Being entrapped in narcissism is like a “self-jail”. Placing the mirror armor fixtures over my nude body causes the viewer to see the pixelated and fragmented image of myself. Usually covering, hiding, pretending to be a version of myself on the outside, therefore, “good looking” seems more of decoration or in itself a type of armor suitable for public viewing. Will these mirrors of self reflection cause me to wonder who I am on a deeper level? To discover who I truly am, what I am afraid of, why I waste my life without discovering my inner self. I constantly struggle with how I can break this boundary because I want to wake from this oblivion.
Quantum Memories is Refik Anadol Studio’s epic scale investigation of the intersection between Google AI Quantum Supremacy experiments, machine learning, and aesthetics of probability. Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. Quantum Memories utilizes the most cutting-edge, Google AI’s publicly available quantum computation research data and algorithms to explore the possibility of a parallel world by processing approximately 200 million nature and landscape images through artificial intelligence. These algorithms allow us to speculate alternative modalities inside the most sophisticated computer available, and create new quantum noise-generated datasets as building blocks of these modalities. The 3D visual piece is accompanied by an audio experience that is also based on quantum noise–generated data, offering an immersive experience that further challenges the notion of mutual exclusivity. The project is both inspired by and a speculation of the Many-Worlds Interpretation in quantum physics – a theory that holds that there are many parallel worlds that exist at the same space and time as our own.
The shimmering pulse
The installation consists of 451 independent modules arranged in a form of hexagon – each module reacts to light it receives by spinning iridescent disc that spreads out thanks to centrifugal force, creating a unique kinetic “physical pixel”. That field of shimmering pixels is combined with light projection mapped onto the installation surface to visualize real-time data of the traffic in the Shenzhen area – the hexagon is divided into sections corresponding the 9 city districts. As a result the public can observe and interact with the object that represents the pulse of life of the city in an artful and unexpected way.
Everything is Everything
The eight-channel video installation, Everything is Everything, was created for the first time to be shown at the 2006 Taipei Biennial, curated by Dan Cameron. For this work, the artist and two assistants spent a total of eight days recording their interactions and interventions with readily available items, including hangers, glasses, towels, air mattresses and toilet paper, all found in the city of Taipei. The physical properties of these objects have been tested (a metal hanger is stretched to the breaking point) or their uses have been expanded (a level placed on two table legs becomes an improvised obstacle). Tanaka and his assistants experimented with these objects several times indoors and in public, and their explorations were compiled into eight separate video loops lasting from 1:19 to 1:50 minutes. Tanaka’s narrowly cut frame of each scene often features performers from the neck down or removes them completely from the scene, thus focusing the viewer’s attention on the simple, repetitive objects and acts being performed.
Zaha Hadid Architects
‘tower C’ by zaha hadid architects within the Shenzhen bay super headquarters base responds to its location at the intersection of the city’s planned north-south green axis and shenzhen’s east-west urban corridor. Connecting directly with its adjacent park and plazas, which transform into a terraced landscape extending upwards within its two towers, the design invites the public into the heart of the building where cultural and leisure attractions are housed in sweeping bridges that tie the towers together and give panoramic views of the city.
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.
The artist definitely made a strong impression on the world of visual arts with his concepts. The ideas behind all his illustrations are very strong and full of substances, and manage to grasp the attention of the public from the first second. Aside from that, he also sends other, more subtle messages, regarding his own perspective upon the world, how he deems everything as possible for those who believe and who understand the power of imagination etc. The works of Victor Enrich really are something special, and worth taking a closer look. Without further ado, we invite you to admire the results of his restless imagination, his bold symbolism and his courageous approach to life and the world around us.
Bilateral Time Slicer
A biometric tracking system finds the axis of symmetry of members of the public and splits a live camera image into two slices. With each new participant time slices are recorded and pushed aside. When no one is viewing the work, the slices close and rejoin creating a procession of past recordings.
