highlike

PATRICK TRESSET

Étude humaine #1
L’installation interactive Human Study #1 de Patrick Tresset se compose de trois robots dessinateurs. Les visiteurs peuvent s’asseoir comme des modèles pour être visuellement enregistrés et représentés par les trois machines. Chacun des trois robots dessine dans son propre style et manie le stylo d’une manière différente. A côté du bras de dessin, chaque robot est équipé d’une caméra mobile. Ils les utilisent pour observer alternativement le modèle et le dessin résultant. Tresset n’est pas intéressé à utiliser les robots pour simuler un style de dessin humain. Il examine plutôt les différences entre l’exécution humaine et robotique. Tresset décrit les capacités de ses machines comme « non intelligentes ». Ils donnent seulement l’impression d’agir de leur propre gré. Ils font preuve d’un comportement humain, mais basé sur un programme ne stipulant qu’un ensemble restreint d’actions.

One Life Remains: André Berlemont, Kevin Lesur, Brice Roy & Franck Weber

FILE SAO PAULO 2017
LES DISCIPLINES DU RECTANGLE
Inspired by Michel Foucault’s work, Les disciplines du rectangle is a videogame proposition about the nature of rules and norms at the digital age. If society provides models of accomplishment we are supposed to fit inside, then the rectangle is the pure abstraction of this idea. The geometrical shape works as a symbol of the very nature of normativity, blind to individual differences. The rectangle, existing only on the screen, reveals how digital technologies can in some ways become the new location for this normativity and the ambivalent results of their intangible and invisible nature. Besides, the installation offers an occasion to think about the way games can become manipulation tools. The fact that in the end, players act as if they were piloted by the rectangle (an inversion of the traditional relationship between player and avatar) gives an aesthetical highlight to this.

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Inspirado en el trabajo de Michel Foucault, Les disciplines du rectangle es una propuesta de videojuego sobre la naturaleza de las reglas y normas en la era digital. Si la sociedad proporciona modelos de realización en los que se supone que encajamos, entonces el rectángulo es la pura abstracción de esta idea. La forma geométrica funciona como símbolo de la naturaleza misma de la normatividad, ciega a las diferencias individuales. El rectángulo, que existe solo en la pantalla, revela cómo las tecnologías digitales pueden convertirse de alguna manera en la nueva ubicación de esta normatividad y los resultados ambivalentes de su naturaleza intangible e invisible. Además, la instalación ofrece la oportunidad de pensar en cómo los juegos pueden convertirse en herramientas de manipulación. El hecho de que, al final, los jugadores actúen como si fueran piloteados por el rectángulo (una inversión de la relación tradicional entre jugador y avatar) le da un toque estético a esto.

 

Kyle & Liz Von Hasseln

Phantom Geometry
“We are developing a system of moving streaming information through space, in the form of light, to generate material form. This system is a full-scale, generative fabrication process that is innately non-linear, is interruptible and corruptible at any time, and does not rely on periodic flattening to 2D. Light is the medium for data in our system. There resident data can be drawn through physical space, at full scale, to generate a photographic artifact, or to instantiate material form through the selective polymerization of proximal photo-responsive resin. This thesis, then, begins to investigate a design paradigm centered on the material reification of light. That paradigm questions the supremacy of the digital model, and the static flattening and stacking logics inherent to typical fabrication workflows. It is part of a conversation about representation, about the role of the designer, and about the way we make.”

Ricardo Barreto and Paula Perissinotto

CYBERDANCE

This net art by Ricardo Barreto and Paula Perissinotto offers us a split, fragmented, impossible dance, in a divided, multiplied space. Cyberdance consists of the combination and recombination of elements that represent the different parts of the human body. A mannequin was photographed as a model in different positions. These images were later converted to the animated form, allowing users to combine them in different ways, as well as link them to different dance terms, to the names of postures and positions of classical ballet. On a page divided into frames containing fragments of the mannequin, we can see his head, legs, torso and arms rotating, while allowing us to subdivide each frame by clicking on it, each frame composing an aberrant doll whose fragments dance, silently, independent one from the other. There is no music, no rhythm, no space. It is a digital dance, a dance in which time and space have become a platform.

