United Visual Artists

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
our time

Our Time (2016) is the latest large-scale installation by United Visual Artists investigating our subjective experience of the passing of time. How long is a moment? At what rate does time actually pass? The work joins a series of kinetic sculptures that began with Momentum (2013); an installation designed as a ‘spatial instrument’ that was to reveal the relationship between expectation and perception when intersected with a physical space.
Our Time defines a physical environment where pendulums swing at a pace apparently unhindered by the laws of nature and where no single time measurement applies. The installation combines movement, light and sound as a multi-sensory, multi-dimensional canvas the visitor can enter. Pendulums swing, each to their own rhythm, as time flows through the grid. With light tracing the path and sound its echo, the passing of time becomes almost palpable.

UVA UNITED VISUAL ARTISTS

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
Always/Never
Always/Never is the result of UVA’s recent investigations of the perception of time.
Always/Never is a grid of pyramidal elements inspired by the sundial, each passing through time at a different rate.
Changing patterns of light and shadow create the illusion of a fluid surface; shifting combinations of colours from nature recall different times of day.

FONG QI WEI

퐁 치 웨이

‘Time is a Dimension’

The beauty of photography, in its essence, is conveyed by capturing a moment in time and freezing it out of its context. Singapore-based photographer Fong Qi Wei, however, uses photography to show the passage of time. In his time lapse series called ‘Time is a Dimension’, Fong doesn’t use a typical long exposure trick. He captures the passing time by layering different photos of the same spot with clear edge lines of each frame. Each collage is digitally cut and created from pictures Fong takes within 2 to to 4 hours. Fong usually works at sunrise or sunset, as the light and color palettes are most varied at those times.
“The basic structure of a landscape is present in every piece. But each panel or concentric layer shows a different slice of time, which is related to the adjacent panel/layer. The transition from daytime to night is gradual and noticeable in every piece, but would not be something you expect to see in a still image. Similarly, our experience of a scene is more than a snapshot,” explains Fong.

Kurt Hentschlager

SOL
SOL is a minimalistic environment, leading visitors into the reaches of their perception. The installation builds on loss of control, shifts in awareness and a feeling of dislocation and timelessness. SOL is the third work in an ongoing series of phenomenological environments, after the live performance FEED, 2005 and the installation ZEE, 2008. The all encompassing darkness of SOL is lifted, in intervals and for parts of seconds only, by animated bursts of intensely bright light. Falling back into darkness, visitors experience abundant retinal after-images, that gradually drift away until eventually the next eruption of light is triggered. In the surround sound-scape of SOL, electronic drones mix with swarming field recordings, amidst a sea of infra-bass.

Quadrature

Supraspectives
In the process of creating Supraspectives, the artist duo Quadrature has gathered the data of 590 (recent & former) spy satellites, whose trajectory the installation follows. A third of them can be considered space trash, as they are obsolete or damaged, but still, they continue overflying us. The installation calculates the paths of all those satellites in real time and speculatively reconstructs the view they are capturing, offering artistically intervened images of what the satellites could be observing. Mainly satellites passing near the exhibition venue are selected, combined with other specially interesting or suggestive satellite images. Additionally, a specifically built motorized antenna on the roof connects live with the satellites overflying Tabakalera, transforming their real radio signals into sound. Everytime the installation connects with a satellite, the screen shows the data relative to it, such as country of origin or year of launch.

Olafur Eliasson

Our Glacial Perspectives
Olafur Eliasson’s ‘our glacial perspectives’ pavilion comprises a series of steel and glass rings encompassing a circular deck which projects over the edge of mount grawand. From this point, the pavilion serves as an astronomical instrument that aligns the visitor’s gaze with the surrounding rings, which track the apparent path of the sun in the sky on any given day. The rings divide the year into equal time intervals — the top ring tracks the path of the sun on the summer solstice, the middle ring tracks the equinox, while the lowest tracks the winter solstice.

Alexander Stublić

Cube
Electronic images of black and white alternating structures and contrasts are projected on a cuboid object in space. Passing through different metamorphosis, the abstract image themes gather momentum in the three-dimensional. Structural unities of image, sound and movement deconstruct the shape of the cube – images and sounds are mutually dependent and explore relations between form and meaning beyond medial image fronts.

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

TATSUO MIYAJIMA

宫岛达男
Connect with Everything

Since 1987, Tatsuo Miyajima has been constructing installations using LED digital counting devices. His works combine a performative aspect with architectonic structures, sometimes taking the shape of geometric patterns or organic shapes as well as encompassing vertical and horizontal surfaces. The LED devices count progressively from 1 to 9 or backwards – Miyajima never employs 0 – establishing a rhythm as definitive as repetition itself and the inexorable passing of time.

Martina Menegon

when you are close to me i shiver
sound design: Alexander Martinz
“when you are close to me I shiver” is an algorithmically controlled live simulation, a real-time generated virtual reality that takes place in a version of the future in which humans, out of desperation, gather in masses on the last remaining piece of land. Inspired by the walrus scene in the documentary “Our Planet” narrated by David Attenborough and produced by Silverback Films, the project proposes an intense scenario encompassing our environmental and personal crises. It reflects on how we identify and connect ourselves in different realities while addressing the human condition in a world in ecological and therefore social crisis. On the tablets, virtual cameras scan the environment from various point of views, like surveillance drones. On the main screen, a similar camera randomly targets and focuses on different situations while a familiar voice-over narrates the tragic story.

matthew day jackson

ماثيو اليوم جاكسون
Мэтью Джексон день
axis mundi

Matthew Day Jackson creates all-encompassing works in a wide range of media that make connections between seemingly disparate themes and narratives, from Impressionist painting to the surface of the moon; art history to rap music; nuclear testing to paranormal activity. Jackson’s work also addresses his theory of the “Horriful,” the belief that everything one does has the potential to evoke both beauty and horror at the same time.

CLAIRE MORGAN

КЛЕР МОРГАН
كلير مورجان
克莱尔·摩根
クレア·モーガン
클레어 모건
By the Skin of the Teeth
My work is about our relationship with the rest of nature, explored through notions of change, the passing of time, and the transience of everything around us. For me, creating seemingly solid structures or forms from thousands of individually suspended elements has a direct relation with my experience of these forces. There is a sense of fragility and a lack of solidity that carries through all the sculptures.

POUL GERNES

Drømmeskib / Dream Ship
n the early 1960s, Poul Gernes started to concentrate on simple, reduced forms making strong visual effects like circles, stripes or dots in his painting, similar to pop motivs. Most of the approx. 40 Targets painted then were designs for architecture-related works. At first he drew the rings for his Targets in pencil, but later he went over to scratching them into the ground with a pair of compasses. This gave the paintings a relief-like character and created clearly defined color fields. The contrasting color intensities in the circles make each color seem like a distinct, three-dimensional volume. The vivid color combinations of the Targets (shown at the Venice Biennale in 1988) come from sketches or ready-mades like the stripes on a t-shirt. Sometimes Gernes used random systems as well, for example by putting paint pots behind him and dipping the paintbrush into one pot blind. Although it may not seem to be the case, Gernes’ work makes no passing references to contemporary works by other artists.

CLAIRE MORGAN

Клер Морган
كلير مورجان
克莱尔·摩根
クレア·モーガン
클레어 모건
Lo
My work is about our relationship with the rest of nature, explored through notions of change, the passing of time, and the transience of everything around us. For me, creating seemingly solid structures or forms from thousands of individually suspended elements has a direct relation with my experience of these forces. There is a sense of fragility and a lack of solidity that carries through all the sculptures.