MODELL DER BEGLEITREGELFLACHE DER SCHRAUBROHRFLACHE BEI PARALLELBELEUCHTUNG

shiro takatani

高谷史郎
史郎の高谷
ST\LL

Die Wassermatrix (Matrice liquide 3D, auf Französisch) ist eine Robotermaschine, die in Echtzeit Wasserskulpturen erstellt und eine kontinuierliche Entwicklung von Formen und Bildern zum Leben erweckt. Diese Installation schafft vergängliche Skulpturen, die der Betrachter in ständiger Beobachtung und Überraschung festhält, fast eine Metapher des berühmten Flusses Heraklit, in dem „alles fließt, alles sich ändert, nichts übrig bleibt. Tore. Die Idee der 3D-Flüssigmatrix wurde 2001 bei einem Besuch in Lille, der Kulturhauptstadt Europas, geboren, wo Shiro Takatani einen Roboterbrunnenschreiber projizierte, der seine Botschaften übermitteln sollte, indem er eine Reihe flüssiger Buchstaben auf den Teich fallen ließ. Leider existierte die Technologie noch nicht und er musste warten, um einen zuverlässigen technischen Partner mit umfassender Erfahrung im Bau digitaler Wasservorhänge als Lumiartecnia Internacional zu finden. Zwei renommierte Digitalkünstler haben während der Roboterkunstausstellung die Kunstwerke für die Wassermatrix entwickelt: Shiro Takatani und Christian Partos. Shiro Takatanis Kunstwerk schafft eine räumliche Erfahrung, die mehrere Schichten paralleler Tröpfchen erzeugt, die auf magische Weise in der Luft zu schweben scheinen, und für Momente, in denen sie sich aus dem Teich erheben und wieder fallen, in sich unmöglich entwickelnden Kreationen, die der Schwerkraft zu trotzen scheinen. Christian Partos Kunstwerk schafft Sequenzen von Wasserskulpturen, die die Fähigkeit der Wassermatrix zeigen, sofort vergängliche Wasserformen zu erzeugen, die im Teich unten verschwinden, um eine neue zu gebären, und auf diese Weise ein konstant fließendes Video von 3D-Skulpturen zu erstellen, als ob sie es wären waren Fotogramme aus einem Film.

PHILIPPE MÉNARD

COMPAGNIE NON NOVA
P.P.P.

A artista francesa Philippe Ménard discute sexo e identidade através da fusão do gelo no espetáculo “P.P.P” – Position Parallèle au Plancher, que, traduzindo para o português, quer dizer: posição paralela em palco. Uma instalação composta de três refrigeradores grandes, robôs gigantes, malabares e um teto de gelo, que derrete durante a apresentação, serve de cenário para a performance.

GUDA KOSTER

Wandering Mind
Guda Koster è un’artista e fotografo olandese che crea sculture viventi, installazioni montate su più paralleli che poi fotografa. Coi tessuti utilizzati in queste opere, l’artista vuole sottolineare i significati che i nostri abiti trasmettono. Andando oltre alla sua funzione, l’abito divulga un messaggio: “Nella nostra vita quotidiana, comunichiamo identità e posizione sociale principalmente attraverso i nostri vestiti. L’abbigliamento può essere visto come una forma di arte visiva che esprime il modo in cui vediamo noi stessi e il nostro rapporto con il mondo che ci circonda. “

UVA UNITED VISUAL ARTISTS

Entwurf
Blueprint umfasst die Beziehung und Parallelen zwischen Kunst und Wissenschaft und schafft Kompositionen durch die mathematischen Prinzipien der Logik, die das Leben stützen. UVA untersucht Analogien zwischen DNA und Computercode und hat die Blueprint-Serie entwickelt. Arbeiten, die Genetik und Code als Blaupausen künstlicher und natürlicher Systeme verbinden. Da sich die Arbeit im Laufe der Zeit langsam ändert, schwanken die Muster zwischen verschiedenen Komplexitätsgraden. Blueprint verwendet die Grundkonzepte der Evolution, um ein sich ständig veränderndes Bild zu erstellen. Während Zellen ihre Gene buchstäblich auf ihre angrenzenden anderen übertragen, fließt Farbe wie Farbe über die Leinwand. Blueprint erstellt jede Minute eine einzigartige farbenfrohe Komposition und präsentiert das unbegrenzte Ergebnis, das sich aus einem einzigen Algorithmus ergibt. ein einziges Regelwerk.