Point Cloud (ASU) is a newly commissioned artwork by Leo Villareal designed specifically for the ASU Art Museum in the Nelson Fine Arts Center. During his visit to the ASU Art Museum, Villareal was inspired by the museum’s architecture, designed by Antoine Predock in 1987. Villareal used mobile 3D scan technology to map both the inside and outside of the building, creating over 200,000,000 data points. The artist then manipulated the data points with his own custom software to create this public artwork. This is the first time Villareal has used actual data sampled from a location as part of an artwork.
The piece is the latest instalment of their ongoing Spectra series, a merging of physical and virtual sculptures that take inspiration from space, technology, and our relationships to them, to provide elegant and sensory experiences using sound, light, and reflection. Spectra-3’s design and movement is inspired by the radio telescopes of the Very Large Array (VLA) located on the Plains of San Agustin in New Mexico. The piece combines computer-aided design with real-time input from the public’s movements, to inform its physical actions as it rotates on motors, augmenting the space with the enchanting hues and patterns of reflected light and spatialized sound.
Digital image projection, software, real-time internet-based data, and sound
Installation shot at St. Saviour Church, London
Tromarama is an art collective founded in 2006 by Febie Babyrose, Herbert Hans and Ruddy Hatumena. Engaging with the notion of hyperreality in the digital age, their projects explore the interrelationship between the virtual and the physical world. Their works often combine video, installations, computer programming and public participation depicting the influence of digital media on the society perception towards their surroundings. They live and work between Jakarta and Bandung.
your unerasable text
“your unerasable text” is an interactive installation, dealing with the topics of data storage and elimination of data. The installation can be placed in an exhibition, but ideally it’s exhibited in a public space window, where it can be used by people passing by 24h a day. The participant is asked to send a textmessage to the number written on a sign next to the installation. “send your unerasable textmessage to +43 664 1788374”. The receiver mobile transfers it to a computer, which is layouting the message automatically. Then it is printed on to a DIN A6 paper, which is falling directly on to a papershredder. There the message remains readable for a few moments and gets destroyed then. The shredded paper forms a visible heap on the floor, which reminds of a generative graphic.
The Los Angeles Philharmonic collaborated with media artist Refik Anadol to celebrate our history and explore our future. Using machine learning algorithms, Anadol and his team has developed a unique machine intelligence approach to the LA Phil digital archives – 45 terabytes of data. The results are stunning visualizations for WDCH Dreams, a project that was both a week-long public art installation projected onto the building’s exterior skin (Sept 28 – Oct 6, 2018) and a season-long immersive exhibition inside the building, in the Ira Gershwin Gallery.
Farbrausch, also farb-rausch, is a German demo group that has been very well known in the Demoscene since the release of their intro fr-08: .the .product in December 2000. Their demo fr-025: the.popular.demo, which was published at Breakpoint 2003, has gained notoriety far beyond the borders of the scene, both The.Popular.Demo and debris. are two of the most popular demos according to the comparative index Pouët. The works of farbrausch have won numerous prizes in the Demoscene: The.Popular.Demo won the “Public Choice Award” of the Scene.org awards in 2003 Scene.org awards of 2003, category “Public Choice Award”., .Debris 2007 the award for best director. Scene.org awards of the year 2007, category Director.Farbrausch gives all publications a “product code” in the format “fr-0 #”. The numbers are not related to the date of publication, but rather, according to the members of farbrausch, indicate the order in which work on the project began. Productions that are not meant to be taken seriously are also given a “minus” in their name. 2004 the sub-department of farbrausch .theprodukkt released a 96kB small first-person shooter called .kkrieger, as well as the early version of a tool for creating demos called.