Freya Olafson

MÆ Motion Afterefffect
MÆ – Motion Aftereffect explores motion-capture, ready-made 3D models and monologues found online, ranging from experiences with virtual reality in live gameplay to out-of-body experiences and astral projection tutorials. The work addresses the impact of emerging consumer technologies associated with AR – Augmented Reality, VR – Virtual Reality, MR – Mixed Reality, XR – Extended Reality and 360° video. Monologues sourced from the internet provide the infrastructure for the work; an in-ear monitor feeds Olafson the monologues onstage, challenging her to listen and speak simultaneously. This dual action of listening and speaking enables her to embody a state of presence that references data streaming, live processing, and gaming. As a performer she becomes a conduit, medium, or interface, broadcasting edited monologues from the internet to the audience. The action of performing the work becomes like playing a video or VR game.

GREYWORLD

The Source
The Source, an eight storey high kinetic sculpture, is the new symbol for the London Stock Exchange. Every morning, millions of viewers around the world will watch the installation come to life, signifying the opening of the London Markets.
“The Source is formed from a grid of cables arranged in a square, 162 cables in all, reaching eight stories to the glass roof. Nine spheres are mounted on each cable and are free to move independently up and down its length. In essence the spheres act like animated pixels, able to model any shape in three dimensions a fluid, dynamic, three dimensional television.Visitors to the atrium are greeted by this motion: its particles rising and falling, generating an infinite range of figurative and abstract shapes that rise, dissolve and reform at different heights in the atrium. The shape of the sun rising on a new day of trade, the names and positions of currently traded stocks, the DNA helix at the center of life formed by the work, and floating in the 32m void of the atrium.”

Stefan Bassing

Spacestream
The project uses generative computational strategies to generate series of special stream paths within 3D space frame, giving it structural stiffness and aesthetic values. The generative algorithm is based on use of multi-agent systems, shortest path calculation, lattice stigmergy and structural analysis. The goal is to create continuously thickened bundle paths within the fuzzy 3D space frame structure, where the bundles double as camouflage and reinforcement for the joints/seams between the welded components, allowing for fabrication of large scale structures, mediating between the discreet components and continuous system.Space Stream is a student project which aims to explore influence of rule-based design systems on low-tech fabrication technique of welding. The research concentrates on wireframe structures, which are strengthened through subdivision of basic geometrical units and bundling and reinforcing of the main structural strands. The custom software used for this project is centered on Dijkstra’s shortest path algorithm in combination with agent-based modeling techniques.

Viviane Sassen

ВИВИАН САССЕН
ויויאן סאסן
ヴィヴィアンサッセン
维维安·萨森

Sassen’s fashion photography is marked by both innovative strength and a surrealistic beauty. In contrast to her renowned independent work, Sassen’s fashion photography is commissioned work that is created in close collaboration with a team of stylists, art directors, models and make-up artists. This means Sassen can treat fashion photography as the ultimate playground […]

REIN VOLLENGA

Con la passione per la specialità di opere uniche, i pezzi che crea sono in parte assemblati da oggetti trovati prodotti in serie che potremmo riconoscere dalla nostra vita quotidiana ed esistono solo come pezzi unici di Haute Couture. L’intrigo per oggetti che rimandano sia al linguaggio della manifattura industriale che al naturale, sono ciò che compone i suoi materiali, gli assemblaggi vengono poi rivestiti in resina modellata a mano. Usando questo processo modifica le funzioni letterali del singolo oggetto in un pezzo che parla all’immaginazione.

Es Devlin

Blueskywhite
Devlin’s latest installtion is ‘BLUESKYWHITE’, a large-scale work commissioned by 180 Studios, which is currently showing at LUX: New Wave of Contemporary Art, a new exhibition co-curated by Fact and SUUM Project. The work combines light, music and language, and was conceived as a sculptural expression of our emotional response to the possible extinction of blue sky. The installation is formed of two parts: In Part I, text from Byron’s 1816 poem Darkness underscores the viewer’s passage through a 24m long red-lit tunnel. Part II draws from contemporary solar geo-engineering models documented by Elizabeth Kolbert and others which suggest that a haze of suspended particles might reduce global temperature to pre-industrial levels and might also turn the blue sky white.

