Theo Triantafyllidis

Ritual
An undisclosed location. Dry land under a scorching sun. Something abominable has happened here in recent memory. Now a ritual is taking place. The remains of what was once human are flickering in darkness. Nature is reclaiming what is hers. She is savage and unforgiving. She is laughing at us. Her sinister laughter echoes in the emptiness. Ritual re-imagines the notion of site-specificity within the mediated landscape. The digital and physical work for this exhibition sit in a forgotten mining town somewhere in the California desert. The viewer is invited to interact with Triantafyllidis’ new live simulation, sculptures and custom electronics blurring the line between the real life and online experience

Studio Above&Below

‘Semi-Diurnal Spaces’ is a site specific immersive installation in form of a full dome which makes use of local tidal and atmospheric data of South Wales. Locals were invited to experience their close-by waterbody through a meditative environment, connecting to it in a poetic, technological and tele present way. Tidal patterns and atmospheric data such as wind and humidity influence a digital NVIDIA FleX particle system in real-time. The site-specific data influences the gravitational forces, fluid viscosity and flow rate within the dome as a body, resulting in a living digital sculpture and AV experience connecting to aspects of the channel itself.

Karolina Halatek

Ascent
Ascent is a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level. The light and the fog create a monumental dynamic space that is participatory, the space that opens up a new dimension and directs the attention toward the bodily sensations in the explicit environment. The viewer is free to approach the work according to its own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.

Doug Aitken

Sonic Mountain
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.
video

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.

EDOARDO TRESOLDI

Etherea
Etherea è l’installazione site-specific concepita per il Coachella Valley Music and Arts Festival, uno degli eventi musicali più attesi e importanti al mondo. L’opera è composta da tre sculture trasparenti ispirate all’architettura neoclassica e barocca, tutte con forme identiche ma dimensioni diverse, posizionate su un asse e misurano rispettivamente 36, 54 e 72 piedi di altezza.

Tundra

Nomad
Inspired by the concept of digital nomads of 21st-century and based on various pieces and algorithms from TUNDRA’s previous highly acclaimed audio-visual installations premiered across the globe from USA to China, NOMAD brings the polar atmosphere of different TUNDRA site-specific installations into a randomly changing sequence of visual themes and patterns triggered by live-performed sound.

Yuri Suzuki

The welcome chorus
The Welcome Chorus is an interactive installation that brings together sound, sculpture and artificial intelligence (AI). Commissioned by Turner Contemporary for Margate NOW festival, the sculpture consists of twelve horns, each representing a different district of Kent. Each horn continually sings lyrics which are generated live by a uniquely trained, site-specific piece of AI software. Symbolically and aesthetically, these sculptural forms reference the origin of the word ‘Kent’; thought to derive from the word ‘kanto’, meaning horn or hook.

UVA

Our Time
Our Time is a site-specific evolution of UVA’s 2013 commission for the Barbican, Momentum. The installation, which features music specially composed by Mira Calix, features kinetic structures swinging in and out of phase between projected light.

Can Buyukberber

Noumenon
Noumenon is a site-specific large-scale architectural and year-long installation in ZeroSpace, New York City; a compilation of Buyukberber’s last 4 year of audiovisual work and explorations; from emergent systems to out-of-body experiences; from transcendental objects to the symbols of the collective unconscious.

NILS VÖLKER

Two Hundred and Seventy
Through the combination of an everyday material with precise technology the mixed media installation fills the whole columned hall from the 19th century with its fluid movement and peculiar sound. Concavely arranged and floating above the spectators heads the form of the artwork seems to pass the skylight like the sun’s rays. Subdivided into nine columns, the nearly 70 square metres large piece of art follows a site-specific choreography determined by a program. Its moving surface is made from 270 white garbage bags, being inflated and deflated. In this way shapes and the boundaries of the installation itself start to dissolve. “Two Hundred and Seventy“ is the first installation with an undisguised view behind the scenes and onto the origin of the wavelike and organic movement: 1080 fans, lots of cables and 45 circuit boards

South Georgia Heritage

NEON – Fantastical Architecture, Art and Design

FROM DARKNESS TO LIGHT
South Georgia Heritage Trust launched an open call for a site-specific commission to be located on Grytviken the former whaling station of sub-Antarctic Island of South Georgia. The project was required to celebrate the whale through a reinterpretation of the former Flensing Plan (a large timber deck used to process the captured whales) and offer a message of hope for future generations by demonstrating how humankind can move from exploitation to conservation. Our proposal imagines that the deck of the Flensing plan has been cut like a piece of flesh from the ground and bent upwards to form an arc. The timber deck is replaced with concrete pavers which are coloured based on the activities which took place in the sites past and present (whale processing and whale watching). The coloured pavers are positioned to create a gradient which provides the visitor with a visual representation of the way the site has changed over time.

