The Wild Swans
The project is the creation of a series of kinetic garments that tell the story of “The Wild Swans” by Hans Christian Anderson. In the fairy tale, 11 princes have been turned into swans from a transformative spell cast by their wicked stepmother. Their sister, the princess, rescues the princes by collecting stinging nettles and knitting them, under a vow of silence and in great pain, into magical shirts so that her brothers can return to their human shape. She is very nearly done knitting them all when she runs out of time; she throws the sweaters onto her brothers to transform them, but the last one is incomplete, leaving her youngest brother forever with a swan’s wing instead of an arm.
In the installation, an 11m x 15m x 25m orange inflatable that completely covered the historic courtyard, the viewer accesses the interior of the work and observes how the previously known space, or not, was reconfigured by a monochromatic plastic cover, through which only the shapes of a reality that has just become a work are drawn. This work makes visible a space that was previously just the place where things live. A work that the wind, the sun, the rain and the passing of people keeps alive, breathing.
[#define Moon_ ] consists of 9 rotating kinect light installations. It presents different postures of moon shape, exerting new sense experiences. The audience is allowed to explore through various ways of looking and bring curiosity to the installation by watching from different angles. By thinking of the science spirit, once again, viewer can define and understand the concept of this work of their own.
Baumgartner + Uriu Architecture
Supermassive Black Holes
Supermassive Black Holes is an acoustic ceiling installation for the main lobby of the Los Angeles Chamber of Commerce. The design is part of a series of projects in which we work with small primitives that are aggregated into a larger whole. In this case, there are over 10,000 felt cones stitched together into three gigantic, 20’ tall, hanging felt vortexes that that absorb sound through its materiality and geometry. The thousands of cone shape parts trap and disperse sound waves while softening the overall acoustic quality of the space.
Synichi Yamamoto, Seiichi Sega & Intercity-Express
This project was made by inspiration from law of nature and cosmology such as, “View from Inner Earth” ”Wrapped up in Nothing” “Re-mix the Border” “Constructal Law” “Emerging Moments” “Universal Architecture”, and “Superstring Theory”.Science and art have been getting closer in media art scene. Visualization of data and visualization of wave shapes has been actively pursued.
“Multiply the power of artificial Intelligence with an artificial body. Ameca is the physical presence that brings your code to life. The most advanced lifelike humanoid you can use to develop and show off your greatest machine learning interactions. This robot is the digital interface to the real world.” Engineered Arts
“A U.K. robotics firm called Engineered Arts just debuted the first videos of its new humanoid robot, which is able to make hyper-realistic facial expressions. It’s a pretty stunning achievement in the world of robotics; it just also happens to be absolutely terrifying.
Named Ameca, the robot’s face features eyes, cheeks, a mouth, and forehead that contort and change shape to show off emotions ranging from awe to surprise to happiness. One of the new videos of Ameca shows it waking up and seemingly coming to grips with its own existence for the first time ever.” Neel V.Patel
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.
The way we were
Not only does Arcangelo Sassolino transform failure into art, but he manages to make the art of failing a profound part of the art of living. He goes even further in the awareness of risk. He is aware that his experiments may not hold up to the forces that he himself puts in place but this possible collateral damage wants to represent an additional value, becoming precisely the existential metaphor of the concepts of risk and failure. His installations explore the behavior and mechanical limits of matter, he forces their characteristics to distort their shape, gravity, pressure, friction, statics, and of each possibility Sassolino contemplates the risks of collapse with its precise timing and programming.
One second of white rope is traveling through time and space. The white rope is moving at a constant pace along the contours of an imaginary shape, traversing the whole space in several directions and angles. For following that second in the vast space, it requires the viewer to look up while moving his whole head. While passing through long distances as a straight line, it appears to be slow and content. Other passages require quick shifts of direction and the perception changes to fast and sudden movements.
