Nomade
Inspiriert vom Konzept der digitalen Nomaden des 21. Jahrhunderts und basierend auf verschiedenen Stücken und Algorithmen aus TUNDRAs früheren hochgelobten audiovisuellen Installationen, die weltweit von den USA bis nach China uraufgeführt wurden, bringt NOMAD die polare Atmosphäre verschiedener ortsspezifischer TUNDRA-Installationen in eine zufällig wechselnde Abfolge von visuellen Themen und Mustern, ausgelöst durch live gespielten Sound.

Nomad
Inspired by the concept of digital nomads of 21st-century and based on various pieces and algorithms from TUNDRA’s previous highly acclaimed audio-visual installations premiered across the globe from USA to China, NOMAD brings the polar atmosphere of different TUNDRA site-specific installations into a randomly changing sequence of visual themes and patterns triggered by live-performed sound.

きかがくもよ
Masana Temples
‘…The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. The music is the product of time spent in motion and all of the bending mindsets that come with it.’ – Bandcamp

Her practice spans a variety of artistic ranges, such as video, installations, performance and photography, and she explores varied themes, including nomadism, the relationship with one’s inner self and with others, and the role of women in society; all of which are frequently recurring subjects.

HER PRACTICE SPANS A VARIETY OF ARTISTIC RANGES, SUCH AS VIDEO, INSTALLATIONS, PERFORMANCE AND PHOTOGRAPHY, AND SHE EXPLORES VARIED THEMES, INCLUDING NOMADISM, THE RELATIONSHIP WITH ONE’S INNER SELF AND WITH OTHERS, AND THE ROLE OF WOMEN IN SOCIETY; ALL OF WHICH ARE FREQUENTLY RECURRING SUBJECTS.

Halte Nomade Rimouskoise

Nomadic chair

كيميكو يوشيدا
吉田公子
키미코 요시다
קימיקו יושידה
КИМИКО ЙОШИДА

A unique artist with sophisticated style, Yoshida’s Asian influenced self portraits are unprecedented. Her work evokes pertinent questions as to the role of women in modern Asia and is strongly driven by feelings of transformation and fleeting:
“ … when I was three, my mother threw me out of the house. I left clutching a box filled with all my treasures. I went to a public park. The police found me there the next day. Since then, I’ve always felt nomadic, errant, fleeing.”
“Art is above all the experience of transformation. Transformation is, it seems to me, the ultimate value of the work. Art for me has become a space of shifting metamorphosis. My Self-portraits … are only the place and the formula of the mutation.”

Урс Фишер
nomadic art tent
The nomadic sculpture that Urs Fischer created for Station to Station is something of a steamy interior dreamscape, a glittery, shimmering vision that hypnotizes with lights and textures that both welcome and disorient. In the center of the piece is a plush Hasten’s bed on which viewers lie surrounded on all sides by mirrors and cloud-like smoke. A disco ball rotates above. Is this a place for disco naps? Or is it a glamorous fantasy of decadence and visual riches? Spend some time, look at yourself in the many reflective surfaces, and feel the bedding against your skin and decide for yourself. Dreamy as it is, this space is grounded in the real world and governed by the laws of physics. This place seems like a fantasy, but it is entirely real. As one critic noted of an earlier Fischer work:In a world increasingly defined by virtual realities and digital imaging, is the creative mastery of hand manufacture merely a quaint artistic throwback — nostalgia for a lost cultural past? Is this sculpture a memorial? Given today’s ubiquitous special effects wizardry, shouldn’t art clasp technology to its bosom? There’s nothing virtual about the softness of the bed, nothing digital about the gleam of those lights or the mist surrounding you. Take off your shoes. Climb inside. This is real life.

Nomadic Plants
Vegetation and microorganisms live in symbiosis inside the body of the Nomadic Plants robot. Whenever its bacteria require nourishment, the self-sufficient robot will move towards a contaminated river and ‘drink’ water from it. Through a process of microbial fuel cell, the elements contained in the water are decomposed and turned into energy that can feed the brain circuits of the robot. The surplus is then used to create life, enabling plants to complete their own life cycle. As Gilberto wrote in our email conversation, “The nomadic plant is a portray of our own species. It also deals with the alienated transformation of this new hybrid species that fights for its survival in a deteriorated environment.”

Her practice spans a variety of artistic ranges, such as video, installations, performance and photography, and she explores varied themes, including nomadism, the relationship with one’s inner self and with others, and the role of women in society; all of which are frequently recurring subjects.