STAN DOUGLAS

Doppelgänger
Wenn ein Raumschiff seine Reise antritt, wird gleichzeitig ein anderes in einer parallelen Realität gestartet. Alice, eine einsame Astronautin, wird auf einen fernen Planeten teleportiert, ebenso wie ihr Doppelgänger. Als Alice und ihr Schiff zurückkehren, geht sie davon aus, dass ihre Mission gescheitert ist und sie irgendwie nach Hause zurückgekehrt ist. Aber sie ist tatsächlich in einer Welt angekommen, in der alles das Gegenteil von dem ist, was sie einst wusste. Doppelgänger präsentiert ein nuanciertes und vielschichtiges Gleichnis, das den schlüpfrigen Begriff der objektiven Wahrheit und die Position des “Anderen” in der heutigen Gesellschaft kraftvoll anspricht.

STUDIO DRIFT

Betonsturm
Auf den ersten Blick erleben die Besucher feste Formen, die sich auf minimalistische Motive stützen und die stabilen Eigenschaften von Beton unterstreichen. Während des Tragens der HoloLens betreten die Betrachter eine gemischte Realität, die durch reaktionsschnelle Hologramme belebt wird, die die physische Umgebung der Installation erweitern. Mit Concrete Storm erforscht DRIFT die Schicht zwischen den parallelen Welten, wobei die reale und die virtuelle Welt nebeneinander existieren. Die Aufmerksamkeit der Menschen wird nun ständig zwischen diesen beiden Welten aufgeteilt, in denen sie koexistieren. Die Künstler glauben, dass sie durch die Kombination dieser beiden scheinbar getrennten Welten die unbegrenzten Möglichkeiten der unaufhaltsamen Evolution untersuchen können. Concrete Storm erweitert die Grenzen der digitalen Welt, befreit von Bildschirmen und integriert in das Gewebe der physischen Existenz.

Tom Beddard

Planar Planet
The planetary architects had a penchant for parallel planes. Created in Fractal Lab.

Thomas Depas

Princess of Parallelograms
What will happen when our imagination itself is externalized in machines? Artificial intelligence constructs its own world-truth that is beyond our sensory perception. Generative Adversarial Networks (GANs) use algorithms to synthesize and generate images in a completely new way. These images have almost uncanny aesthetic characteristics, seeming to emerge from an ocean of data, a kind of pixel soup. Rather as if we were observing the emergence of artificial thought.” The machine learns to understand the “essence” of a thing, be it an animal, the face of a celebrity or a body of text. It is then able to generate new images of this thing, including faces of celebrities who do not exist, mutant animals, or new texts. Eventually, AI will be capable of instantaneously and dynamically emulating all representations. The era of the optical machine and the capture of reality will then be at an end, supplanted by the era of machines that generate their own reality.

Refik Anadol

Quantum memories
Quantum Memories is Refik Anadol Studio’s epic scale investigation of the intersection between Google AI Quantum Supremacy experiments, machine learning, and aesthetics of probability. Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. Quantum Memories utilizes the most cutting-edge, Google AI’s publicly available quantum computation research data and algorithms to explore the possibility of a parallel world by processing approximately 200 million nature and landscape images through artificial intelligence. These algorithms allow us to speculate alternative modalities inside the most sophisticated computer available, and create new quantum noise-generated datasets as building blocks of these modalities. The 3D visual piece is accompanied by an audio experience that is also based on quantum noise–generated data, offering an immersive experience that further challenges the notion of mutual exclusivity. The project is both inspired by and a speculation of the Many-Worlds Interpretation in quantum physics – a theory that holds that there are many parallel worlds that exist at the same space and time as our own.

Joseph Popper

The One-Way Ticket
The One-Way Ticket explores the idea of sending one person on a one-way trip to outer space. Not coming back opens up an exceptional scenario, so far unprecedented in the history of human space travel. The project focuses on the experience of a lone astronaut and responds to research into human factors particular to a one-way mission. In parallel with this research ran a production of props, contraptions and sets made for exploring the scenario through film.
video

fabric | ch

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”.

Studio Drift

Concrete Storm
On first impression, visitors experience solid forms, which draw on minimalist motifs and underscore the stable properties of concrete. While wearing the HoloLens, viewers enter a mixed reality, enlivened by responsive holograms that augment the physical environment of the installation. With Concrete Storm, DRIFT explores the layer between the parallel worlds, whereby the real and the virtual worlds co-exist. People’s attention is now constantly divided between these two worlds in which they coexist. The artists believe that combining these two seemingly separate worlds they can study the unlimited possibilities of the unstoppable evolution. Concrete Storm expands the boundaries of the digital world, freed from screens, and integrated into the fabric of physical existence.