The Other Shapes of Me
The Other Shapes of Me is het resultaat van mijn onderzoek naar de oorsprong en huidige toepassingen van binaire technologie: van weefsel tot programmering, algoritmen, software, automatiseringsprocessen tot de volledige automatisering van een mens. Bevat de installatievideo rs548049170_1_69869_TT (The Other Shapes of Me); de film Genesis (De andere vormen van mij); de middelgrote wandtapijtenreeks Sections (The Other Forms of Me); de wandtapijtenreeks Samples op klein formaat (The Other Forms of Me); en het kunstenaarsboek rs548049170_1_69869_TT, uitgegeven door Mousse.
As a unique site-specific commission for the Donum Estate, Los Angeles-based artist Doug Aitken has created the ethereal work Sonic Mountain (Sonoma), three concentric circles of suspended stainless-steel pipes whose differing lengths form a wave at their base, mirroring the free Euler-Bernoulli shape that describes the chime’s frequency. Installed in the eucalyptus grove, measuring forty-five feet in diameter and twice human height, and comprising 365 chimes — one for each day of the year — Sonic Mountain (Sonoma) works with one of Donum’s most persistent elements, the Carneros breeze that cools the grapes and creates a temperate zone for growing Pinot Noir. Each day, the warm wind begins its soft whisper, rustling through the vines and trees, building in strength through the day until mid-afternoon, and then gradually diminishing in force. Known to have been used since at least the ancient Roman period in Europe and the second century in India and China, wind chimes create chance, inharmonic music. At Donum, Aitken has teamed up with his friend the composer Terry Riley to compose chords in the chimes to be played by the wind , depending on how it blows, so the lyrical work sounds throughout the estate, demonstrating the artist’s practice of making installations that synthesize many media and are never constrained by tradition.
“If there is to be a “new urbanism… it will no longer be concerned with the arrangement of more or less permanent … but for the creation of enabling fields….that refuse to be crystallized into definitive form; it will no longer be about meticulous definitions, the imposition of limits, but about expanding notions, denying boundaries, not about separating and identifying entities, but about discovering hybrids; it will no longer be obsessed with the city but with the manipulation of infrastructure for endless intensifications and diversifications, shortcuts and redistributions – the reinvention of psychological space.”, Dutch architect + Harvard Professor, Koolhaas 959, writer of Delirious New York. URBAN IMPRINT is how we design a piece of this new urbanism, an augmented materiality , as we define it. An environment that is a ‘blank canvas’ to be reshaped by the future self.
The Other Shapes of Me
The Other Shapes of Me es el resultado de mi investigación sobre el origen y las aplicaciones actuales de la tecnología binaria: desde el tejido hasta la programación, algoritmos, software, procesos de automatización, hasta la completa informatización de un ser humano. Incluye la video instalación rs548049170_1_69869_TT (The Other Shapes of Me); la película Génesis (Las otras formas de mí); la serie de tapices de tamaño mediano Secciones (Las otras formas de mí); la serie de tapices Samples de tamaño pequeño (Las otras formas de mí); y el libro de artista rs548049170_1_69869_TT, publicado por Mousse.
Pei Ying Lin
The skeletons also has the feature of fractals, which often being mentioned when discussing the forms of nature. Both of symmetry and fractals can be generated from one simple structure. Therefore, I decided to write a script that let people draw a random structure, and using the structure to generate a symmetry fractal shape. The fractals have their diameter through the time according to a sinusoid, making them almost like breathing.
Treatise is a graphic musical score comprising 193 pages of lines, symbols, and various geometric or abstract shapes that largely eschew conventional musical notation. Implicit in the title is a reference to the philosophy of Ludwig Wittgenstein, which was of particular inspiration to Cardew in composing the work.
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.
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.
