Parse/Error

ISS Tracker
L’ISS Tracker suit en temps réel la Station Spatiale Internationale dans sa course autour du monde, en suivant son orbite et en pointant du doigt sa position dans le ciel à tout instant. Un projet inspiré par ma fascination pour l’espace, qui a toujours stimulé l’imagination de l’espèce humaine. Un hommage à la prouesse technique que représente l’ISS, et aux astronautes à son bord. Il faut environ 92 minutes à la Station Spatiale Internationale pour faire le tour de la Terre. L’ISS Tracker se base sur les paramètres orbitaux à deux lignes, ou TLE (pour Two-Line Elements), pour déterminer l’orbite de la station et calculer sa position. L’azimut et l’élévation sont ensuite calculés par rapport aux coordonnées GPS de l’observateur, la date et l’heure, afin de définir la direction à pointer. La position de l’ISS est recalculée toutes les 10 secondes et la direction pointée par la main de l’ISS Tracker est mise à jour.

MEMO AKTEN

Body Paint
File Festival

The interaction is simple, movement creates paint. Hidden in the simplicity are layers of subtle details. Different aspects of the motion: size, speed, acceleration, curvature, all have an effect on the outcome: strokes, splashes, drips, spirals; and is left up to the users to play and discover. The installation is designed to work with any number of people and is scalable to cover small or large areas. While the installation is suitable for a single user, when multiple users are present a new dynamic emerges. A user-to-user interaction is born when the audience starts playing with each other via the installation, throwing virtual paint on each other, trying to complete or destroy each other’s paintings.

PEEPING TOM

32 rue vandenbranden
The script of physical actions is inspired by the Japanese film A ballad de Naraiama (1983), by Shohei Imamura, the one with tearing images, like that of the son carrying his mother on his back, embraced by the wind, climbing the mountain to put her on the summit until death, as the local tradition says that every septuagenarian must have an equal destiny. In the same village in the late 19th century, parents used to sell babies to survive. These material and spiritual miseries do not bring literals to the stage. Rather, they are essentials that make the show a fabulous visual poem written in and with the body and the scenic space. The song is also celebrated at the height, with moments such as Stravinski’s The Bird of Fire suite, and the song Fline on you crazy diamond, by the band Pink Floyd.

John Butler

Gaitkeeper
“Just be yourself, and nobody else”. Our motions, as distinctive as our faces, will soon be captured and interned. Gaitkeeper is a biometric control suite designed to counter the challenge of ‘Locomotive Camouflage’. LoCam, which combines the physical control of dance with the unpredictability of performance art, is rapidly being adopted by civic insurgents. Gaitkeeper units, based on the off-the-shelf Kiva chassis, are now being deployed as standard counter measures.

Bohyun Yoon

Mirror Armor
Being entrapped in narcissism is like a “self-jail”. Placing the mirror armor fixtures over my nude body causes the viewer to see the pixelated and fragmented image of myself. Usually covering, hiding, pretending to be a version of myself on the outside, therefore, “good looking” seems more of decoration or in itself a type of armor suitable for public viewing. Will these mirrors of self reflection cause me to wonder who I am on a deeper level? To discover who I truly am, what I am afraid of, why I waste my life without discovering my inner self. I constantly struggle with how I can break this boundary because I want to wake from this oblivion.

MATTHIJS MUNNIK

Microscopic Opera

Les micro-organismes peuvent-ils aussi être des artistes? Comment notre relation à ces créatures change-t-elle, après qu’elles sont vues dans un contexte artistique et théâtral? À la recherche d’un micro-organisme qui aurait les qualités d’un interprète, j’ai été présenté à C. elegans; un petit ver, de moins d’un millimètre de longueur, qui se déplaçait aussi élégant que son nom l’indique et la première créature à avoir séquencé tout son génome. J’ai été intrigué lorsqu’un chercheur m’a dit que, pour distinguer les vers au microscope, il utilisait différentes mutations qui modifiaient la façon dont ils se déplaçaient. Certains se déplacent en spirale, d’autres ont roulé ou ont des contractions et certains sont devenus morbides obèses à cause de leurs mutations. Dans mon installation, j’ai cinq boîtes de Pétri remplies de cinq vers mutés différents, chacun se déplaçant légèrement différemment. Ces cinq groupes d’interprètes sont filmés avec un microscope USB diffusé en direct sur les cinq écrans. J’ai écrit un logiciel spécial qui suit les vers et traduit leurs mouvements en sons, faisant d’eux les interprètes non avertis de la musique dans le monde macroscopique au-dessus de leurs têtes. Alors que les chercheurs sont presque comme des dieux pour ces vers impuissants, les contrôlant de leur première à leur dernière division cellulaire , j’espérais donner aux vers le pouvoir de nous affecter également dans notre monde.

