ARAKAWA + GINS

Yoro Park – Site of Reversible Destiny
“The couple first fully explored Reversible Destiny in what is regarded as their seminal gallery piece, “The Mechanism of Meaning,” an ever-evolving manifesto-cum-artwork begun in 1963, comprising 80 panels that they refined and added to over decades, many of them high-concept diagrams and puzzles with instructions and text (“A Mnemonic Device for Forgetting,” “Think One, Say Two”), made primarily of acrylic and mixed media on canvas. In an accompanying précis to the work, which was exhibited at the Guggenheim in 1997, they prescribed “no more irretrievable disappearances” and declared death “old-fashioned.” Critical opinion differs on how seriously the pair, whose work is in the collection of the Museum of Modern Art and Paris’s Centre Pompidou, took the grandiose quest to end death. But if it was intended as metaphor, neither of them ever let on. Indeed, though Arakawa himself died at 73, in 2010, and Gins four years later, at the age of 72, defying death became the defining work of their lives.”

ALEXANDER PONOMAREV

База

Объект «База» реализован во время работы художника по приглашению Министерства культуры Франции в ателье Кольдера в городе Саше. Девятиметровая горизонтальная труба, заполненная водой, образует тоннель для движения черной подводной лодки, которая, двигаясь по принципу троллейбуса, улавливается в крайних точках специальным устройством. Приподнимаясь над водой, на пропеллерах лодка поворачивается в обратную сторону и подобно хамелеону изменяет свою окраску, превращаясь в разноцветную и красивую. После погружения в воду лодка опять чернеет и стремительно продолжает движение

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Base

Object “Base” was realized during the artist’s work at the invitation of the Ministry of Culture of France in the atelier Colder in the city of Sachet. A nine-meter horizontal pipe, filled with water, forms a tunnel for the movement of a black submarine, which, moving according to the principle of a trolleybus, is caught at the extreme points by a special device. Rising above the water, on the propellers, the boat turns in the opposite direction and, like a chameleon, changes its color, turning into a multi-colored and beautiful one. After immersion in the water, the boat turns black again and continues to move rapidly

MARC FORNES

WORLD EXPO 2017 ASTANA
This surface is ultra-thin: just 6 mm of aluminum. If an egg were scaled up to the same height Minima | Maxima, it would be much thicker. Towards the base of the structure, the rolling surface begins to softly corrugate, its zig-zag angles gently rising into a full pleat as they meet the ground platform. The visual threshold of this transition — from pleated base to smooth and doubly-curved, continuous surface — is subtle, yet its structural effect is significant in achieving the height of 43′.

Thom Kubli & Prof. Hiroshi Ishii

Orbiting
Orbiting features floating, machine-generated sculptures. The 3-D-printed objects — made from an ultra-light material — are injected with helium and released into the air as they become buoyant. As the ascending sculptures rise toward the ceiling, they enter the flow of a thermal stream and begin their gentle orbit. While floating, these ethereal objects participate in a continuously changing series of celestial movements.

Yegor Zaitsev

Fall-winter 2010 moscow – womenswear catwalks
The Russian fashion rebel Yegor Zaitsev presented an avant-garde collection which was surprisingly romantic.
Yegor took classic silhouettes extended them, volumized them, turned them upside down and made them into works of art.

Katja Heitmann

Eggs Are Good For Your Hair
Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?

Carsten Nicolai

reflektor distortion

The installation reflektor distortion – conceived as a rotating, water-filled basin – is inspired by the shape of a parabolic mirror that ‚rotates‘ water via centrifugal force. The work consists of the three main components mirror, reflection and distortion. Both curve and distortion of the water surface is affected by speed and integrated resistors that generate a permanently new and re-organizing mirror reflection. The water surface will be supplementary distorted via speaker by resonating low sound frequencies. The function of the mirror is hereby eminent: The mirror surface is the medium that reveals reality as distorted reflection. Rising the question of the observed and the real image the installation plays with the artist’s thesis that we all have a permanent distorted perception of reality.

simon colton

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.

Katja Heitmann

Me, My Selfie and I
Katja is inspired by the influence of everydays’ digital technologies on society and with that the arising questions about the identity of our human body. She fuses everydays’ technology, the dancers’ body and the presence of the audience into unconventional performances. Who moves who?

olafur eliasson

Seeing spheres
Each of olafur eliasson’s seeing spheres supports a flat, circular mirrored face, framed by a ring of LED lights, which is oriented inward to reflect the mirrored faces of the surrounding spheres. Together they produce a surprising environment of multilayered, reflected spaces in which the same people and settings appear again and again, visible from various unexpected angles. Tunnel-like sets of nested reflections open up in the mirrors, repeating countless times and disappearing into the distance.

Marguerite Humeau

High Tide
For her show High Tide, which was most recently exhibited at the Centre Pompidou, Humeau sculptured a collection of futuristic marine mammals and set about imagining what they might sound like if they could recount complex narratives. With mechanical clicks and whistles, similar to those made by whales and dolphins, Humeau’s creations tell of a great flood – an apocalyptic deluge that sparked the birth of their culture. “These floods”, she explains, “might be the consequence of climate change and rising oceans and the air becoming toxic. Maybe the great flood is actually us. As humans, we are the flood.”

manuel rossner

surprisingly this rather works
“Surprisingly This Rather Works” is a spatial intervention at ST. AGNES / KÖNIG GALERIE and at the same time a virtual extension of its exterior. The entire gallery is transformed into a gaming environment inspired by the 1990s game show “American Gladiators” and so-called gyms that are used for cutting-edge research in artificial intelligence by companies such as Open AI in San Francisco.
The visitor turns into an avatar and interacts with objects that are part of a parcours. These objects broaden the perspective on what painting and sculpture can be in the digital realm.

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.”

james casebere

on the water edge

bright yellow house on water

An interest in architecture and coastal living led Casebere to develop the project, which is a follow up to a set of images he created in 2016 based on the buildings of Luis Barragán. Casebere created the series titled On the Water’s Edge to draw attention to issues relating to climate change and, in particular, the need for humans to respond creatively to the threat posed by rising sea levels.

 

Yoshi Sodeoka

袖岡由英
13-compositions #10
gif

Yoshi Sodeoka is an artist based in New York for over two decades, whose work is characterised by his neo-psychedelic aesthetic and exploration of multiple media and platforms. Primarily comprising of video, GIFs and print his practice also simultaneously inhabits the world of fine art, music, publications, and advertising.more