Michael Perl & Christian Zwerschina

A gate between illusion and reality. An invisible border between the inside and the outside. The walk-in installation IF exaggerates both subjective and objective sensory and spatial perception, offering time to find ourselves and position.

United Visual Artists

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
our time

Our Time (2016) is the latest large-scale installation by United Visual Artists investigating our subjective experience of the passing of time. How long is a moment? At what rate does time actually pass? The work joins a series of kinetic sculptures that began with Momentum (2013); an installation designed as a ‘spatial instrument’ that was to reveal the relationship between expectation and perception when intersected with a physical space.
Our Time defines a physical environment where pendulums swing at a pace apparently unhindered by the laws of nature and where no single time measurement applies. The installation combines movement, light and sound as a multi-sensory, multi-dimensional canvas the visitor can enter. Pendulums swing, each to their own rhythm, as time flows through the grid. With light tracing the path and sound its echo, the passing of time becomes almost palpable.

ALICE HALDENWANG, LAURA COUTO ROSADO AND TINGTING ZHANG

Telepathy 2012-2112
“TELEPATHY” immerses the viewer in the heart of a fiction where telepathy would become the predominant means of communication at the expense of means of current communication. The ten glass helmets enable to visualize a telepathic communication, by definition invisible. “TELEPATHY” proposes to reverse the current trend which consists in basing its communication on technology, and in exchange it reveals the parapsychological and subjective communication of psychic phenomena.

Troika

Dark Matter

‘Troika’s metaphysically strange hanging sculpture Dark Matter (2014), a large black object that looks like a circle, a square or a hexagon depending on where you’re standing, probes (like Olde Wolber’s video) a very contemporary disturbance about the irreconcilability of subjective point-of-view and objective truth.’

Milena Naef

Morphing
Milena Naef questions ‘existing’ structures that are inherent to herself. The work tries to create the right manifestation of the assumed duality between body and mind. She translates characteristics of a subjective experience into material, transforming the mental into physical to find a new relation between the two. Once tangible, the interaction with the concrete material allows for a space to ‘open’ in which a given context can be changed. The body itself with its physical presence and its absence becomes a vital aspect of the work.

milena naef

Body
Milena Naef questions ‘existing’ structures that are inherent to herself. The work tries to create the right manifestation of the assumed duality between body and mind. She translates characteristics of a subjective experience into material, transforming the mental into physical to find a new relation between the two. Once tangible, the interaction with the concrete material allows for a space to ‘open’ in which a given context can be changed.

Csilla Klenyanszki

To make a time
“To make time” deals with the passage of time, not just as a symbol or an idea, but as a subjective experience; I need to find time to make time. Making times takes time.

Matthias Dörfelt

Selective Memory Theatre
Selective Memory Theatre is a machine-like perception and memory installation, that thematises the desire to teach the non-forgetting digital memory to forget. It thereby covers the selectionistic nature of the individual mind, that marks the human sensing and remembering as the subjective and biased – but therefore human and functional – act that it is. The installation consists of two projections, the perception and the memory layer. Both will be explained in what follows.

csilla klenyanszki

to make time
“To make time” deals with the passage of time, not just as a symbol or an idea, but as a subjective experience; I need to find time to make time. Making times takes time.

Ricardo Barreto and Maria Hsu

Avactor (AI)
Thus, we could define computers not only as object-machines for the use of natural subjectivity, but also as machines of artificial subjectivity, in such way that the subject- machines would operate the object-machines, the same happening for automata, robots and digital avatars. However, we observe the need of another element, whose absence prevents artificial subjectivity’s manifestation. In the present moment, rather than an artificial ego or an artificial conscience, in a structuralizing sense, it must have, in a tactical sense, a persona or a personality, in sum, an actor. Without that persona, artificial subjectivity becomes a mere landscape, lacking subjective referential; without that actor, there is not empathy between artificial subjectivity and natural subjectivity. We call that artificial personality: the Avactor.