Destructive observation field
The installation behaves like a living organism, it creates expanding and contracting forms that have a semi-organic appearance. During the course of the exhibition the deformations of the plate add up resulting in a more and more complex surface structure. The visible shapes will get more detailed and fragmented. The density of the stored information on the black plate increases. The characteristic visual appearance of the installation is the result of interference patterns, waves amplifying and canceling each other out in space, leaving complex traces of light and darkness.
marnix de nijs
PIVOT POINT – ICHIHARA
‘Pivot Point – Ichihara’ is an interactive site-specific installation. Standing on a controller pod you navigate over and through a 3D terrain where gravity seems to have disappeared, you gradually become tele-present in a parallel projected space by exploring a mediated version of the venue, it’s direct surroundings and the Ichihara region. A cinematic journey to a fascinating point cloud realm, precise in details but simultaneously abstract and dreamlike.The kidney shaped interface is covered with capacitive sensors and mounted on a pole, touching this interface right, left, up or down aims the virtual camera accordingly. When you release the navigation pole the virtual camera automatically starts spiralling back to the initial starting point your journey and temporary centre of the universe, the Asohbara Art House.
numen / for use
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.
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.
MAOTIK AND FRACTION
Dromos is a metaphoric AV Performance that takes its concept from the philosophical work of P. Virilo who is mostly known for founding the idea of Dromology (science of speed). Dromos invites audience to a criticism experience of the ’peed’ role that impacts all aspects of our daily lives. During 40mns, it focuses people attention on this essential factor that shapes our world. With its message, Dromos invites you to wonder about your relationship with progress. It’s an unconventional work with an original sensorial approach, placing the audience inside an immersive environment.
Paul Robertson is an Australian animator and digital artist who is known for his pixel art used in short films and video games. He is mostly known for Scott Pilgrim Vs. the World: The Game and the recent release, Mercenary Kings. Apart from his seasoned career as a game designer and movie creator, Robertson has been recently spotted on Tumblr with these GIFS. His interest in inserting flashing neon colors, geometric shapes, Japanese character animation, and 1990′s computer imagery, deems his work as heavily influenced by the Seapunk/Vaporwave aesthetic.
Peter Jansen (1956) studied Physics and Philosophy at the university.For a number of years he worked as a guide, accompanying groups on survival and canoe trips, after which he dedicated his live entirely to the arts. Based on his ideas on transposition and movement the artist Peter Jansen uses shapes of the human body to create energetic spaces.
The Pangolin Scales Project demonstrates a 1.024 channel BCI (Brain-Computer Interface) that is able to extract information from the human brain with an unprecedented resolution. The extracted information is used to control the Pangolin Scale Dress interactively into 64 outputs.The dress is also inspired by the pangolin, cute, harmless animals sometimes known as scaly anteaters. They have large, protective keratin scales covering their skin (they are the only known mammals with this feature) and live in hollow trees or burrows.As such, Pangolins and considered an endangered species and some have theorized that the recent coronavirus may have emerged from the consumption of pangolin meat.Wipprecht’s main challenge in the project’s development was to not overload the dress with additional weight. She teamed up 3D printing experts Shapeways and Igor Knezevic in order to create an ‘exo-skeleton’ like dress-frame (3mm) that was light enough to be worn but sturdy enough to hold all the mechanics in place
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.
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.
FR-EE Fernando Romero Enterprise
Museum buildings tend to be conceived either for maximum functionality – acting as neutral containers for art – or as iconic structures that represent a city at a particular historic moment. The Museo Soumaya was designed as both: a sculptural building that is unique and contemporary, yet one able to house a collection of international paintings, sculptures, and decorative objects dating from the fourteenth century to the present.The exterior of the building is an amorphous shape perceived differently from every angle, reflecting the diversity of the collection inside. The building’s distinctive façade is made of hexagonal aluminum modules facilitating its preservation and durability. The shell is constructed with steel columns of different diameters, each with its own geometry and shape, creating non-linear circulation paths for the visitor. The building encompasses 20,000 square meters of exhibition space divided among five floors, as well as an auditorium, café, offices, gift shop, and multipurpose lobby. The top floor is the largest space in the museum, with its roof suspended from a cantilever that allows in natural daylight.