Stan Douglas

Doppelgänger
When one spacecraft embarks on its journey, another is launched at the same time in a parallel reality. Alice, a solitary astronaut, is teleported to a distant planet, and so is her double. When Alice and her ship return, she assumes her mission has failed and she has somehow returned home; but she has, in fact, arrived at a world where everything is the reverse of what she once knew. Doppelgänger presents a nuanced and layered parable that powerfully addresses the slippery notion of objective truth, and the position of the ‘other’ in contemporary society.

UVA UNITED VISUAL ARTISTS

Blueprint
Blueprint embraces the relationship and parallels between art and science, creating compositions through the mathematical principles of logic that underpin life. Exploring analogies between DNA and computer code, UVA have created the Blueprint series; works that pair genetics and code as the blueprints of artificial and natural systems. As the work slowly changes over time, patterns fluctuate between varying degrees of complexity. Blueprint uses the basic concepts of evolution to create an ever-transitioning image. With cells literally transferring their genes to their adjoining others, colour flows like paint across the canvas. Drawing up a unique colourful composition every minute, Blueprint presents the unlimited outcome that results from a single algorithm; a single set of rules.

GEBHARD SENGMÜLLER

parallel image
This work consists of 2500 magnetic wire cables that connect an emitter (one square meter made of epoxy resin) that consists of a 50 × 50 grid with photo sensors that have their counterparts in the receiver with a grid of bulbs. Thus the sensors detect the light and transmit in parallel each pixel (“image element”) with its corresponding brightness effect to the light bulb in the receiver. Unlike conventional electronic image transmission procedures, “A Parallel Image” uses a technologically transparent procedure, transmitting to the viewer a correspondence between the real world and its transmission.

bohyun yoon

БОХЬЮН ЮН
윤보현
To Reverse Yourself

FILE FESTIVAL

My work poses the question: how does reality becomes exquisitely animated by certain social control systems such as politics, mass media, technology, science, and etc. It is my artistic goal to reveal how human beings are fragile and delicate in these social environments. By living in Korea, Japan and the U.S, I have first-hand experience in diverse social systems and have come to view my life experiences as raw material for my research. With my research in mind, my art utilizes the body as the tool for an intensive investigation of the public and private; examining the relationship between how people understand their body and how this understanding represents themselves in the greater context.
Currently, I am curious about human perception developing parallel with the ever-evolving progression of technological world. Thus, I question technology’s relationship to reality and illusion; asking what is reality? My work takes advantage of illusion to explore and answer this question, and often my artistic materials consist of the body and mirrors. I use mirrors for integrating reality and illusion.

TRISHA BROWN

تريشا براون
트리샤 브라운
トリシャブラウン
Триши Браун
Walking on the Wall
The performers stood, and walked, and ran parallel to the floor along two adjacent walls while suspended in special harnesses rigged on cables to trolleys on industrial tracks along the ceiling.

László Moholy-Nagy

Light Space Modulator

“This piece of lighting equipment is a device used for demonstrating both plays of light and manifestations of movement. The model consists of a cube-like body or box, 120 x 120 cm in size, with a circular opening (stage opening) at its front side. On the back of the panel, mounted around the opening are a number of yellow, green, blue, rot, and white-toned electric bulbs (approximately 70 illuminating bulbs of 15 watts each, and 5 headlamps of 100 watts). Located inside the body, parallel to its front side, is a second panel; this panel too, bears a circular opening about which are mounted electric lightbulbs of different colors. In accordance with a predetermined plan, individual bulbs glow at different points. They illuminate a continually moving mechanism built of partly translucent, partly transparent, and partly fretted materials, in order to cause the best possible play of shadow formations on the back wall of the closed box”. László Moholy-Nagy

Maya Alam

Interference Fit Canyon
“by Maya Alam uses an entropic drawing process to capture the coalescence of solid and fluid states of matter within a single object. The drawing is comprised of contours that delineate a cube with hard edges that appear to be soft from particular vantage points and soft edges that appear to be hard from others. These contours are mapped back onto the cube geometry in a transitional process whereby the legibility of the cube becomes progressively more inscrutable. The drawing process parallels the effects created by the presence of a cubic object within the L.A. River that disrupts the flow of water and accentuates the presence of detritus. A process of continual erosion acts differentially on the object over time, transforming its appearance and performance in relation to water flow”. Marcelyn Gow

marnix de nijs

PIVOT POINT – ICHIHARA
‘Pivot Point – Ichihara’ is an interactive site-specific installation. Standing on a controller pod you navigate over and through a 3D terrain where gravity seems to have disappeared, you gradually become tele-present in a parallel projected space by exploring a mediated version of the venue, it’s direct surroundings and the Ichihara region. A cinematic journey to a fascinating point cloud realm, precise in details but simultaneously abstract and dreamlike.The kidney shaped interface is covered with capacitive sensors and mounted on a pole, touching this interface right, left, up or down aims the virtual camera accordingly. When you release the navigation pole the virtual camera automatically starts spiralling back to the initial starting point your journey and temporary centre of the universe, the Asohbara Art House.

