming of motors resonates in the body through a comforting yet disquieting soundscape.Life support machines are extraordinary devices; computers designed to activate our bodies when anatomy fails, hidden away in hospital wards. Although they are designed as the ultimate utilitarian appliances, they are extremely meaningful and carry a complex social, cultural and ethical subtext. While life prolonging technologies are invented as emergency measures to combat or delay death, my interest lies in considering these devices as a human enhancement strategy.This work is a continuation of my investigation of the patient as a cyborg, questioning the relationship between medicine and techno- fantasies about mechanical bodies, hyper abilities and posthumanism.

Neri Oxman

Wearable Structures for Interplanetary Voyages
Muchos del proyectos de Oxman usan impresión 3D y técnicas de fabricación. Incluyen el Silk Pavilion, hilado por gusanos de seda en un marco de nylon,3​ Ocean Pavilion, una plataforma de fabricación a base de agua que construyó estructuras de quitosano,4​ G3DP, la primera impresora 3D para vidrio ópticamente transparente y un conjunto de vidrio producido por ella,5​ y colecciones de ropa impresa en 3D y utilizables en espectáculos de alta costura.
Viajar a destinos más allá del planeta Tierra implica viajes a paisajes hostiles y entornos mortales. La gravedad aplastante, el aire amonioso, la oscuridad prolongada y las temperaturas que hervirían el vidrio o congelarían el dióxido de carbono, casi eliminan la probabilidad de visitas humanas.

frank kolkman and juuke schoorl

file sao paulo 2018
“Outrospectre” is an experimental proposal for a medical device aimed at reconciling people with death through simulating out-of-body experiences. In healthcare the majority of efforts and research focus on keeping people alive. The fear and experience of death is a mostly neglected topic. Recent (para) psychological research, however, suggests that the sensation of drifting outside of one’s own body using virtual reality technology could help reduce death anxiety. “Outrospectre” explores the possible application of these findings in hospital surroundings where it could help terminal patients accept their own mortality with more comfort.
This project investigates unanswered questions about mortality and ‘end of life’.

Satoshi Minakawa

Daisy Balloon
“Daisy Balloon” est un projet des artistes japonais Rie Hosokai et Takashi Kawada, immortalisé par le photographe Satoshi Minakawa.

Robertina Sebjanic

Neotenous dark dwellers
Lygophilia
Lygophilia weaves together mythologies and sciences, history and future, fears and desires, continents, cultures, humans and non-humans. Lygophilia folds and unfolds the stories carried by those fascinating creatures that are the Mexican Axolotl and the Slovene Proteus.
From immortality to regenerative medicine — both animals are, as adults, in a state of “eternal youth” (neoteny) showing extraordinary longevity and regenerative abilities that put them at the centre of ancient myths as well as current cutting-edge scientific researches.

Guda Koster

Just married
Guda Koster est une sculpteure, performeuse et photographe néerlandaise. Son travail se caractérise par l’usage de couleurs vives, de vêtements aux motifs graphiques qu’elle met en scène dans ce qu’elle appelle des sculptures vivantes qu’elle immortalise en photos.

SPENCER TUNICK

斯宾塞图尼克
سبنسر تونيك
ספנסר טוניק
スペンサーチュニック
СПЕНСЕР ТУНИК
Spencer Tunick, è un artista provocatorio e controverso, noto per le sue fotografie di grandi gruppi di persone nude disposte in formazioni artistiche, spesso in zone urbane[…] Con gli anni il fotografo Dopo aver realizzato foto di nudi in diversi stati americani nell’ambito di un progetto chiamato “’Naked States”, ha iniziato a viaggiare per il mondo immortalando diverse città quali Londra, Lione, Melbourne, Montreal, Caracas, Santiago, Sao Paulo, Buenos Aires, Sydney, Newcastle, Roma e Vienna.

Mella Jaarsma

The Carrier
Mella Jaarsma’s wearable sculpture The Carrier addresses the fleeting nature of all living things, especially the temporality of humans and their urgent need to escape their current situation or move from place to place. She notes how the human condition of gathering experiences without knowing why, collecting possessions, and fearing death while longing for immortality impacts every living human being. We live in a world in which people are on the move as travelers, vacationers, explorers, and even migrants fleeing the oppressors of their beloved homelands.

Wim Wenders

לזכות ונדרס
ヴェンダースに勝つ
벤더스 승리
ВЫИГРАТЬ ВЕНДЕРС
Wings of Desire
cinema

Wings of Desire is one of cinema’s loveliest city symphonies. Bruno Ganz is Damiel, an angel perched atop buildings high over Berlin who can hear the thoughts—fears, hopes, dreams—of all the people living below. But when he falls in love with a beautiful trapeze artist, he is willing to give up his immortality and come back to earth to be with her. Made not long before the fall of the Berlin wall, this stunning tapestry of sounds and images, shot in black and white and color by the legendary Henri Alekan, is movie poetry. And it forever made the name Wim Wenders synonymous with film art.

Diemut Strebe

Sugababe
Sugababe is a living replica of Vincent van Gogh’s ear, grown from tissue engineered cartilage. It is composed of living immortalized van Gogh cells from a male descendant, containing natural genetic information about Vincent as well as genetically engineered components amongst using genome editing CRISPRCas9 technique, and most recent bioprinting technology.

