Aram Bartholl

Pan, Tilt and Zoom
Three motorized CCTV dome cameras are installed on the gallery floor. The built-in auto-tracking function makes the cameras follow any motion in the room. While moving its lens the center of the weight of the device shifts and the whole camera starts to roll on the floor. As a result the software is confronted with even more motion which needs to be tracked. From time to time the cameras bump into each other or start to follow and trigger each other movements.

Danièle Huillet and Jean-Marie Straub

Moses und Aron
Oper in drei Akten Arnold Schoenberg
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Jean-Marie Straub
homage
R.I.P
.
Moses und Aron, known in English as Moses and Aaron, is a 1975 film by the French filmmaking duo of Jean-Marie Straub and Danièle Huillet based on the unfinished opera of the same title by c. During its 1975 run at US festivals, it was also known as Aaron and Moses, and was frequently reviewed as such.
It is one of three films based on Schoenberg works Straub and Huillet directed, the other two being Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene , a short film made directly before Moses und Aron, and, over two decades later, an adaptation of the one-act comic opera Von heute auf morgen. The film retains the unfinished nature of the original opera, with the third act consisting of a single shot with no music as Moses delivers a monologue based on Schoenberg’s notes.The film was shot on location in Italy and Egypt. It utilized the same team of cinematographers as Straub and Huillet’s Chronicle of Anna Magdalena Bach. The soundtrack and cast of the film is the same as the 1974 recording conducted by Michael Gielen (Philips 6700 084).The original German version of the film was dedicated to Holger Meins, a former cinematography student who joined the Red Army Faction in the early 1970s and died on hunger strike in prison. This dedication was censored by German broadcasters for the film’s first transmission in 1975. The English subtitles of Schoenberg’s dense German libretto were prepared by assistant Gregory Woods, who is credited on the DVD.The film was shown at the 1975 Cannes Film Festival, but was not entered into the main competition.

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cinema full

Lawrence Lek

Unreal

Lawrence’s accompanying soundtrack is a delicate lattice; complex, opaque and entirely synthetic. Diva’s yearning vocals, sung in English and Mandarin, cast classical melodies over billowing, intricately arranged songs. Her voice is created with a Vocaloid voice synthesiser, giving it an uncanny feeling. Her confessional lyrics draw empathy from the listener, as she reveals her fears of becoming an irrelevant influencer, obsolete in a machine-driven age.

The lead single ‘ unreal’ is launched with a harrowing video adapted from the film.

Ei Wada

Toki Ori Ori Nasu – Falling Records

FILE FESTIVAL


In this work, open reel tape recorders are placed on top of high pedestals and, as they play back, the magnetic tape unspools down into plastic receptacle below. The tape that accumulates in the container piles up as time passes, weaving an unusual pattern in the space. When the tape stops accumulating it is wound back up at high speed to a symphonic soundtrack. The pattern that had existed until then is extinguished and a new pattern is then woven.

Kexin Hao

Future Dance of Nostalgia
Future Dance of Nostalgia is a dancing game which invites audience to perform the choreography that extracts and abstracts the movements found in the pre-industrial, heavy physical labour, and work songs. Motion tracking technology allows the body movements to be quantified, measured, and evaluated. Historical archives of work songs provide the inspiration for the music that renders the old tales and melodies into clubbing beats that lead the dance.

Behnaz Farahi

19Returning the Gaze
‘Returning the Gaze’ is an cyber-physical robotic installation by Behnaz Farahi supported by Universal Robots for ANNAKIKI’s Milan Fashion Week. ‘Returning the Gaze’ is an exploration of this scenario. In the center, a female model wears a spacesuit-like outfit and a headpiece fitted with two tiny cameras. The cameras track and capture the movements of the model’s eyes, and enlarging and displaying them on four monitors mounted moving around on robotic arms glaring back at the observers. The gaze of the model is thereby directed back at the viewer, extended and enhanced through cyborgian technologies.

Kenny Wong

Squint
file festival
I was inspired by how the sunlight bounces around in our artificial forest.
“Squint” is a kinetic light installation consisting of 49 mirrors that reflect lights in a bright space. The mirrors track and reflect lights on audiences’ face with composed patterns of movements. It extends the generated perception by focusing on how lights pass across our visual senses physically, and combines with our perception of images through flickering. “Squint”, which extracts various daily experiences to an abstraction brings the audience to expand their interpretation of lights and perceived imagination into a non-linear experience.
“Squint” simulates light source and intentionally shines lights on audience’s faces. Bright light is projected in the gallery, a clean bright space.
Everyday people are dynamically moving around in the city. Sunlight reflects and flickers even when it is indirect and hidden behind the artifacts. While we are traveling, we are experiencing motion. We are also experiencing the shift of light intensity, visual patterns and textures. The varieties of light forms inspire the artist to explore the potential of light textures, select and sort out the combined complexity in urban space. The artist turns them into a minimal form of light experience, while maximizing its diversity of perception.