Chris Cheung

No Longer Write – Mochiji
Powered by artificial intelligence’s Generative Adversarial Networks (GANs), the collected works from ancient Chinese Calligraphers, including Wang Xizhi, Dong Qichang, Rao Jie, Su Shi, Huang Tingjian, Wang Yangming, as input data for deep learning. Strokes, scripts and style of the masters are blended and visualized in “Mochiji”, a Chinese literature work paying tribute to Wang Xizhi. Wang is famous for his hard work in the pursuit of Chinese calligraphy. He kept practicing calligraphy near the pond and eventually turned the pond for brush washing into an ink pond (Mochi). The artwork provides a platform for participants to write and record their handwriting. After a participant finished writing the randomly assigned script from “Mochiji”, the input process is completed and the deep learning process will begin. The newly collected scripts will be displayed on the screen like floating ink on the pond, and slowly merge with other collected data to present a newly learnt script. The ink pond imitates process of machine learning, which observes, compares and filters inputs through layers of image and text, to form a modern edition of “Mochiji”.
.
不再写 – Mochiji
以人工智能的生成对抗网络(GANs)为动力,将王羲之、董其昌、饶捷、苏轼、黄廷健、王阳明等中国古代书法家的作品作为深度学习的输入数据。向王羲之致敬的中国文学作品《麻糬》,将大师的笔触、文字、风格融为一体,形象化。王先生以对中国书法的刻苦钻研而著称。他一直在池塘边练习书法,最终把洗笔池变成了墨池(麻糬)。艺术作品为参与者提供了一个书写和记录他们笔迹的平台。参与者完成“Mochiji”中随机分配的脚本后,输入过程完成,深度学习过程将开始。新收集到的脚本会像池塘上的浮墨一样显示在屏幕上,并与其他收集到的数据慢慢融合,呈现出新学到的脚本。墨池模仿机器学习的过程,通过图像和文本的层层观察、比较和过滤输入,形成现代版的“年糕”。

 

Gwyllim Jahn & Cameron Newnham +Soomeen Hahm Design +Igor Pantic

Steampunk Pavilion
Steampunk is a pavilion constructed from steam-bent hardwood, designed by Gwyllim Jahn, Cameron Newnham (Fologram), Soomeen Hahm Design and Igor Pantic for the 5th edition of Tallinn Architecture Biennale.
“Steampunk explores a path to rethink applications and traditions of craft in pursuit of their evolution.” Soomeen Hahm Design
“The structure challenges the idea of the primitive hut –showing how, by using algorithmic logic, simple raw materials can be turned into a highly complex and inhabitable structure”.Gilles Retsin

OLIVIER RATSI

Perspective du cadre
Mesurant 30m x 30m x 2,4m et doté de lumières LED et de 8 canaux audio, Frame Perspective transforme un espace caverneux à la Maison de la Région. A des dates précises tout au long du festival Constellations, Ratsi a préparé un programme lumière dans l’espace, accompagné d’une composition sonore interprétée par Thomas Vaquié (voir le programme du festival pour plus de détails). Frame Perspective poursuit l’interrogation de Ratsi sur la réalité à travers la création d’espaces exploratoires et périphériques. Les formes répétitives de l’installation créent de nouvelles dimensions dans la Maison de la Région, interrompant les lignes de l’architecture. Pendant ce temps, la composition des lumières et des sons en interaction perturbe les textures sonores et visuelles de l’espace et résonne avec le visiteur sur des fréquences inexplorées. L’effet est de plonger le visiteur dans un environnement fluctuant qui relie les technologies numériques aux espaces physiques et soulève des questions sur la façon dont la réalité est construite et vécue dans les domaines numérique, physique et autres.

Coralie Vogelaar

infinite posture dataset

She moves by endlessly morphing to the rhythm of the device – strapped in the frame of the screen – following or giving instructions; part human, part machine. The design of the device is inspired by a gadget to cheat the step-counter on your smartphone. Technology tricked by technology. Her movements, caught within a motion capture like tight suit deconstructing her body parts, talk of complex and conflicting emotions, but her face, from which we usually read how someone is feeling, is hidden. But is the machine that is observing her deconstructed and re-sequenced postures actually capable of recognizing what the body is communicating? Are we?