Zaha Hadid Architects
ShenZhen Science Technology Museum
A cascade of terraces will frame a large atrium at the heart of the Shenzhen Science & Technology Museum that Zaha Hadid Architects is developing in China. Slated for completion in late 2023, the pebble-shaped museum will encompass 125,000-square-metres and contain a mix of public spaces, galleries and educational facilities. It has been designed by Zaha Hadid Architects as a landmark for Shenzhen’s new Guangming Science City – a masterplan intended to establish the city as a hub for innovation.
We only come out at night
FILE FESTIVAL 2007
We Only Come Out at Night is an urban graffiti project involving interactive public projections. A site is selected at dawn and a sticker is stuck or a stencil image is sprayed at the location. When the sun sets, jellies are projected over the heads of pedestrians on the street. As the pedestrian walks underneath the projection, the monsters grab the shadows of the people and eat them. The sticker is then removed and the project visits another place at dawn. A website is created to track the history of the monster appearance in order to promote and create a mythology. There are seven monsters in total, each monster’s design and behavior is unique. Gula, the monster that always eat, Avaritia, the monster that stuffs you into his pants, Invidia, the monster that takes your image and pretends to be you, and so on. Each monster is unique but always sad.
Karen Lancel and Hermen Maat
Kissing Data Symphony
Intimacy Data Symphony is a poetic ritual for intimate experience of Kissing and Caressing each other faces, multi-sensory and socially shared in public space of merging realities. In live experiments with Multi-Brain BCI E.E.G. head-sets, visitors are invited as Kissers (or Caressers) and Spectators. Brain activity of people kissing and caressing is measured and visualized in streaming E.E.G. data, real-time circling around them in a floor projection. Simultaneously, the Spectators brain waves are measured, their neurons mirroring activity of intimate kissing and caressing movements, resonating in their imagination. The Spectators brain activity data are interwoven in the data-visualization. Brain activity of all participants, mirroring each others emotional expressions and movements, in interpersonal and aesthetic ways, co-create an immersive visual, Reflexive Datascape.
localStyle (Marlena Novak & Jay Alan Yim) in collaboration with Malcolm MacIver
‘scale’ is an interspecies art project: an audience-interactive installation that involves nocturnal electric fish from the Amazon River Basin. Twelve different species of these fish comprise a choir whose sonified electrical fields provide the source tones for an immersive audiovisual environment. The fish are housed in individual tanks configured in a custom-built sculptural arc of aluminum frames placed around a central podium. The electrical field from each fish is translated into sound, and is thus heard — unprocessed or with digital effects added, with immediate control over volume via a touchscreen panel — through a 12-channel surround sound system, and with LED arrays under each tank for visual feedback. All software is custom-designed. Audience members interact as deejays with the system. Amongst the goals of the project is our desire to foster wider public awareness of these remarkable creatures, their importance to the field of neurological research, and the fragility of their native ecosystem.The project leaders comprise visual/conceptual artist Marlena Novak, composer/sound designer Jay Alan Yim, and neural engineer Malcolm MacIver. MacIver’s research focuses on sensory processing and locomotion in electric fish and translating this research into bio-inspired technologies for sensing and underwater propulsion through advanced fish robots. Novak and Yim, collaborating as ‘localStyle’, make intermedia works that explore perceptual themes, addressing both physical and psychological thresholds in the context of behavior, society/politics, and aesthetics.
In New Humans, emergent gatherings of synthetic humans rise from the surface of a black ferrofluid pool. Appearing to morph like a supernatural life form, these dynamic clusters of magnetic liquid produced by machine learning processes are images of communities of synthetic people–hybrid profiles modeled from actual DNA, fitness, and dating profile data sets sourced from public and leaked caches. The work questions how we can radically conceptualize the “user profile” to embody a self whose bounds are indefinable and multiple. Generative algorithm using machine learning (GAN, T-SNE) and fluid simulation (Navier Stokes), countour generation (OpenCV), user profile data caches (DNA, fitness, and dating), software production (Processing), ferrofluid, custom electromagnet matrix, custom PCB control system, computer, steel, wood, aluminum.