“Arrival’s narrative plays out in four languages: English, Mandarin, Russian and Heptapod. Though they are not spoken in the film, we learn that Louise is also fluent in Farsi, Sanskrit and Portuguese (and possibly others). The language learning process and the growing translingual bond between Louise and the heptapods forms the film’s narrative arc and the majority of its plot. Thus language, and specifically the mechanics of ←215 | 216→multilingualism, is Arrival’s central theme. Within this context, the ability to communicate across language barriers is an asset, and the flexibility to navigate new linguistic challenges is invaluable. The heptapods are pure science fiction, but serve a powerful metaphorical function. As Emily Alder (2016) writes in The Conversation, “ultimately, Arrival is less about communicating with the aliens than with each other – internationally but also individually […] The film’s message is that difference is not about body shape or colour but language, culture and ways of thinking. It’s not about erasing that difference but communicating through it”. Gemma King
语言学习过程以及路易丝与七足动物之间越来越多的跨语言联系形成了电影的叙事弧线和大部分情节。 因此，语言，尤其是←215的机制| 216→使用多种语言是到达中心的主题
Процесс изучения языка и растущая межъязыковая связь между Луизой и гептаподами составляют повествовательную дугу фильма и большую часть его сюжета. Таким образом, язык и, в частности, механика ← 215 | 216 → многоязычие – центральная тема Арривала.
Based on concepts, Transparent Shell gains inspiration from a rich variety of sequences in nature. By dissecting, extracting shell structure and restructuring, it reveals the tension of life evolution. Conch-shape helix is blended with vertical, balanced, stable and standard three-dimensional grid. Density and depth of different degrees are on one hand, in mutual erosion, harmony and coexistence and on the other hand, in antagonism, competition and conflict.
Spring Summer 2019
Quinn’s clothes conjure a couture fantasy, with unabashedly extravagant shapes and lavish embellishments. This season the look veered between thigh-grazing confectionary frocks and a more dramatic voluminous silhouette that tumbled to the ground and swept the floor. The floral cocktail dresses of last season were even frothier this time around, bold in the shoulder and replete with handfuls of bows along the sleeves. If that sexy, legs-for-days line evoked frivolity, then the longer, grander gowns readdressed the balance.
Victor Pasmore’s ‘Apollo’ Pavilion sits at the heart of the Sunny Blunts estate in Peterlee[…] Four large orange forms intersect the pavilion at right angles to the main orientation and appear to slice through the pavilion. The blocks are drawn from the geometry of the pavilion and a nod to the remote object planes of Victor Pasmore’s work. The inflatable textiles blocks create a juxtaposition between the angular grey concrete of the pavilion and the soft, rounded, colourful forms of the installation. The intervention is deliberately bold with a strong visual aesthetic to temporarily transform the pavilion. The piece is also, on the surface, playful, tactile and accessible – encouraging the audience to look at the pavilion with fresh eyes.
Alexander Ekman and Mikael Karlsson
Palco : Royal Swedish Opera, Stockholm
…sem nunca sacrificar a beleza lírica e a contemplação profunda à incongruência inútil, Eskapist prova mais uma vez que o palco teatral é verdadeiramente mágico lugar, onde o mundo como o conhecemos muda de forma apenas para se dissolver nas fantasias mais poéticas que alguém poderia imaginar.
Stage : Royal Swedish Opera, Stockholm
. …without ever sacrificing lyrical beauty and deep contemplation to pointless incongruity, Eskapist proves once again that the theatrical stage is a truly magical place, where the world as we know it changes shape only to dissolve into more poetic fantasies than anyone else. could imagine.