Maria Guta and Adrian Ganea

Cyberia

Performance & live computer generated simulation

A postmodern fairytale, Cyberia takes place somewhere in a cold distant East, stretching between and endless imaginary realm and a vast physical space. It is a westwards journey towards a promised future with no arrival and no return. There is no here or there, only a twilight zone between a departure point and a simulated destination. Between digital video projections and a physical setting, using the mechanics of a video-game engine with a motion capture suit, Cyberia is the simulation of an endless pre-climax state where a performer and a CG avatar dance as one to the rhythms of an imaginary West. In a world oversaturated by digital data –mysticism and paranormal are as popular as ever. Emerging technologies are increasingly incorporated in a form of postmodern spiritualism, as Arthur C. Clarke points out: “Any sufficiently advanced technology is indistinguishable from magic.

Alexandra Dementieva

Limited Spaces N2
On approaching the piece, the viewer must mount a bicycle and start pedaling at a suitable and steady speed — only then will the projection of a film onto the screen start. In order to watch the film to the end one has to continue cycling without stopping. This work is built around a performance, produced by two actors: a man riding a bicycle and a woman, who, concealed behind the screen, moves depending on the man’s velocity, unintentionally creating changing reliefs which resemble sculptures. The abusive nature of the relationship embodied in the performance clearly draws on the ancient Greek myth about sculptor Pygmalion and his “artwork” Galatea on the one hand, and on the other references more contemporary feminist discourse, something to which the artist is far from being indifferent. The faster the man pedals, the faster and more forcedly the woman moves. Few trained artists could withstand such a speed.

Michael Najjar

Terraforming
The video work “terraforming” focusses on the transformation of a natural environment through energy input. The underpinning idea is that of three phase system change. This begins with the stage of equilibrium where a system is in a certain balance and not changing at all. In the next stage an evolving system enters a state of motion and change where it moves away from equilibrium. The third and final stage is the phase of transformation in which the original system becomes something else. The key element in this transformation process is the sun. This process is called terraforming, whereby a hostile environment, i.e. a planet that is too cold, too hot, or has an unbreathable atmosphere, can be altered to make it suitable for human life. Such a process is not merely a futuristic scenario but represents exactly what is happening on Earth at this moment as the process of atmospheric change brought about by increasing CO2 emissions heats up our planet and speeds up the process of climate change.
video

Iris van Herpen & Dutch National Ballet

Biomimicry
For the ‘Biomimicry’ film, Iris van Herpen and Dutch National Ballet explore the symbiotic relationship between the metamorphic force in which fashion and dance interlace. The film, directed by Ryan McDaniels, sees the mesmeric dancer JingJing Mao undulating into liquescent shapes and transcending into graceful figures that reflect her myriad of movements. The concept of the creation stems from the notion of biomimicry — the design and production of materials and systems that are modelled on biological processes. In line with Iris van Herpen’s continuous pursuit to materialise the invisible forces that structure the world, the film focusses on the bond between humanity and nature.

MOMOYO TORIMITSU

鳥光桃代
Miyata Jiro
“Miyata Jiro” by Momoyo Torimitsu is a life size replica of the typical Japanese businessman. Sporting a suit, glasses, and a receding hair line complete with a comb-over, Miyata has mechanically crawled the metropolises of New York, London, Amsterdam, Paris, Rio de Janeiro, and Sydney. With the aid of the artist in full nurse costume, the duo engages street and business life (Miyata has crawled the likes of Wall Street and La Defense — epicenters of business cultures as well as typical touristic destinations). The performance and audience reactions were videotaped and photographed and six monitors at the Dikeou Collection play the respective videos, each identified by a small flag for the country in which the crawl took place.

SYD MEAD

In 1979, projects began to include work with most major studios, on such feature films as Star Trek: The Motion Picture, followed by, Bladerunner, TRON, 2010, Short Circuit, Aliens, Time Cop, Johnny Mnemonic, Mission Impossible-3, and most recently Elysium starring Jodi Foster and Matt Damon, Directed by Neill Blomkamp. Beginning in 1983, Syd began to develop close working relationships with a number of major Japanese corporate clients, including; Sony, Minolta, Dentsu, Dyflex, Tiger, Seibu, Mitsukoshi, Bandai, NHK and Honda as well as contributing to two Japanese film projects, The New Yamato and Crises 2050. In the 1990s’, Syd supplied designs for two Japanese toy icons, “The New Yamato” and all eight robot characters in the new Turn-A Gundam mobile suite series which were also seen as characters in Television shows.