Andrew Schneider

YOUARENOWHERE
Conjuring a futuristic sort of shamanism, Andrew Schneider’s YOUARENOWHERE experiments with the virtues of sensory overload via quantum mechanics, parallel universes, and the “Missed Connections” board on Craigslist. Battling glitchy transmissions, crackling microphones, and lighting instruments falling from the sky, one guy on a mission and a tricked-out interactive new-media landscape merge to transform physical space, warp linear time, and short-circuit preconceived notions of what it means to be here now.

Diana Thater

Abyss of Light

Abyss of Light is divided into three screens and into three acts, the traditional structure of classic narrative film. In the first act, all the images synchronize to form a single panorama of Bryce Canyon in Utah. In the second, the screens break away from one another into three parallel sequences wherein each projection shows the same one hundred images at different speeds. In the third, all three images synchronize once again to form a single wrapping panorama of Death Valley, California. The work is an ode to the American western, one of my favorite film genres. Despite my admiration, however, my desire is not to imitate westerns. Instead, I set up an abstraction in opposition to the idea of narrative, something that can be seen in all of my work. In Abyss of Light, continuous disruptions of the American landscape document my refusal to see the land as backdrop for man’s heroic conquering of the wild; instead I see it as a foreground, a subject to be contemplated for itself and for which wildness is a state of grace.

TIM HAWKINSON

蒂姆·霍金森
ティム·ホーキンソン
تيم هاوكينسون
Möbius Ship

The ambitious and imaginative structure of Hawkinson’s sculpture offers an uncanny visual metaphor for Melville’s epic tale, which is often considered the ultimate American novel. Möbius Ship also humorously refers to the mathematical concept of the Möbius Strip. Named after a nineteenth-century astronomer and mathematician, the Möbius Strip is a surface that has only one side, and exists as a continuous curve. Its simple yet complex spatial configuration presents a visual puzzle that parallels Hawkinson’s transformation of the mundane materials into something unexpected.

ron arad

رون اراد
阿拉德
רון ארד
ロン·アラッド
론 아라드
РОН АРАД
evocative proposal
For the canadian national holocaust monument competition, Ron Arad Studio teamed up with david adjaye associates to envision an evocative proposal commemorating the events, victims, and survivors of a grave moment in human history. Avoiding the use of direct symbols, the design places 23 sinuous and slender walls parallel to one another, creating a field of canyon-like passageways. Spaced 120 centimeters (47 in) apart, visitors are only able to pass through each crevice in single file. The partitions rise to a height of 14 meters (46 feet), drawing the eye upward toward the framed sky. This isolated journey is complemented by the shared experience of reflecting back on the monument’s significance.

ERNESTO KLAR

Эрнесто Клар
Convergenze parallele

Convergenze parallele is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in realtime by a custom software system. The installation reacts to air movements in the exhibition space, allowing the viewer to see and hear the amplified movement of dust particles. “Convergenze parallele” explores the poetic potential of revealing and transforming the imperceptible. The custom software uses a video camera to capture the activity of dust articles passing through the beam of light. It then analyzes the video signal to track the location of individual dust particles, and reveals each particle’s trajectory in the image-processed projection. The physical particles draw traces of their otherwise invisible motion on the digital screen. At random intervals, the software artificially saturates the system by briefly activating the fan-a cloud of dust fills the beam of light and creates dense and stunning patterns of particle trajectories and sound.