ES DEVLIN

Ei
Eine horizontal verlaufende Spiegelwand reflektiert das Modell und lässt die Metropole als organische, symmetrische Form erscheinen. Zu sehen ist das Ganze in einer Galerie in der Nähe des Hochparks High Line im Süden Manhattans. Devlin beschreibt ihre Arbeit als «mysteriöse Auster oder Gehirn mit einer elliptischen Schale». Lichtprojektionen erwecken den Eindruck, als durchlaufe die Stadt Zyklen von Tag und Nacht. Entlang der Straßen blitzen dabei im Dunkeln auch gelbe und orangefarbene Lichter auf, sterben an Autoverkehr aus der Ferne erinnern.

ScanLAB

Replica
We begin with a tour of a virtual 3D model of the London house-cum-museum built by 19th-century architect Sir John Soane. The journey traverses the five floors of the museum’s meticulously restored rooms, each filled with original and duplicate fragments of antiquity. Sir John Soane (1753-1837) was one of the foremost British architects of the Regency era, a Professor of Architecture at the Royal Academy, and a dedicated collector of paintings, sculpture, architectural fragments and models, books, drawings and furniture. Soane was awarded the Royal Academy’s prestigious Gold Medal for Architecture, as a result receiving a bursary (funded by King George III) to undertake a Grand Tour of Europe. His travels to the ruins of Ancient Rome, Paestum and Pompeii would inspire his lifelong interest in Classical art and architecture. As an enthusiastic collector, later in life he began to repurpose his home at Lincoln’s Inn Fields as a Museum for students of architecture. With a collection containing thousands of objects ranging from Ancient Egyptian antiquities and Roman sculpture to models of contemporary buildings, Soane’s house had become a Museum by the time of his death.

Maria Smigielska

Proteus 2.0
Proteus ist eine Installation, die Ferrofluid-Muster mit menschlichen und maschinellen Intelligenzen in einem geschlossenen Kreislauf moduliert. Durch ein individuelles und anhaltendes visuelles Erlebnis lässt es den Besucher über eine Gehirn-Computer-Schnittstelle in eine implizite Interaktion mit dem Material eintauchen. Ein vortrainiertes, dediziertes Modell für maschinelles Lernen wird durch neuronale Signale in Echtzeit informiert, die vom Blick des Besuchers erzeugt werden, während er dem schnellen seriellen Wechsel von Mustern ausgesetzt ist, ohne dass explizite Anweisungen zu befolgen sind. Über die Zeit des Blickerlebnisses kann der Besucher eine gewisse Stabilisierung des eigenen modulierten Bildes des Materials erleben.

ROBERT HENKE


光正在使用高精度激光在屏幕上绘制连续的抽象形,并与声音完美同步。强烈的光线与完全的黑暗形成对比,缓慢的动作和微小细节的演化与强而有力的手势一样重要。结果既是古朴的又是未来主义的。新兴的模式为许多可能的解释留出了空间。象形文字,一种未知语言的符,建筑图纸,数据点之间的连接或类似Tron的早期视频游戏放大了1000

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Light

Light is using high-precision lasers to draw continuous abstract shapes on the screen, perfectly synchronized with the sound. Intense light contrasts with total darkness, and slow movements and the evolution of small details are as important as strong gestures. The result is both quaint and futuristic. Emerging models leave room for many possible explanations. Hieroglyphs, symbols in an unknown language, architectural drawings, connections between data points, or early video games like Tron are magnified 1,000 times.

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Lumière

La lumière utilise des lasers de haute précision pour dessiner des formes abstraites continues sur l’écran, parfaitement synchronisées avec le son. La lumière forte contraste avec l’obscurité totale, le ralenti et l’évolution des petits détails sont aussi importants que les gestes forts. Le résultat est à la fois pittoresque et futuriste. Les modèles émergents laissent place à de nombreuses explications possibles. Les hiéroglyphes, les symboles dans une langue inconnue, les dessins d’architecture, les connexions entre les points de données ou les premiers jeux vidéo comme Tron sont agrandis 1 000 fois.

erina kashihara

light dress

Erina Kashihara is a light artist. She has been creating light dresses and accessories since 1985. She gives a name for these art works “LIGHT MODE ART”. This is the first challenge to use wireless sensor system. If a model moves the blue sphere which she has in the hand, the light of a dress will change.