Lera Auerbach

Gogol
“The opera’s three acts are divided into seven scenes which blend fact with liberal amounts of invention. Among other things, Gogol wrestles with his (and Russia’s) demons by night, obsesses over his will and funeral arrangements, gets abused by doctors (‘but I don’t drink alcohol,’ he cries; ‘all the more reason for a leeching,’ they reply), bats away bothersome suitors with disconcertingly large papier-mâché breasts, falls in love with a nymph, and undergoes a literary show trial which culminates in his death.”
By Zwölftöner

Samuel St-Aubin

Prosperity
Prospérité est un dispositif autonome qui manipule les grains de riz. Une pince se déplace d’un support à l’autre, saisissant sur son passage les grains qui ont été placés aléatoirement pour ensuite venir les déposer de façon ordonnée sur un deuxième support. À la suite de ce processus, les grains de riz sont ainsi alignés, mais leur orientation initiale a été conservée. Prosprérité est une machine autonome qui ne requière aucun ordinateur. Tout le fonctionnement est intégré au microcontrôleur principal ainsi qu’à ses 3 périphériques, le lecteur de grain de riz, le contrôleur de mouvement linéaire et le contrôleur de la tête (pince).

Jon McCormack

Colourfield
Colourfield is an evolutionary ecosystem of colour. Colour agents try to exist in a simple universe by producing colours that are suited to their environment. This environment is determined by the other agents and the colours they produce. Entering into complex feedback cycles, Colourfield presents an evolving palette of shifting colours. Different configurations emerge based on the strategies the ecosystem discovers for co-existance and co-dependency. Harmonious configurations often remain stable for a short while, before eventually being replaced by new relations, better able to survive in the ever shifting environment.

Charlie Behrens

Algorithmic Architecture
This short film is intended to encourage a creative audience to seek out Kevin Slavin’s talk Those Algorithms Which Govern Our Lives. It employs an effect which takes place in Google Earth when its 3D street photography and 2D satellite imagery don’t register correctly. This glitch is applied as a metaphor for the way that our 21st century supercities are physically changing to suit the needs of computer algorithms rather than human employees.

White Void

Electric Moon
The large-scale art piece is a new color version of Christopher Bauder’s first large-scale installations, this time specially constructed for the imposing church environment — a setting where an interplay of light and space has been a foundational experience for centuries. For ELECTRIC MOONS, WHITEvoid uses products and technical expertise of Kinetic Lights, featuring and a new RGB version of Kinetic Lights’ helium light Balloon and a modular system made of 36 ground-based Kinetic Lights Winch XS perfectly suited for architectural spaces that require specially tailored schemes such as St. Maria Church.

natalie walsh

Fiber Optic Dress

La créatrice Natalia Walsh, de San Francisco, a transformé les concepts de mode et a créé une robe innovante qui brille dans le noir.
Pour élaborer la pièce, l’artiste a réalisé un modèle basique blanc avec une jupe  ballon et un support pour les poignées des sources lumineuses. Ensuite, elle a inséré les fils de fibre optique autour du corps de la robe, les laissant vers le sol pour créer un effet dynamique.Pendant que le modèle bouge et marche, les fibres optiques changent de couleurs différentes.

Kate Cooper

Infection Drivers
Infection Drivers (2019) explores the body under attack. In this work, a CGI figure struggles to move and breathe in a translucent suit, which takes her body through transmutations of stereotypically masculine and feminine physiques as it inflates and deflates. In a time of increased public surveillance through facial-recognition software and biometric data  mining, Cooper’s high-definition world invites us to investigate and perhaps find freedom in the technologies often used to constrain us.

Latifa Neyazi

Graduate Fashion Week 2018

“One of the boldest statement pieces of the week, even more so than the fluorescent collections! Neyazi’s huge puffy fat suit resembling garment was incredibly unusual. The ballooning dress took on a very unique silhouette.The models were send down the runway wearing headpieces which matched the round bunched bottom shaped dress. The brown, beige and burnt orange colour pallet evoked a bonfire and the huge blown up dresses adhere to a fire form.” Chloe Alexandra Lawrence

Yamaha & Kaiji Moriyama

Mai Hi Ten Yu
Yamaha artificial intelligence (AI) technology enabled the world-renowned dancer Kaiji Moriyama to control a piano by his movements. The AI adopted in the system can identify a dancer’s movement in real time by analyzing signals from four types of sensors attached to a dancer’s body. This system has an original database that links melody and movements, and, with this database, the AI on the system creates suitable melody data (MIDI) from the dancer’s movements instantly. The system then sends the MIDI data to a Yamaha Disklavier™ player piano, and it is translated into music.