Daft Punk

Electroma
DAFT PUNK’S ELECTROMA IS THE EAGERLY ANTICIPATED DIRECTORIAL FEATURE FILM DEBUT FROM GUY-MANUEL DE HOMEM-CHRISTO AND THOMAS BANGALTER, BETTER KNOWN TOGETHER AS DAFT PUNK. A PSYCHEDELIC VISUAL AND MUSICAL ODYSSEY, ELECTROMA FOLLOWS THE JOURNEY OF TWO ROBOTS ON THEIR QUEST TO BECOME HUMAN. FEATURING A STUNNING SOUNDTRACK WITH MUSIC FROM TODD RUNDGREN, BRIAN ENO, CURTIS MAYFAIR, SEBASTIEN TELLIER AND CHOPIN, ELECTROMA PLAYS OUT BEAUTIFULLY ‘LIKE MUSIC FOR THE EYES’.

Tobias Stretch

Weird Fishes
Radiohead

Tobias Stretch made this beautiful and mesmerising stop motion animation for Radiohead’s track ‘Weird Fishes’. Tobias’ natural light stop motion technique conjures a phantasmagorical and intimate world. Grotesque yet endearing puppets traversing the hinterlands in some bizarre pilgrimage. Tactile and beautiful.

Émilie Brout & Maxime Marion

Lightning Ride
“With Lightning Ride, it is now poles of technology, organics and mysticism that collide with  electricity as a connecting point. The video is produced from excerpts of “Taser Certifications”, a sort of ceremony authorizing in the United States the use of Tasers in the condition of being tased by someone else. Filtered with the Photoshop’s “oil painting effect”, slowed down and accompanied by a disturbing soundtrack, the succeeding images show us bodies and faces whose deformations and positions evoke a feeling of pain as well as a Christian ecstacy. Everything unfolds as if the miracle of electricity, symbol of the rationalization of the world, revived paradoxically an aspiration to transcendence, antipodes joining each other and disappearing in profit of a new map of possibilities.” (Sarah Ihler-Meyer)

tabor robak

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

Rafael Lozano-Hemmer

Saturation Sampler
Rafael Lozano-Hemmer’s work Saturation Sampler, uses AI computer vision to track onlookers and extract the most saturated color palettes from their bodies and clothes, creating a gridded composition from the footage where viewers catch glimpses of their reflections in the pixelated field. With the widest color gamut available and an unparalleled 160-degree viewing angle, Luma Canvas delivers a unique viewing experience unlike any other. The direct emissive nature of the display’s LEDs creates a visceral and material encounter with Lozano-Hemmer’s interactive work, meaningfully situating his digital work within the physical realm.

Parse/Error

ISS Tracker
El ISS Tracker sigue a la Estación Espacial Internacional en tiempo real mientras viaja alrededor del mundo, rastreando su órbita y apuntando a su posición en el cielo en todo momento. Un proyecto inspirado en mi fascinación por el espacio, que siempre ha estimulado la imaginación de la humanidad. Un tributo a la destreza técnica de la ISS y a los astronautas a bordo. La Estación Espacial Internacional tarda aproximadamente 92 minutos en dar la vuelta a la Tierra. El ISS Tracker utiliza parámetros orbitales de dos líneas, o TLE (para elementos de dos líneas), para determinar la órbita de la estación y calcular su posición. El azimut y la elevación se calculan contra las coordenadas GPS del observador, la fecha y la hora, para definir la dirección al punto. La posición de la ISS se vuelve a calcular cada 10 segundos y se actualiza la dirección señalada por la mano del ISS Tracker.

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.

TRISHA BROWN

تريشا براون
트리샤 브라운
トリシャブラウン
Триши Браун
Walking on the Wall
The performers stood, and walked, and ran parallel to the floor along two adjacent walls while suspended in special harnesses rigged on cables to trolleys on industrial tracks along the ceiling.