“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
New Media Tribe
Path of silence
Inspired by the remarkable topography of the landscape of the Kistefos Sculpture Park, the stepped slope and terraces beside the Industry Museum, where the power and energy of water is directly visible and gives the site a special quality, a free form is adapted to the shape of this landscape, thus creating a dialogue between the place and the object. The sculpture is defined by an extensive mirror labyrinth that encloses three spaces of silence: A contemplative space, where an enclosure of high mirror steles promotes an upward glance to the sky, a natural space, where a tree inside the sculpture links the inside with the outside and an active space where walls of water appear and disappear, thus offering ever-changing perspectives of the surroundings.
mediative digital art
While in quarantine, I became inspired to create my vision of a world of meditativeness; my vision of how the practice of meditation can also be integrated into our every day lives through art, architecture, design and fashion. My vision is of a future based on the individual practice of meditation, extending to every aspect of our every day lives. I am inspired by Japanese Zen art, architecture and design. It’s very existence has shaped the world culture in profound ways, and will continue to impact art and design as it lives through my creations.
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.
Das Pangolin Scales Project demonstriert ein 1.024-Kanal-BCI (Brain-Computer Interface), das Informationen aus dem menschlichen Gehirn mit einer beispiellosen Auflösung extrahieren kann. Die extrahierten Informationen werden verwendet, um das Pangolin-Schuppenkleid interaktiv in 64 Ausgaben zu steuern. Das Kleid ist auch von den Pangolin-niedlichen, harmlosen Tieren inspiriert, die manchmal als schuppige Ameisenbären bekannt sind. Sie haben große, schützende Keratinschuppen auf ihrer Haut (sie sind die einzigen bekannten Säugetiere mit dieser Eigenschaft) und leben in hohlen Bäumen oder Höhlen. Als solche gelten Pangoline als gefährdete Arten, und einige haben angenommen, dass das jüngste Coronavirus möglicherweise entstanden ist Der Verzehr von Pangolinfleisch. Wipprechts größte Herausforderung bei der Entwicklung des Projekts bestand darin, das Kleid nicht mit zusätzlichem Gewicht zu überladen. Sie hat die 3D-Druckexperten Shapeways und Igor Knezevic zusammengebracht, um einen “Exo-Skelett“ -ähnlichen Kleiderrahmen (3 mm) zu schaffen, der leicht genug war, um getragen zu werden, aber robust genug, um alle Mechaniken an Ort und Stelle zu halten
Dià (from greek διά, through) is a sculpture installed on a piece of no man’s land on the top of mount Pal Piccolo on the border between Italy and Austria, where World War I was fought. The double-trumpet shaped sculpture symbolically connects, both visually and acoustically, the first lines’ trenches. Two arched doors, that refer to the entrance of the shelters and trenches, turn into cavities to listen or observe the surrounding landscape. The work, conceived as a symbolic link between the two fronts, combines the dimensions of silence and sound: dià is indeed a device that invites audience to interact with the two cavities as a megaphone or a peephole, to start an intimate dialogue through the sculpture.
AVA_V2 / Particle Physics_Scientific_Installation
Ava; is the surface-volume shape coefficient. The main inspiration comes from monumental experimentations which focused on particle physics. AVA’s design originate from the Buckminster Fuller’s iconic dome structure. It has 360 traceable area from the exterior surface of the dome. Cosmic rays reinterpreted within the concept of AVA and the first version of the performance screened at Paris. AVA is a Commisioned Artwork and designed as a portable installation which can be transportable and positionable at any place.
The coffee cup spring
The monotone repetition of the movement created by the conveyor belt recalls the pace and the landscape of animation or video games. As an extension of the conveyor, several geometric and orthogonal motifs evoking a Tetris composition are slotted together and suggest the shapes of a table, a chair or stairs. The objects are exposed on thin metal structures with fringed ends, and seem to peel off from their construction, as if they were undressing and exchanging skins, depriving themselves of sculptural depth and allowing only the surface to emerge. The technique developed by the artist to produce the sculptures inverts the usual steps of printing: first the pattern is created, then the background to which the fiberglass support is apposed. The pieces are therefore ripped off their mold, revealing their final texture, and the motif on every sculpture seems to remain the same, yet is altered by the shape of the object itself. A series of wall works using this procedure extends from the installation into the gallery space.