Heather Dewey-Hagborg & Phillip Andrew Lewis

Spirit Molecule
Spirit Molecule II, engages local community members as DNA donors to be memorialized in a site-specific commission for the Broad Museum at Michigan State University, created in collaboration with University scientist Dr. Bjoern Hamberger. The work consists of a large mound of moss growing in the gallery, with four embedded cylinders containing genetic memorial plants. In this iteration we embed both human DNA and a gene for the scent of patchouli into lab-strain moss Physcomitrella patens.

Nohlab & Büşra Tunç

OCULUS
Oculus was a site-specific installation designed for Istanbul Design Biennale in 2016, and exhibited in Tophane-i Amire. A selection of HAS Architects’ projects is presented in a performance that blends digital technology with spatial design, forming a synthesis between the past and the present within the magical atmosphere of the historical Single-Dome Hall of the Imperial Arsenal. Taking the Single-Dome Hall as the focal point, the exhibition uses contemporary interpretations to alternate between old and new, whole and fragment, real and virtual, balanced and unbalanced states. Notions of time and space become blurred and the exhibition surrounds the visitors, offering them an unusual spatial experience.

fuse

Multiverse
Multiverse Prototypes è una serie composta da venti esperimenti audiovisivi creati durante la fase di progettazione di Multiverse, installazione site-specific realizzata all’interno della chiesa sconsacrata nel cuore di Parma e sede di BDC – Bonanni Del Rio Catalog.

Refik Anadol Studios

Wind of Boston: Data Paintings
Wind of Boston: Data Paintings is a site-specific work that turns the invisible patterns of wind in and around Boston into a series of poetic data paintings within a 6’ x 13’ digital canvas. By using a one-year data set collected from Boston Logan Airport, Refik Anadol Studios developed a series of custom software to read, analyze and visualize wind speed, direction, and gust patterns along with time and temperature at 20-second intervals throughout the year.

Naho Matsuda

EVERY THING EVERY TIME
The piece presents a running commentary on the activity of the city in which it’s located. The ‘poetry,’ which is created by an algorithm which randomly selects and rearranges the data collected from a number of site-specific points, and is posted on a website. The Pis pull the poetry from the website over 4G and then transmits the letter addresses via ethernet to the arduinos and then to the motors using I2C network protocol. The act of this then triggers the algorithm to generate a new poem.

TANIA CANDIANI

CINCO VARIACIONES DE CIRCUNSTANCIAS FONICAS Y UNA PAUSA
Órgano [Organ] is a large-scale and site-specific interactive installation of a talking machine resembling a musical church organ. Originally installed at the Laboratorio Arte Alameda (LAA)–a former 17th-century church in downtown Mexico City–the device features two inputs: a musical keyboard and a typewriter. Each time users move to another line by striking the carriage-return lever on the typewriter, the words that have been typed are played back by means of a voice synthesizer. The musical keyboard, on the other hand, features a more complex system in which each key, music interval, and chord has been programmed to sound a specific syllable, comprising more than 2,000 syllables that make up the Spanish language. The latter programming has been translated into English, and more recently into Russian, for international exhibitions.

Quintessenz

Lingering Summer
“Lingering Summer” is a site-specific installation created for the 2019 West Bund Art Fair. The gradation of colors from yellow to lime green, and indigo to cerulean blue, is reminiscent of the dynamics of changing colors from early to mid-summer. The ascending and descending of layers create a natural and comforting rhythm, as if forming a virtual space to preserve the summer scene inside the steel and concrete architecture, mesmerizing the audience by breaking them away from reality.

sarah sze

triple point
Since the 1990s, Sarah Sze has developed a sculptural aesthetic that transforms space through radical shifts in scale, colonizing peripheral spaces, engaging with the history of a building, and altering the viewer’s perception and experience of architecture through large scale, site-specific interventions.

