hyungjoong kim

Data.Nature.Anagenesis_2

I am working for audio-visual arts, performance, media installation, computational visual design and sound. Probably this is why I am considered to be a media artist whatever but in fact, I judge myself as a media addict. By using the materials, I love to make creations with a concept of ‘(beauty+despair)/2’ of our future, which has no boundaries between nature, technology and human being.

BANDALOOP

100 Northern Ave
You’ve probably never seen anything like this before. Six members of the vertical dance troupe BANDALOOP descended the façade of the new 100 Northern Ave. building commemorating its grand opening at Boston’s Seaport District. The performers are held securely by special rigging allowing them to mesmerize audiences with dynamic physicality and intricate choreography. BANDALOOP honors nature, community, and the human spirit through perspective-bending dance. A pioneer in vertical performance, BANDALOOP seamlessly weaves dynamic physicality, intricate choreography and climbing technology to turn the dance floor on its side. Under the artistic direction of Amelia Rudolph, the work re-imagines dance, activates public spaces, and inspires wonder and imagination in audiences around the world.

Maxim Zhestkov

Supernova
Supernova is an experimental 4K art film directed and designed by Maxim Zhestkov and made in Zhestkov. Studio Everything around and inside us was conceived in a huge explosion of a star billions of years ago… and, probably, recycled from other matrices myriad times. In this eternal carousel of matter, particles gather, form complicated structures and then burst into all directions fusing atoms together and producing new elements and points of view, new colours and patterns of perception.

Albert Omoss

Undercurrents

“Mostly the fact that I AM a human body. We can live our lives buried in complex abstraction, or in virtual reality, but you can’t separate your consciousness from the fragility of your physical form. Many of my own fears and anxieties revolve around that realization. I would probably say my pieces involving the human body are a kind of self prescribed therapy to deal with my neurosis”.Albert Omoss

Jordan Wolfson

요르단 울프슨
ジョーダンウォルフソン

Female Figure

The stare of the animatronic sculpture is so intense, it would put anyone uncomfortable. The mask is probably there as a way to avoid creating a human face using animatronics but it also definitely adds to the creepiness of the overall look. The importance of the gaze is found throughout Wolfson’s work but it finds here a very special interpretation. He gives the ability to gaze to two different entities, a stripper and a robot, who are by definition never supposed to look up. The visitor is no longer in control of the situation, creating the awkwardness that is at the core of the work.

jeremy shaw

nodither (gif)

“We can’t predict, nor very precisely describe, what a psychedelic experience brings, and this is probably the most confounding aspect of it all,” Jeremy Shaw

 

Manon Kündig

Bowerbird
Manon Kündig’s master 2012 graduate menswear collection called ” Bowerbird” is full of digital prints and acid colours. Photoshop is probably one of the most important tools of her collection and she confesses being completely addicted to online research. Like the bird, she was inspired by to create her collection, bird stealing rubbish to create its nest; Manon stole Google images to create her prints. We asked Manon about her work and the relationship between the Internet and her collections.

PHILIP GLASS

فيليب الزجاج
菲利普·格拉斯
פיליפ גלאס
フィリップ·グラス
필립 글래스
Филип Гласс
Dracula (Bela Lugosi)

Dracula is one of Philip Glass’ many projects that involves adding music to classic films, the most effective of which is probably Cocteau’s La Belle et la Bête, which essentially turned Cocteau’s masterpiece into a stunning film opera. His music for Dracula exists in four versions: the original, for string quartet, recorded by the Kronos Quartet; an arrangement by the composer for string quartet and piano; and arrangements for the Philip Glass Ensemble and for solo piano, both made by Michael Riesman, who plays the solo version.

KIMIHIKO OKADA

Aluminum Landscape
The silver landscape was constructed out of aluminum foil rolls and scotch tape with help from some of the office’s employees. Transforming a two dimensional material into a three dimensional structure is surprising and fun, as aluminum is very malleable. Beautiful yet strange during the day and mysterious by night, Kimihiko Okada’s towering foil mountains have probably already been re-purposed into something new.

JONATHAN PUCKEY

Джонатан Пьюки
Delaunay Raster

Jonathan Puckey is a Dutch graphic designer who can script. He often uses Scriptographer, a scripting plugin for Adobe Illustrator, so that’s probably why he calls his work ‘conditional design’. ‘Delaunay Raster’ is a project with image vectorization based on Delaunay triangulation.

YVES NETZHAMMER

Nature, Fear, Entity
Nature, Fear, Entity sont trop importantes pour être traitées. Bien que je sois d’accord avec les sources de la douleur, elle existe inévitablement dans chaque expérience personnelle, mais je ne donnerai aucun indice détaillé, mais pour comprendre l’expérience dans un respect macro et la transformer en création. For me, transformation is a key method, sometimes when you see some scenes or chapters, seems like impossible to happen in the reality, but after a while when you think backward, probably you would feel that’s exactly how they should/originally are, an apperance after transformation. So transform becomes a very important channel to connect the interconnectness of things, to unseal some questions you would like to discuss; this is why I like to apply it often.

PHILLIPPE HALSMANN AND SALVADOR DALI

In Voluptas Mors

“In Voluptas Mors” (“Voluptuous Death”), is probably one of the most complex portraits I have ever seen alongside Halsman’s “Dali Atomicus” which took 28 attempts! “In Voluptas Mors” is again a carefully considered and planned out portrait of the surrealistic Spanish artist Salvador Dalí, made in collaboration with photographer Philippe Halsman (1951). The image depicts Dalí posing beside a giant ‘skull’, a tableau vivant (or “living picture”) comprising of seven nude female models in beautiful mind blogging poses. As you can imagine it took a considerable amount of time to create this wonderful photograph. It took all in all Halsman and Dali three hours to arrange the models according to Dalí’s precise sketch.