File Festival

danae io

The lips, the lisp, the slip of the tongue
The video explores voice modelling, voice donation, algorithmic prediction and the incomputable. The work examines in parallel the process of modelling the mouth to the process of modelling the voice, questioning modelling as a scientific/technological technique, by considering it as a means of producing reality, rather than merely an observational tool. What leaks from the model? Can the multiplicity and complexity of the voice be contained in an algorithmic model?
file sp 2019 videoart

D.W. Griffith

Intolerance: Love’s Struggle Throughout the Ages
Regarded as one of the most influential films of the silent era (though it received mixed reviews at the time), the three-and-a-half-hour epic intercuts four parallel storylines, each separated by several centuries: (1) a contemporary melodrama of crime and redemption, (2) a Judean story: Christ‘s mission and death, (3) a French story: the events surrounding the St. Bartholomew’s Day massacre of 1572, and (4) a Babylonian story: the fall of the Babylonian Empire to Persia in 539 BC. Each story had its own distinctive color tint in the original print, but not in the currently available versions.
cinema full

Iris van Herpen

Transmotion
The term transmotion not only depicts the process of change from one state, form, style or place to another, it is also the visionary perceptions of the seasons and the visual scenes of motion in art and literature. In parallel to Iris van Herpen’s drive to visualise the invisible, her quest to question reality and urge to explore the realms of impossibility, the project aims to narrate the process that ushers change, to materialise an unconscious state of meditation.

benjamin bergery and jim campbell

Jacob’dream: a luminous path
San Francisco-based electronic-media artist Jim Campbell creates work that combines film, light emitting diodes (LEDs) and sculptural elements. His choice of materials is often complex, and he uses them to create imagery that is allusive and open-ended. His exploration of the distinction between the analog world and its digital representation metaphorically parallels the difference between poetic understanding versus the mathematics of data.

Guda Koster

All above
Guda Koster is a Dutch artist who creates living sculptures and performances, which the photographs are the results of. Koster’s works are created in parallels of time, space and textile. In her works Koster uses fabrics, colours and patterns that underline the codes and meanings our clothing conveys.

Danny Hillis

parallel supercomputer
Connection Machine CM-1(1986) and CM-2 (1987)

The Connection Machine was the first commercial computer designed expressly to work on “artificial intelligence” problems simulating intelligence and life. A massively parallel supercomputer with 65,536 processors, it was the brainchild of Danny Hillis, conceived while he was a doctoral student studying with Marvin Minsky at the MIT Artificial Intelligence Lab. In 1983 Danny founded Thinking Machines Corporation to build the machine, and hired me to lead the packaging design group. Working with industrial design consultants Allen Hawthorne and Gordon Bruce, and mechanical engineer consultant Ted Bilodeau, our goal was to make the machine look like no other machine ever built. I have described that journey in this article, published in 1994 in the DesignIssues journal and republished in 2010 in the book The Designed World.

video

GUDA KOSTER

compositie met oranje cirkel
Guda Koster is a Dutch artist who creates living sculptures and performances, which the photographs are the results of. Koster’s works are created in parallels of time, space and textile.In her works Koster uses fabrics, colours and patterns that underline the codes and meanings our clothing conveys.

GUDA KOSTER

Stormy weather
Guda Koster is a Dutch artist who creates living sculptures and performances, which the photographs are the results of. Koster’s works are created in parallels of time, space, and textile. In her works, Koster uses fabrics, colors, and patterns that underline the codes and meanings our clothing conveys.

MICHAEL CLARK COMPANY

マイケル·クラーク·カンパニー
Tate Project Part I ]

The choreography rehearsed and performed in 2010 paired the rigour of classical steps with contemporary movement, a juxtaposition that paralleled Clark’s training as a ballet dancer at the Royal Ballet, and his later anti-hierarchical, anti-authoritarian choreographic experiments. Balletic poses, jumps and steps were isolated from traditional narrative sequences and made strange through repetition. The graceful leaps and turns of the trained dancers seemed awkward and uneven, just as they were often out of sync and oriented in different directions. This choreography paralleled the performance space, which was demarcated by geometric and striped floor mats designed by Charles Atlas, which resembled the large windows at the back of the hall and the black beams that extend vertically from floor to ceiling.

VADIM STEIN

Вадим Штейн
Vadim Stein is an Ukrainian artist resident in St. Petersburg (Russia). He worked as an actor and a lighting designer in the Theater of Plastic Drama and later on decorative sculpture and graphics. Taking photos of his own works he became keen on photography. His photos are able to recreate a parallel universe, to tell a story made of eroticism and mystery through a great mastery of the light and the elegance of bodies.

MOTO WAGANARI

Cliff Jumper
Unter dem Pseudonym Moto Waganari entwirft Lutz Wagner transparente Gitternetz-Skulpturen, die sich als schwerelose Körperhüllen vor dem Auge des Betrachters abzeichnen. Inszeniert als Lichtinstallationen werden die dreidimensionalen Figuren um ein zweidimensionales Schattenbild erweitert und erhalten ein immaterielles Alter Ego. Seine Wesen visualisieren eine surreale Parallelwelt, die voller Rätsel und Überraschungen steckt. Moto Waganaris raffinierte Kunstwerke bestechen durch formale Schönheit und filigrane Leichtigkeit.

