Empyrean Passage

Empyrean Passage is reminiscent of both a theoretical black hole and portal into the celestial worlds. Empyrean (notice the pyre in the word) is the final and fiery level of heaven as depicted by Dante- or aether in Aristotle’s cosmology. The form is constructed like a giant hoopskirt and gracefully moves in the wind creating a gossamer lighting effect overhead. While this project is an oculus to the heavens, more focus is usually paid to more terrestrial stars in this neighborhood.The interior of the spiral is designed with aqua and black dashes. The dashed interior creates optical effects with the eyes and at certain times of the day shifts your perception of the sky’s color.This project utilizes extremely “green” electroluminescent lighting. The entire sculpture consumes less electricity than a household nightlight and operates on a photo cell. Special thanks to the City of West Hollywood, Andrew Campbell, Maria Lusia de Herrera, Greg Coons, Glen Bundrick / Luminous Film.

Soul chain
“La pièce qui semble inspirée d’un numéro de music-hall ou de cabaret qu’elle pervertit aussitôt ne cherche pas l’élégance, ne tire pas vers la séduction aguicheuse et facile. Le geste est moins poli. Il déjoue les attentes et se moque des apparences. Le groupe transpire en permanence d’un irrépressible désir de résistance et de transgression, d’autant d’états, de sentiments intérieurs que Sharon Eyel et ses danseurs cherchent à extraire, à faire s’extirper et se libérer des corps qui exultent dans l’urgence.” Christophe Candoni
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Salt Womb
“Laut Programm bewegt sich die Ballett-Compagnie in „Salt Womb“ als Ganzes wie eine Maschine. Und wirklich: im 1. Bild dieses Stückes mit dem enigmatischen Titel stehen die Tänzer und Tänzerinnen des Basler Balletts in einem großen Halbkreis, der zu Ende gedacht wie ein Zylinder wirkt, in dessen Mitte sich ein riesiger Kolben auf und ab bewegt. Die Körper der Tänzer:innen, die sich breitbeinig stehend immer wieder auf und ab bewegen, wirken wie gefangen in einem nicht enden wollenden Kraftakt: die minutenlange, fast stoische Wiederholung einer einzigen Bewegung zu hämmernden Technobeats hat tatsächlich etwas Inhumanes… Nach und nach formieren sie sich zu einer pulsierenden Gruppe in Dauerbewegung, zu einem unheimlich wirkenden Superorganismus, aus dem sich einzelne Tänzer:innen in kurzen Solopassagen herauslösen, aber immer wieder vom Sog des Gruppenpulses aufgesogen werden.” Renate Killmann

Formalidade Cerimonial
O trabalho de Frederik Heyman é um ato de equilíbrio que incorpora várias mídias – incluindo vídeo, instalações e fotografia – muitas vezes em um ambiente digitalmente alterado. Em seu trabalho, Heyman explora a memória e a duração, usando fotogrametria e digitalização 3D para retratar e representar a passagem do tempo. As marcas registradas do trabalho de Heyman são mecânicas e tecnológicas: fios, rodas, letreiros LED de rolagem, armações de metal, pinças, lâmpadas industriais, telas e câmeras. Corpos – ao contrário dos humanos – estão sujeitos a uma dinâmica incomum com essas armadilhas tecnológicas. Em Cerimonial Formality (2020), uma contorcionista está presa em uma gaiola de metal enquanto um espectador, preso a fios, observa.

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Zeremonielle Formalität Frederik Heymans Arbeit ist ein Balanceakt, der mehrere Medien einbezieht – darunter Video, Installationen und Fotografie – oft in einer digital veränderten Umgebung. In seiner Arbeit erforscht Heyman Gedächtnis und Dauer, indem er Photogrammetrie und 3D-Digitalisierung verwendet, um den Lauf der Zeit darzustellen und darzustellen. Die Markenzeichen von Heymans Arbeit sind mechanisch und technologisch: Drähte, Räder, scrollende LED-Schilder, Metallrahmen, Pinzetten, Industrielampen, Bildschirme und Kameras. Körper unterliegen bei diesen technologischen Fallstricken – anders als der Mensch – einer ungewöhnlichen Dynamik. In Ceremonial Formality (2020) ist ein Schlangenmensch in einem Metallkäfig gefangen, während ein kabelgebundener Zuschauer zuschaut.

