Vicky
Vicky is an interactive film that tells the non-linear story of a future hurricane on the southern border of the United States in 2028. The narrative, which is augmented by sound design from Theo Karon, is spread across multiple screens, each of which houses a different character reflecting on the situation in different ways.
Brain Entity
FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Luigi Novellino (aka PintoCreation) – Brain Entity – Italy
In a laboratory, a brain-like organism grows rapidly, integrating with technology and evolving into a giant entity that manipulates objects with its mind. He hypnotizes the city, absorbing energy and creating patterns. Efforts to stop him fail, signaling a battle to understand existence. This symbolizes a new era of coexistence, urging us to embrace interconnectivity and navigate a more integrated world.
Bio
Fascinated by the limitless domain of AI, Luigi Novellino adopts the title syntographer, a term that resonates deeply within the community. The artist often asks himself: “am I an artist?” Art, in his view, defies rigid definitions or limits; it represents a fluid expression of creativity that transcends labels. The artist’s ultimate goal is to awaken something in the viewer, provoking thoughts and evoking emotions.
Credits
Music: Odyssey by John Tasoulas
balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.
Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.
Sunshowers
(AI) infinite simulations
FILE FESTIVAL SP 2019
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‘Sunshowers’ is the third in our series of real-time animation artworks. It is inspired by the opening chapter of Akira Kurosawa’s film Dreams which follows a young boy as he explores a forest and stumbles across a fox wedding (Kitsune no Yomeiri). Our piece explores ideas of animism and techno-animism by assigning life in the form of artificial intelligence to all of the objects, both natural and man-made, within the virtual world. The piece unfolds in real time with the characters themselves deciding which paths they will follow.
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.
“Entropy Wrangler,” Ian Cheng’s 2013 exhibition at Off Vendome in Dusseldorf, was an excellent introduction to the logic behind this artist’s practice. The centerpiece was a large projection in the gallery’s basement described as “a live computer simulation that changes and evolves, forever.” Like all of Cheng’s simulations, it was programmed with motion capture techniques that register the physical movements of performers that are then translated onto digital bodies. These bodies coexist as individual entities subject to the laws and dynamics of a causal, virtual world: avatars of people and common objects, like hammers and basketball players, rendered in basic three-dimensional form and caught in the zero gravity of the digital screen
Breed
Breed (1995-2007) is a computer program that uses artificial evolution to grow very detailed sculptures. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfils this “fitness” criterion and thus yields a workable form. The designs were initially made in plywood. Currently the objects can be made in nylon and in stainless steel by using 3D printing techniques. This automates the whole process from design to execution: the industrial production of unique artefacts.
Computers are powerful machines to harness artificial evolution to create visual images. To achieve this we need to design genetic algorithms and evolutionary programs. Evolutionary programs allow artefacts to be “bred”, rather than designing them by hand. Through a process of mutation and selection, each new generation is increasingly well adapted to the desired “fitness” criteria. Breed is an example of such software that uses Artificial Evolution to generate detailed sculptures. The algorithm that we designed is based on two different processes: cell-division and genetic evolution.
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.”
فرناندو روميرو
费尔南多·罗梅罗
フェルナンド·ロメロ
페르난도 로메로
Soumaya Museum
Museum buildings tend to be conceived either for maximum functionality – acting as neutral containers for art – or as iconic structures that represent a city at a particular historic moment. The Museo Soumaya was designed as both: a sculptural building that is unique and contemporary, yet one able to house a collection of international paintings, sculptures, and decorative objects dating from the fourteenth century to the present.The exterior of the building is an amorphous shape perceived differently from every angle, reflecting the diversity of the collection inside. The building’s distinctive façade is made of hexagonal aluminum modules facilitating its preservation and durability. The shell is constructed with steel columns of different diameters, each with its own geometry and shape, creating non-linear circulation paths for the visitor. The building encompasses 20,000 square meters of exhibition space divided among five floors, as well as an auditorium, café, offices, gift shop, and multipurpose lobby. The top floor is the largest space in the museum, with its roof suspended from a cantilever that allows in natural daylight.