ALBA PRAT

digitalized
“Tron, a cult film from 1982, takes place in two parallel universes: the real and the virtual. Through a laser that converts real people into pixels, the world of Tron appears like a strange foreign world without sun, where androids live surrounded by 3D landscapes. The film has a strong retro character given by the era of production, which coexists with a high-tech nature. Both aspects are the basis of my collection. It consists in androgyn, straight silhouettes out of wool, leather, cotton and lack. Through different techniques I have created cube patterns on the surface of some of the materials. Giving the designs a technical yet minimalist character.”

DANIEL FIRMAN

Дэниел Фирман
丹尼尔·菲尔曼
دانيال فيرمان

Explorant sans cesse le territoire de la sculpture, Daniel Firman met en scène des personnages anonymes et des éléments du quotidien dans des situations à l’équilibre précaire. La société de consommation est évoquée à travers des empilements hétéroclites sur des personnages qui n’ont pour identité que leurs prénoms et dont le visage est systématiquement caché. Oeuvres souvent spectaculaires, ses sculptures se sont allégées avec le temps, parallèlement à son intérêt croissant pour la danse et la gestuelle

ZEITGUISED

Unspoiled by formal computer graphics training, ZEITGUISED have been pushing their own rules onto computer aided art by creating a dense universe parallel to motion graphics, drawing heavily from fashion photography, sculpture, installation and architectural set design.

Murat Kocyigit, Hande Akcayli and Rozi Rexhepi

dream-land No 987
“With ‘Dream-Land’ we have tried to create our own place beyond time and space; a place that blurs the boundaries between digital and physical reality, in which parallel versions of the Museum’s historic objects are free to exist today. The known is replaced with endless narratives that collectively create an unexpected history and unremembered future.”

Vasilis Asimakopoulos

“I am interested in the moment that stretches from “now” to the future. The interweaving web of images and possibilities connecting our world and the parallel. The trails of the heavy scent left from this point to tomorrow and right next to it. Dystopia. New life. Post-apocalypse. Growth. The descent. Love. Arsenic. Candies. And everything vibrating in between.”

studio Kimchi and Chips – Elliot Woods and Mimi Son

483 Lines
The artwork 483 lines magnifies this analogue video picture until it is 16 meters wide, and then folds this image several times so that it fits vertically into the gallery space, therein adding oscillations of depth into the image which can be activated by ‘tuning’ the projected video to match these waves. The strictly arranged lines can be illusionary, creating a confusing architecture of horizons, whilst the video played through it displays a parallel past, present and future.

FIONA TAN

פיונה טאן
フィオナ·タン
Фиона Тан
فيونا تان
Rise and Fall
Fiona Tan explores storytelling, memory, and the part they play in the formation of identity throughout this exhibition of five video installations, various associated sketches and one single-channel video. Rise and Fall (2009), elongated projections onto two large, side-by-side screens, is a wordless meditation, set to music, of a woman no longer young but still conscious of her looks; she was clearly a beauty in her youth. As the video proceeds we gather that the young woman pictured on the second screen is the memory of her younger self. They often move through domestic activities (sleeping, bathing, dressing) in parallel; this is inter-cut with scenes of violently rushing water (shot at Niagra Falls, it turns out). It’s a hackneyed metaphor – the water’s endless surging as an image of time’s relentless uni-directionality – but in Tan’s hands that doesn’t seem to matter; she creates extraordinarily emotional work out of simple stories and well-worn themes.

haris epaminonda

le plateau
The exhibition at le plateau marks an important and new step in Epaminonda’s practice, which, as the title suggests, shall be seen as one large work building up over time through different volumes and chapters. For this occasion the artist has devised an extensive environment that occupies the cleared spaces of le plateau with a series of cubicles, platforms and screens conceived both as sculptures and presentation devices. Including other elements, films and sound—the soundscapes of the installation will be composed by the music duo “Part Wild Horses Mane On Both Sides”, with whom the artist often collaborated in the past—, the whole set exceeds the exhibition space itself with parallel and temporary appearances connecting the inside and outside of le plateau. Like an emphatic homage to the Japanese filmmaker Yasujiro Ozu, these performed interventions shape a kind of inhabited archipelago in constant evolution.

PIERRE HUYGHE

皮埃爾·於熱
ピエール·ユイグ
A Forest of Lines
realities based on invented narratives or contrast given parallel narratives to indicate the existence of multiple realities produced by the subjective perception and interpretation of different narrators and receivers.

