QUBIT AI | quantum & synthetic ai
Electronic Language International Festival

July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

FILE 2024

QUBIT AI | quantum & synthetic ai
Electronic Language International Festival
July 3rd to August 25th
Tuesday to Sunday, 10am – 8pm
FIESP Cultural Center

Design: André Lenz
Image: Iskarioto Dystopian AI Films – Athena

QUBIT AI

In its 25 years of existence, the International Electronic Language Festival (FILE) is an internationally renowned Brazilian project that since 2000 has explored the intersection between art and technology. With more than two decades of history, the festival stands out for fostering exhibition spaces and debate about artistic innovations driven by disruptive and innovative technologies, inviting the public to get involved with experimental forms of art that challenge the boundaries of conventionality. Currently, two of these technologies stand out in the contemporary scenario: the accelerated development of quantum computing and artificial intelligence corroborated by synthetic data.

Quantum computing, an emerging revolution in the technological field, offers a new range of creative possibilities for contemporary artists. This new era allows the exploration of unprecedented frontiers through a new computational format that consists mainly of quantum superposition and entanglement, a new field of exploration for synthetic computer science, as well as for the arts in general; on the other hand, artificial intelligence, fueled by synthetic data, offers artists a new way of making and understanding art, opening up space for new forms, concepts and artistic expressions.

Entitled QUBIT AI, the exhibition delves into this unexplored territory presenting a selection of works of art resulting from the connection between artistic creation and technology, proposing a theoretical reflection on what the interrelationship between quantum computers and synthetic artificial intelligence will be.

Visitors will be invited to experience immersive installations, experimental videos, digital sculptures and other forms of interactive art, which intertwine reality and imagination. The exhibition encourages reflections on the influence of technology on art and contemporary society, while at the same time providing an environment to compare already established technological arts (analog and digital) with the possible futures of art in the synthetic era, enhanced by quantum computing. The QUBIT AI exhibition at FILE SP 2024 transcends the mere presentation of works of art; it is a journey to the limits of human creativity, driven by the convergence of art, science and technology.

Ricardo Barreto and Paula Perissinotto
co-organizers and curators of FILE
International Electronic Language Festival

Empyrean Passage

Empyrean Passage is reminiscent of both a theoretical black hole and portal into the celestial worlds. Empyrean (notice the pyre in the word) is the final and fiery level of heaven as depicted by Dante- or aether in Aristotle’s cosmology. The form is constructed like a giant hoopskirt and gracefully moves in the wind creating a gossamer lighting effect overhead. While this project is an oculus to the heavens, more focus is usually paid to more terrestrial stars in this neighborhood.The interior of the spiral is designed with aqua and black dashes. The dashed interior creates optical effects with the eyes and at certain times of the day shifts your perception of the sky’s color.This project utilizes extremely “green” electroluminescent lighting. The entire sculpture consumes less electricity than a household nightlight and operates on a photo cell. Special thanks to the City of West Hollywood, Andrew Campbell, Maria Lusia de Herrera, Greg Coons, Glen Bundrick / Luminous Film.

Роман Ермаков
live sculpture

Our perception — the only true reality. Creation as a feeling that generates the image, expressed in the form. Beauty manifesto calling to go beyond that limit imagination. The aesthetics of art can not be reduced to a clear set of building blocks with which you can strengthen or weaken the perception of contrast. Beauty should not be subjected to analysis, that is communication and the call to participate in the transformation of the emotional to the visible.The process of creating — is the alignment of the mosaic, many repetitions of simple and pure elements, which form a collection, harmonious in its incompleteness.

요르단 울프슨
ジョーダンウォルフソン

Female Figure

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

Scraps n19

This virtual sculpture impossible to create in physical world but still looks really real. It’s an example of post-reality that widely used in my practice.