ZAHA HADID ARCHITECTS

زها حديد
扎哈·哈迪德
זאהה חדיד
ザハ·ハディド
ЗАХА ХАДИД
Elastika

The Moore Building is located in the heart of Miami’s famed design District. This historic venue was built in 1921 as the furniture showroom space for Moore and Sons. The truly unique building boasts four floors of arcaded spaces totaling more than 20,000 square feet. The soaring central atrium accommodates 4,400 people for receptions and 1,100 for seated events.On permanent display in the atrium is the site-specific installation “Elastika,” created by Iraqi-born London-based architect, Zaha Hadid, and commissioned by owner Craig Robins, president of Dacra.

Lina Ghotmeh

Light in Water Installation
‘Light in Water’ is a site-specific installation intended to provide an immersive and emotional experience. It was previously presented at Milan Design Week 2011. The installation took advantage of the unique status of the venue – one of the oldest concrete domes in Paris. The installation was thus adapted to the circular form of the space, defining the inner sanctuary as a ‘place to be’ and an outer area as a space for a bystander. There are sixteen rings of slotted tubes on the ceiling. From each hole, 60 drops of water fall every minute; in total 3 tons of water circulate in the space. The LED lights vibrate between on and off, with frequencies ranging from the shortest interval possible, at 7μs, allowing the viewer to materialise a point of light in water, up to 6000μs, where light becomes the line of water.

DIANA GAMBOA

ديانا جامبوا/
戴安娜甘博亚/
Диана Гамбоа

Diane Gamboa has been producing, exhibiting, and curating visual art in Los Angeles for more than 20 years. From 1980 to 1984, she photographically documented the punk rock scene in East Los Angeles. Between 1980 and 1987, she was a member of ASCO, a conceptual multi-media performance art group. During this time she also organized numerous site-specific “Hit and Run” paper fashion shows. Created as easily disposable streetwear, Gamboa’s paper fashions became quite popular, and some were even exhibited in museums.

RACHAEL CHAMPION

Forced Landscape
Rachael Champion’s site-specific sculptures and installations are engaged in a discourse surrounding the dependant yet unclear relationship between industry, technology and nature. Her works consist of large scale constructions and dramatic architectural interventions that question the shifting interactions humanity has with the natural world and considers their boundaries, separations and progressive implications. Through manipulating information from diverse influences that include brutalist architecture, agriculture, raw materials, municipal infrastructure, public space and ecology, Champion questions the layered and dynamic complexities of our shifting physical environment.

Maya Lin

Folding the Chesapeake
Maya Lin has maintained a careful balance between art and architecture throughout her career, creating a remarkable body of work that includes large-scale site-specific installations, intimate studio artworks, architectural works and memorials.

KOEN HAUSER

Amethyst
Amethyst initially was created as a site-specific installation with images and sound. Slowly dissolving slides reminisce the process of decay. The automated slideshow is projected in a dimly lit but richly decorated room, the visual style of the imagery referring to fashion photography. I created this work on the occasion of Salon/1, by whom I was invited to show my work in Museum van Loon during the Amsterdam Fashion Week 2010.

Cecilia Vicuña

Quipu Womb
Although better known as a poet in her adoptive North American home (she has lived in New York since the 1980s), Cecilia Vicuña has stayed true to her youthful calling as a genre-bending visual artist for more than forty years, and her site-specific projects highlight the artist’s talent for composing poems in space, for a visceral lyricism in three dimensions.

MARK GARRY

[…] Mark Garry is driven by a fundamental interest in observing how humans navigate the world and the subjectivity inherent in these navigations. Though he uses a variety of media and mechanisms in his practice, he primarily focuses on institution-based installations. These delicately considered site-specific installations are measured and quiet, requiring meticulous systems of construction.