studio smack

PARADISE – A contemporary interpretation of The Garden of Earthly Delights

Lo Studio Smack, meglio conosciuto per il video musicale Witch Doctor di De Staat, ha rilasciato una nuova animazione: un’interpretazione contemporanea di uno dei dipinti più famosi del primo maestro olandese Hieronymus Bosch, The Garden of Earthly Delights. Nel loro ultimo lavoro, il gruppo ha ripulito il paesaggio originale del pannello centrale del dipinto di Bosch e lo ha ricostruito in un’allucinante animazione 4K. Le creature che popolano questo parco giochi al coperto incarnano gli eccessi e i desideri della civiltà occidentale del XXI secolo. Consumismo, egoismo, evasione, richiamo dell’erotismo, vanità e decadenza. Tutti i personaggi sono metafore per la nostra società in cui i solitari sciamano nel loro mondo dei sogni digitale. Sono riflessi simbolici dell’ego e dell’immaginazione delle persone come si vedono, a differenza della versione di Bosch, in cui tutti gli individui sembrano più o meno uguali. Da un Hello Kitty arrapato a un serpente del pene che caccia alla coca Da uno spybot incarnato a polli fritti senza testa. Questi personaggi, una volta figure di sogno dipinte con precisione, sono ora modelli 3D creati digitalmente. A tutti loro è stato dato il proprio ciclo di animazione per vagare nel paesaggio. Inserendoli tutti insieme in questo affresco sintetico, il quadro non è mai lo stesso. Ciò che l’animazione e il trittico di Bosch hanno in comune è che difficilmente riuscirai a sopportare tutto, puoi guardarlo per ore. “Paradise” è stato commissionato dal Museo MOTI nei Paesi Bassi per la mostra New Delights, che fa parte del 500 ° anniversario di Hieronymus Bosch. Una gigantesca installazione video di quest’opera è esposta nel Museo fino al 31 dicembre 2016.

MIKE PELLETIER

МАЙК ПЕЛЛЕТЬЕ
Measured Gold

Der niederländische Künstler Mike Pelletier ist ein interaktiver Experte und digitaler Künstler. Er experimentiert mit neuen Möglichkeiten zur Verwendung von Microsoft Kinect und verwendet das Tool als 3D-Scanner. Dabei nutzt er die Ressourcen der Kamera, um unglaubliche mehrdimensionale Porträts zu erstellen. Durch Bewegen der Kinect-Kamera um das Objekt aktualisiert die Software die Daten ständig, um ein 3D-Modell zu erstellen. Nach einigen Minuten der Verfolgung kann ein sehr detailliertes Modell einer Person erhalten werden. „Mein Ziel war es, eine Skulptur zu schaffen, die ohne digitale Technologien nicht existieren könnte“, sagt der Künstler. Die Bilder werden auf Metallpapier gedruckt und hinter Plexiglas-Acryl montiert.

the why factory

anarcity

AnarCity investiga e projeta a cidade anarquista. Uma cidade sem governança e coletividade. Uma cidade sem regras. Tem como objetivo simular a situação anarquista final e registrar o que, quando e onde isso deu errado. E onde leva a melhores desempenhos do que a cidade regulamentada. O projeto é baseado no uso de processos generativos interativos que são testados em um modelo abstrato de cidade ou em uma cidade real. Ele mapeia o crescimento da densidade no tempo para explorar a relação entre densidade e anarquia.

ONFORMATIVE

Fiume serpeggiante
Nel tempo, i paesaggi vengono gradualmente modellati dalle forze naturali. Indiscernibile ad occhio nudo, percepiamo solo un momento alla volta. Le fluttuazioni e il movimento ritmico dei fiumi sono uno sguardo nel passato, poiché le tracce testimoniano le continue trasformazioni che ci circondano.

PHILLIP STEARNS

Memoria frammentata
Phillip Stearns utilizza in modo creativo tutte le forme di elettronica nel suo lavoro, spesso mescolando luce e suono con tecniche tradizionali come la tessitura. Un aspetto del suo lavoro è la trasformazione della glitch art in disegni intrecciati attraverso il suo marchio tessile concettuale Glitch Textiles, fondato nel 2011. Questo spazia dalla visualizzazione di dati binari grezzi delle applicazioni alla scrittura di algoritmi personalizzati per generare modelli che possono essere trasformati in tattili e funzionali opere d’arte. Un’altra impresa è il trittico Fragmented Memory di grandi arazzi tessuti completato nel maggio 2013 al TextielMuseum di Tilburg, nei Paesi Bassi. Questo progetto ha utilizzato pratiche e processi digitali per sfumare i confini tra fotografia, visualizzazione dei dati, design tessile e informatica.