Riccardo Torresi, Maxime Lethelier, Asako Fujimoto

Satellarium II
Sun Outage is a degradation or temporary interruption of satellite signal caused by solar radiation. In these moments satellites occur to be in between the Sun and the Earth, producing with their shadows an invisible eclipse. Satellarium II shows these astronomical events through a variation of visuals and sounds in the room in which it is exhibited. The installation consists of a set up of multi channel surround speakers and graphics projected on a disk above the viewers, representing the fragment of the visible sky from the location of the artwork. Visuals and sounds are based on real time tracking of the satellites position and magnitude (brightness of a satellite as it appears in the night sky from Earth). The gradient on the background of the projection represents the sun and it is related to its real-time position in the sky.

CHRISTIAN BOLTANSKI

基督教波尔坦斯基
בולטנסקי
クリスチャン·ボルタンスキー
Кристиан Болтански

Homage

R.I.P 1944-2021

Preoccupied with collective memory, mortality, and the passage of time, Christian Boltanski creates paintings, sculptures, films, and mixed-media installations that approach these themes in a range of styles, symbolic to direct. Boltanski often makes metaphorical use of found objects, as in No Man’s Land (2010), an enormous pile of discarded jackets set to the soundtrack of thousands of human heartbeats, suggesting the anonymity, randomness, and inevitability of death. In Monuments (1985), electrical bulbs cast a seemingly bittersweet light on pictures of child holocaust victims. Describing his interest in personal histories, Boltanski has said, “What drives me as an artist is that I think everyone is unique, yet everyone disappears so quickly. […] We hate to see the dead, yet we love them, we appreciate them.”

kyttenjanae

Soft as Snow

Soft as Snow, auch bekannt als Oda Egjar Starheim und Øystein Monsen, Norwegens beste Anbieter von ungewöhnlichem, kristallinem Pop, sind mit einer brandneuen Veröffentlichung zurück. Die 4-Track-EP “Chrysalis” ist die zweite Originalveröffentlichung des Duos nach ihrem Debüt 2014 – die EP “Glass Body”, die auch als “Glass Body Remixed” veröffentlicht wurde, eine beeindruckende Sammlung überarbeiteter Versionen von Lucy, Gabe Gurnsey von Factory Floor, Maria Minerva und Brian DeGraw von Gang Gang Dance: „Chrysalis ist hart, direkt, frei, emotional. Es bringt uns zum Tanzen, Verbinden, Explodieren. “ – Weich wie Schnee Der Anfangstrack „I Adore“ zeichnet sich durch abrasive Synthesizer und schimmernde Beugungen aus, während sich „Fluid“ von glasiger Zurückhaltung zu einem Synth-Freak-Out entwickelt. “Mouth” ist eine bedrohliche Absichtserklärung, alle Stammes-Percussion und Ur-Yelps, die an die beunruhigende Produktion von Mica Levis Soundtrack für “Under The Skin” erinnert. Die EP geht mit dem energiegeladenen, skitternden “Her Blood Is Gold” zu Ende, wobei Odas seltsame, jenseitige Stimme alles zusammenhält.

Gmunk

ISO
De headliner van de tentoonstelling was een projectiesculptuur genaamd “ISO”, die ter plaatse in China werd gemaakt en in het midden van de kamer werd geplaatst met een indrukwekkende soundtrack van 5 minuten gemaakt door EnterNull. Monkey’s belangrijkste focus was het beheersen van de zintuigen, zodat mensen zich in de ruimte verzamelen en een sculpturale aanwezigheid hebben, ze visueel begroeten met vorm en geluid. Ze moedigden een diepe onderdompeling in isomorfe vorm aan door in haar ogen te staren en genegenheid te koesteren, een sombere bevestiging van een plat oppervlak en volumetrisch licht.

Liam Young & John Cale

Loop 60 Hz: Transmissions from the Drone Orchestra
A flock of autonomous DJI copters are programmed as aerial dancers and are mounted with specially engineered wireless speakers to broadcast the instruments of the band. Other copters are dressed in elaborate costumes to disguise their form and reflect light across the audience below. Against a score of original compositions and selected tracks from Cale’s seminal career this collaboration with Young imagines the possibilities of the drones as emerging cultural objects. If these technologies are no longer unseen objects overhead, or propelled along classified flight paths but brought into close and intimate relations with us then how might we see them differently. When their transmission fades, when the drones lose their signal and without their protocols for terror and surveillance, do they drop from the sky, do they fall in love or do the drones drift endlessly, forever on loop.

