جانين أنتوني
珍妮安东尼
ג’נין אנטוני
재닌 안토니
Жанин Антони
Mortar and Pestle
“The eye and tongue in “Mortar and pestle” could become the tongue and eye of any advanced intimate partnership.”
Since the 1990s, New York–based artist Janine Antoni has established an international reputation with labor-intensive projects in a wide range of media. She incorporates both art history and personal exploration, investigating the ways in which contemporary definitions of aesthetics and art making are connected to issues of gender identity and sexuality. Inspired by the feminist artists of the 1970s, she reframes and subverts art-historical and societal conventions surrounding women and beauty.

جانين أنتوني
珍妮安东尼
ג’נין אנטוני
재닌 안토니
Жанин Антони
INGROWN
Since the 1990s, New York–based artist Janine Antoni has established an international reputation with labor-intensive projects in a wide range of media. She incorporates both art history and personal exploration, investigating the ways in which contemporary definitions of aesthetics and art making are connected to issues of gender identity and sexuality. Inspired by the feminist artists of the 1970s, she reframes and subverts art-historical and societal conventions surrounding women and beauty.

Floating

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Leilanni Todd – Floating – United States

Floating explores the concept of surrendering and freeing oneself by allowing oneself to float, symbolizing overcoming adversity and mastering self-confidence. Inspired by her grandmother’s journey to overcome her fear of water through swimming, the work uses water and sea creatures as symbols of resilience and transformation. The personal narrative behind the work adds depth to its exploration of overcoming fears and discovering inner strength.

Bio

Leilanni Todd is an award-winning creative director with extensive experience in advertising, fashion and new media. Originally from Toronto and now based in New York, she harmoniously integrates art, technology and culture into her work. Through her FLOAM WORLD platform, Leilanni creates surreal narratives, reimagines traditional norms in fashion and advertising, and addresses complex human issues with humor and creativity.

AVA

Ava’ is Troika’s first sculptural manifestation of their exploration of algorithms. ‘Ava’ is the physical result of emergence and self organisation brought about by ‘growing’ a sculpture through the use of a computer algorithm that imitates the emergence of life by which complexity arises from the simplest of things. As such the sculpture probes at the nature of becoming, existence and our strive to understand and replicate the complexities of life.In a landscape where our personal data is a raw material, and where we, humans, have become subordinate spectators of algorithms and a computerised infrastructure, we ask the question how much or little are we capable of influencing our surrounding reality, how much is predetermined, how much is down to chance.

Immersed Garden
Immersed Garden is in its true sense a sunken world. Floating bodiless in an underwater garden, natural sounds guide you through an immersive surrounding, somewhere between calming and irritating, natural and artificial. It is a playful exploration of the individual conception of safety and confusion and a personal approach to aesthetic references to habits of introspection and retreat in digital environments. It was created by fusing different digital processes like photogrammetry of selected natural places around Karlsruhe and field recordings in a local natural reserve. Underwater videos hybridize with 3D scans of trees and plants while invisible frogs are croaking and humming birds are buzzing by synthetic flowers. The artistic aim was to explore the personal perception of calming and irritating, playing with the concept of immaterialness and attentiveness. The artwork creates aesthetic references to philosophical and scientific theories of introspection and identity.

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.

존 코플란즈
Джон Копланс
In 1984 Coplans began taking the photographs of his own body with which he established his international reputation as an artist. These large-scale black-and-white images, enlarged from 4×5 inch Polaroid photographs and often presented in groups, are candid and sometimes humorous explorations of his own body. By cropping off the head, Coplans presents these depersonalised images of the body as a surprising, intriguing object, fascinating in detail and malleability.