愫君
Drawing Operations
Sougwen Chung is an internationally renowned multidisciplinary artist, who uses hand-draw and computer-generated marks to address the closeness between person-to-person and person-to- machine communication. She is a former researcher at MIT Media Lab and current Artist in Resident at Bell Labs and New Museum of Contemporary Art in New York. Her speculative critical practice spans installation, sculpture, still image, drawing, and performance. Drawing Operations Unit: Generation 1 is the 1st stage of an ongoing study of human and robotic interaction as an artistic collaboration.

Les trois Grâces

file festival
“Les Trois Grâces” is a presence and corporeality simulation in virtual reality. Exposing the underlying power struggle implied within touch, this piece explores the trespassing  of bodily frontiers and territoriality. As a sculpture, its object is not matter, but our relationship to the other.
It offers a troubling experience of intimate proportions.

Mimed Sculptures,(Henry Moore, Moon Head)

“Artistas vestidos com uniformes brancos e luvas de manuseio de arte rosa se movem em torno de pedestais de vários tamanhos. Eles gesticulam, imitando os contornos de esculturas – Le-nez de Giacometti (1947), Hang up de Eva Hesse (1966) e Paisagem inconsciente de Louise Bourgeois (1967 -8), entre outros.
Como se fosse um jogo de charadas da história da arte, você se pega adivinhando com o que eles estão manipulando, qual é a superfície e a textura dos objetos. Através dessa performance, a nova relação sensual com essas obras é formada. No entanto, você não pode deixar de fazer a conexão com o comentário sobre a arte de manipular em si – pode o mundo da manipulação de arte, instalação de exposições e, de fato, venda de obras de arte estar se tornando tanto uma arte quanto a própria obra de arte? ” Maisie Skidmore

sanctum
Zach Blas（United States、1981）の作品は、テクノクラート社会の限界と基盤を描くことを目的として、視覚言語の慣習、価値体系、デジタル技術に内在する力のダイナミクスをさまざまな文脈で分析、調査、配置しています。 。 彼の分析とデジタル文化への反映のために、彼は映画、彫刻、執筆、パフォーマンスなど、さまざまな表現形式を使用しています。 ブラスはブラックユーモアと理論的研究に取り組んでおり、彼の最も顕著な影響の中には、神秘主義の伝統、サイエンスフィクションのジャンル、ポップカルチャー、クィアの美学があります。

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sanctum

The work of Zach Blas (United States, 1981) analyzes and explores the dynamics of visual language practices, value systems, and the forces inherent in digital technology in a variety of contexts, with the aim of depicting the limits and foundations of technocratic societies. I have placed it. .. For his analysis and reflection in digital culture, he uses a variety of forms of expression, including film, sculpture, writing and performance. Brass works on black humor and theoretical research, and among his most prominent influences are the mystical tradition, the genre of science fiction, pop culture, and the aesthetics of queer.

Heliocentric
“Heliocentric” is a lighting sculpture represents the movement of universe. It dialogues to its history (from temple to school to creative hub) and its functionality (welcoming people connect and learn the universe)
With the lighting arrangement, kinetic movement of the light, and the performer , it shows the relationship between universe, knowledge and human.

The Egg
Ten thousand years ago, there were 1 million people living on the planet, fifty years ago there were 3 billion of us and, by the end of this century, we are estimated to reach a population of 10 billion people! We have modified almost every part of our planet and, as we continue to grow, our need for vital resources increases exponentially. We human beings are the main force behind every global problem we face. The work is a kinetic sound sculpture resembling an egg. The cycle of life, reflected in the shape of the sculpture with neither beginning nor end, symbolizes fertility and reproduction – and thus questions the impact of overpopulation. Driven by real-time data generated by the Worldometer, the sculpture constantly changes its shape.