KOHEI NAWA

Trono
Questo lavoro cerca di esprimere quella premonizione come un immenso “trono vacante fluttuante”. Se istanze di potere e autorità hanno governato sin dai tempi antichi e le piramidi forniscono un esempio, dobbiamo chiederci cosa ci riserverà il futuro. Creata con riferimento alle forme dei carri delle feste e dei santuari portatili che compaiono nei rituali e nelle festività d’Oriente, la scultura fonde le odierne tecniche di modellazione 3D con applicazioni in foglia d’oro che risalgono all’antico Egitto. Nel centro frontale c’è una stanza vuota, spazio sufficiente per far sedere un bambino di 2-3 anni, suggerendo che la nuova intelligenza è ancora in uno stato giovane. Specchietti luminosi e sferici posti al centro davanti e dietro. Realizzati in lamina di platino, rappresentano “gli occhi che guardano il mondo”, dove quello frontale guarda al futuro e il retro si riflette nel passato.

MINIMAFORMS

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.

Tabor Robak

Blossom
l’artiste explore une réalité numérique secondaire, rendue dans ce qu’il appelle une «esthétique de tutoriel Photoshop» ou une «esthétique d’économiseur d’écran de bureau». Ses environnements méticuleusement produits et filmés sont bricolés à partir de sources à la fois échantillonnées et modélisées à la main. Les œuvres sont appropriatives, tant dans leur objet que dans leur esthétique, en utilisant des éléments achetés puis édités pour ses besoins.

MICHAEL SCHMIDT AND FRANCIS BITONTI

Articulated 3D-Printed Gown
Michael Schmidt and Francis Bitonti revealed their fully 3d printed gown modeled by Dita Von Teese.
The fully articulated gown based on the Fibonacci sequence was designed by Michael Schmidt and 3D modeled by architect Francis Bitonti to be 3D printed in Nylon by Shapeways. The gown was assembled from 17 pieces, dyed black, lacquered and adorned with over 13,000 Swarovski crystals to create a sensual flowing form.Thousands of unique components were 3D printed in a flowing mesh designed exactly to fit Ditta’s body. This represents the possibility to 3D print complex, customized fabric like garments designed exactly to meet a specific person or need.

Oleg Soroko

Procedural cloth V//002
“I’m continuing experiments with procedurally generated structures. This time I’m implementing algorithm assembled in Houdini over female body. All meshes generated in Houdini. Then uploaded to sketchfab.  All images made from sketchfab model. You can check it in 3d in any browser by the link in my profile.” Oleg Soroko

Vanessa Beecroft

瓦妮莎比克罗夫特
נסה יקרופט
ヴァネッサ·ビークロフト
바네사 비크로프트
ВАНЕССА БИКРОФТ
La Membre Fantôme

For the installation ‘le membre fantôme’, vanessa beecroft takes the visitor back to the classical language of sculpture through a conceptual perspective, leading us towards an intimate gallery room inhabited by timeless statuary. shown at the 2015 venice biennale, beecroft presents a scene that is visible only at a distance, where the viewer must look through a crevice carved out of two marble walls. Through the panels, we see fragments of a stone garden, rich in archaeological allures and echoes of early twentieth century avant-garde. the archive of memory is here a tribute in bronze – placed at the centre of the installation – to marcel duchamp’s ‘étant donnés’, a reference model for her research that combines personal memories, historical and artistic impressions and a conceptual tension.

Tezi Gabunia

Breaking News: Flooding of the Louvre
Natural disaster increasingly linked to a climate change has arrived to the museum of Louvre, which responds to the flooding of Paris in 2018. The artwork also respresents the issue of cultural leftover. Recycling is the main value of the process. By destruction of model that was a part of previous project Put Your Head into Gallery, the leftovers are reconstructed and new meanings and possibilities are created. The flooding of the Louvre Museum speaks about news culture and our fluctuating perception of disasters as it is seen through media. The scale of the disaster is often difficult to assess from news coverage. In the work “Breaking News” flood goes slowly into the room of the Louvre, letting the viewer to gradually watch the destruction of interior. it brings the viewer shochinkly close to what has not happened but easily could have, viewer sees the before and after effect in a highly visualized manner, which is as convincing and threatening, as fake.