MARK HANSEN & BEN RUBIN
Марк Хансен и Бен Рубин
마르크 한센과 벤 루빈
Listening Post is an art installation by Mark Hansen and Ben Rubin that culls text fragments in real time from thousands of unrestricted Internet chat rooms, bulletin boards and other public forums. The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens.Listening Post cycles through a series of six movements, each a different arrangement of visual, aural, and musical elements, each with it’s own data processing logic.Dissociating the communication from its conventional on-screen presence, Listening Post is a visual and sonic response to the content, magnitude, and immediacy of virtual communication.
Ghost Pole Propagator II
Ghost Pole Propagator captures and replays the ‘skeletons‘ of passersby in its environment, creating a layered and dynamic tapestry that reflects the history and activity of a locale. Presenting a universal communication of presence, attitude and gesture, the stick-figures this artwork generates are compact and expressive means of representing the human form. The format of the work is variable; in some presentations, the project serves as a kind of ‘interpretive monitoring station’ for nearby pedestrian traffic.
To Reverse Yourself
My work poses the question: how does reality becomes exquisitely animated by certain social control systems such as politics, mass media, technology, science, and etc. It is my artistic goal to reveal how human beings are fragile and delicate in these social environments. By living in Korea, Japan and the U.S, I have first-hand experience in diverse social systems and have come to view my life experiences as raw material for my research. With my research in mind, my art utilizes the body as the tool for an intensive investigation of the public and private; examining the relationship between how people understand their body and how this understanding represents themselves in the greater context.
Currently, I am curious about human perception developing parallel with the ever-evolving progression of technological world. Thus, I question technology’s relationship to reality and illusion; asking what is reality? My work takes advantage of illusion to explore and answer this question, and often my artistic materials consist of the body and mirrors. I use mirrors for integrating reality and illusion.
RAFAEL LOZANO HEMMER
拉斐尔·洛萨诺 – 亨默
רפאל לוזאנו, המר
A circular display that simulates the turbulence at the surface of the Sun using mathematical equations. The piece reacts to the presence of the public by varying the speed and type of animation displayed. If no one is in front of the piece the turbulence slows down and eventually turns off. As the built-in camera detects people more solar flares are generated and the fake Sun shows more perturbation and activity. At 140 cm diameter, Flatsun is exactly a billion times smaller than the real Sun. The piece consists of custom-made panels with 60,000 red and yellow LED lights, a computer with 8 processing cores, a camera with a pinhole lens and a mechanically engineered aluminium, steel and glass structure that pivots for maintenance. A single knob lets the collector set the brightness of the piece and turn it on and off.
2020 Got Me Like
As COVID-19 speeds around the world and continues to shut down more cities, people begin to consume Internet culture in order to escape the apocalyptic anxiety in 2020, allowing Internet memes to go viral across the globe. Built upon social media, this work merges everyday sentiments with classical movie scenes to deconstruct the common imagination of “apocalypse” in entertainment industry. The video also incorporates the artist’s footage during protests, turning memes into public commentary and political satire. In this eventful year, meme does more than hijacking and decontextualizing meanings, it has become a form of silent revolt against the absurd.
ROCIO VON JUNGENFELD
zones of flow (ii)
“zones of flow” is a work-in-progress project which investigates the fluid connections between people, sea and land. The piece zones of flow (ii) is an audiovisual artwork created to for the MAN display, which is located in a public area in NTU-Singapore; an open corridor where there is a regular flow of people moving across the space. The piece has come out of a sailing experience across the Atlantic in a 15m sailing boat. The ongoing project explores the instantaneous but sometimes asynchronous connectivity between things and people as they move in and across digito-tangible environments.
Metabolism _ Invisible Cities
Pierre-Jean Giloux’s first monograph, the publication extends the eponymous video tetralogy inspired by the Japanese utopian architectural movement: Metabolism (1960-70).
