Le projet du jeune studio d’architecture Urbanplunger a reçu le troisième prix pour son projet d’Hôtel Night Club à Hong Kong. L’idée principale : créer un bâtiment compact adapté à l’extrême densité urbaine de la ville de Hong Kong. Du point de vue de sa conception, sa structure entière est élevée au-dessus du sol en s’appuyant sur ​​les bâtiments voisins!

FLORALIA I
Inspired by the writings of Donna J. Haraway, Ursula K. Le Guin, and Greg Egan, the work plunges us into a speculative future, where samples of then extinct plant species are preserved and displayed in a virtual archive room. Through editing and visual strategies, this archive room is sporadically transformed under the effect of interference caused by the memory emanating from the listed plants, revealing traces of a past that continues to haunt the place. Floralia is a simulation of ecosystems born from the fusion of technology and organic matter, where past and future coexist in a perpetual tension of the present.

Ghost City
The installation Ghost City is built around a reinterpretation of the set of the famous game GTA V. The spectator is plunged into an environment without any population that disappears as we move closer. It is a meditative and captivating experience. The focus is put on architectural and graphic elements. This virtual universe solicits both the present (the experience of the artwork) and the memory. The disappearance, before our eyes, of this virtual universe feeds the terror that one day all our digital life – ephemeral cloud.

LIEBHABER (LOVERS)
Computergesteuerte Fünfkanal-Video- / Toninstallation mit fünf Videoprojektoren, einem Achtkanal-Soundsystem und Diaprojektoren […] Als Bild  schlägt ein Liebespaar häufig eine Burg der Ausgrenzung vor. Mit der sexuellen Befreiung der letzten Jahrzehnte hat das Wort nun mehr mit körperlicher Kopplung zu tun als mit der Erhabenheit der „wahren Liebe“. AIDS hat dieser Paarung eine neue Dimension der Vorsicht hinzugefügt. Die lebensgroßen Tänzer in Lovers haben kein Leben mehr. Die nackten Figuren werden auf die schwarzen Wände eines quadratischen Raums projiziert und haben eine spektrale Qualität. Ihre Bewegungen sind einfach und sich wiederholend. Sie gehen hin und her, laufen und rennen mit tierischer Anmut. Ihre Handlungen werden im Laufe der Zeit vertraut, so dass es eine Überraschung ist, wenn zwei der durchscheinenden Körper in einer virtuellen Umarmung zusammenkommen. Diese angeblichen Liebhaber – mehr überlappend als berührend – sind physisch nicht miteinander verflochten.

Play
Invited to the Palais Garnier for the first time, the choreographer Alexander Ekman lived a dream: working with the dancers of the Paris Opera Ballet! In order to plunge them into the universe of his piece, he invited them to play. After all, isn’t dance also entertainment, amusement, practice, exercise and manipulation? Here, play is everything and everywhere. From the props to the sets. For, as the choreographer repeats, play makes us happy; one should never stop being a child. In the Massenet and Blanchine studios, photographer Anne Deniau focusses on certain emblematic props from this production, whilst playwright Nicolas Doutey reflects upon these new visual compositions.

Taking in her paintings is like opening your eyes after a nap in the sand. The colourful masses on her canvas appear to be in motion, plunging the spectator into a semi-conscious state. Beyond the merely pictorial, Ana Montiel’s works read like spiritual, dreamlike invitations, that hit you with a feeling of satisfaction and involuntary entrancement. Any tangible form looks acid-washed; a silhouette or a ray of sun gives way to a sfumato of light and pigments. The artist is interested in the conceptual issues of perception and phenomenology, based on the premise that reality is nothing but a collective and controlled hallucination.

ondulation

We enter a room and are plunged into semi-darkness. The room is dominated by an immense basin of water, ripples radiating across its surface in concentric rings. Intuitively we know that the sounds around us are closely related to the ripples, a fact reinforced by the water’s reflected movements on the surrounding walls through a sophisticated play of light. As we get closer, it becomes clear that the sounds are emanating from speakers concealed under the basin, the source of the ripples on the water’s surface. The water acts as a medium in the sense that it acts as middle ground: stimulated by the sound and swept by the beams of light, it produces richly evocative reflections. A latent photographic metaphor is at play in the installation: the water seems to take on the properties of a sensitive plate, with the sound imprinted upon it and revealed by the movement and stunning reflections projected on the walls.

Turbine Hall

The Turbine Hall of Tate Modern is plunged into deep black gloom. At its east end, like the stained glass window of a cathedral, is a giant vertical screen. It is framed at the edges with sprocket holes, so we feel we are looking at a vast reel of film. In the centre, an ever-changing series of images: a snail on a wind-wobbled leaf, the powerful spume of a fountain, a chimney loosing trails of vapour. Sometimes the image is of the back wall of the Turbine Hall itself, but with its gridded form coloured in red, yellow and blue so it resembles a Mondrian. Or with a giant egg apparently floating from ceiling to floor.

Rotary Tumble
FILE FESTIVAL