BYOUNGHO KIM

БЙОНХО КИМУ
His Lucid Dream
“My artwork begins with an assumption that “mankind is in continuous pursuit of new desires.” All kinds of desires are exaggerated, minimized, and deleted in order to achieve a pre-established goal. And the more these desires gather together, the larger and more complicated the constructed being becomes. Thus, this is the constructed fantasy, a fantasy of desire, and a fantasy of our time.” – Byoungho Kim

Elisabeth Chojnacka

Henryk Górecki
Concerto for Harpsichord and String Orchestra Op. 40
Harpsichord: elisabeth chojnacka

Less than nine minutes long, the bipartite Concerto for Harpsichord (or Piano) and String Orchestra, which the composer sometimes called a “prank”, is a veritable volcano that carries the listener away from the very first bars with its immense energy. Its repetitive, motoric nature and rhythmic vigour suit the specific, slightly clattery sound of the harpsichord which is usually somewhat amplified, complemented by the chordal texture of the strings. In both parts, the mood of the piece clearly draws on the highlander music of the southern Podhale region, of which Górecki was a great admirer. In the context of his monumental sacred music from the same period, this Concerto is like the artist’s brief “respite”. It reflects the whirl and “profane” energy of a folk dance.
Elżbieta Chojnacka, to whom the piece was dedicated, has always stressed that every performance of the Concerto, which she has played throughout the world, ends with an encore. The piece meets with such acclaim from the audience, and is one of the most striking – and most joyful – compositions in the composer’s output. “A spectacular plaything”, as Teresa Malecka has described the piece.

CRAIG GREEN

Paris Fashion Week Fall/Winter 2020
The collection’s first half was staunchly buffered by outerwear resembling that of protective armor, with contemporary suiting and shirting turned upside down by boxy and robust puffer-like additives […] These qualities were furthered in an array of pieces that look like camping tents with ladders hanging from the front and even in pieces that resembled wire mesh attached to the body, emitting cage-like qualities that tie into Green’s continued themes surrounding the dissection of the male psyche.

PETER BROOK

بيتر بروك
彼得·布鲁克
פיטר ברוק
ピーター·ブルック
피터 브룩
ПИТЕР БРУК
The suit
The Suit a été dirigée par Peter Brook, metteur en scène anglais installé en France depuis la fin des années 1970, et Marie-Hélène Nastier, sa collaboratrice de longue date. La pièce débute sur un vaudeville : une femme trompe son mari, le mari les découvre, l’amant s’enfuit et oublie sa veste: « the suit » (« le costume »). Le mari décide alors de faire porter à sa femme le poids de son infidélité. Elle devra emmener avec elle, partout où elle va, la veste oubliée. La musique du compositeur français Franck Krawczyk accompagne les acteurs sur scène.

Playdead

Inside
Inside expands on the concepts and scope of its predecessor in wildly creative ways, and it’s so immaculately designed and constructed from top to bottom that it almost feels suitable for display in an art museum. This is one hell of a followup
FILE GAMES 2017

Suguru Goto

L’homme transcendé
Suguru Goto explore l’extension des potentialités dans la relation homme-machine. Ses performances joue sur l’interaction entre la représentation vidéo de corps virtuels et les vrais corps présents sur la scène, qui peuvent grâce au BodySuit, transformer ces images en temps réel. Un puzzle est créé autour des différences et des ressemblances entre le vrai corps et le corps virtuel.

BORIS PETROVSKY

Борис ПЕТРОВСКИЙ
The Global Pursuit of Happiness or: The Army of Luck
What would you do with 520 cat figurines? If you’re artist Boris Petrovsky, you might turn them into a massive kinetic sculpture that serves as a sort of pixel-grid display for user-submitted expressions of hope. In his installation The Global Pursuit of Happiness, or: The Army of Luck, Petrovsky arranges 40 rows and 13 columns of the popular Japanese lucky talisman, Maneki Neko (literally Beckoning Cat; aka Lucky Cat, Money Cat), into a golden army of kitsch.