The films of the Invisible Cities cycle are portraits of Japanese cities, superimposing filmed and photographed images of everyday, social and urban reality, with virtual images.
The book explores the links in Pierre Jean Giloux’s work that connect four Japanese cities with a rich architectural past (Tokyo, Yokohama, Osaka, Kyoto). This jorney through Japan’s Megapolis traces the history of Japan and ends with the reconstruction of pavilions for the Osaka 70 Universal Exhibition and a virtual proposal for a smart city on the waters of Lake Biwa.
The metabolist utopia to which reference is constantly made in the work of Pierre Jean Giloux played a decisive role in the constitution of post-war Japanese cultural identity and had a notable influence on many contemporary architects.
Weight of insomnia
With his new series of paintings, Liu uses a machine programmed to capture movement in public spaces and translates this to marks on canvas. The machine has no heart, no desires, no ulterior motive. It does not sleep but obeys its instructions for as long as the artist decides. And yet the results have a strange power to move us. It seems that, despite all efforts, subjectivity can never truly be extinguished. Join Liu as he discusses this latest painting project, the conflict and changes in Chinese society that have influenced his artistic approach and how we might all be affected by the ‘weight of insomnia’.
The Sky over Nine Columns
Heinz Mack has developed a genuine language of light and colour since the 1950s and is a leading exponent of kinetic art. The concept of ‘Light Stele’, to which ‘The Sky Over Nine Columns’ refers, was first formulated by Mack in the late 1950s in his Sahara Project. His works in public spaces – whether in urban settings or nature – are always conceived as objects for light: “Light is decisive for my art. As far as light is concerned, I want to go to the limits of the possible.” (Heinz Mack)
Infection Drivers (2019) explores the body under attack. In this work, a CGI figure struggles to move and breathe in a translucent suit, which takes her body through transmutations of stereotypically masculine and feminine physiques as it inflates and deflates. In a time of increased public surveillance through facial-recognition software and biometric data mining, Cooper’s high-definition world invites us to investigate and perhaps find freedom in the technologies often used to constrain us.
Refik Anadol’s most recent synesthetic reality experiments deeply engage with these centuries-old questions and attempt at revealing new connections between visual narrative, archival instinct and collective consciousness. The project focuses on latent cinematic experiences derived from representations of urban memories as they are re-imagined by machine intelligence. For Artechouse’s New York location, Anadol presents a data universe of New York City in 1025 latent dimensions that he creates by deploying machine learning algorithms on over 100 million photographic memories of New York City found publicly in social networks. Machine Hallucination thus generates a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques. The resulting artwork is a 30-minute experimental cinema, presented in 16K resolution, that visualizes the story of New York through the city’s collective memories that constitute its deeply-hidden consciousness.
light installation at St. Paul
The first image in this post is from a work – the most interesting – by Nuit Blanche. Robert Stadler’s installation in the Saint-Paul Saint-Louis Church. Upon entering the church, through a side door, the public sees only large luminous spheres, which appear to be randomly arranged. When going to the center of the church, however, the spheres form a big question mark on the altar.
The works in this series are part of an extensive research project by FIELD, exploring the most relevant machine learning algorithms in code-based illustrations […] We have started a deeper exploration of the less accessible information that is out there, such as scientific papers and open source code publications, to develop an understanding of these algorithms’ inner workings, and translate it into visual metaphors that can contribute to a public debate.
Ann Veronica Janssens
Bleu Red Yellow
Born in 1956 in Folkstone (England), lives and works in Brussels. Photography, video, sculptures, installations. Ann Veronica Janssens stepped into the public area with her installations, which find their roots in minimalist art. She constructs rooms and sculptures with simple building materials, above all making allowance for all aspects of the light, thus appearing as ephemeral. Clear, geometric forms are a dominant feature of her sculptural work.