CHROMA III
Kim ist bekannt für seine mechanischen Skulpturen, die wissenschaftliche und mathematische Theorien einbeziehen, und auch als Komponist elektroakustischer Musik. Für diese Triennale präsentiert Kim Chroma III, das die Knotentheorie in der Mathematik anwendet, um Hunderte von Polymerzellen […]
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Kim is known for his mechanical sculptures that incorporate scientific and mathematical theories and also as a composer of electroacoustic music. For this Triennale, Kim presents Chroma III, which applies knot theory in mathematics to structure hundreds of polymer cells […]

blind

It’s an image that evokes a moment in history seared into our collective consciousness. This is “Blind” by Italian artist Maurizio Cattelan. The sculpture of an aircraft spearing a towering monolith recalls the 9/11 attack on New York’s Twin Towers. The simple black pillar carries a heavy meaning. It’s the final artwork in a new Milan exhibit called “Breath Ghosts Blind”.

中谷芙二子

fog sculptures
ok-offenens kulturhaus linz

In 1970 Nakaya created her first fog sculpture when commissioned by the group Experiments in Art and Technology (E.A.T) to make a work for the Pepsi Pavillion of the Osaka World Exposition. In creating a work of white mist enclosing the building, Nakaya became the first artist to have used fog as a sculptural medium. E.A.T is an organisation devoted to facilitating working relationships between artists and engineers. Nakaya worked with American engineer Thomas Mee to create the fog for her Osaka commission, the technique for which she has continued to use, with minor moderations, for her subsequent fog sculptures since.Whilst Nakaya has also worked in film and video, it is her use of fog for which she is best known. Nakaya has used pure-water fog to create installations, performances, stage-sets and environmental park designs, often collaborating with other artists or with performers, choreographers and composers. Nakaya’s interest in fog has developed from its relation to our visual sense. In a thick fog we become disorientated, frustrated at our inability to see. In this way, Nakaya’s sculptures activate our other senses, to compensate for our loss of sight.

tape sao paulo
file sao paulo 2016
Constant wrapping of pillars with a transparent adhesive tape results in a complex, amorphous surface through the process reminiscent of growing of organic forms. One line evolves into surface that forms an organic shape of extraordinary strength. The entrance of the audience inside the volume transforms the sculpture into architecture. It was practically “found” through the act of chaotic wrapping, where a one-dimensional line (“tape”) slowly turned into two-dimensional plane, which then finally curved into volume.

徐震
Eternity
Xu Zhen is one of the most interesting and promising artists working in China today. An irreverent artist with a voracious appetite for global information and a unique ability to produce work across multiple platforms and media.Xu Zhen is a conceptual artist whose work often takes the form of provocative sculptures, installations and interventions that confront sociopolitical taboos in contemporary China and freely manipulate western expectations of Chinese art and commerce.

Float
The Floats – or floating sculptures – that Robert Breer took up producing again at the end of the 1990s, emerged in 1965. The word “float” meaning something floating – a marker, fishing float or buoy – and which also describes those carnival vehicles whose pretend wheels give them the appearance of floating above the tarmac, enabled Robert Breer to apply this principle to works of a new genre. Primary shapes, neutral colours and, for the most recent, an industrial aspect, the Floats were then made with polystyrene, foam, painted plywood, and, more latterly, out of fibreglass. At first glance, these simple structures appear immobile. In fact, they are moving, imperceptibly, within the space they inhabit. Motorised and on mini-rollers – which raise them slightly above ground, giving them an air of weightlessness – they glide unbeknown to the visitor, following random paths that are interrupted by the slightest obstacle that they encounter.

AVA

Ava’ is Troika’s first sculptural manifestation of their exploration of algorithms. ‘Ava’ is the physical result of emergence and self organisation brought about by ‘growing’ a sculpture through the use of a computer algorithm that imitates the emergence of life by which complexity arises from the simplest of things. As such the sculpture probes at the nature of becoming, existence and our strive to understand and replicate the complexities of life.In a landscape where our personal data is a raw material, and where we, humans, have become subordinate spectators of algorithms and a computerised infrastructure, we ask the question how much or little are we capable of influencing our surrounding reality, how much is predetermined, how much is down to chance.

