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.

Erin Dickson and Jeffrey Sarmiento

emotional leak

Dickson combines phenomenology with architecture and digital technology to create sculpture, installation, and performance that considers the emotional and sensorial qualities of spaces. In Emotional Leak (2011) they produced the physical manifestation of a slowly leaking roof. Inspired by water and realized in glass, the resulting form is a black monolithic sculpture, resembling a digital gothic architectural model.

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.”

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 […]

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.

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.

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.

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.

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.

yoshi sodeoka

of soil

MYMK

Of Soil explore la relation entre les modèles de la nature et l’infini. La pièce est composée de fragments photographiques et d’éléments géométriques, disposés en motifs complexes résultant en un jeu kaléidoscopique ressemblant à une transe du soleil scintillant et de la lune noire, du paysage, de l’ombre et de la lumière, alors que le jour cède la place à la nuit.

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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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

Erwin Wurm

ארווין וורם
アーウィンウーム
ЭРВИН ВУРМ

Erwin Wurm, one of Austria’s most important and internationally famous sculptors, has been preoccupied with expanding the concept of sculpture since the 1980s. Wurm is primarily a sculptor, and traditional sculptural concerns such as the relationship between object and pedestal, the function of gravity, the fixing of form, and the manipulation of volume, play through all his work.
Increasing, remodeling or removing volume, the habitual interests of many sculptors, are given a new twist in Wurm’s work. Volume and adding volume are treated as sociocrital issues. In 1993, Erwin Wurm wrote an instructional book on how to gain two clothing sizes in eight days. Eight years later, he made his first Fat Car by plumping up an existing car with styrofoam and fiberglass, which resulted in a pitiful, chubby version of the original sportsy model. By taking the question of obesity, Wurm probes the link between power, wealth and body weight. He also wants to offer a sharp criticism of our current value system, as the advertising world demands us to stay thin but to consume more and more.

Vincent mauger

Gravity is dead
Using 3D modeling, Vincent Mauger creates a world that is firmly grounded in the tangible matter. Wood, concrete blocks, bricks, metal or polystyrene, these materials are worked beyond what we could assume from their materiality. more

Inge Mahn

Balancing Towers

“Inge Mahn’s sculptures are not created in isolation, but evolve within their specific spatial and situational contexts. They are autonomous only in part, since they react to preexisting architectonic and social structures, assume a stance that corresponds to them, advance objections, stir up our ideas about objects, spaces and rules. This body of work is an ongoing violation of the rules, it provides the impetus for a process of rethinking, reinterpretation, rebuilding. Outwardly this is manifested in the constant white of the works: here everything is being continually reshaped, remodeled, transformed.”

CAJSA VON ZEIPEL

MESSY MINORS
Cajsa von Zeipel arbetar i ett storskaligt format och med tydliga referenser till såväl mode som renässansens mästare. Hon modellerar fram sina överdimensionerade skulpturer i frigolit och den slutgiltiga formen täcks med ett lager av gips.

CAJSA VON ZEIPEL

Cajsa von Zeipel arbetar i ett storskaligt format och med tydliga referenser till såväl mode som renässansens mästare. Hon modellerar fram sina överdimensionerade skulpturer i frigolit och den slutgiltiga formen täcks med ett lager av gips.

MATIJA ČOP

Matija voulait créer des vêtements qui s’inspiraient de types historiques sans s’appuyer sur des techniques de construction traditionnelles. Il s’est consciemment abstenu de tricoter, de coudre ou d’adhérer pour développer un système expérimental de fabrication: les scans 3D du corps sont manipulés à l’aide d’un logiciel de modélisation, transposés en motifs découpés au laser 2D, puis rationalisés à travers des scripts en formes qui peuvent être imbriquées comme un puzzle. pièces. L’objet résultant est un polyèdre complexe sans aucune couture. Plus important encore, le processus qui le crée est une variation entièrement originale du tissage avec des possibilités illimitées pour un design novateur et une nouvelle construction. En associant manuellement des centaines de pièces uniques découpées au laser à un savoir-faire techno-couture, il rend tangible une pensée ambitieuse et intégrée. L’œuvre de Matija esthétise la curiosité en s’efforçant constamment d’authentifier la possibilité d’une véritable innovation dans la mode contemporaine.