L’exposition Power Pixels se compose de deux installations de réalité virtuelle génératives et interactives : Complex Meshes 2020 et Oscillations 2020, oeuvre présentée pour la première fois au public. Oscillations 2020 permet une visualisation graphique en 3D de la musique de Michel Redolfi. Une forme d’onde se génère en temps réel selon les fréquences et les amplitudes de la musique. Ces spectres sonores des différents sons de la musique génèrent des paysages imaginaires à l’infini. Image et musique se répondent dans une fusion de nature émotionnelle qui participe à une véritable synesthésie.
ART ORIENTE OBJET (MARION LAVAL-JEANTET & BENOIT MANGIN)
Que le cheval vive en moi
Marion Laval-Jeantet nous le montre. En février 2011, elle réalise une performance inédite : « Que le cheval vive en moi ». Devant public, elle se fait transfuser du sang de cheval. Puis ce sang ainsi mélangé est prélevé et lyophilisé, à partir duquel une collection de huit reliquaires est réalisée. La rencontre du sang des deux espèces a produit un objet d’art : le sang de centaure. La barrière entre les espèces a été levée, levé le noli tangere et abolies les catégories de la nature.
Bjarke Ingels Group
Steam Ring Generator
From Apple to Anomaly
Artist Trevor Paglen’s new Curve commission takes as its starting point the way in which AI networks are taught how to ‘see’ and ‘perceive’ the world by taking a closer look at image datasets. Paglen has incorporated approximately 30,000 individually printed photographs, largely drawn from ImageNet, the most widely shared, publicly available dataset. This dataset is archived and pre-selected in categories by humans, and widely used for training AI networks. In some cases, the connotations of categories are uncontroversial, others, for example ‘bad person’ or ‘debtors’, are not. These categories, when used in AI, suggest a world in which machines will be able to elicit forms of judgement against humankind.
The Painting Fool
The Painting Fool is software that we hope will one day be taken seriously as a creative artist in its own right. This aim is being pursued as an Artificial Intelligence (AI) project, with the hope that the technical difficulties overcome along the way will lead to new and improved generic AI techniques. It is also being pursued as a sociological project, where the effect of software which might be deemed as creative is tested in the art world and the wider public. In this chapter, we summarise our progress so far in The Painting Fool project. To do this, we first compare and contrast The Painting Fool with software of a similar nature arising from AI and graphics projects. We follow this with a discussion of the guiding principles from Computational Creativity research that we adhere to in building the software.
Peeping Tom est une compagnie de danse-théâtre bruxelloise fondée en 2000 par Gabriela Carrizo et Franck Chartier. Leur travail recherche le comportement idiosyncratique dans les relations et expériences personnelles, ce qui fait du public un voyeur dans le monde réaliste mais onirique qu’ils créent.
FILE SAO PAULO 2015 FILE LED SHOW
“IJO” means dance in Yoruba. The project was born inside a series of actions with the objective of reframing the place of dance and a re-appropriation of the public spaces. Adapted to FILE FESTIVAL, the project unfolds its initial ambition, painting the walls and buildings of the city with dancing. By positioning themselves in front of “IJO”, the participants will have a visual representation of their bodies exhibited in real time on the FIESP building. Dance to tell who you are.
In his public art, Plensa challenged himself to involve the viewer with his art, which led to his conception of the Crown Fountain. His objective was to create a socially relevant, interactive fountain for the 21st century.] Since water is the focus of a fountain, and since Chicago, and especially Millennium Park, is so greatly affected by the nearby waterfront, Plensa sought to create an eternal water work to complement the local natural inspirations
FILE FESTIVAL SAO PAULO 2016
The “Vídeo-Boleba” installation is composed by a TV set and a mechanism that shoots marbles. In the video, two boys take turns playing the marbles, which appear at the side of the screen when they leave the frame, scattering in the space close to the public, and giving continuity to the scene in the material world.
spectra is a series of large scale installations employing intense white light as a sculptural material. The installations are designed in response to specific gallery spaces or public sites selected by the artist. White light is one of the purest forms of transformation from electricity. We see a pure state of energy. Through these installations we witness how the pure transformation transforms the environment itself and ourselves.