Passages

Do Ho Suh es un artista coreano que crea instalaciones espectaculares utilizando varios materiales, incluida la tela de poliéster. Para explorar los vínculos entre la individualidad y la comunidad, a menudo usa hilo y tela para invertir el espacio. Al distorsionar las perspectivas y jugar con las propiedades mismas de los materiales utilizados, el artista pone a prueba nuestra percepción del espacio y nuestro lugar en él.
¡Impresionante!

In the Eyes of the Animal
In the Eyes of the Animal, a journey through the food chain, is an artistic interpretation of the sensory perspectives of three British species. Created using Lidar scans, unmanned aerial vehicles (UAVs) or drones & bespoke 360° cameras, the piece is set to a binaural soundscape using audio recordings sourced from Grizedale Forest in the north of England.

比尔•维奥拉
빌 비올라
ביל ויולה
ビル·ヴィオラ
БИЛЛ ВИОЛА
martyrs (earth, air, fire, water)
“As the work opens, four individuals are shown in stasis, a pause from their suffering. Gradually there is movement in each scene as an element of nature begins to disturb their stillness. Flames rain down, winds begin to lash, water cascades, and earth flies up. As the elements rage, each martyr’s resolve remains unchanged. In their most violent assault, the elements represent the darkest hour of the martyr’s passage through death into the light.”

Flypast Sunset
“In this series of animated artworks, which are essentially slowed down versions of the series Time in Motion, I invite you to experience the passage of moments across a landscape. Perhaps understanding that even though all moments are transient, all moments are equally worthy of our respect because they are parts of a larger whole. Each Time Loop is made manually. I captured every moment across a sunset or sunrise using a digital camera, and manually stitched these moments into Time Paintings. Finally, different sequential time paintings were put together to create a sense of motion  almost imperceptible in some of the works, in the manner of clouds drifting across a sky.” Fong Qi Wei

艾萨克·朱利安
아이작 줄리앙
АЙЗЕКА ДЖУЛИАНА
Stones Against Diamonds
The pictures for the film were taken in isolated glacial ice caves in the South East region of Vatnajökull in Island. The work was inspired by a passage from a letter taken from the anthology Stones Against Diamonds, written by the modernist architect and designer Lina Bo Bardi.

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.

All The Possible Combinations Of Eight Legs Kicking
Intégrant mouvement, performance et imagerie, l’exposition explore les idées derrière le temps et la séquence, tandis que Monk interroge subtilement la compréhension du spectateur du passage du temps. Avec “Toutes les combinaisons possibles de coups de pied de huit jambes (une à la fois)” (2012-2013), Monk démontre la contrast entre la réalité clinique du temps et notre réaction spontanée. L’œuvre est une représentation littérale de son titre – car les jambes ont été programmées pour donner un coup de pied dans toutes les séquences possibles, soit un total de 40320 séquences différentes qui prennent plus de 177 heures à terminer. Contrairement à cette démonstration objective, le geste de donner des coups de pied est assez explosif, imitant les mouvements d’un danseur de cancan, et c’est cette explosion d’émotion qui met en évidence le suspense qui existe tout au long de l’œuvre. Alors que le spectateur est conscient que les jambes sont spécifiquement programmées pour donner un coup de pied à un moment précis, l’heure précise à laquelle cet événement se produit n’est pas donnée, créant une sorte de jeu de devinettes où le spectateur tente de prédire quand chaque coup de pied se produira, à chaque fois. individu ayant sa propre idée du moment où cela se produira.

The Splits (Rehearsal)

The Splits begins with the bisecting of various string instruments into two halves, cutting them along their length, creating two separate instruments. The two halves must then be played together to complete a tune and are, thus, for duets (or quartets, octets or dectets) only—pieces which she is creating in collaboration with musicians and composers. The act of splitting at once destroys the integrity of the instrument as an object, and disrupts the conventional process of aesthetic creation that the instrument traditionally permits. Splitting is not merely an act of destruction, however. Instead, it opens graceful passages for imagined evolution: the split instrument becomes a newly creative instrument, permitting the creation not only of new music, but new communities (visual artist, the composer, the musicians, and the audience). Ms. Benson has “split” two violins, a viola, cello and double bass: all, cheap, mass-produced string instruments made in China.