Rachael Champion

Primary Producers
Rachael Champion’s site-specific sculptures and installations are engaged in a discourse surrounding the dependant yet unclear relationship between industry, technology and nature. Her works consist of large scale constructions and dramatic architectural interventions that question the shifting interactions humanity has with the natural world and considers their boundaries, separations and progressive implications.

dan corson

Nebulous
The site-specific piece takes form as two large ‘clouds’ made of electronically controlled switch-glass, semi-transparent glass discs and LED fixtures. Corson ties in two distinct concepts to the work, dealing with seattle’s notoriously temperamental weather patterns and digital storage. more

Cerith Wyn Evans

СЕРИС ВИН ЭВАНС
ケリス·ウィン·エヴァンス
Form in Space…By Light

‘Cerith’s installation sits beautifully within the space, unfolding as you walk through,’ explains Clarrie Wallis, Tate’s Senior Curator of Contemporary British Art. The neon experience builds, from a single ‘peep hole’ ring in the South Duveens, through which you can glimpse swirls of radial light and an imposing octagon in the central gallery. The fractured neon fragments look like frantically drawn sparkler-lines on fireworks night.But there’s method and logic within these celestial scribbles. Hidden in the design are references to a host of highbrow sources, from Japanese ‘Noh’ theatre, to Marcel Duchamp’s The Bride Stripped Bare by her Bachelors, Even (The Large Glass), 1915-23. Don’t worry if you missed them. The beauty of rendering precise (verging on obscure) references in such a celebratory neon explosion allows for multiple – if not endless – interpretations.Each way you look at the sprawling 2km of neon tubing, a different shape or symbol emerges. No small thanks to the elegant way in which the structures have been painstakingly suspended. ‘There were over 1000 fixing points, and obviously we couldn’t drill 1000 holes in the Grade II listed building,’ Wallis explains. ‘We had to work with structural engineers very intensely, so as to be completely happy and convinced that we would be able to remove it without damaging the fabric of the building.’Though it seems too soon to be discussing the installation’s removal, Wallis has a point. It’s a visibly fragile, delicate sculpture – whose impermanence makes it more intriguing. As it is a site-specific sculpture, it can’t be recreated elsewhere. What’s more, because the neon tubes are filled with a constantly moving stream of pulsing, vibrating gasses, visitors will never see the same sculpture twice.

KRIJN DE KONING

laberinto cromatico
Dutch artist Krijn de Koning has created a labyrinthine walkway between brightly coloured walls on a terrace at the Turner Contemporary gallery in Margate, England.
The first public commission in England by De Koning, the Dwelling installation comprises a series of angled walls punctured with doorways and windows that create a trail for visitors to navigate through.Situated on the south terrace of the David Chipperfield-designed Turner Contemporary, the walls are positioned between the exterior of the gallery building and the site boundary.The elements slot between existing structures, incorporating changes in floor level and abutting permanent concrete balustrades.“The artist’s site-specific works – part architecture, part sculpture – challenge the viewer, offering new possibilities to navigate and experience the space the works inhabit,” said a statement from the gallery.Perpendicular surfaces, including door and window recesses, are all painted in different colours.The bright tones reference traditional seaside pavilions and beach huts, a common feature along the UK coast.The maze is open to the sky so shadows move across the surfaces of installation through the day.Architectural features including windows and doors are different sizes and positioned at various heights, allowing some to be clambered over or crawled beneath.

Richard Maloy

Yellow Structure
site-specific installation Yellow Structure (2016) by Richard Maloy. Seen from a distance, Yellow Structure will appear to be a solid, golden, rock-like structure that is minimal in nature. Closer inspection by visitors, however, will reveal its degradable and humble construction from common industrial materials such as cardboard, paint and tape.

DIMITRIS PAPAIOANNOU

ΔΗΜΉΤΡΗΣ ΠΑΠΑΪΩΆΝΝΟΥ
ДИМИТРИСОМ ПАПАИОАННУ
NOWHERE
This central scene is dedicated to the memory of PINA BAUSCH

NOWHERE explores the nature of the theatrical stage itself, a spatial mechanism continually transformed and redefined by the human presence to denote any place, and yet designed to be a non-place. 26 performers measure and mark out the space using their bodies, pitting themselves against its dimensions and technical capabilities in a site-specific performance that can be presented nowhere else.

jaesik lim, ahyoung lee, jaeyeol kim and taegu lim

clear orb

“The sustainable architectural culture that aspires the coexistence of human, nature and the architecture itself” is a core value of Heerim Architects and Planners in South Korea, the team behind a sparkling orb designed for Santa Monica Pier. A finalist in the biennial site-specific 2016 Land Art Generator Initiative design competition, which promotes the uptake of energy-generating public art that informs, delights, and uplifts communities and visitors, The Clear Orb reveals a playful approach to holistic design. Using transparent luminescent solar concentrators, the installation is purportedly capable of producing up to half-a-million gallons of fresh water each year for California.

