ADAD
This installation is a mechanism that serves as a kind of interface between planetary processes and an audience. It consists of 12 transparent piezocrystals, grown especially for the project, and 12 motorized hammers that strike them. The installation is connected to the internet. Its core algorithm is controlled by data from a meteorological site which shows lightning strikes in real time (on average, 10~200 lightning flashes occur on the planet every minute). Each time the installation receives information about a lightning strike, a hammer strikes one of the crystals, resulting in a small electrical discharge produced by the crystal under mechanical stress. Each of these charges activates a powerful lamp and sound effects.

Kinetic Sculptures
The ‘Minds in Motion’ crown is made in collaboration with artist @casey_curran. Eighteen transparent monofilament threads meander through a series of brass coils, engineered to continuously shape-shift its silhouette.

Inextinguishable fire
The title of the piece references Harun Farocki’s 1969 film of the same name, which approaches the impossible task of effectively depicting the horror of napalm on film. Cassils’s gesture of self-immolation speaks to both the desire for–and the impossibility of–knowing such horror, even while decisively aiming to approach it. Though the stunt is a simulation of violence, it still presents real danger. This possibly volatile situation–and the attempt to control it–is captured to create an image where danger, empathy for those experiencing violence, and the privilege of removal from such circumstance operate simultaneously in one transparent performance.

Psychoprosa
La exposición PSYCHOPROSA se centra en el moco como sustancia bioquímica y material escultórico. La producción de moco se lleva a cabo como un proceso real dentro de los espacios de exhibición, transformando el Frankfurter Kunstverein en un conjunto interconectado de invernadero, laboratorio, refrigerador, cine y fábrica. A través de tubos conectados entre sí, los equipos y objetos producen y transforman sus sustancias interiores, los refrigeradores se abren y cierran automáticamente y los hilos transparentes de moco gotean de las esculturas de vidrio expansivas.

Blasen im Canyon
Der in Paris lebende Künstler Vincent Leroy hat seine charakteristische Verwendung von schwebenden Kugeln zum Bryce Canyon in den USA verwendet. Dieses konzeptionelle Projekt mit dem Titel “Bubbles in Canyon” stellt sich eine Masse transparenter Kugeln vor, die in Rotation zwischen den Klippen hängen. Die Installation soll den Zuschauern die Möglichkeit bieten, die Natur durch einen optischen Effekt zu betrachten.

First Wave
First Wave est la nouvelle œuvre d’art d’installation 3D stratachrome de David Spriggs créée pendant la pandémie pour la Triennale Oku-Noto à Suzu, au Japon. Installé dans un ancien entrepôt de filets de pêche, « First Wave » est fabriqué à l’aide de la technique de Spriggs consistant à superposer des transparents peints à la main dans l’espace. L’œuvre monochrome met en lumière notre époque de turbulence et d’anxiété.

El pasajero
El Pasajero es una obra de arte electrónico que genera formas lumínicas a través de sus 400 lámparas de gas, reaccionando a diferentes comportamientos mediante el sonido y algoritmos variables. Su cuerpo formado por nueve módulos semitransparentes, irradia tanto por su frontal como por su parte trasera una luz orgánica cuando las partículas de gas contenidas en sus lámparas son excitadas mediante impulsos de alto voltaje. A través de sus paredes acrílicas pueden verse los componentes electrónicos que dan vida a este golem sintético que opera como escenografía en este primer proyecto de N0Collective, una experimentación que transita la hibridación de los Nuevos Medios con las Artes Escénicas en busca de nuevas experiencias interdisciplinares.