Facial micro expressions last less than a second and are almost impossible to control. They are hard wired to the emotional activity in the brain which can be easily captured using specially developed technological devices. Free will is now in question as the science exposes decision-making as an emotional process rather than a rational one. This ability to read emotions technologically result in a society obsessed with their emotional reactions. Emotions, convictions and beliefs which usually remain hidden, now become a public matter. “Belief systems” is a video scenario about a society that responds to the challenges of modern neuroscience by embracing these technological possibilities to read, evaluate and alter peoples behaviours and emotions.
El diseño, llamado el “Phare” (el faro), de la firma arquitectónica Morphosis encabezada por el ganador del premio Pritzker 2005, Tom Wayne, fue declarado ,el viernes 24 de noviembre, el ganador de la competición arquitectónica para el distrito de negocios de La Defense en Paris[…] Morphosis define al edificio como un “torre híbrida ” más que solo un bloque de oficinas debido a que contiene espacios públicos incluyendo un atrio de sesenta metros de alto, jardines, cafeterías, tiendas, más una cubierta de observación y el “restaurante del cielo”.
Glenda Leon’s work includes various techniques such as drawings, video art, installations, sculpture and photography. Glenda León encourages the viewer to approach the object from a poetical perspective. This way, she reveals the metaphoric part of everyday life objects and is interested in revealing antagonisms like silence or sound, visibility or invisibility; public or private; and ephemeral or eternal.
SOU FUJIMOTO ARCHITECTS
infinity ring pavilion
An investigation into the ergonomics of seating in both private and public environments, the Infinity Ring takes the preconception of predefined spaces and their rituals and wraps it around a ring, creating a continuous strip of inhabitable spaces. The entire ring is then rotated, thereby generating infinite configurations of space-between-space, creating endless ways to sit, climb, lie down, crawl on…resulting in spatial configurations that are much richer than the sum of its parts.
The Contemporary Art Center in Córdoba is not a centralized building: the center moves from one space to another, it is everywhere. It is configured as a sequence of precincts linked to a public space, onto which all the different functions of the building flow. Conceived as a place for interaction, it is a common space in which one can express and exchange ideas, see an installation, access exhibitions, visit the cafeteria, spend time in the media library, wait for a performance to begin in the black box, or maybe simply look out onto the Guadalquivir River. The materials help to achieve the art factory character pervading the entire project. In the interior, bare walls, slabs of concrete, and continuous paved flooring establish a spatial structure susceptible to being transformed individually through different interventions. A network of electric, digital, audiovisual, and lighting infrastructures ease access to sockets and connections throughout the building. On the exterior, the building asserts its presence by means of a single material: prefabricated concrete fiberglass panels, or GRC.
Barozzi / Veiga
Headquarters ‘Ribera del Duero’
Fabrizio Barozzi and Alberto Veiga began their career together in 2004 in Barcelona. EBV is an architectural practice devoted to architecture, urbanism for both public and private sectors. EBV has won numerous prizes in national and international competitions. Projects that stand out for their singularity include the rehabilitation of the Santa Clara Convent in the historic city centre of Úbeda, Andalucía (under construction); the Congress Hall of Águilas, Murcia (built); the Headquarters of Ribera de Duero in Roa, Burgos (built); and the Philharmonic Hall in Szczecin, Poland (under construction)
Katie Paterson and Zeller & Moye’s public artwork, Hollow, is made out of 10,000 samples of different tree species and was unveiled in Bristol in early May. The BBC followed Katie over a ten-month period as she assembled the wood collection and created the artwork. Sourced from all around the world, her samples include the oldest tree in the world, a tree that survived a nuclear blast and many trees that are now extinct.
