The exterior view of the figure and “point of view shot” are synchronised onto two projection surfaces. If a protagonist leans his head it shifts the observer’s view correspondingly. Observer, figure and object all interact. Netzhammer is not only a master of the erotic of touch, his images awaken unease: they show decay and perishability as well as regularity in the flow of life, which the subject cannot escape, much as expansion and transcendence are desired.

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A visão externa da figura e o “ponto de vista” são sincronizados em duas superfícies de projeção. Se um protagonista inclina a cabeça, ele muda a visão do observador de forma correspondente. Observador, figura e objeto interagem. Netzhammer não é apenas um mestre do erótico do tato, suas imagens despertam desconforto: mostram decadência e perecibilidade, assim como regularidade no fluxo da vida, da qual o sujeito não pode escapar, por mais que se deseje expansão e transcendência.

‘SnP’, 2018, recycled plastic, injection moulded

“Widrig’s art breaks down the boundaries between disciplines; borrowing tools traditionally associated with one industry and using them in other fields, in often unanticipated and exciting ways. Widrig uses computer simulation processes and advanced technologies adopted from the special effects business to create sculptural 3D-printed craftwork—digital designs materialize into intricate sculptures in glass or recycled plastic and furniture pieces with impeccable undulated thin surfaces,” Devid Gualandris

理查德·杜邦
리처드 듀퐁
Mr. Dupont makes these sculptures based on a full-body scan of his own body. He says viewers relate to them like they’re three dimensional illusions: The viewer walks around the figures and gets all these different perspectives as the surfaces change. That’s one way the distortions are interesting, because no two perspectives are the same.

shrink
File Festival
Two large, transparent plastic sheets and a device that gradually sucks the air out from between them leave the body (in this case the artist himself) vacuum-packed and vertically suspended. The transparent tube inserted between the two surfaces allows the person inside the installation to regulate the air flow. As a result of the increasing pressure between the plastic sheets, the surface of the packed body gradually freezes into multiple micro-folds. For the duration of the performance, the person inside moves slowly and changes positions, which vary from an almost embryonic position to one resembling a crucified body.

daemon
The reactive audio-visual installation Daemon (in collaboration with Hansi Raber) analyzes the never-sleeping and permanent alertness of an artificial intelligence. Consisting of three semi-translucent, spatial shifted surfaces, the installation represents a solid wall when entering the space. When no visitor is in the room, the installation is in balance and visualizes infinite planned tasks and processes: rational beauty. When visitors enter the room, the installation reacts and the perfect procedure gets more and more distorted. When the visitor walks into, through and behind the surfaces, his silhouette gets merged with the projected visuals and absorbed by the surfaces.

Electric Chair

The distinctive work of Sam Buxton is dominated by his innovative use of advanced materials and technologies. From his immensely popular MIKRO series (miniature fold-up sculptures, laser cut into thin strips of stainless steel through an acid etching process) to his explorations concerning interactive intelligent surfaces on the familiar objects around us, his work has continually managed to blur the lines between art, science and design.Through his work, which has regularly involved relatively common objects ranging from business cards to a dining table, Buxton has demonstrated an ability to see potential in what others take for granted. His on-going efforts in developing objects that can communicate, display information and react to the actions of the user, demonstrate his commitment to investigating the delicate relationship between the human body and its environment. Buxton’s fusion of art and science has resulted in a highly innovative and unique range of personal designs, many of which, have utilized the latest, most advanced materials and technologies available.

Neri Oxman: Material Ecology

Vespers

“Vespers is a collection of 15 3-D-printed masks that explore the idea of designing with live biological materials. The collection consists of three distinct series, each reinterpreting the concept of the death mask—traditionally a wax or plaster impression of a corpse’s face. Taken as a whole, the three series form a narrative arc from death to rebirth. In the first series, Oxman and The Mediated Matter Group looked at the death mask as a cultural artifact. Fabricated using an algorithm that deconstructed polyhedral meshes into subdivided surfaces, the masks were 3-D printed with photopolymers, as well as with bismuth, silver, and gold, and rendered in color combinations that recur in religious practices around the world.” Rachel Morón

tube
‘combining a transparent, gentle, woven structure, devoid of any hard angles and surfaces, with unsettling heights/vistas and uncanny spatial sensations.’NUMEN/FOR USE

ciclotrama
the artworks have gone through 17 different iterations since 2010, each involving some form of ropes that seem to branch through the air and splay onto surfaces like fractals or a network of neurons.

Taumascopio
‘Taumascopio’ is an art installation designed and realized by parisian architect-artist mattia paco rizzi for the 2014 kanal playground festival in brussels, belgium. the structure is completely covered with mirrors and as a result, offers a complete visual camouflage along the molenbeek’s canal. as its exterior panels fold, the overall massing creates a kaleidoscopic effect that reacts to heat. during the temperature’s evolution throughout the day, the surfaces present an ever-changing reflective effect. ‘the ‘taumascopio’ invites us to reflect in poetic vein on public space, like a box of delights that gives us multiple visions and allows us to see the city differently,’ says rizzi. ‘the mosaic of reflections sends our thoughts in new directions and invite us to create new ideas.’

ДЖОН МАК-КРАКЕН
约翰·麦克拉肯
ジョン·マクラッケン
Untitled (Black Block)
John McCracken (1934-2011) developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s. While experimenting with increasingly three-dimensional canvases, the artist began to produce objects made with industrial materials, including plywood, sprayed lacquer, and pigmented resin, creating the highly reflective, smooth surfaces that he was to become known for.

珍妮•霍尔泽
ג’ני הולצר
ジェニー·ホルツァー
제니 홀저
Дженни Хольцер
PROTECT PROTECT centers on Holzer’s work since the 1990s and is the artist’s most comprehensive exhibition in the United States in more than fifteen years. Using language as her medium, Jenny Holzer has created a critically important body of work over the past three decades. Her texts have appeared in nontraditional media such as posters and electronic signs, billboards and T-shirts, and most recently as dematerialized, luminous projections on surfaces as different as crashing ocean waves and the Louvre’s large glass pyramid. Perhaps surprising for those who have followed the work of this artist for many years, her chosen texts recently have been rendered in oil paintings and in dazzling, large-scale electronic sculptures.

מרדיית המונק
Мередит Монк
ميريديث مونك
16mm Earrings
Meredith Monk’s groundbreaking performance work, 16 Millimeter Earrings, was a seamless integration of live performance, objects, film, vocal and instrumental music, movement, text, recorded sound, and light. It marked several, notable “firsts” for Monk: thinking of sound as an overall environment, working with her voice and visual images as primary elements, creating a full sound score, and incorporating film into a live work. The piece was a breakthrough in her quest to discover a visual/sonic/poetic performance form that could weave together multiple modes of perception. Responding to the original performances in 1966, art critic John Perrault wrote in the Village Voice, “Images, movement, film, words and sounds in Miss Monk’s new work are so skillfully interwoven and inter-related that no description can substitute for the kind of magic that she has managed to produce. The whole stage is her canvas and she uses every bit of it. 16 Millimeter Earrings has to do with surfaces, all seen as if through glass or reflected in a mirror. The surface of the human body. The surface of the erotic and the emotional. The radical juxtaposition of apparently contradictory surfaces- film, flesh, colors, and sound- becomes a witty method of deliberation and deliverance, and of complete art.”
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