MICHAEL BURTON

Astronomical Bodies

Astronomical Bodies is based on the research of Dr. Terence Kee of the University of Leeds. He proposes that that a reactive form of phosphorus arrived on the early Earth via meteorite impacts. His research found that phosphorus from space was more suitable for the chemical reactions to develop complex life. Astronomical Bodies reverses this process and tries to transform phosphorus harvested from the body — in the form of kidney stones and urine — into manmade meteorites. Rather than the traditional idea of transpermia addressed in a host of science fiction writings and films, Astronomical Bodies proposes that the galactic transferal of life-promoting chemicals is a natural process that we can facilitate.

La La La Human Steps

New Work
Mi Deng and Jason Shipley-Holmes perform

In “New Work” (dance), the viewer was best served by looking at the bodies’ wavering outlines, the women in strapless black leotards and tights, the men in black suits (though sometimes shirtless; costumes by Liz Vandal). Observe the strobe-like effect created by the ferociously waving arms and flexed hands, or the reflections that bounced off the ballerinas’ skin and pink toe shoes. Notice the exaggerated contours of sinewy muscles.

Ryoji Ikeda

池田亮司
이케다 료지
РЕДЗИ ИКЕДА
Data-verse
Ryoji Ikeda’s new trilogy data-verse, commissioned by Audemars Piguet, is an audiovisual symphonic suite that attempts to encompass the tiniest (elementary particles) to the greatest (Universe) scale in Nature.Data-verse is the ultimate chapter of Ikeda’s audiovisual series that first began in 2000, which focuses on his own data-driven research and aesthetics.Through his mathematical composition and aesthetics, massive scientific data set will be processed, transcribed, converted, transformed, de/re/meta-constructed and orchestrated to visualize and sonify the different dimensions that co-exist in our world between the visible and the invisible.

Greyworld

Monument to the Unknown Artist
At first glance, Monument to the Unknown Artist appears to be a simple bronze statue, dressed in a neck scarf and loose fitting suit. However, the six meter monument seeks inspiration from passers-by, inviting them to strike poses which he copies, continually changing his form in a light-hearted and mischievous way. The unique sculpture offers an alternative and accessible creative experience for the public allowing them to create a dialogue with the work of art.

PETER BROOK

بيتر بروك
彼得·布鲁克
פיטר ברוק
ピーター·ブルック
피터 브룩
Питер Брук
MAHABHARATA
cinema full
un projet pharaonique qui raconte la douloureuse naissance du monde d’après l’un des textes fondateurs de l’Hindouisme, composé de 100 000 stances divisées en 18 chapitres. D’abord monté pour le théâtre, l’oeuvre est ensuite adaptée au cinéma dans une version de 3h, et plus de 5h pour la télévision.

Ingo Maurer

Birdie
The original Birdie suspension lamp was designed by Ingo Maurer himself in 2002. Birdie is the smaller version of the Birds Birds Birds chandelier and is suited for ceiling heights of 230 to 260 cm. With 12 halogen low-volt bulbs, extra produced by Ingo Maurer, and handmade wings of goose feathers this lustre becomes an extraordinary design lamp. The individual wires can be turned, bent and shaped whichever way you like.

Iannis Xenakis

ЯНИС КСЕНАКИС
ヤニス·クセナキス
Stratégie
per due Orchestre e due Direttori

Iannis Xenakis est né en 1922 (ou 1921), à Braïla (Roumanie), au sein d’une famille grecque. Il passe sa jeunesse à Athènes, où il achève des études d’ingénieur civil et s’engage d’abord contre l’occupation allemande, puis contre l’occupation britannique (guerre civile). En 1947, après une terrible blessure et une période de clandestinité, il fuit la Grèce et s’installe en France, où il travaille pendant douze ans avec Le Corbusier, en tant qu’ingénieur, puis en tant qu’architecte (Couvent de la Tourette, Pavillon Philips de l’Expo universelle de Bruxelles de 1958 – où fut donné le Poème électronique de Varèse – célèbre pour ses paraboloïdes hyperboliques). En musique, il suit l’enseignement d’Olivier Messiaen et, dans un premier temps, emprunte une voie bartókienne qui tente de combiner le ressourcement dans la musique populaire avec les conquêtes de l’avant-garde (les Anastenaria, 1953). Puis, il décide de rompre avec cette voie et d’emprunter le chemin de l’« abstraction » qui combine deux éléments : d’une part, des références à la physique et aux mathématiques ; d’autre part, un art de la plastique sonore.