Elmgreen & Dragset
German artists Elmgreen and Dragset have installed a sculpture that looks like an U-shaped swimming pool outside the Miami Beach Convention Center[…] Curved pieces of aluminium were used to create the unusual structure, with the two ends resting atop a concrete plinth. “Bent Pool is shaped like an inverted “U” and stands upright on a two-tier plinth,” the studio said. “The pool seems to have somehow been lifted out of the ground and stretched into a curved form.”
Through the Membrane
We define the space around us by observing and perceiving light and shadow. That is to say, our perception shapes our basic understanding of this sensory world, and hence the “reality” we believe in. If our experiential knowledge and awareness of space are challenged, would our definition of a “real phenomenon” also be changed? Through the Membrane utilizes optical polarizers to change how light passes through space. The installation does not rely on any electromechanical devices. Simply with creative use of material and structure, it presents a super-sensory experience in space where reality and illusion are inextricably juxtaposed.
Encapsulated environmental system: Paludarium YASUTOSHI
This machine is fully equipped with a mist machine as if wrapping plants in a fog from both sides and drip feed-water system which can be activated depending on the situation in order to maintain the condition of a plant and control inside temperature and humidity. Also the cylindrical shape can fully capture the natural light by 365°angles from glasses, and it can correspond to plant growth by having the series’ largest scale of height. Fans on the ceiling play a role of wind, and a plant can listen music from the waterproofed speakers. The machine takes in essential elements – rain, wind, light and sound – by artificial means and completes a small world where its ecological cycle is condensed. It enables us to admire the beauty of the plants by not being affected by external environment.
Late capitalist networked culture is obsessed with improving performance. TED speakers are cult idols, sharing their commandments for success and productivity. On social networks our friends become brands, and brands become our friends. Self-help books are interchangeable with business philosophies. In the conference room – and the weekend supplements – we learn how to shape ourselves, how to be consistent, how to operate. Reduce entropy. Maximise consistency. Become an industry of one. You are an engine. One day you’ll fly away.
The sculptural artwork is composed of four metal ribbons lined with LED screens that cascade down the wall. The sinuous shape of Waterfall is reinforced by the constant flow of abstract images that slide down the screen surface. The video is generated in real-time by global trading data. Waterfall attempts to capture the ceaseless ebb and flow of financial data that touches us in more ways that we can imagine.
Mens SS 2020
“After the scene shifted from a selection of 2D garments, removed to reveal Browne’s brilliant designs below, the show began in earnest. The looks, as gleefully playful as ever, took on elements of Browne’s typical offerings and elevated them to the level of supreme costume design. Several imposing silhouettes recalled dresses worn by Antoinette-era aristocracy, with gargantuan trousers and shapely sportcoats crafted to resemble distorted Ivy League staples. Elsewhere, pleated skirts emerged as a prime trouser replacement, with cropped jackets and seersucker jockstraps to introduce a sporty motif.” Jake Silbert
They’re called Thixotropes. Compositions comprised of eight illuminated mechanized structures create choreographies of lighting effects that alternate form warm to cold light. Designed by London based design firm Troika, these suspended systems merge technology with art and explore the realm in which rational observations intersect with the metaphysical and surreal. Each of the structures is shaped as a composition of intersecting angular and geometric forms, made of thin tensed banding lined with rows of LED’s. The constructions continuously revolve around their own axis thereby materializing the path of the light and dissolving the spinning structures into compositions of aerial cones, spheres and ribbons of warm and cold light while giving life and shape to an immaterial construct.
ONE SHAPE, ONE SQUARE, ONE EXECUTION, ONE TRANCSENDENCE
ONE SHAPE, ONE SQUARE, ONE EXECUTION, ONE TRANSCENDENCE consolidates three quotations from the writings by the minimalist artist and philosopher Ad Reinhardt. The works in question are “Abstract Painting, Sixty by Sixty Inches Square”, “On Negation” and “There is just one painting”, a fragment of which has been taken as a work title. The text “On Negation” is turned into sound and used to cause the vibration of the black square plane that has the same dimensions as “Abstract Painting” by Ad Reinhardt.