Michael Clark

マイケル·クラーク·カンパニー
Come, been and gone

Ballet meets punk, and neither comes out the same. In its highly anticipated first visit to Chicago, the electrifying Michael Clark Company provocatively pays homage to the decadence and unbridled fun of 1970s club culture. British dance iconoclast Michael Clark sets his choreography in come, been and gone to the music of fellow rebel David Bowie, and collaborates with video artist and dance film pioneer Charles Atlas. Clark’s dancers don Bowie-style leather jackets and echo his unique body language, building up to a detonation of jumps and kicks. “Come, been and gone” pulls off a remarkable feat—matching the cool, alien beauty of the singular singer, who makes a cameo appearance here thanks to 1977 film footage of his track “Heroes.”

Rafael Lozano-Hemmer

Bilateral Time Slicer
A biometric tracking system finds the axis of symmetry of members of the public and splits a live camera image into two slices. With each new participant time slices are recorded and pushed aside. When no one is viewing the work, the slices close and rejoin creating a procession of past recordings.

Squarepusher

Nervelevers
if “Nervelevers” is anything to go by, Squarepusher’s upcoming album, Be Up A Hello, will be the closest thing we’ve had to vintage Squarepusher in years. This will be welcome news for many fans. Much like the best of Squarepusher’s catalogue, there’s a brilliant live quality to “Nervelevers.” His music often doesn’t sound like a single producer staring into a computer, but more like an incredibly tight jazz band, totally in sync. The track might not feature his virtuosic bass playing, but you can picture him slapping his bass guitar during its frantic acid line. You’re pulled through a chaotic wormhole, with only a brief respite when the glitched jungle drums break down to an almost hip-hop stagger. It’s fast, unpredictable, and most importantly, fun. Only a handful of artists can make music this complex feel like such a good time.

Moment Factory

Animistic Imagery
The exhibit introduces visitors to Duffy, the AI Artist, with an invitation to collaborate inside her Symbiotic Studio. This immersive space, made possible through projection mapping and interactive technology, invites guests to become the AI’s muse. As Duffy captures movements generated by visitors through real-time tracking, she draws links and connections, consulting a vast collection of colors and archetypal images of life on Earth. The result is an infinite series of surprising works of art—an artificial interpretation of humanity and the natural world.

Timeblur Studio

Nadi Generative Art
Nadi is a Digital display of Kinetics and Energetics of Body Movements involved in Yoga. The visuals are created by investigating the flow of data, using the human body as a vehicle. With the support of computer vision technologies, a visual trail is formed by tracking the body movements during yogic postures. Inspired from Indian Yogic Science, we have visually depicted aspects of light, matter and energy in our forms. The generative nature of the visual comes from the digital juxtaposition of the poses that the body generates with each pose.

Jascha Dormann

Sounds of Silence
Inside the exhibition, there’s not a word of written text, and few traditional photos or videos. Instead, you get abstract spatial graphics. Tracking systems respond as you navigate the exhibit, and an unseen voice hints at what you might do. There’s a snowy cotton-like entry, radio-like sound effects, and then a pathway to explore silence from the start of the universe until this century.

JIACONG YAN

We only come out at night
FILE FESTIVAL 2007
We Only Come Out at Night is an urban graffiti project involving interactive public projections. A site is selected at dawn and a sticker is stuck or a stencil image is sprayed at the location. When the sun sets, jellies are projected over the heads of pedestrians on the street. As the pedestrian walks underneath the projection, the monsters grab the shadows of the people and eat them. The sticker is then removed and the project visits another place at dawn. A website is created to track the history of the monster appearance in order to promote and create a mythology. There are seven monsters in total, each monster’s design and behavior is unique. Gula, the monster that always eat, Avaritia, the monster that stuffs you into his pants, Invidia, the monster that takes your image and pretends to be you, and so on. Each monster is unique but always sad.

Universal Everything

Transfiguration (2020)
Transfiguration (2020) is a reworking of the Universal Everything studio classic from 2011, The Transfiguration. The Transfiguration was first shown at the studio’s first major solo exhibition Super-Computer Romantics at La Gaite Lyrique, Paris. Now completely remade using the latest procedural visual effects software, the updated CGI artwork brings new life to the ever-evolving walking figure, with a new foley-based soundtrack by Simon Pyke.

COOP HIMMELB(L)AU

CHBL Jammer Coat
The CHBL Jammer Coat is a piece of clothing that enables its user to disappear: Google cannot find you anymore. The piece is made of metallized fabrics, which are blocking radio waves and shielding the wearer against tracking devices. You are no longer reachable on your mobile phone and no information from your credit card can be captured. The Wave Circle pattern of the fabric gives an illusion of strange multiple body parts, which hides and frees the individual physicality.