田中功起
Everything is Everything
The eight-channel video installation, Everything is Everything, was created for the first time to be shown at the 2006 Taipei Biennial, curated by Dan Cameron. For this work, the artist and two assistants spent a total of eight days recording their interactions and interventions with readily available items, including hangers, glasses, towels, air mattresses and toilet paper, all found in the city of Taipei. The physical properties of these objects have been tested (a metal hanger is stretched to the breaking point) or their uses have been expanded (a level placed on two table legs becomes an improvised obstacle). Tanaka and his assistants experimented with these objects several times indoors and in public, and their explorations were compiled into eight separate video loops lasting from 1:19 to 1:50 minutes. Tanaka’s narrowly cut frame of each scene often features performers from the neck down or removes them completely from the scene, thus focusing the viewer’s attention on the simple, repetitive objects and acts being performed.
Arr. for a Scene
“The sonic force of cinema’s most famous murder scene is investigated.Two foley artists recreate Hitchcock’s shower sequence, deconstructing the associations of aural signifiers, and the synesthetic power of sound. Jonna Kina contextualize this uncanny phenomenon — the “trans-sensory” quality of sound – within both Kina’s oeuvre, as well as other historical and contemporary works inside and outside the realm of art. In Arr. for a Scene (2017), Kina explores the structures and forms of cinematic sound – transforming an iconic image — the horrific shower scene in Alfred Hitchcock’s Psycho (1960) – into the sonic frequencies of quirky, seemingly innocent, domestic objects.” Melissa Ragona
DARK ECOLOGY
IsoScope
IsoScope is a kinetic audiovisual outdoor installation, a sensorial experience in which the audience wanders through rotating lights and an ever-changing sonic cloud. This new work by Dutch artist Joris Strijbos consists of multiple robotic wind objects interacting with each other and with their surroundings. Strijbos aimed at creating a human-constructed phenomenon, an abstract entity which, like most natural phenomena, can only be experienced in certain weather conditions. IsoScope can be seen as a proposition for a new kind of machinic and artificial lifeform. IsoScope was commissioned by Sonic Acts for the second Dark Ecology Journey (2015) and realised in collaboration with Jeroen Molenaar, Daan Johan and Erfan Abdi.
MOL
MOL (2018) takes up the ancient technique of memorizing information by placing symbols and signs along a mental path through an imagined house from room to room. Interested in the way technology affects both our sense of and need for memory, Nymann attempts to capture her own active and associative thinking by reconstructing her path through her abandoned childhood home. In the work, she visualizes her past experiences through the placement of anchor objects—which, according to the ancient Greco-Roman method of loci, shape the way we perceive the external world—suggesting that in our increasing reliance on technology to memorize for us, we allow others to form our view of the world.
FILE SAO PAULO 2017
THE PHYSICAL MIND
“The Physical Mind” is Vonk’s attempt to let participants experience the relation between their physical and mental states by applying physical pressure to the body. The installation consists of two inflatable objects in-between which a participant lays down to subsequently get lifted up and be gently squeezed between the curves of the two objects. While the lifting creates an unstable feeling, this stressful sensation is soon thereafter contrasted with the secure feeling of being gently squeezed between two soft objects. Besides this experience for participants, the installation also evokes feelings of empathy amongst bystanders who witness participants undergo the experience.
Захаров, Вадим Арисович
danaë installation
Drawing from the perpetually revisited myth of Zeus and Danae, an installation by Vadim Zakharov in the Russian pavilion at the Venice Biennale 2013 used consumable objects and the sequence of architectural spaces to make manifest underlying ideas about ‘rudeness, lust, narcissism, demagoguery, falsehood, banality, and greed, cynicism, robbery, speculation, wastefulness, gluttony, seduction, envy, and stupidity.’ the impregation of danae occurs when zeus appears to her as a golden shower after she is locked in a tower to prevent the professed death of her father. gender dynamics and the poetic cycle of gestation are reconstructed spatially with a total use of the pavilion– a first in the history of the building.
Electric Chair
The distinctive work of Sam Buxton is dominated by his innovative use of advanced materials and technologies. From his immensely popular MIKRO series (miniature fold-up sculptures, laser cut into thin strips of stainless steel through an acid etching process) to his explorations concerning interactive intelligent surfaces on the familiar objects around us, his work has continually managed to blur the lines between art, science and design.Through his work, which has regularly involved relatively common objects ranging from business cards to a dining table, Buxton has demonstrated an ability to see potential in what others take for granted. His on-going efforts in developing objects that can communicate, display information and react to the actions of the user, demonstrate his commitment to investigating the delicate relationship between the human body and its environment. Buxton’s fusion of art and science has resulted in a highly innovative and unique range of personal designs, many of which, have utilized the latest, most advanced materials and technologies available.