Breed
Breed (1995-2007) is a computer program that uses artificial evolution to grow very detailed sculptures. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfils this “fitness” criterion and thus yields a workable form. The designs were initially made in plywood. Currently the objects can be made in nylon and in stainless steel by using 3D printing techniques. This automates the whole process from design to execution: the industrial production of unique artefacts.
Computers are powerful machines to harness artificial evolution to create visual images. To achieve this we need to design genetic algorithms and evolutionary programs. Evolutionary programs allow artefacts to be “bred”, rather than designing them by hand. Through a process of mutation and selection, each new generation is increasingly well adapted to the desired “fitness” criteria. Breed is an example of such software that uses Artificial Evolution to generate detailed sculptures. The algorithm that we designed is based on two different processes: cell-division and genetic evolution.

基督教波尔坦斯基
בולטנסקי
クリスチャン·ボルタンスキー
Кристиан Болтански

Homage

R.I.P 1944-2021

Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”

Bildverarbeitungsmaschine
Björn Schülke ist von den kinetischen Skulpturen des deutschen Klangkünstlers Peter Vogel und Jean Tinguely beeinflusst und schafft komplexe vom Betrachter aktivierte Maschinen, die Bewegung, Überwachung und Klang kombinieren.

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Björn Schülke é influenciado pelas esculturas cinéticas dos artistas sonoros alemães Peter Vogel e Jean Tinguely e cria máquinas complexas ativadas pelo espectador que combinam movimento, vigilância e som.

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Björn Schülke is influenced by the kinetic sculptures of the German sound artists Peter Vogel and Jean Tinguely and creates complex machines activated by the viewer that combine movement, surveillance and sound.

cellule No. 5
Absalon’s best known works, the Cellules, rewrite Cezanne’s “treat nature as the cylinder, the sphere and the cone” to read “treat architecture as the cell, the bunker and the turret.” Not that the Cellules are straightforwardly architecture: they equally evoke Minimalist sculpture, Matt Mullican’s maquettes, Kurt Schwitters’ Merzbauen and the Concrete sculptures of George Vantongerloo. But the model that the Cellules most overtly evoke is the monastic cell. The Cellules were fabricated in wood, cardboard and plaster, and painted entirely white; their average proportions are roughly those of a caravan, and the catalogue informs us that there is always an area in which one can stand up. Their interiors are fitted–fitted rather than furnished–with unobtrusive minimal representations of desks, seats, beds, etc.

徐震是当今中国最有趣，最有前途的艺术家之一。 徐震是一位概念画家，是一位概念画家，他的作品经常采取挑衅性的雕塑，装置和干预的形式，面对当代中国和中国的社会政治禁忌，这是一位顽强的艺术家，对全球信息有强烈的需求，并且具有跨多种平台和媒体制作作品的独特能力。

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Xu Zhen is one of the most interesting and promising artists in China today. Xu Zhen is a conceptual painter and a conceptual painter. His works often take the form of provocative sculptures, installations and interventions. Faced with contemporary China and China’s social and political taboos, this is a tenacious artist. There is a strong demand for global information and the unique ability to produce works across multiple platforms and media.

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Xu Zhen è uno degli artisti più interessanti e promettenti in Cina oggi. Xu Zhen è un pittore concettuale e un pittore concettuale. Le sue opere assumono spesso la forma di sculture, installazioni e interventi provocatori. Di fronte alla Cina contemporanea e ai tabù sociali e politici della Cina, questo è un artista tenace. C’è una forte richiesta di informazioni globali e la capacità unica di produrre opere su più piattaforme e media.

NYMPHAE
Manna Sculpture
The sculptures MANNA MACHINE are photobioreactors in which algae (Chlorella vulgaris) grow. The tubes and hoses form a drawing in space and are used for photosynthesis, similar to the leaves of a plant. The resulting biomass is filtered, dried and processed into pigment.