VADIM STEIN

Вадим Штейн
Vadim Stein is an Ukrainian artist resident in St. Petersburg (Russia). He worked as an actor and a lighting designer in the Theater of Plastic Drama and later on decorative sculpture and graphics. Taking photos of his own works he became keen on photography. His photos are able to recreate a parallel universe, to tell a story made of eroticism and mystery through a great mastery of the light and the elegance of bodies.

EIJA-LIISA AHTILA

Vaakasuora-Horizontal
The artwork shows a 11-metre tall spruce, with its branches swaying in the wind, filmed at full scale in six parts. The soundscape consists of the sound of the wind, the creaking of the trunk and birdsong. The method of display is, however, unexpected: it is shown in a horizontal position.Vaakasuora-Horizontal is a portrait of a spruce. It is an interpretation of the essence of the spruce, and the difficulty of observing and recording the life of a spruce. How can one capture the very being of a spruce? Each viewer will see the reality differently and each one of them will see the spruce trough glasses tinted by their personal memories and experiences. The artist has wanted to use this artwork to represent the German biologist Jakob von Uexküell’s idea of the parallel and concurrent existence of time and spatial worlds. The work of art, on the other hand, also moves the focus from the human being as the centre of the universe to the greatness of nature; people play a minor part in the greater picture.

INGES IDEE

inges idee se compose des artistes Hans Hemmert, Axel Lieber, Thomas A. Schmidt et Georg Zey, qui ont travaillé conjointement sur des projets dans l’espace public depuis la création du groupe à Berlin en 1992. Parallèlement aux travaux réalisés dans le groupe, tous les membres sont actifs dans leur propre pratique artistique individuelle.
inges idee fonctionne comme un collectif artistique dans l’espace public. Ce qui est donc important, c’est de développer une intuition pour les possibilités et les spécificités d’un site et d’explorer l’effet qu’une intervention concrète pourrait avoir. Cela se fait en dialogue avec le site donné, qui, contrairement au «cube blanc» sans référence des musées et des galeries, n’est pas statique et intemporel, mais soumis à un processus constant de changement. Pour bien comprendre un site, ses qualités spatiales, sociales et historiques doivent être examinées.

ICD and ITKE Research Pavilion

bionic research pavilion

The Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) of the University of Stuttgart have constructed another bionic research pavilion. The project is part of a successful series of research pavilions which showcase the potential of novel design, simulation and fabrication processes in architecture. The project was planned and constructed within one and a half years by students and researchers within a multi-disciplinary team of architects, engineers and biologists.
The focus of the project is a parallel bottom-up design strategy for the biomimetic investigation of natural fiber composite shells and the development of novel robotic fabrication methods for fiber reinforced polymer structures. The aim was the development of a winding technique for modular, double layered fiber composite structures, which reduces the required formwork to a minimum while maintaining a large degree of geometric freedom. Therefore, functional principles of natural lightweight structures were analyzed and abstracted in cooperation with the University of Tübingen and the Karlsruhe Institute of Technology. Through the development of a custom robotic fabrication method, these principles were transferred into a modular prototype pavilion.

PIERRE HUYGHE

皮埃爾·於熱
ピエール·ユイグ
Realitäten, die auf erfundenen Erzählungen oder kontrastierten parallelen Erzählungen basieren, um die Existenz mehrerer Realitäten anzuzeigen, die durch die subjektive Wahrnehmung und Interpretation verschiedener Erzähler und Empfänger erzeugt werden.

Candaş Şişman

SYN-Phon
file festival
Kunst spielt eine entscheidende Rolle bei der Zerstörung der Grenzen unseres Verständnisses, in das unsere Denkweise durch die gebildete Sprache eingebunden ist. Die menschliche Sprache dient im Vergleich zur Musiksprache als eher konservative Kommunikationsform; wo die Freiheit des Weltraums als Zufluchtsort für diesen breiten Horizont dient, der auf der Suche nach einer hochmodernen Form des Rundfunks ist.Candas ‘Versuche, verschiedene Formen zu kämmen, implizieren nicht notwendigerweise die bloße Schaffung eines wegweisenden Blitzes, sondern die Nutzung der endlosen Möglichkeiten, das Bekannte und Unbekannte miteinander zu verbinden. Durch das Unbekannte entstehen wir mit einer neuen Denkweise, die versucht, ein neues Werkzeug der Selbstdarstellung zu ersetzen und Raum dafür zu schaffen. Zusammenfassend lässt sich sagen, dass die grafische Notation die Möglichkeit bietet, eine persönliche Sprache zu erstellen, die auf dem parallelen Fühlen von Bild und Ton basiert.