The Gold Divide
“I visualized The Gold Divide as a transparent wall; a large surface representing emotion and energy. The piece was inspired by my experiences studying abroad in Amsterdam, time spent at Haystack Mountain School of Crafts and the community at Massachusetts College of Art and Design. It was a cumulation of observations and experiences—like riding my bike through the city of Boston and seeing vast construction netting wrapped around buildings. These large surfaces of material triggered my fascination for creating work at an enormous scale. I reflected on process, on how something is made, and was further intrigued by the challenge and symbolism of independently sewing four hundred yards of fabric on a single industrial sewing machine.” Leah Medin

tape sao paulo
file sao paulo 2016
Constant wrapping of pillars with a transparent adhesive tape results in a complex, amorphous surface through the process reminiscent of growing of organic forms. One line evolves into surface that forms an organic shape of extraordinary strength. The entrance of the audience inside the volume transforms the sculpture into architecture. It was practically “found” through the act of chaotic wrapping, where a one-dimensional line (“tape”) slowly turned into two-dimensional plane, which then finally curved into volume.

Transparent Shell
Based on concepts, Transparent Shell gains inspiration from a rich variety of sequences in nature. By dissecting, extracting shell structure and restructuring, it reveals the tension of life evolution. Conch-shape helix is blended with vertical, balanced, stable and standard three-dimensional grid. Density and depth of different degrees are on one hand, in mutual erosion, harmony and coexistence and on the other hand, in antagonism, competition and conflict.

Opus Dubai Hotel
“O Opus segue à risca a principal missão da Omniyat, de tratar cada projeto como se fosse uma obra de arte única e exclusiva,” disse Mahdi Amjad, presidente executivo e CEO da Omniyat. “O projeto de arquitetura transparece a complexidade e criatividade do trabalho da ZHA; expressando uma sensibilidade espacial única, que transcende os limites entre o espaço interior e exterior, entre o cheio e o vazio e o que é opaco e transparente.”

Nemo Observatorium
File Festival

Si on pouvait décrire Nemo Observatorium, on en parlerait comme d’une pièce, une chambre plutôt, qui n’aurait la possibilité d’être visitée que par une ou deux personnes maximum. Dans Nemo Observatorium, le visiteur se place au centre d’un cylindre transparent et appuie sur un bouton. Ce bouton déclenche alors un tourbillon qui fait voltiger à très haute vitesse des petites bulles de polystyrène qui se déplacent trop rapidement pour être suivies par l’œil humain. La personne située à l’intérieur décide de la durée de la tornade ( tornado ). La tornade fonctionne à partir de 5 gros ventilateurs. Un situé en dessous du spectateur et 4 autres autour du cylindre.

Aguahoja

La variedad de formas y comportamientos exhibidos por estas piezas refleja la forma en que se expresan en la naturaleza, donde un material como la quitina puede componer tanto el exoesqueleto de los crustáceos como las paredes celulares de los hongos. A diferencia del acero y el hormigón, los materiales compuestos formados por estos materiales están en constante diálogo con su entorno. Algunos artefactos exhiben cambios dramáticos en la conformación en respuesta a la humedad y el calor, mientras que otros se oscurecen o aligeran a medida que cambian las estaciones. Algunos son frágiles y transparentes con una textura vítrea, mientras que otros permanecen flexibles y resistentes como el cuero. A pesar de su diversidad emergente, estos artefactos comparten una calidad común: en la vida, sus propiedades están mediadas por la humedad; en la muerte se disocian en el agua y regresan al ecosistema.

PLEXUS
Aurélien Bory is a Toulouse-based choreographer working at the intersection of dance, circus and visual art. In Plexus, he encloses the Japanese dancer Kaori Ito in a forest of tensioned vertical cables. It’s as if she’s in a transparent cuboid cage. We can see her, but her image is blurred by the shimmer of Arno Veyrat’s lighting as it moves across the cables. Ito strains against these confines, writhing, flailing and hurling herself against the cables. Every sound is hugely amplified, so with her every movement we are assailed by a high-tensile jangling and groaning. At intervals she subjects her environment to furious challenge, racing backwards and forwards within the limited inner space so that the cage rocks on its axis. At other times she positions herself between the cables so that they bear her weight, and hangs there like an exhausted insect, faintly articulating her limbs.