JONATHAN SCHIPPER

Slow Motion Car Crash

Jonathan Schipper’s work provides an alternative way of experiencing the world by slowing down physical events to almost imperceptible movement. His slow motion car crash sculptures are actual cars moving at speeds of 7mm per hour into a choreographed collision. The spectacular moment of the car crash is rendered safe and almost static. With a dramatic inevitability that reflects our own mortality, over the course of the Festival month the car is eventually destroyed.

Jean Cocteau

جان كوكتو
让·科克托
ז’אן קוקטו
ジャン·コクトー
장 콕토
ЖАН КОКТО
Orphée
“The three basic themes of Orphée are:1-The successive deaths through which a poet must pass before he becomes, in that admirable line from Mallarmé, tel qu’en lui-même enfin l’éternité le change—changed into himself at last by eternity.2-The theme of immortality: the person who represents Orphée’s Death sacrifices herself and abolishes herself to make the poet immortal.3-Mirrors: we watch ourselves grow old in mirrors. They bring us closer to death.

SONICE DEVELOPMENT

emerging colorspace
Julian Adenauer and Michael Haas
Emerging Colorspace was a robotic drawing installation, realized by the Berlin based duo of artists, designers and inventors Julian Adenauer and Michael Haas, aka Sonice Development, as part of the Red Never Follows exhibition the Saatchi Gallery in London last summer. A new version of the studio’s Vertwalker, a machine with the ability to move on vertical surfaces, walking on buildings, and crawling on interior walls. The machine autonomously applied paint to the wall using a marker, referencing the vertical streets in Minority Report, the flying cars in Bladerunner and 5th Element, or Spiderman, the Silver Surfer and the Green Goblin – just to name a few sources of inspiration that expressed the supernatural. Thousands of lines drawn with different colors gradually formed an increasingly dense colorspace that emerged during the more than 200 exhibition hours, while the wandering behavior of the machine followed simple algorithmic rules with random elements. The result was a web that constantly changed, and never looked the same, exploring new territories and the future in a way ordinary mortals can’t.

YVES MARCHAND & ROMAIN MEFFRE

Ruins of capitalism
Autrefois une métropole florissante, au cœur du monde industrialisé, Détroit était un exemple de la manière de réaliser le rêve américain. Aujourd’hui, la magnificence qui caractérisait autrefois cette ville demeure sous la forme de ses bâtiments abandonnés. Au cours des cinq dernières années, un projet a été en vigueur pour préserver et immortaliser les bâtiments comme preuve de la magnificence de son passé.

POTLATCH

Gretchen at the Potlatch Feast

“Potlatch is a festive event within a regional exchange system among tribes of the North pacific Coast of North America, including the Salish and Kwakiutl of Washington and British Columbia.”
The potlatch takes the form of governance, economy, social status and continuing spiritual practices. A potlatch, usually involving ceremony, includes celebration of births, rites of passages, weddings, funerals, puberty,and honoring of the deceased. Through political, economic and social exchange, it is a vital part of these Indigenous people’s culture. Although protocol differs among the Indigenous nations, the potlatch could involve a feast, with music, dance, theatricality and spiritual ceremonies. The most sacred ceremonies are usually observed in the winter.
Within it, hierarchical relations within and between clans, villages, and nations, are observed and reinforced through the distribution of wealth, dance performances, and other ceremonies. Status of families are raised by those who do not have the most resources, but distribute the resources. The host demonstrates their wealth and prominence through giving away the resources gathered for the event, which in turn prominent participants reciprocate when they hold their own potlatches.
Before the arrival of the Europeans, gifts included storable food (oolichan [candle fish] oil or dried food), canoes, and slaves among the very wealthy, but otherwise not income-generating assets such as resource rights. The influx of manufactured trade goods such as blankets and sheet copper into the Pacific Northwest caused inflation in the potlatch in the late eighteenth and earlier nineteenth centuries. Some groups, such as the Kwakwaka’wakw, used the potlatch as an arena in which highly competitive contests of status took place. In rare cases, goods were actually destroyed after being received. The catastrophic mortalities due to introduced diseases laid many inherited ranks vacant or open to remote or dubious claim—providing they could be validated—with a suitable potlatch.
Sponsors of a potlatch give away many useful items such as food, blankets, worked ornamental mediums of exchange called “coppers”, and many other various items. In return, they earned prestige. To give a potlatch enhanced one’s reputation and validated social rank, the rank and requisite potlatch being proportional, both for the host and for the recipients by the gifts exchanged. Prestige increased with the lavishness of the potlatch, the value of the goods given away in it.

ROGER CHAMIEH

corazon

Motivado por experiencias personales y estimulado por procesos y materiales, el trabajo de Roger Chamieh explora los conceptos de mortalidad, envejecimiento y miedo mediante el uso de metáforas visuales inquietantes. El trabajo de Chamieh explora la dinámica de la fragilidad, la tensión y las contradicciones a través de la dependencia de fuerzas tanto visibles como invisibles. Trabajando dentro de este contexto de oposiciones, crea obras de arte que desafían las ideas convencionales del objeto escultórico a través de su uso de materiales, tanto constantes como efímeros, y el precario equilibrio que se logra en la ejecución. Además, el uso de la cinética de Chamieh, así como los elementos de sonido y, más recientemente, el video, funcionan juntos para subvertir sus propias experiencias personales y su fascinación por la fragilidad de la vida; a menudo resulta en objetos que interactúan directamente con el espectador y transmiten algo que bordea la interpretación.