“6 Sided Plane in 5 Masses and 3 Scales with 2 Free Regions
The drawings also clarify the schema underlying the locations of the bored holes in the sculptures. Situated along lines linking vertices at the perimeter of the forms, they recall constellation maps or, as with 8 Sided Plane in 7 Masses and 2 Scales with Free Region (1975/2018), the plans of Romanesque cathedrals. Here, again, the relationship is inverted. The black shapes representing the solid stone columns in the plans echo the shafts of air bored through the steel. The term “Romanesque” appears frequently in Rabinowitch’s titles. Though absent here, the conglomeration of shapes visible in Romanesque church plans, like those of Cluny in France, bear an affinity with the additive sensibility evident in Rabinowitch’s structures. Donald Kuspit has focused attention on the artist’s interest in Northwest Coast traditions, especially the totem pole. Like the totem pole, Rabinowitch’s works manifest a “disrupted continuum,” a whole built out of distinct parts. For me, the presence of the drawings in this exhibition subtly undermined that assertion. The lines along which the bored holes are situated form a network that passes over all (or at least most) of the components in each work, in effect linking them. Though no longer visible in the steel versions, the connective links act as a reminder of this second related principle of organization. Some may see it as a complication, a discrepancy, or be disappointed by the realization, but I think it helps demystify these “new” early sculptures. At the same time, the proximity of the studies by no means diminished the deep-rooted and intriguing complexity of Rabinowitch’s sculptural work.”John Gayer

Soldat Ange
Lee est surtout connu pour ses œuvres d’installation à une seule chaîne vidéo, mais présente en fait un plus large éventail d’œuvres, notamment des sculptures, des arts cinetiques,des peintures et des performances. Ses pièces couvrent des thèmes tels que la religion, la style=”color: #333399;”>politique et la philosophie.

高氏兄弟
אחים גאו
ГАО БРАТЬЯ
Lenin Sculpture
Miss Mao (Trying To Poise Herself At The Top of Lenin’s Head)

Œuvre des frères Gao de Chine, la sculpture de Lénine est une autre pièce dans leur progression de l’art provocateur. Les artistes ont inclus plusieurs éléments qui montrent cette figure controversée sous un nouveau jour pour le monde de l’art. Avec une finition chromée vive, la sculpture en métal est construite à partir de sections horizontales qui ont été délibérément décalées pour constituer cette ressemblance très inspirante du dictateur russe impitoyable Vladimir Lénine. En tant que personne bien connue, la décision des artistes de donner à son visage une finition chromée détourne l’attention de Lénine et du contexte de la sculpture en permettant aux réflexions de mettre en évidence l’environnement immédiat au lieu de Lénine d’une manière convenablement dégradante. Les sections décalées représentent son héritage brisé et destructeur qui a provoqué tant de troubles en Russie. Au sommet se trouve une inclusion très ludique de bébé tenant un bâton d’équilibre au-dessus de la tête saillante de Lénine, comme s’il marchait sur une corde raide de ses idéaux marxistes désastreux et risqués.

Intuit
The movements of one individual effect the balance of the piece so greatly that the other person must move to balance the sculpture. ‘Our bodies are constantly adapting and bending to the configurations of buildings and the designs of transportation. In recent drawings, urban blueprints fuse with human anatomical representation… I emphasize on the ideas of flexibility and lightness. The machines I build serve to express the elegance of a gesture, a finite moment of equilibrium.’ Eve Bailey

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.

Expanded Holiday
Expanded Holiday demonstrated the enormous potential of AR technology, which provides virtual perspectives on real-world environments, and conveys KAWS’s mischievous humour through the juxtaposition of physical and virtual worlds. These virtual sculptures were accessible via the Acute Art app and could be experienced in conjunction with the NGV’s exclusive exhibition KAWS: Companionship in the Age of Loneliness, a comprehensive survey of 25 years of KAWS’s oeuvre and his largest solo survey to date. Full of humour, hope and humanity, the exhibition featured more than 100 works including iconic paintings reappropriating pop-culture figures to more recent largescale, layered works, and an impressive collection of KAWS’s celebrated sculptural figures.