AHN SUN MI

安宣美
mobius strip

The young Korean photographer, Ahn Sun Mi lets us discover her through self portraits. She opens up her poetic universe, a world between dream and reality, where nostalgic feelings cradled by childhood fairy tales and the pursuit of her own inaccessible and voluptuous femininity are the essence of her inspiration. Sun Mi envelops in her familiar world of childhood with her sweet self portraits where toys from the past come to reassure her in a friendly way. Soap bubbles, teddy bears, umbrellas and fluorescent wigs seem to travel with her to the Milky Way in her quest to become a mature woman.

KHALIL CHISHTEE

Халиль Чишти
Pursuit

El artista pakistaní Khalil Chishtee ha encontrado en las bolsas de plástico, de esas que llevamos en los supermercados o usamos para tirar la basura, la materia prima idónea para modelar sus increíbles esculturas antropomorfas, muchas de las cuales resultan realmente espeluznantes a la vista y dan la impresión de ser especies de momias o de cadáveres en descomposición, erguidos o colgados de la pared. El escultor asegura que “El arte no siempre tiene que ser bonito”.

BILL VORN

DSM-VI
DSM-VI est une suite logique à notre approche artistique de création de mondes artificiels et de systèmes entièrement robotiques. Cette fois, nous voulons créer un univers qui met en scène des créatures exprimant des symptômes de comportements psychologiques «anormaux» et confrontés à de graves problèmes de «santé mentale», tels que névrose, psychose, troubles de la personnalité, paranoïa, schizophrénie, dépression, délire, etc. formes de comportement et troubles mentaux. Le titre du projet est inspiré du célèbre manuel de référence publié par l’American Psychiatric Association, le DSM-IV. Le DSM-IV (Manuel diagnostique et statistique des troubles mentaux) est considéré comme la bible de la psychiatrie moderne. Tantôt glorifié tantôt fortement critiqué, il s’agit d’un ouvrage de représentation qui décrit et classe les troubles du comportement humain et les maladies mentales. La version IV du DSM a été publiée en 1994 puis révisée en 2000. La version V est actuellement en préparation et devrait à terme être publiée en 2012. Avec ce projet, nous proposons la version VI. A l’instar de certains de nos précédents travaux conçus autour de l’idée de «la misère des machines» (voir La cour des miracles), le projet DSM-VI veut poursuivre notre travail de création sur la métaphore du vivant en interrogeant désormais la notion d’une «psychose des machines».

Zarko Baseski

Zarko Baseski est un artiste macédonien, né en 1957, qui a exposé dans de nombreuses galeries et musées à travers le monde. Il a représenté son pays à la 54ème Biennale Internationale de Venise en 2011. L’apparition phénoménale de son oeuvre dans le paysage contemporain nous questionne alors qu’ Eve, Adam, Ezekiel et David nous renseignent sur nous-mêmes infiniment mieux que la plus subtile des psychanalyses. Cet artiste exceptionnel est inclassable, il ne transforme pas l’homme en monstre mais nous montre la monstruosité qu’il peut y avoir en l’homme lorsqu’il s’est débarrassé de l’illusion humaniste qu’il se fait de lui-même. Zarko Baseski m’a tellement stupéfiée que j’ai tout de suite décidé de l’exposer.

RICHARD DUPONT

理查德·杜邦
리처드 듀퐁

Manipulant des scans 3D de son propre corps sur l’ordinateur, M. Dupont marie ensuite des méthodes de fabrication numérique comme le prototypage rapide et le fraisage à commande numérique par ordinateur avec le moulage en plâtre traditionnel et d’autres travaux manuels laborieux pour créer des figures qui peuvent paraître à la fois archaïques et futuristes. L’un de ses nus debout, similaire dans sa posture aux statues Kouros de la Grèce antique, semble se fondre en ondulations lorsqu’il est vu sur un axe, suggérant l’expérience psychique de l’homme dans le monde moderne.

Hehe – HELEN EVANS AND HEIKI HANSEN

Nuage Vert
Le troisième édition de Nuage Vert, action guerilla, a mise en lumière le nuage de vapeur émis par l’incinérateur de déchets à Ivry-sur-Seine en utilisant un rayon laser vert qui en souligne les contours en temps réel. Autorisée par la Direction de la sécurité de l’Aviation Civile, la préfecture de Seine-et-Marne a ensuite l’interdit pour des raisons inconnues. Une action artistique sur un objet dématérialisé, comme l’air d’un panache de vapeur, à condition que l’action ne nécessite pas une installation sur la voie publique, n’a pas besoin d’être soumis à une autorisation préfectoral.
Au-delà du spectacle de la projection sur le nuage de vapeur, Nuage Vert est aussi un espace ouvert, une miroir sur laquelle chacun peut projeter ses propres questions concernant notre culture de consommation.
Réalisé avec le soutien morale et logistique des résidents des Docks d’Ivry-sur-Seine.