Phillip K Smith III

Bent Parallel

Guda Koster

Rot mit weißen Punkten
Guda Koster ist ein niederländischer Künstler, der lebende Skulpturen und Performances schafft, deren Ergebnisse die Fotografien sind. Kosters Werke entstehen in Parallelen von Zeit, Raum und Textil. In ihren Arbeiten verwendet Koster Stoffe, Farben und Muster, die die Codes und Bedeutungen unterstreichen, die unsere Kleidung vermittelt.

Alicja Kwade

a table is a table
Alicja Kwadeのミクストメディア作品は、身体が空間と時間にどのように生息しているかについての精神的知覚と身体的体験を操作します。 クワデは、練習で不完全なダブリング、鏡像、繰り返しを頻繁に使用します。 たとえば、Dimension + 1- + 9(2012)とDimension -1–9(2012)は、1秒よりも速く刻む時計のペアです。 日産(Parallelwelt 1 + 2)(2009)は、2台の日産車を鏡像として特徴づけています。 彼女の一般的な素材には、コイン、金属パイプ、鏡、ガラス、ライト、自転車などの日常生活で見られるアイテムが含まれ、それらを歪ませて錯覚を作り出します。 結果は、時にはしゃがんだり伸びたりして、擬人化されたように見えることがあります。

EVELYN BENCICOVA

Momentary Parallel Realities

ALEXANDER PONOMAREV

الكسندر بونوماريف
АЛЕКСАНДР ПОНОМАРЕВ
A PARALLEL VERTICAL

Chapel Saint Louis, de la Salpetriere, Paris
Installation
Periscope installation with a cable suspension system. Metal, plastic, video optic system, acrylic spheres, sound wave generators.
The keystone artistic project of the Paris Fesitval d’Automne will be realized in September 2007, at the Salpetriere chapel in the center of Paris. A 36-meter periscope hanging from the dome forms a rigid vertical, equipped in the lower part with the head of the periscope with an ocular allows any viewer to look at the Parisian horizon, expanding vision in the spectacular spaces of the cathedral. The real-time video image is broadcast on closed-circuit television to chambers, offices and other buildings attached to the chapel of Salpetriere hospital. The patients, doctors and staff have the opportunity to take in the unexpected view point of the random viewer and peek past the horizon. This project has been organized by the French Ministry of Culture and the Energy of Art Foundation, Moscow

Emily Weiskopf

Unparallel Way

PIERRE HUYGHE

皮埃爾·於熱
ピエール·ユイグ
des réalités basées sur des récits inventés ou un contraste donné à des récits parallèles pour indiquer l’existence de réalités multiples produites par la perception et l’interprétation subjectives de différents narrateurs et récepteurs.

REYNALD DROUHIN

Рейнальд Друхин

Der 1969 geborene zeitgenössische Künstler Reynald Drouhin lebt und arbeitet in Paris und unterrichtet Multimedia an der School of Fine Arts in Rennes. Er studierte Bildende Kunst an den Beaux-Arts de Paris (DNSAP und Masters in Hypermedia Multimedia, 1998) und an der Universität Paris 1 (Maîtrise, 1994). Seine Praxis umfasst digitale Werkzeuge, Fotografie, Video, Installation und Skulptur. Er ist nicht zufrieden mit einem dedizierten Raum (dem des Internets, einer Projektionsfläche oder der Räumlichkeit einer Galerie), sondern erfasst wiederum verschiedene Möglichkeiten und versucht so, etwas anderes als das Sichtbare zu enthüllen, wie einen parallelen Raum, gespenstisch, seltsam, oder er hat sich aus kodifizierten Daten ergeben. Er hat an Veranstaltungen teilgenommen, die von Digital Arti (2011), auf der Rennes Biennale (2010), beim File Festival (2013) Media Art, organisiert wurden. Ghost Walk “(2009) und„ Es war einmal… “(2007) in der Galerie der schönen Künste in Lorient („ Ohne Titel “, 2006) in der Galerie Biche de Bere („ Natural / Digital “, 2005), bei Confluences (2003), in der Public Gallery (2001), beim Belfort International Urban Multimedia Arts Festival (2000), auf der Montreal Biennale und bei der von Champ Libre organisierten internationalen Veranstaltung Video & Electronic Art (Montreal, 2000 und 1999) und bei ISEA (Chicago, 1997).