KAZUHIRO YAMANAKA

sound cloud
London-based designer kazuhiro yamanaka has created the ‘sound cloud’ a light-emitting quantum glass speaker system installation for saazs ‘a glass house’ program. the structure is composed of five interactive monolithic glass panels, formed with the intention of modelling the integration of innovative glass within architecture and design. the sound and light radiating from ‘sound cloud’ shift in unison, their synchronization may be altered by the viewer as they adjust their aural and visual experience by means of a touch-screen controller.
yamanaka aspired for the visitors to ‘be able to hear the sound move from one to another, jumping back and forth and echoing from the panels.’
a sound module is attached to each panel. as it vibrates,the three layers of glass move at a frequency, which creates optimum sound quality. the sound for the installation was developed by the france-based sound designer, gling-glang. yamanaka and gling-glang devised a soundscape by which ‘sound cloud’ visitors were able to sense the sculptural construction of the music in walking through the installation’s glass-paneled pathway.
the glass is outfitted with a light-emitting system known as ‘LED in glass’, invented by quantum glass. through this technology, the panels become a source of light. the ‘sound cloud’ is illuminated as the LED bars are fitted around the edge of the panel in order to direct beams of light through the edge of the extra clear glass sheet. as a result, light refraction occurs from the front side by means of a white enamel screen print on the opposite side.
yamanaka chose to slightly obscure the brightness of the glass sound system by creating a thin layer from millions of light dots, culminating in a cloud-like shape.

natalie walsh

Fiber Optic Dress

La créatrice Natalia Walsh, de San Francisco, a transformé les concepts de mode et a créé une robe innovante qui brille dans le noir.
Pour élaborer la pièce, l’artiste a réalisé un modèle basique blanc avec une jupe  ballon et un support pour les poignées des sources lumineuses. Ensuite, elle a inséré les fils de fibre optique autour du corps de la robe, les laissant vers le sol pour créer un effet dynamique.Pendant que le modèle bouge et marche, les fibres optiques changent de couleurs différentes.

TZUSOO

SCHRÖDINGER’S BABY
Schrödinger’s Baby(2019/20), TZUSOO alludes to the popular thought experiment devised by Austrian physicist Erwin Schrödinger in 1935. Schrödinger proposed a scenario in which a cat is locked in a box with an unstable radioactive atom that could potentially begin to emit radiation and release a toxic gas. However, there is no way to say with certainty when or indeed whether this will happen without opening the box. The result is a paradox, with Schrödinger asserting that the cat enters a state of superposition that makes it impossible to say whether it is alive or dead.The South Korean artist translates this famous paradox into the reality of her own life, creating a digital baby in virtual space. Based on her inner grappling with potential motherhood, TZUSOO bought the digital model of a developing embryo, refining it according to her own ideas. She is free to determine the sex, skin colour and other characteristics or to dispense with all specifications so as to avoid stereotyping. In Schrödinger’s Baby, TZUSOO thus discuss core aspects of her work including reflection on gender and origin for which she also draws on her personal experience as a South Korean artist in Europe.

FRANCK SORBIER

On stage, the ample white strapless dress of a still model serves as a screen for all kinds of projections that echo those of a big screen in the background. “Mixing 3D video with certified fairy tale stories and tailoring tradition” is the idea of the atypical Mountain Ash. Intel technology brings to life on the fabric all kinds of patterns simulating embroidery or painting on silk: stripes of neon lights, butterflies flapping their wings, “mapping” of crystal tassels or the northern lights …

 

RUUD VAN EMPEL

루드 반 엠펠
Рууд ван Эмпель

La méthode de travail de Van Empel est complexe. Il photographie 4 ou 5 modèles professionnels dans son atelier, et réalise de nombreuses séries de photos détaillées de feuilles, fleurs, plantes et animaux. Après avoir rassemblé des centaines d’images dans une base de données, il sélectionne les images avec lesquelles il peut obtenir les meilleurs résultats. Les modèles sont mélangés dans le programme Photoshop, les vêtements sont photographiés séparément sur un mannequin de tailleur. De cette manière, il crée de nouvelles images principalement d’enfants, en noir ou blanc,dans un paradisque environment.