POTLATCH

Gretchen at the Potlatch Feast

“Potlatch is a festive event within a regional exchange system among tribes of the North pacific Coast of North America, including the Salish and Kwakiutl of Washington and British Columbia.”
The potlatch takes the form of governance, economy, social status and continuing spiritual practices. A potlatch, usually involving ceremony, includes celebration of births, rites of passages, weddings, funerals, puberty,and honoring of the deceased. Through political, economic and social exchange, it is a vital part of these Indigenous people’s culture. Although protocol differs among the Indigenous nations, the potlatch could involve a feast, with music, dance, theatricality and spiritual ceremonies. The most sacred ceremonies are usually observed in the winter.
Within it, hierarchical relations within and between clans, villages, and nations, are observed and reinforced through the distribution of wealth, dance performances, and other ceremonies. Status of families are raised by those who do not have the most resources, but distribute the resources. The host demonstrates their wealth and prominence through giving away the resources gathered for the event, which in turn prominent participants reciprocate when they hold their own potlatches.
Before the arrival of the Europeans, gifts included storable food (oolichan [candle fish] oil or dried food), canoes, and slaves among the very wealthy, but otherwise not income-generating assets such as resource rights. The influx of manufactured trade goods such as blankets and sheet copper into the Pacific Northwest caused inflation in the potlatch in the late eighteenth and earlier nineteenth centuries. Some groups, such as the Kwakwaka’wakw, used the potlatch as an arena in which highly competitive contests of status took place. In rare cases, goods were actually destroyed after being received. The catastrophic mortalities due to introduced diseases laid many inherited ranks vacant or open to remote or dubious claim—providing they could be validated—with a suitable potlatch.
Sponsors of a potlatch give away many useful items such as food, blankets, worked ornamental mediums of exchange called “coppers”, and many other various items. In return, they earned prestige. To give a potlatch enhanced one’s reputation and validated social rank, the rank and requisite potlatch being proportional, both for the host and for the recipients by the gifts exchanged. Prestige increased with the lavishness of the potlatch, the value of the goods given away in it.

SPLITTERWERK

bio intelligence quotient house
Dubbed the Bio Intelligent Quotient (BIQ) House, the approximately €5 million building was designed by Splitterwerk Architects and funded by the Internationale Bauausstellung (IBA), a long-running exhibition series showcasing cutting edge techniques and architectural concepts, for this year’s International Building Exhibition – 2013.
A total of 129 algae culturing tanks are affixed to the East and West sides of the building via an automated external scaffolding structure that constantly turns the tanks towards the sun. The plant cultures are fed through an integrated tubing system, CO2 is pumped in as well.According to Arup’s Europe Research Leader, Jan Wurm, who collaborated with Splitterwerk on the project:The algae flourish and multiply in a regular cycle until they can be harvested. They are then separated from the rest of the algae and transferred as a thick pulp to the technical room of the BIQ. The little plants are then fermented in an external biogas plant, so that they can be used again to generate biogas. Algae are particularly well suited for this, as they produce up to five times as much biomass per hectare as terrestrial plants and contain many oils that can be used for energy.Not only do these tanks provide shade for every level of the building during the summer and biogas for heating during the winter, the facade itself collects excess heat not being used by the algae, like a solar thermal system. That heat can then either be used immediately or stored in 80-meter-deep, borine-filled borehole heat exchangers located under the structure. Total fossil fuels used in this process: zero.

INVISIBLE CAR

MERCEDES-BENZ “Invisible Drive”
The Mercedes-Benz F-CELL is the first hydrogen-powered car, which is ready for series production. With a spectacular action we draw a suitable attention to this innovation: We made people experience F-CELL the same way the environment does – like it’s not even existent. In practice: We disguised the B-Class F-CELL with mats out of LEDs on the one side and fixed a camera on the other side of the car. The camera filmed everything that happened behind the vehicle and transferred every action directly to the LED mats. The effect: The B-Class fused completely with its surrounding and became invisible for the passersby in the immediate vicinity.