Martelaren (Earth, Air, Fire, Water) bestaat uit vier plasmaschermen, elk met een enkele figuur die geleidelijk wordt overweldigd door de aanval van een natuurlijke kracht. De ervaringen van de vier individuen worden samen georkestreerd tot een samenhangend geheel. Het overheersende thema is martelaarschap voor diepgewortelde overtuigingen, waarbij het fysieke lijden van het lichaam op dramatische wijze duidelijk wordt gemaakt door de kardinale elementen.


Città emotiva
Emotive City è una cornice per esplorare un modello mobile e auto-organizzativo per la città contemporanea. I modelli del passato sono limitati e non dovrebbero funzionare, in quanto progetti per il nostro futuro urbano, una nuova generazione di ricerca progettuale deve necessariamente affrontare le sfide di oggi. Le tendenze fisse e finite che un tempo servivano all’architettura e all’urbanistica sono state rese obsolete. Oggi le intersezioni di informazione, vita, macchine e materia mostrano complessità che suggeriscono la possibilità di una sintesi molto più profonda. In questo contesto, l’architettura è costretta a rifattorizzare radicalmente la sua risposta alle nuove sfide sociali e culturali con un ambiente di urbanizzazione accelerata. Proponiamo un quadro che partecipa e si impegna con gli ambienti ricchi di informazioni che stanno plasmando le nostre vite attraverso un modello di vita che chiamiamo ecologia adattiva.


Ein Ozean ohne Ufer
Ein Ozean ohne Ufer wurde erstmals während der Biennale der Weltkunst 2007 in Venedig in der entweihten Kirche von San Gallo ausgestellt und besteht aus über 240 Minuten hochauflösendem Inhalt, der auf 65- und 103-Zoll-Plasmadisplays angezeigt wird. Die Arbeit wird in einem vollständig synchronen, sich jedoch ständig weiterentwickelnden Format gezeigt, während sich Einzelpersonen kontinuierlich durch eine bemerkenswerte Welt von Violas Schöpfung bewegen.

Alexandre Burton

If you’ve never seen a Tesla coil in person, it’s a remarkable experience. Purple plasma flashes in unpredictable, wide-reaching bolts. The sound cracks with more fearsomeness than a whip. The air fills with the sterile acridity of ozone. The effect is equal parts frightening and beautiful; this machinery can use enough voltage to carbonize your flesh right down to the bone, yet some self-destructive impulse tells you to look closer. Alexandre Burton plays with this very impulse in his installation, Impacts. The exhibition features several Tesla coils that hang from the ceiling. They fire, not against a cage or predictable grounding surface, but a delicate pane of glass, so the viewer can appreciate the plasma filaments like a framed piece of art or a caged lion.

lauren dimaya krystal li heidy cordero arias

every time the stars align
“Every Time the Stars Align” fuses different natural elements of crystals, plasma and flowers in a lava lamp environment. Red crystals freeze with rigid edges and thaws into a relaxing mood. Plasma liquid rises and falls reflecting a lava-like quality. Flowers fluctuate between a spectrum of color symbolizing intense human affections. Contradicting and uniting flat and deep spaces, the three elements compose and decompose.

Anouk Wipprecht

Faraday dress

While the odds of you getting hit by lightning is approximately one to one octillion, Dutch designer Anouk Wipprecht and music performance group Arcattack have created a wearable a metal dress that discharges one million volts of electricity. Part futuristic, part anime-meets-high fashion, the dress comprises metal plates, 600 rings of chain mail, 3D ‘plasma ball’ mounts on the shoulders and a spiked helmet with a grille on the front.


빌 비올라
ביל ויולה
Билл Виола
An Ocean Without a Shore

First displayed in the deconsecrated church of San Gallo during the 2007 Biennale of World Art held in Venice, Italy, Ocean Without A Shore is comprised of over 240 minutes of high-definition content displayed on 65″ and 103″ plasma displays. The work is displayed in a fully synchronous yet constantly evolving format, as individuals continuously transition through a remarkable world of Viola’s creation.

Thomas Feuerstein


The marble sculpture PROMETHEUS DELIVERED – a replica of Prometheus Bound by Nicolas Sébastien Adam (1762) – is slowly decomposed by chemolithoautotrophic bacteria. The acidic process water from the bioreactor KAZBEK penetrates the body of the sculpture via tubes and runs off the surface of the stone. The limestone turns into gypsum while the sculpture slowly dissolves. The biomass of the bacteria is the energy source for human liver cells from which the organic sculpture OCTOPLASMA grows. Inorganic stone turns into organic meat. PROMETHEUS DELIVERED is a play on words, referring to birth in the sense of “delivery”, and to the central importance of the liver in myth.


أليس أندرسون
앨리스 앤더슨
plasma screen


Tesla coils each fitted with a glass pane and suspended from the ceiling of the exhibition space make up the components of this “live” sculptural installation. The presence of the visitor before each sculptural device activates an audio and visual experience. The visitor’s proximity to the works engages arcs of electricity of variable intensities as well as a rhythmic articulation, generated by the impact of the electrical arc on the glass pane.As a symbolic and sonic source, the Tesla coil’s ability to throw electric arcs has been employed by a wide spectrum of artists. With this new work, Alexandre Burton proposes the use of plasma (loosely defined as an electrically neutral medium of positive and negative particles) as matter and medium itself, circumscribed by a defined frame and articulated through unique programming. In this way, IMPACTS serves as a reminder of the danger and muscle of this marvel while capturing its sublime beauty and rhythmic potential.



I love this installation project called Horizont by Stas Chepurnov. In it, an outdoor mountain scene remains level while a rotating plasma display turns the tables on your idea of proper television viewing.


File Festival
‘Ectoplasmatic Housing’ aims to speculate about how architecture can mediate the pervasiveness of the contemporary ‘infocalypse’ age. An architectural experiment of physical and digital space through the use of interactive design and augmented reality.

Browsing through a domestic safari of Trojan savannas or sterilised virus forests while contemplating the emergence of thousands of cheap-friends-facebook flowers blossoming among the pulsating cocoons of dying obsolete apps… Quantum reality theories are ripe for the picking from wiki branches of tweeting pink daily hit dwarfing trees…
Ectoplasmatic Housing aims to speculate about how architecture can mediate the pervasiveness of the contemporary ‘infocalypse’ age. It cultivates data for a spatial interactive second nature manifestation. It grows, blossoms, dies and haunts. Overlayed with the physical this unstable ectoplasmatic nature may shift radically into a rapid nuke ecology of nightmares.


Forms è una collaborazione tra gli artisti visivi di Memo Akten e Quayola, una serie di studi sul movimento umano, e i suoi riverberi attraverso lo spazio e il tempo. Si ispira alle opere di Eadweard Muybridge, Harold Edgerton, Étienne-Jules Marey così come analogamente si ispirano ad opere moderniste cubiste come quelle di Marcel Duchamp “Nude Descending a Staircase No.2″. Piuttosto che concentrarsi su traiettorie osservabili, esplora le tecniche di estrapolazione per scolpire forme astratte, visualizzando le relazioni invisibili, la potenza, l’equilibrio, la grazia e i conflitti tra il corpo ei suoi dintorni. Il progetto analizza gli atleti e di come questi spingono i loro corpi per le loro capacità estreme, con i loro movimenti plasmati da un processo evolutivo per le prestazioni vincenti.