Karla Black

卡拉布莱克

Karla Black costruisce sculture site-specific su larga scala utilizzando materiali amorfi ma quotidiani, dallo sporco, al gesso e all’impasto fino alle polveri, agli spray e alle sostanze appiccicose che usiamo per rivestire i nostri corpi. Il suo lavoro reagisce alla luce e allo spazio di ogni sito con un senso di gioco e indeterminatezza. In forme che sembrano sempre sull’orlo del collasso, l’insignificante e il luogo comune sono resi trascendenti attraverso dimensioni e scala, grandi astrazioni infuse di un senso di entropia.

Refik Anadol, Kilroy Realty Corporation and SOM Architects

Virtual Depictions
Parametric data sculptures
The main idea of ‘Virtual Depictions:San Francisco’ is to bring 21st century approach to public art to define new poetics of space through media arts and architecture and to create a unique parametric data sculptures that has an intelligence, memory and culture. Through architectural transformations of media wall located in 350 Mission’ lobby, home of Salesforce, main motivation with this seminal media architecture approach is to frame this experience with a meticulously abstract and cinematic site-specific data-driven narration. As a result, this media wall turns into a spectacular public event making direct and phantasmagorical connections to its surroundings through simultaneous juxtapositions. The project also intends to contribute to contemporary discourse of public art by proposing a hybrid blend of media arts and architecture in 21st century.

JOYCE HINTERDING

Field and Loops

Loops and Fields, is a collection of drawings that resonate sympathetically to the electromagnetic fields within the gallery. These graphite drawings function as graphic antennas and explore the qualities and inherent nature of a combination of hand-drawn and mathematically generated forms. Delving into algorithmic structures, fractals and the chaotic nature of the hand drawn line, these drawings are an exploration of conductive materials and the possibilities for drawing electronic components. When connected to a sound system they make audible their interior activity and reveal the energy that exists in the immediate environment.Relying on the basic principles of the directional loop antenna, the drawings in Loops and Fields, like any receiving antenna, convert an electromagnetic wave into a voltage; the loop antenna is particularly sensitive to magnetic fields and outputs a voltage proportional to that field. Monitoring this activity allows us to experience the local fields and generates a site-specific and dynamic aural landscape.The different shapes and line qualities that make up the algorithmically generated and stencilled drawings come from thinking about the possibilities of extending a line. Fractal mathematics and the research into fractal antennas has focused on reducing the overall size and space an antenna needs to occupy. My interest is in the frequency range at the lower regions of the spectrum, where the wavelength is large; so my interpretation of recent antenna design research has led me to explore the possibilities for drawing antennas that can receive large wavelengths, on something the size of a standard piece of fine art paper.

Vjsuave

Suaveciclo
File Festival
Vjsuave is Ygor Marotta and Cecilia Soloaga, a new media art duo, based in São Paulo, Brazil. As specialists in animation, moving projection and digital graffiti, they have realesed 4 short films, “Run”, “Homeless”, “La Cena” and “Trip” Their main performances are: “suaveciclo” – a tricycle adapted to project in the streets, live painting and animation with ipad, live audiovisual performance, video mapping and site-specific a/v installations. They want to comunicate love through light. Their performances are poignant, warm, and personal, crafted from hand-drawn and hand-painted media, transformed into digital animation, then projection-mapped in a way that seems to bring São Paulo’s streets alive. Characters dance and run across the urban landscape, with a convincing blend of simulated movement and real moving projection.

KATE GILMORE

كيت غيلمور
קייט גילמור
케이트 길모어
Кейт Гилмор
Sudden as a Massacre

Gilmore create a site-specific installation, video, and performance-based project. In a private performance for the camera, a quintet of women tear apart an enormous cube comprising more than5,050 pounds of wet clay. As the block disappears, the space will be covered in the evidence of action.