Bryant Nichols

Forms II
Mount Audio

Forms is a collaborative film series devised by London based, creative sound studio Mount Audio. The ongoing project sees Mount team up with leading visual artists each month to create unique audiovisual works.Forms II showcases the vibrant motion work of LA based designer Bryant Nichols. The artists’s warped figures bend and contort, twisting around one another to form abstract human structures.Inspired by Bryant’s alternate reality, Mount have created an entirely synthesised soundtrack layering rich, modulating textures to create an unsettling atmosphere. The effect is hypnotic yet disorientating.

Daan Roosegaarde

WINDLICHT
WINDLICHT is a artwork by Roosegaarde which shows the beauty of green energy by connecting windmill blades with lines of light. Special software and tracking technology detect the windmill blades rotating at 280 kilometres per hour. Visitors can tune into radio canal WINDLICHT FM 105.3 FM to hear the stories behind the artwork. WINDLICHT creates the missing link between the Dutch and the beauty of our new landscape.

Olafur Eliasson

Our Glacial Perspectives
Olafur Eliasson’s ‘our glacial perspectives’ pavilion comprises a series of steel and glass rings encompassing a circular deck which projects over the edge of mount grawand. From this point, the pavilion serves as an astronomical instrument that aligns the visitor’s gaze with the surrounding rings, which track the apparent path of the sun in the sky on any given day. The rings divide the year into equal time intervals — the top ring tracks the path of the sun on the summer solstice, the middle ring tracks the equinox, while the lowest tracks the winter solstice.

MARGOLIS BROWN

THE BED EXPERIMENT ONE

Witness as the covers are pulled back to reveal the rites and rituals of the untamable Homo Sapiens in its favorite nesting place — a giant bed! Like a bizarre nature documentary THE BED EXPERIMENT tracks four males and four females, who while confronting their deepest fears and desires, balance the witty and weird against the painfully true to life.

“As the piece proceeds, the focus shifts from mating rituals to the antics of lovemaking, from the battle of the sexes to baby worship, and from dreams of conquest to nightmares of disembowelment. The bed turns from the cradle of civilization into a hospital cot, from a sultry desert to a tundra of monsters. As the scenes evolve — the performance is a 60-minute continuum — the tone mysteriously oscillates between extremes of farcicality or pathos. How the performers effect these wondrous transformations is one of the Adaptors’ most singular professional secrets”. Alan M. Kriegsman

Robyn Moody

Wave Interference
Any image can be made to elicit any emotional response based on the soundtrack that accompanies it. This is a fact that filmmakers have exploited for years; a soundtrack can make an image cheerful, or nostalgic, or (in a minor key) induce feelings of melancholy or dread. Wave Interference combines a beautiful and elegant vision of a wave of light with a gradually changing melancholic soundtrack;

Raster-Noton

White Circle
»White Circle« consists of fluorescent tubes that respond to musical impulses and illuminate the room. Five dedicated compositions by alva noto, byetone, frank bretschneider, and kangding ray playing in a continuous loop (one set takes ca. 45 minutes) model the interrelation between sound, light, and architecture in different ways. Each piece represents an independent and self-contained conceptual proposal by the respective composer. All tracks are multichannel compositions based on the idea of creating a vivid immediate experience of auditory space and visual stimuli. With acoustic material routed to twentyseven speakers placed throughout the gallery, sound itself takes on a threedimensional and indeed sculptural quality.

Kimchi and chips

Halo
99 robotic mirrors continuously move throughout the day to follow the sun like sunflowers. These mirrors, arrayed across two 5 meter tall towers and one 15 meter long track, each emit a beam of sunlight into a cloud of water mist. The beams are computationally aligned so that together they draw a bright circle in the air. Dependent entirely on the presence of the sun for its completion, the work explores the possibilities and limitations of technology to capture what is out of reach, to harness nature and bring the sun down to earth. Collaborating with the natural fluctuations in the climate, Halo appears only for moments when the wind, sun, water, and technology coincide, creating a form which exists between the material and immaterial.

QUAYOLA

Natures
“…explore the dialogue between the natural and the artificial”, connecting footage of plants moving in the wind with line structures tracked on top”. Mate Steinforth

EJ Hill

A Monumental Offering of Potential Energy
Hill’s installation and performance, A Monumental Offering of Potential Energy (2016), places him atop a plywood platform embedded in the sculpture, which resembles a classic wooden roller coaster. Embodying the abstracted vehicle for which the track is laid, Hill’s physical presence in the work is undeniable and a central part of a 512-hour long performance that runs the course of the exhibition.