AnthropOcean, interactive project created by the artist-researcher Olga Kisseleva, brings the public to question its implication in an environment which we keep adjusting to our aspirations, with a particular focus on the ocean. At the heart of this project is an oline database dedicated to climate change and to the broader ties between ocean, climate and society. This database is the source of all visual displays seen by the public and it also has an interactive dimension: the public itself is able to feed the database thanks to a specific barcode. In other words, the art piece takes the shape of a visual display installation composed of digital objects that it visually maps and connects to one another.
Martin and Erik Demaine
Fuller Craft Series
“On the one hand, we have some very interesting geometric sculpture. And, on the other hand, we are growing our understanding of these forms that ultimately will lead to some scientific and engineering applications,” he says. “Our sculptures also represent a different way of communicating with the public. For scientists, it’s another medium to communicate that there are both interesting and beautiful things in science and math.”
ARTISTA ITALIANO CONTEMPORÁNEO, AUTODIDACTA, NACIDO EN PADUA EN 1960 QUE VIVE ACTUALMENTE EN NUEVA YORK. SU PROPUESTA ARTÍSTICA SE UBICA ENTRE LA ESCULTURA Y EL PERFORMANCE (ACCIÓN ARTÍSTICA DONDE UN ARTISTA O UN GRUPO DE ARTISTAS PARTICIPA CON EL USO DEL CUERPO COMO ELEMENTO ESCULTÓRICO “EN VIVO” FRENTE AL PÚBLICO), TRABAJANDO PRINCIPALMENTE EN EL GÉNERO DE INSTALACIÓN. EL SENTIDO DEL HUMOR Y LA TRASGRESIÓN DE LOS SÍMBOLOS ESTABLECIDOS CONSTITUYEN SUS PRINCIPALES ARMAS EXPRESIVAS.
Situé entre l’art de la rue, la poterie, la peinture, la sculpture et les bijoux, NeSpoon est un artiste de rue polonais. En mission pour broder le monde, elle enrichit l’art urbain déjà diversifié avec sa propre marque unique d’art de dentelle. En utilisant des motifs de napperons complexes, l’artiste embellit des espaces abandonnés et sans ornements dans des jungles urbaines improbables, les transformant en de superbes œuvres d’art.
Milton Glaser (June 26, 1929 – June 26, 2020)
“i love new york”
One of Glaser’s most recognizable works is his I Love New York logo. In the mid-1970s, New York City’s crime rate was up and the city was widely perceived to be dangerous and was on the verge of bankruptcy.In 1977, the city hired advertising agency Wells Rich Greene and Milton Glaser to design a logo to increase tourism and boost morale. It was Glaser who came up with the design while sitting in the back of a taxi cab on the way to the meeting.The logo consists of the capital “I” and a red heart, stacked on top of the letters “NY” in American Typewriter typeface, symbolizing New York. His inspiration for the logo was Robert Indiana’s LOVE design, with the four letters stacked on top of each other. “Glaser loved New York so much that he gave his work to the city for free, hoping it would become public property.
Muti Randolph lives in Rio de Janeiro and studied Visual Communications and Industrial Design at the Pontificia Universidade Católica do Rio de Janeiro. One of the pioneers in computer art in Brazil, he has been shifting from virtual 3d to real 3d spaces creating sets, installations and interior architecture projects. In his work he explores the relation of time and space through music and interactive generative video using custom designed software and hardware. His projects are present in the most relevant art, design and architecture publications.
Monument to the Unknown Artist
At first glance, Monument to the Unknown Artist appears to be a simple bronze statue, dressed in a neck scarf and loose fitting suit. However, the six meter monument seeks inspiration from passers-by, inviting them to strike poses which he copies, continually changing his form in a light-hearted and mischievous way. The unique sculpture offers an alternative and accessible creative experience for the public allowing them to create a dialogue with the work of art.