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.

사라 오펜하이머
D-33
NYC-based artist Sarah Oppenheimer‘s work blurs the line between sculpture and architecture. Her amazing installations usually involve moving walls, slanting floors, and creating apertures—sometimes symmetric, sometimes asymmetric, and often with mirrors—that would mesmerize (and confuse) the most resistant of gallery/museum guests.

regenerative reliquary
Leveraging the intelligence of human stem cells, she created “Regenerative Reliquary”, a bioprinted scaffold in the shape of a human hand design 3D printed in a biodegradable pegda hydrogel that disintegrates over time. The sculpture is installed in a bioreactor, with the intention that human Mesenchymal stem cells (hMSCs from an adult donor) seeded onto that design will eventually grow into tissue and mineralize into bone along that scaffold.

Videosculpture XXI
Van der Auwera’s VideoSculptures take a new position to explore the intersections of digital and physical life and how the filtering of images in production, dissemination, and digestion alter both individual perception and consensual experience. Using the screen as sculptural material, these works break images out of the frame in a low-tech manner. They start with an act of destruction as the artist literally takes a knife to a screen to carve away physical layers. Unbeknown to most, these layers are filters that are adhered to every LCD screen. Without the mediation of these filters, images become impossible to see with the naked eye and white noise fills the space.

Mare Tranquilitatis

Mare Tranquillitatis – the title of this optical fibre sculpture of cosmic dimensions refers to a lunar mare that is situated within the Tranquillitatis basin on the moon. Very slowly and barely perceptible, this work takes on varying hues of yellow and white, creating the strange and poetic impression that the work is actually breathing,imitating the sensation that the moon is actually alive in the night sky.

توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
SOLAR BELL
Inspired by Alexander Graham Bell’s lesser-known experiments with flight behavior of tetrahedrons, Berlin-based artist Tomas Saraceno developed Solar Bell – a lightweight, wind and solar powered, sculpture that plays with the concept of flying buildings.

Нед Кан
Tornado
A 10-foot tall vortex is formed by air blowers and an ultrasonic fog machine inside a sculpture installed in the atrium adjacent to the Winter Garden. The vortex continually changed shape in response to the surrounding air currents.These fluctuations gave the vortex an erratic and life-like appearance. Viewers were encouraged to alter the shape of the vortex with their hands. The calm, central core of the vortex is clearly evident.
Kahn’s interactive scientific projects leave little doubt about his command of meteorological processes. Through his immense technical ability, he demonstrates the versatility of turbulent systems, such as the vortices of wind and water. He employs diverse mechanical, pneumatic and electrical technologies to design, build and refine his installations. This is how he constructs dazzlingly complex but comprehensible images of nature that respond to viewers, conform to architectural structures, and reveal environmental conditions.

ladder kite
Tom’s spectacular kites, produced in the mid-1970s, remain astonishing. His trampoline train has fostered newer renditions, and his large centipede and Concorde delta were both larger-than-life. Tom is known to both the science and art communities, combining state of the art technology and media to create world famous sculptures of both large and small scale.

Vitreous
The nine virtual sculptures underlying vitreous resulted from experimental setups by Robert Seidel for generating three-dimensional clusters of fibrous refractions, as well as the gravitational lensing of different volumetric and chromatic densities. Singular elements gravitate towards each other, accumulating in a gigantic sculptural system, where each entity exists with its own visual axis and vanishing point. The impalpable luminous formations create prismatic interactions between the ridges and plateaux of the main colours floating in front of the infinite violet background.

geometric death frequency 141

“The title of the piece is a pun that, with irony, alludes to the exceeding of tradition, irreconcilable dichotomy between life and death in a sculpture made, provocatively, by lifeless forms“, adds Diaz. “The line between life and none-life is more fleeing than we usually think: think about a virus that attacks a complex organism and reproduces in the same way as a micro-organism, even though it’s only an agglomerated of lifeless molecules: a natural crystal that, even though is a stone, can be born and undergo a fascinated process of growth that mimes perfectly the ways of an organic life“.