Jeppe Hein

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
Distance

An immense circuit, conceived as a graphic composition, is extended across a forest of fine metal pillars. Arabesques, spirals and nodal interconnections support a track for a hundred or so white balls, razing the ground or very high up in the air. An infrared sensor detecting the arrival of each visitor triggers the propulsion of a ball, which then journeys through the vast visual and sonic landscape. The installation draws on different sources evoking a primitive industrial imaginary, such as the machines of Fritz Lang’s Metropolis and Tinguely’s assemblages, and the fairground universe of roller coasters and pinballs.

YING GAO

no(where) now(here)
Fashion designer Ying Gao has fabricated a pair of dresses that writhe around and light up when someone stares at them.”We use an eye-tracking system so the dresses move when a spectator is staring,” Ying Gao told Dezeen. “[The system] can also turn off the lights, then the dresses illuminate.” The gaze-activated dresses are embedded with eye-tracking technology that responds to an observer’s gaze by activating tiny motors to move parts of the dresses in mesmerising patterns.

YURI SUZUKI

尤里铃木
يوري سوزوكي
Garden of Russolo
‘Garden of Russolo’ is an interactive sound installation by Yuri Suzuki allowing visitors to have a sonic experience using their own voice. The auditory installation, shown at the V&A during the 2013 London design festival, is based on Suzuki’s previous series of sound-activated work ‘white noise machines’. Influenced by futurist painter and composer Luigi Russolo – one of the first experimental composers – the series of phonograph-like wooden boxes compose the exhibition, re-interpreting audio inputs into a muffled atmospheric output, twisting and amplifying the original soundtracks.

TERRY RILEY

A Rainbow in Curved Air
Using overdubbing, Riley plays all the instruments on the title track: electric organ, 2 electric harpsichords (a Baldwin electric harpsichord & a RMI Rock-Si-Chord), dumbec, and tambourine. The piece moves through several sections; following the opening theme and introduction of “placid chords,” Riley introduces “an explosion, a procession of right-hand lines that flutter and pirouette over the over the pulsing rhythmic patterns.”

VTOL

Silk
The installation is tracking the real time changes in the market activities related to cryptocurrencies Bitcoin and Litecoin – independent and uncontrolled by any state peer-to-peer payment systems. Constantly changing currency rate of of Bitcoin against major world currencies is influencing the strain of strings in installation and the way the picks are hitting them. The robotic system of the artwork is directed by a computer algorithm: influenced by dynamic changes of data, the installation sounds like a complex sound instrument.

Thomas Feuerstein

Psychoprosa

The exhibition PSYCHOPROSA focuses on mucus as a biochemical substance and sculptural material. The production of mucus takes place as a real process within the exhibition spaces, transforming the Frankfurter Kunstverein into an interconnecting ensemble of greenhouse, laboratory, walk-in refrigerator, cinema, and factory. Through tubes connected to one another, equipment and objects produce and transform their interior substances, refrigerators open and close automatically and transparent threads of mucus drip from expansive glass sculptures.

In close collaboration with biochemists, Thomas Feuerstein has developed the synthetic molecule Psilamin, derived from algae and fungi. In its production, large quantities of viscous biofilm are generated. If one were to take Psilamin, one would begin to feel psychotropic effects. Perception would liquefy, and objects in the room would appear soft and shapeless. Simultaneously, the flowing nature of the sculptural matter, which escapes solid form, externalizes an inner psychic process. At the end of the biochemical production process, which visitors can track in the different exhibition spaces, there is the expan-sive sculpture Accademia dei Secreti over whose glass containers vast amounts of mucus pour.

FABIO ANTINORI AND ALICJA PYTLEWSKA

Contours
London-based creative laboratory Bare Conductive was invited to team up with designers Fabio Antinori and Alicja Pytlewska in order to develop a large-scale metaphor for the idea of breathing life into a collection of responsive textile skins. ‘Contours’ is at the core of the interactive tapestry installation; a series capacitive sensors are applied to the suspended fabric substrates using conductive paint. These sensors react to the presence of a person within the vicinity and track their movements, outputting a constantly modulated ambient soundscape reminiscent of medical research environments. The abstract geometric ornamentation connects the tapestries’ individual sensors to form giant panels, serving as an acoustic feedback loop that alludes to the relationship between science and the body.