Liam Johnson

Liam a été choisie pour la bourse par la designer principale d’Alexander McQueen, Sarah Burton. Il a passé son année dans l’industrie à Paris, travaillant à la Maison Margiela sous John Galliano, travaillant personnellement avec le créateur sur les collections artisanales et de prêt-à-porter. En tant que designer, ses propres collections se concentrent souvent sur des alternatives à la mode normale et proposent à la place des silhouettes remodelées, des couleurs vives, des textures inattendues et des formes sculpturales exagérées.

ELIŠKA SKY

Kingdom of Sport
Series Kingdom of Sport connects the reference to the traditional renaissance portraits and modern sport culture. It was inspired by the classic portrait painting and the greek mythology, especially visible in the short film. Each model demonstrates their constructed ‘royal’ character with one type of sport specialisation. Sport equipment is cleverly integrated into the styling, fashion accessories and set design.

Es Devlin

EGG
Lower Manhattan
architect Bjarke Ingels

Eine horizontal verlaufende Spiegelwand reflektiert das Modell und lässt die Metropole als organische, symmetrische Form erscheinen. Zu sehen ist das Ganze in einer Galerie in der Nähe des Hochparks High Line im Süden Manhattans. Devlin beschreibt ihre Arbeit als «mysteriöse Auster oder Gehirn mit einer elliptischen Schale». Lichtprojektionen erwecken den Eindruck, als durchlaufe die Stadt Zyklen von Tag und Nacht. Entlang der Straßen blitzen dabei im Dunkeln auch gelbe und orangefarbene Lichter auf, die an Autoverkehr aus der Ferne erinnern.

Iris van Herpen

АЙРИС ВАН ЭРПЕН
イリス ヴァン ヘルペン
Syntopia
For Syntopia, Van Herpen collaborates with the artists Lonneke Gordijn and Ralph Nauta of Studio Drift, whose biomimic art works translate natural processes by breathing life into delicate immersive sculptures through movement[…] The vivacious glass bird flows in symbiosis with the models while they move over the runway, their delicate interaction emphasizes the fragility of new worlds living and soaring together.

Anna Horcinova

INposition
In the photo project INposition (2013), which was shot by a Hasselblad 501CM camera, she’s using playful manipulation of physical fragments to express existentialism or the limits of body and mind. Anna Horcinova staged her models – mostly dancers in physically difficult dance poses expressing an emotional state of mind together with a gesture. And with the help of the body she tries to cross the imperceptible boundaries between her subject and the world around it.

Carlotta Bailly-Borg

A Liquid Company
Diplômée de l’École Nationale Supérieure d’Arts de Cergy, Carlotta Bailly-Borg a travaillé avec Marcelline Delbecq, Éric Maillet, Valérie Favre. À partir d’images préexistantes, Carlotta Bailly-Borg élabore un langage singulier aux accents surréalistes et développe ainsi une œuvre plastique où se télescopent des éléments empruntés à la mythologie, à la culture pop, au classicisme ou au document sportif. Carlotta Bailly-Borg procède sur le modèle du rhizome deleuzien où “tout élément peut affecter ou influencer tout autre”.

JULIA FULLERTON-BATTEN

Julia Fullerton-Batten is a worldwide acclaimed and exhibited fine-art photographer. Her body of work now encompasses twelve major projects spanning a decade of engagement in the field[…]Julia’s use of unusual locations, highly creative settings, street-cast models, accented with cinematic lighting are hallmarks of her very distinctive style of photography. She insinuates visual tensions in her images, and imbues them with a hint of mystery, which combine to tease the viewer to re-examine the picture, each time seeing more content and finding a deeper meaning. These distinctive qualities have established enthusiasts for her work worldwide and at all ends of the cultural spectrum, from casual viewers to connoisseurs of fine-art photography.

Tim Hawkinson

蒂姆·霍金森
ティム·ホーキンソン
تيم هاوكينسون
Cartwheel

Tim Hawkinson (1960-) Nasceu em São Francisco. Graduou-se pela San Jose State University, San Jose. Mestrado pela University of California, Los Angeles. Mais conhecidos por suas complicadas esculturas/instalações misturando engrenagens e sons. Em muito trabalhos usa seu próprio corpo como modelo. Discute música e a passagem do tempo. Participou das Bienais do Whitney Museum e de Veneza. Vive e trabalha em Los Angeles. É representado pela Pace Gallery.