Silent Barrage
Silent Barrage has a “biological brain” that telematically connects with its “body” in a way that is familiar to humans: the brain processes sense data that it receives, and then brain and body formulate expressions through movement and mark making. But this familiarity is hidden within a sophisticated conceptual and scientific framework that is gradually decoded by the viewer. The brain consists of a neural network of embryonic rat neurons, growing in a Petri dish in a lab in Atlanta, Georgia, which exhibits the uncontrolled activity of nerve tissue that is typical of cultured nerve cells. This neural network is connected to neural interfacing electrodes that write to and read from the neurons. The thirty-six robotic pole-shaped objects of the body, meanwhile, live in whatever exhibition space is their temporary home. They have sensors that detect the presence of viewers who come in. It is from this environment that data is transmitted over the Internet, to be read by the electrodes and thus to stimulate, train or calm parts of the brain, depending on which area of the neuronal net has been addressed.
Bad Cat
“A giant cat made of foam and tangerine velvet with a wide, cartoonish, sharp-toothed grimace, almost fifteen feet high, is flipped on its back at the center of the gallery. It’s vulnerable—it looks like it’s yowling—and its shadow is a cut-out wraith of blue carpet.” Erin Schwartz.
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Da Corte often uses surreal imagery and everyday objects in his practice and explores ideas of consumerism, pop culture, mythology, and literature.
automato.farm
FILE FESTIVAL 2018
As things become smarter and connected, their roles in people’s lives are challenged. Things become closer and closer to us, eventually becoming “users” themselves. How will we understand objects’ needs and perspectives and potentially design for them?
Wyne Veen is a Dutch artist working in the photographic medium. Veen’s work consists of sculptural arrangements, utilizing everyday objects and their isolated materials. The work possesses an aesthetic and absurd appeal. Inspired by all things overly developed, Veen is fascinated by our highly manufactured lives, while also endlessly drawn to all steps of the production process. Veen graduated from the Royal Academy of Fine Arts in 2008 and maintains a studio in the Red Light district of Amsterdam
formafantasma
flos
Italian designers Andrea Trimarchi and Simone Farresin make up Amsterdam-based studio Formafantasma. Trimarchi and Farresin met while studying in Florence. They later studied a masters degree at Design Academy Eindhoven, setting up Formafantasma after graduating in 2009. The studio explores issues such as the relationship between tradition and local culture, the significance of objects as cultural conduits, and adopts critical approaches to sustainability.
The Overall Effect of Flying with the Wind
Chen Qi has applied watermarked prints, woodcuts, books, installations, videos and other various media in his “Notations of Time” of 2010. In his new creations, he continues his exploration into “time”, “life”, “existence” and other basic issues with his off-screen language. Thus, his “Flying with the Wind” can be taken as an extension of his general concept of “Notation of Time”, as well as being closely related to his water-based printmaking which is a continuation of the infatuation with the traces of objects from Chinese wash paintings and the ink rubbings of ancient stele inscriptions.
ロナン＆エルワン·ブルレック
РОНАН И ЭРВАН БУРУЛЛЕК
БУРУЛЛЕК БРАТЬЯ
17 screens
French designers Ronan and Erwan Bouroullec have been working together for over 20 years now. Their interpretive approach to design channels the discussion away from notions of aesthetics or technology towards a more conceptual setting. Drawing primarily on organic phenomena, they produce furniture and design elements that converge in intricate formations, like a sophisticated second nature that undermines the commonplace hierarchies of objects and space through units that are essentially moveable.
جين ستارك
仁斯塔克
ジェン·スターク
ג’ן סטארק
젠 스탁
Джен Старк
American artist Jen Stark was born in Miami, Florida in 1983 and received her BFA from Maryland Institute College of Art in 2005. Her kaleidoscopic artwork brings to mind fractals, rainbows, geodes and topographic maps. Her ideas are based on replication and infinity as well as hypnotic, optical designs that mimic mandalas and sacred objects.
ДЖОН МАК-КРАКЕН
约翰·麦克拉肯
ジョン·マクラッケン
Untitled (Black Block)
John McCracken (1934-2011) developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s. While experimenting with increasingly three-dimensional canvases, the artist began to produce objects made with industrial materials, including plywood, sprayed lacquer, and pigmented resin, creating the highly reflective, smooth surfaces that he was to become known for.