ERNESTO KLAR

Эрнесто Клар
Convergenze parallele

Convergenze parallele is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in realtime by a custom software system. The installation reacts to air movements in the exhibition space, allowing the viewer to see and hear the amplified movement of dust particles. “Convergenze parallele” explores the poetic potential of revealing and transforming the imperceptible. The custom software uses a video camera to capture the activity of dust articles passing through the beam of light. It then analyzes the video signal to track the location of individual dust particles, and reveals each particle’s trajectory in the image-processed projection. The physical particles draw traces of their otherwise invisible motion on the digital screen. At random intervals, the software artificially saturates the system by briefly activating the fan-a cloud of dust fills the beam of light and creates dense and stunning patterns of particle trajectories and sound.

File Festival

Quadrature

Positions of the Unknown
At the very beginning of space exploration the infrastructure to monitor the whole sky was not yet developed. So in order to find out whether foreign countries launched objects, the US government started to train citizens to observe and detect possible artificial satellites. Scattered over the allied world, these amateur scientists played a crucial part in keeping track of all men-made technology orbiting earth, until “Operation Moonwatch” was discontinued in 1975 […] “Positions of the Unknown” locates the current whereabouts of these mysterious objects by simply pointing at them as they revolve around Earth. Missing the legal proof, those unidentified artefacts remain entities of pure speculation, secret companions of us and our planet. Even so they have been sighted several times and their ubiquitous presence is therefore somehow validated, they linger in a state between existence and non-existence. Quadrature’s 52 small machines constantly follow their paths and serve as silent witnesses of the unknown.

RYOJI IKEDA

池田亮司
이케다 료지
Редзи Икеда
Transfinite
test pattern [n˚2] presents flickering black and white imagery that floats and convulses in darkness on two screens, one on the floor and another floor to ceiling, in time with a stark and powerful, highly synchronised soundtrack. Through a real–time computer programme, Ikeda’s audio signal patterns are converted into tightly synchronised barcode patterns on the screens. Viewers are literally immersed in the work, and the velocity of the moving images is ultra–fast, some hundreds of frames per second, providing a totally immersive and powerful experience. The work provides a performance test for the audio and visual devices, as well as a response test for the audience’s perceptions.

Raphaela Vogel

Isolator
“A further characteristic of Vogel’s practice is the way she uses the camera: she dispenses with a crew completely, she is always both protagonist and cameraperson. Vogel guides the camera using drones and thereby controls what we see and is not just an object. The camera itself becomes thus a protagonist of sorts, a counterpart or, as in the aforementioned scene, a playmate and a stalker: Vogel wears a controller to which the drone – an “airdog” equipped with a GPS tracker – responds and automatically follows her”. Kristina Scepanski

FKA TWIGS

water me
The English Tahliah Debrett Barnett, born on January 16, 1988 and a descendant of Jamaicans and Spaniards, began to gain space in the music scene at the age of 17 as a dancer, appearing in music videos by artists such as Jessie J, Ed Sheeran and Kylie Minogue. Using the stage name of Twigs, in 2012 she released ‘EP1’ on the Bandcamp website, an EP with four tracks.
Due to the existence of another artist with the name Twigs, she changed it to FKA twigs. FKA is an abbreviation for the English expression “Formerly Known As”, which in free translation is “formerly known as”.
In August 2013, Twigs released the video for her first single, “Water Me”, on YouTube.[27] The video was directed by Jesse Kanda.

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Christine Ödlund

The Admiral’s Garden
Christine Ödlund’s work explores the borders of our knowledge of the world around us, connecting such themes as the chemical communication of plants, synaesthesia and theosophy. She works in a variety of media, including drawing, sculpture, video, watercolour and sound works.
Stress Call of the Stinging Nettle: When a plant reacts to a butterfly larvae feeding on its leaves, it releases chemical substances, or compounds. The characteristics of these compounds have been analyzed in collaboration with the Ecological Chemistry Research Group at the Royal Institute of Technology in Stockholm, and then transposed into amplitude and intensity of sinus tones, recorded at EMS (Electroacoustic Music in Sweden), Stockholm. Thus these beautiful graphic score and soundtrack by Swedish artist Christine Ödlund are direct transpositions of “the plant’s life, struggle and death”.

Delia Derbyshire

Pot Au Feu
Pot Au Feu is 3 minutes and 13 seconds of “angular robot jazz crammed with incident”, “a pounding, fantastically rhythmical track, unsettling enough to have a speedfreak running to get the breadknives in the kitchen.”This is three minutes and nineteen seconds of paranoia, virtually a rave track circa 1991 in its structure; a stattering, pounding teleprinter-paced bassline worthy of Timbaland as the tension builds, then a moment of chaos and crisis, an alarm-bell of a hook recalling the “panic / excitement” lines so prevalent in early 90s hardcore.

nobumichi asai

INORI (Prayer)
The latest work to utilize real time tracking and face projection mapping using a state of the art 1000 fps projector and ultra high speed sensing, “INORI-prayer-,“ has been released. This project was born by the collaboration with Nobumichi Asai (WOW) ,the dancing duo AyaBambi, and the Ishikawa Watanabe Laboratory (the University of Tokyo), TOKYO.