LEAH SCHRAGER

Sunset Blvd
Leah Schrager is een digitale artiest en online performer. Ze is het model, de fotograaf, de kunstenaar en de marketeer in / van haar afbeeldingen. Haar visuele werken passen een schilderachtige esthetiek toe op lichaamsvormen en halen hun materiaal vaak uit haar conceptuele online praktijk. Haar online optredens zijn @OnaArtist (Instagram 3m) en Sarah White (The Naked Therapist). Met deze uitvoeringen onderzoekt Schrager thema’s als seksualiteit, representatie en distributie. Haar praktijk situeert zich in een hedendaagse broeinest van vrouwelijke (on) geschiktheid, opwinding, beroemdheid, fandom en commercialiteit die de biografie en arbeid van vrouwen in de hedendaagse mondiale samenleving wil onderzoeken.

SARAH BUCHANAN

سارة بوكانان
Empire of the Clouds is a dramatic futuristic representation of aviation achievements, throughout the past, present and future. Inspired by the true design innovation and achievement from machines of flight throughout the entirety of the concept. Focusing on model making to gain a unique perspective and develop an understanding of the overwhelming human drive, almost obsession, to achieve what we cannot do naturally, to fly. Passionate about research Buchanan has a meticulous attitude towards uncovering all elements in a concept. In this collection it enabled a distinctive perspective to a large subject, creating a concept based around model making and accessibility of a globally collective dream.

CODSTEAKS

Splash
Cod Steaks are a world-class design and construction company, specialising in set building, props, scale models, exhibition fit-out, interactives, product design and public artworks.

SHAI LANGEN

Shai se define como um artista visual e busca transmitir através de seus projetos a inquietação e o vazio do prazer humano em obras conceituais que contrastam a leveza de um cenário inexistente e a agonia e fragilidade do indivíduo perante os materiais aplicados. Na maioria de suas fotografias – em grande parte feita para a indústria fashion e com o auxílio de outros fotógrafos – o artista é o seu próprio modelo e assume comportamentos hedônicos para concretizar seus trabalhos

BERT SIMONS

берт Симонс
Portrait of Rozemarijn Lucassen

Bert Simons es un artista holandés que realiza mediante el plegado de papel recreaciones hiperrealistas en 3D, basándose en la triangulación, proceso parecido al que se utiliza para modelar personajes en los videosjuegos

SHAI LANGEN

Nativo de Amsterdam, Shai Langen é um artista plástico que mistura suas obras a fotografias de maneira peculiar e consistente[…] Na maioria de suas fotografias – em grande parte feita para a indústria fashion e com o auxílio de outros fotógrafos – o artista é o seu próprio modelo e assume comportamentos hedônicos para concretizar seus trabalhos.

CINDY SHERMAN

سيندي شيرمان
辛迪·舍曼
סינדי שרמן
シンディ·シャーマン
신디 셔먼
СИНДИ ШЕРМАН
history portraits

Working as her own model for more than 30 years, Sherman has captured herself in a range of guises and personas which are at turns amusing and disturbing, distasteful and affecting. To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser, stylist, and wardrobe mistress. With an arsenal of wigs, costumes, makeup, prosthetics, and props, Sherman has deftly altered her physique and surroundings to create a myriad of intriguing tableaus and characters, from screen siren to clown to aging socialite.
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Anna Uddenberg

Disconnect

Female narcissism obviously is a misogynistic concept. “Being a feminist is about defeating, fighting those ideas. But actually, what a lot of gender studies has been about is looking into what’s masculine, figuring out what masculinity is, and how to conform to it maybe. Feminism’s ideal is a middle class white butch. ‘Don’t do feminine things.’ This excludes so many ethnicities, and models of femininity,” says Uddenberg. Her sculptures currently on view at the 9th Berlin Biennale explicitly do not follow this doctrine. Their stylized bodies are caricatures of what a “woman” “looks like,” yet their hyper-femme physique, positioning and accessories capture something about the way we look at ourselves. They are both object and subject. They turn you on, yet they repulse you. Their agency is palpable, but their intentions are intangible. “I’m also very alienated from femininity,” says Uddenberg.

Aleksandra Domanović

HeLa on Zhora’s coat
Aleksandra Domanović’s work is concerned with the circulation and reception of images and information, particularly as they shift meaning and change register, traversing different contexts and historical circumstances. Her works create strange taxonomies and manic associative chains that poke and prod at copyright laws, unpack the geopolitical implications of web domains, or explore, for instance, the model of exhibitions