雏菊气球
데이지 풍선
デイジーバルーン
DAISY BALLOON is a balloon unit of worldwide balloon artist Rie Hosokai (born 1976) and art director/graphic designer Takashi Kawada (born 1976). Since forming in 2008, they have produced many balloon art works based on the themes of “perception and quality.” Above all, the balloon dresses have fascinated many people through the intricacy of detail that suggests architectural qualities. Their daily fieldwork consists of searching for philosophical themes and interacting with people and objects, but their vision is constantly looking toward achieving essential harmony with their surroundings.
マイケル·ヨハンソン
Майкл Йоханссон
The Move Overseas
Created by contemporary Swedish artist Michael Johansson, these “real life Tetris” installations see other people’s unwanted objects methodically and painstakingly packed together into neat, colour co-ordinated blocks. Inspired by real life coincidences, such as two people passing each other dressed in the same outfits, Johansson has been constructing the sculptures since 2007, installing them in public areas like tight alleyways and strangely shaped doorways as well as showing them at group and solo exhibitions all over the world. Speaking to PINCH magazine, Johansson said:
“These irregularities, or coincidences, are a great source of inspiration for me. I have also as long as I can remember been fascinated by flea markets. And in specific a fascination by walking around to find doubles of seemingly unique, though often useless objects I have already purchased at another flea market. There is something irresistible in the knowledge that if you don’t buy that particular object right away, the opportunity might never come back. I think the same rules compelling me to select things at flea markets are also central to my art practice, that you need to combine something very familiar with something very unique to create an interesting art experience.”
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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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Strange Fruit
Using both sculpture and musical performance in his practice, Kevin Beasley explores the physical materiality and cultural connotations of both objects and sound. His sculptures typically incorporate everyday items like clothing, housewares, or sporting goods, bound together using tar, foam, resin, or other materials. Often they also contain embedded audio equipment that warps and amplifies the ambient tones of their surroundings. For Storylines, Beasley has created two new works specifically for the Guggenheim’s Frank Lloyd Wright–designed building. Within this vast and open sonic environment, Strange Fruit (Pair 1) and Strange Fruit (Pair 2) (both 2015) offer an experience of intimacy, absorbing and reflecting the sound of the crowd at the scale of a personal conversation. Each work embodies this spirit of dialogue in its two-part structure—at its core are two athletic shoes, one merged with microphones, the other with speakers. Suspending these objects in space, Beasley compounds their technological interchange with additional layers of meaning, bringing to mind the urban phenomenon of shoes hanging from overhead wires or poles (itself an open-ended form of communication). At the same time the works’ titles refer to history of lynchings in the American South memorialized by Bronx schoolteacher Abel Meerepol in the 1937 protest song “Strange Fruit.” In these contexts, the hanging forms of Beasley’s sculptures resonate not only with his body, which molded them by hand, or with the bodies moving through the museum, but also with those inscribed in the problematic history of race and class in the United States.
РЕЙНАЛЬД ДРУХИН
LANDSCAPE MONOLITH
MONOLITH is the title of French multimedia artist Reynald Drouhin’s latest art project which consists of a series of digitally manipulated images of stunning natural landscapes. In the middle of picturesque sunsets and serene Arctic landscapes, Drouhin pastes a mysterious prismatic shape and then flips it, thus creating a mind-boggling visual effect of an otherworldly transparent object hovering in desolate locations. The entire project is an ingenious appropriation of the famous monolith from Stanley Kubrick’s film ”2001: A Space Odyssey” where mysterious dark rectangular objects (dubbed as monoliths) were scattered across the solar system by an unknown alien civilisation which seemed to guide humans along a risky interplanetary journey. Reynald Drouhin’s MONOLITH series captures exactly the double nature of Kubrick’s monoliths: the inverted shapes in the photographs seem to be a window to another dimension, a physical anomaly which distorts the nature around it, and is both menacing and inviting.
Quasi-Objects
ll works are printed using pigment-based inks on Hahnemühle archival paper, variable dimensions, edition of 3+1 ap.
“Quasi-Objects” is an art project consisting of 3d generated videos and prints, a practice of “organic re-design” – started in 2003 and still in progress – that aims to stimulate thought and dialogue on the progressive relativisation of natural forms of life as a result of techno-biological evolution.“Quasi-Objects” regards data actualization, the production of biologically non-functional organisms and ecosystems as transient output of an operative practice: aesthetics of process.
“Life is a real and autonomous process independent from any specific material manifestation.”