Daan Roosegaarde

SPACE WASTE LAB PERFORMANCE is a unique large-scale outdoor artwork of LEDs and real-time tracking information to visualise space waste above your head on an altitude of 200 to 20.000 kilometers. A real piece of space waste is part of the outside exhibition. Special designed software and camera technology developed in the last year enables the SPACE WASTE LAB PERFORMANCE to be exhibited international, in compliance with strict safety and aviation regulations.

Vangelis

Blade Runner
Vangelis’ soundtrack for Blade Runner remains one of the relatively few soundtracks to establish an enduring reputation as fine music in its own right. Vangelis, by mid-1981 when he was first invited to view a rough cut of footage from Blade Runner, was at the peak of his fame as a solo artist, following a half-decade long run of successful albums[…] Vangelis cleverly chose to adopt the film’s aesthetic as his own. The film wielded futuristic sci-fi to film noir detective drama and action, owing much to psychological thrillers or horror. The most obviously jarring example of how Vangelis simulated this approach was his commissioning of the ragtime jazz song ‘One More Kiss’, which he positioned at the very centre of his album of cutting edge electronica.

HANNAH WEINBERGER

汉娜·温伯格
When You Leave, Walk Out Backwards, So I’ll Think You’re Walking In

The visual aspect of the piece is reduced to the loudspeakers, which are placed in the rooms and echo absorbing curtains that are installed alongside the walls. By walking through the different galleries of the Kunsthalle, the visitors to the exhibition are meant to compose their own soundtrack.

TAO DANCE THEATER

6&7
Tao Ye rejects any attempts to harness his work to narrative, which is why he numbers his choreographies rather than naming them. Numbers 6 and 7 were choreographed one after the other, but are presented here as a single work. 6 takes us into a dark world: six black-clad dancers emerge out of a foggy landscape resembling smog-choked Beijing. They start moving with one ‘voice’, treading the ground firmly and dancing—chiefly with the upper part of their bodies—a ritualistic dance which stretches the human body to the very limits of its flexibility. An equally minimalist soundtrack and the exceptional lighting design of Sweden’s Ellen Ruge, a close collaborator of Mats Ek, who has done a lot of high-profile work here in Greece, complete the raw materials of this performance-experience.

TAO Dance Theater

6&8
In 6, his six dancers move in dynamic and hypnotising unison, in a shifting landscape of light created by Swedish lighting designer Ellen Ruge. His latest work 7 continues Tao Ye’s fascination with pattern, precision and ritual, and is distinguished by a sound track of acoustic effects generated by the seven dancers’ own bodies. Both 6 & 7 will be accompanied by specially commissioned music from Chinese indie folk composer Xiao He.

ALEJANDRO JODOROWSKY

АЛЕХАНДРО ХОДОРОВСКИЙ
DUNE
When French producers asked Jodorowsky to adapt Dune, he was at the peak of his prestige.
…Jodorowsky’s Dune shows, the director managed to assemble a jaw-dropping group of talent for the film. This version of Dune was set to star David Carradine, Orson Welles, Salvador Dali and Mick Jagger. It was going to have Pink Floyd do the soundtrack. And it was going to have the then unknown artist H. R. Giger along with French comic BOOK artist Jean Giraud, otherwise known as Moebius, design the sets. Sadly, Jodorowsky’s grand vision proved to be too grand for the film’s financiers and they pulled the plug. The movie clearly belongs in the pantheon – along with Stanley Kubrick’s Napoleon and Welles’s Heart of Darkness – of the greatest movies never made. Compared to those other films, though, Jodorowsky’s movie sounds way groovier.

DANA CASPERSEN, WILLIAM FORSYTHE AND JOEL RYAN

White Bouncy Castle
The visitor’s unavoidable inclusion in the idiosyncratic kinetics of Dana Caspersen and William Forsythe’s «White Bouncy Castle» creates a choreographic space where there are no spectators, only participants. The choreography that appears, led by Joel Ryan’s encompassing soundtrack, is the result of complete physical destabilisation and the resulting social absurdity. The inadvertant euphoria that results from the situation is infectious and, in some cases, addictive.