Damnatio Memoriae

From the Latin, damnatio memoriae describes an act of erasure from the historical record reserved for
those who have brought dishonor to the Roman State. Employed as the most stringent punishment for
treason, damnatio memoriae physically razes all traces of an individual from society, typically through
the destruction a statue’s physiognomy or the abrasion of inscribed monuments. Throughout the past
two decades, Sassolino has developed a body of work that examines the relationship between industrial
machines and humanist impulses where viewers are meant to question how an sculpture’s kinetic
function aesthetically and conceptually allegorizes human experiences and cultural conditions.

The Ultimate Acceptance
THE ARTIST REIN VOLLENGA IS KNOWN FOR HIS HIGHLY VISCERAL SCULPTURES THAT SHOW A FASCINATION FOR THE HUMAN BODY MERGED WITH A SYNTHETIC AESTHETIC. THESE OPPOSITES ARE REFLECTED IN HIS TECHNIQUE OF COMBINING FOUND GENERIC OBJECTS WITH TRADITIONALLY HAND-SCULPTED MATERIAL, THE CRAFTSMANSHIP BEING IN STARK CONTRADICTION TO THE SLEEK HIGH GLOSS SURFACES OF THE FINISHED WORK. VOLLENGA’S SCULPTURES HAVE BEEN EXHIBITED IN BOTH MUSEUMS AND GALLERIES.

A Monumental Offering of Potential Energy
Hill’s installation and performance, A Monumental Offering of Potential Energy (2016), places him atop a plywood platform embedded in the sculpture, which resembles a classic wooden roller coaster. Embodying the abstracted vehicle for which the track is laid, Hill’s physical presence in the work is undeniable and a central part of a 512-hour long performance that runs the course of the exhibition.

Skorpions
LUTTERGILL
Skorpions are a set of kinetic electronic garments that move and change on the body in slow, organic motions.They breathe and pulse, controlled by their own internal programming. They are not “interactive” artifacts insofar as their programming does not respond to simplistic sensor data. They have intentionality; they are programmed to live, to exist, to subsist. They are living behavioral kinetic sculptures that exploit characteristics such as control, anticipation and unpredictability. They have their own personalities, their own fears and desires.

towards universal recognition

“Shaw  presents Towards Universal Pattern Recognition, a series of archival photographs framed under custom-machined prismatic acrylic. The works, which he calls optical sculptures, depict people in transcendent states accessed through prayer, dance, yoga and the like. They act as a preview to the videos, which are projected in meticulously constructed spaces, each with eight office chairs facing a single screen.” Diana Hiebert

CORPORÉALITÉS
Corporealités is a large-scale work exploring the autonomy of ballet through the immersive elements of sculpture and video. At the heart of a piece is Just’s film, displayed across a series of LED-panels strewn about the space, where close up shots of dancers from the American Ballet Theatre show their bodies affixed to electrotherapy patches. As the muscles displayed on the panels contract, notes of Fauré’s Op. 50 seem to play in tandem, providing an ominously invisible link between the film and physical space.

Homemade RC Toy
Her new installation centers on five human-scale, remote-control sculptures that she cobbled together from metal brackets, batteries, wires, dental study props, and disassembled mannequins. Surrounding them are stepped plinths whose bright colors echo the robot sculptures’ wiring. The plinths display fetishistic agglomerations of spare parts: wheels, cables, gutted medical practice torsos, home repair parts. In their default state, the sculptures are frozen, comatose, even if all that wiring and machinery certainly suggests movement. The installation is the setting for a series of live interactions between the artist and her uncanny others.