João Martinho Moura
WIDE/SIDE is an interactive installation in which shapes, images, and sounds are joined and interdependent. A visually engaging block, captivating in its monochromatic conception and minimalist lines, serves as a projection screen and teems with conglomerations of lines and shapes. As a result the installation is always changing and acquiring countless different forms.
The individual forms of the projections in reality are based on the surrounding environment, responding to the movements and gestures of the viewers. Visitors and passersby therefore themselves become part of the work and define its appearance.
Midtown becomes a flattened, uniform construct for this play of texture, rhythm and interruptions.My installation is inspired by the concept of architectural relief (a technique where the sculpted elements remain attached but raised above the background plane). Audiences experience a gradual shift in the appearance and depth of the installation from a flat image to a three-dimensional view with protruding geometric shapes.
MIT Media Lab, Stanford University
This work explores a dynamic future where the accessories we wear are no longer static, but are instead mobile, living objects on the body. Engineered with the functionality of miniaturized robotics, this “living” jewelry roams on unmodified clothing, changing location and reconfiguring appearance according to social context and enabling multitude presentations of self. With the addition of sensor devices, they transition into active devices which can react to environmental conditions. They can also be paired with existing mobile devices to become personalized on-body assistants to help complete tasks. Attached to garments, they generate shape-changing clothing and kinetic pattern designs–creating a new, dynamic fashion.
It is our vision that in the future, these robots will be miniaturized to the extent that they can be seamlessly integrated into existing practices of body ornamentation. With the addition of kinetic capabilities, traditionally static jewelry and accessories will start displaying life-like qualities, learning, shifting, and reconfiguring to the needs and preferences of the wearer, also assisting in fluid presentation of self. We envision a new class of future wearables that possess hybrid qualities of the living and the crafted, creating a new on-body ecology for human-wearable symbiosis.
Over time, landscapes are gradually shaped by natural forces. Indiscernible to the naked eye, we only perceive one moment at a time. The fluctuations and the rhythmic movement of rivers are a glimpse into the past, as traces provide evidence of the constant transformations that surround us.
Ljós (Icelandic for ‘light’) has been conceived in continuity with the research carried out by fuse* in the field of digital and performative arts, which explores the deep connection between light, space, sound and movement. In Ljós, the performer is the means that allows the viewer to access a surreal and dreamlike space, a dimension with no gravity nor time, made by sounds and images reacting and interacting in real time. A shape-changing universe, which evolves from amniotic fluid in the beginning – protecting and supporting the performer – to the setting for violent explosions and transformations later – leading her to a direct contact with ground and Earth.
Morphogenesis (from the Greek morphê ‘’shape” and genesis “creation”; literally, “beginning of the shape”) is the biological process that causes an organism to develop its shape. As a fulldome and virtual reality piece inspired by the phenomenon of emergence in self-organized systems, Morphogenesis consists of continuous transformation of fundamental geometrical patterns and uses them as the building blocks of immersive spaces.
Modern Desert Magic
Petecia Le Fawnhawk is a modern surrealist whose body of work is a meditation in form as monuments juxtaposed against minimal and ethereal desert landscapes. In placing elemental shapes in a vast dreamscape, Petecia strips away the unnecessary in an attempt to reveal truth in the mysterious and magisterial.
Biologizing the Machine
In Biologizing the Machine (tentacular trouble), the artist uses a stretched leather-like kelp to create hanging incandescent sculptures that conjure up images of organisms such as human organs and insect eggs through chrysalis-like pods within which animatronic insects flutter about. The use of this material calls attention to the ecological history and exciting potential uses of algae, a powerful and shapeshifting entity comprising the largest biomass on the planet. The ground beneath evokes a swamp (not too dissimilar from the watery underbelly of Venice) from which these organisms and other primordial beings may have come.