CAJSA VON ZEIPEL

Cajsa von Zeipel arbetar i ett storskaligt format och med tydliga referenser till såväl mode som renässansens mästare. Hon modellerar fram sina överdimensionerade skulpturer i frigolit och den slutgiltiga formen täcks med ett lager av gips.

CAJSA VON ZEIPEL

Seconds in ecstasy
Cajsa von Zeipel arbetar i ett storskaligt format och med tydliga referenser till såväl mode som renässansens mästare. Hon modellerar fram sina överdimensionerade skulpturer i frigolit och den slutgiltiga formen täcks med ett lager av gips.

ERWIN WURM

ארווין וורם
アーウィンウーム
ЭРВИН ВУРМ
fat man
he made his first Fat Car by plumping up an existing car with styrofoam and fiberglass, which resulted in a pitiful, chubby version of the original sportsy model. By taking the question of obesity…

MANUELA LALIC

genius idea
Je porte une attention particulière à l’aspect fonctionnaliste de notre système d’organisation sociale en tant que modèle de société. Pour créer l’effet d’une tension entre ce qui est individuel et collectif, j’utilise des objets, mobilier et matériaux fonctionnels comme des indices de notre logique de vie. Mes installations, performances et objets questionnent des mouvements de masse (ex : prendre le métro) pour montrer du doigt notre société qui préfabrique et standardise nos désirs et nos besoins. Par l’accumulation, il se trame une matière première à partir de laquelle elle élabore des mises en scène minimalistes ou exubérantes qui questionnent nos moments collectifs (ex : pique-nique, mariage, réunion universitaire) tout en indiquant des préoccupations d’ordre politique et écologique.

CAJSA VON ZEIPEL

Constitutional. Congressional. Containerboard.
Cajsa von Zeipel arbetar i ett storskaligt format och med tydliga referenser till såväl mode som renässansens mästare. Hon modellerar fram sina överdimensionerade skulpturer i frigolit och den slutgiltiga formen täcks med ett lager av gips.

UVA UNITED VISUAL ARTISTS

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
fragment
Fragment is a site specific installation that investigates our (in)ability to correctly interpret the surrounding environment. The work continues the studio’s ongoing study into scientific models of nature and their experiments in utilising light as a formable material.
421 octahedron frames are assembled to form an inverted pyramid, suspended in a day-lit atrium, catching and reflecting light downwards into the space. Artificial white light is animated within the structure to create fragmented images; shapes that allude to real world illusions such as a desert mirage or fata morgana.

PETER COFFIN

פיטר קופין
ピーター·コフィン
spiral staircase

Coffin’s Untitled (Spiral Staircase) takes the idea of a simple architectural fitting to an absurd extreme. Reminiscent of Escher’s Infinite Staircase, Coffin’s winding steps are moulded into a circle, inexhaustibly twisting in impossible logic made real. By remodeling the steps, Coffin strips the staircase of its function, turning a thing which is normally engaged with physicality into a dizzying conceptual game. Through his humorous constructions, Coffin bridges art history and everyday experience, subverting the preconceptions of both.

MARCEL DUCHAMP

مارسيل دوشامب
马塞尔·杜尚
מרסל דושאן
マルセル·デュシャン
Марсель Дюшан
Étant donnés
Duchamp worked secretly on the piece from 1946 to 1966 in his Greenwich Village studio.[2] It is composed of an old wooden door, nails, bricks, brass, aluminium sheet, steel binder clips, velvet, leaves, twigs, a female form made of parchment, hair, glass, plastic clothespins, oil paint, linoleum, an assortment of lights, a landscape composed of hand-painted and photographed elements and an electric motor housed in a cookie tin which rotates a perforated disc. The Brazilian sculptor Maria Martins, Duchamp’s girlfriend from 1946 to 1951, served as the model for the female figure in the piece, and his second wife, Alexina (Teeny), served as the model for the figure’s arm. Duchamp prepared a “Manual of Instructions” in a 4-ring binder explaining and illustrating how to assemble and disassemble the piece.