NEMO OBSERVATORIUM
Wenn auf könnte kein Observatorium, auf wird von einem Stück Derire sprechen, einem Raum, der nicht die Möglichkeit hätte, ein oder zwei Personen zu sein. Kein Besucher, der Besucher, befindet sich in der Mitte eines transparenten Zylinders und drückt auf einen Knopf zu einer. Triggerknopf, der dann bei sehr hoher Geschwindigkeit einen Wirbelwind der kleinen Bulks von Polystyrol flattern lässt, der zu schnell ist, um vom verdrängten menschlichen Auge verfolgt zu werden. Die Person, die sich für den Tornado (Hut). Der Tornado arbeitet mit 5 Brutto Fan. Eine Situation unter dem Betrachter und 4 andere um den Zylinder.

Spiegelsache
In dem in Mirror Matter gerenderten Neutrino-Observatorium vermittelt eine langsame Schwenkbewegung ein Gefühl für die Unermesslichkeit der fast 13.000 Fotovervielfacher, die in diesem seltsamen Schiff leben – ihre “Augen“ sind so konstruiert, dass sie Licht beobachten. Ein anderer Rahmen zeigt den Hadron Collider am CERN; Die Architektur wurde durch Lidar-Scans ins Auge gefasst und erzeugt einen dynamischen, transparenten Abdruck in drei Dimensionen. Als eine Vision beschrieben, die durch den Körper fließt, wird sie von Škarnulytė als “fremde archäologische Vision” mit der Fähigkeit zum Durchschauen und als die Erfahrung des Sehens vorgestellt, die am weitesten vom menschlichen Bereich entfernt ist. Durch gleichzeitige Perspektiven, die ständige Vermessungsbewegung, die einen kontinuierlichen Faden durch jede Videoerzählung zieht, und das Eintauchen durch die reflektierende schwarze Decke wird dem Betrachter diese panoptische Wahrnehmungsart vermittelt.

eCLOUD
The eCLOUD is a dynamic sculpture inspired by the volume and behavior of an idealized cloud. Made from unique polycarbonate tiles that can fade between transparent and opaque states, its patterns are transformed periodically by real time weather from around the world. It is a permanent sculpture between gates 22 and 23 at the San Jose International Airport and was a collaboration between Dan Goods, Nik Hafermaas, and Aaron Koblin.

Mirror Matter
In the neutrino observatory rendered in Mirror Matter, slow panning movement gives a sense of the immensity of the nearly 13,000 photo-multipliers that inhabit this strange vessel – their ‘eyes’ engineered to watch light. Another frame depicts the Hadron Collider at CERN; its architecture envisioned through lidar scans, producing a dynamic, transparent imprint in three dimensions. Described as a vision that flows through the body, it is imagined by Škarnulytė as ‘alien archaeological vision’ with the ability to see through, and as the experience of sight farthest from the human realm. Through simultaneous perspectives, the constant surveying motion that weaves a continues thread through each video narrative, and the immersion generated by the reflective black ceiling, the viewer is imparted with this panoptical mode of perception.

Wearable Structures for Interplanetary Voyages
Muchos del proyectos de Oxman usan impresión 3D y técnicas de fabricación. Incluyen el Silk Pavilion, hilado por gusanos de seda en un marco de nylon,3​ Ocean Pavilion, una plataforma de fabricación a base de agua que construyó estructuras de quitosano,4​ G3DP, la primera impresora 3D para vidrio ópticamente transparente y un conjunto de vidrio producido por ella,5​ y colecciones de ropa impresa en 3D y utilizables en espectáculos de alta costura.
Viajar a destinos más allá del planeta Tierra implica viajes a paisajes hostiles y entornos mortales. La gravedad aplastante, el aire amonioso, la oscuridad prolongada y las temperaturas que hervirían el vidrio o congelarían el dióxido de carbono, casi eliminan la probabilidad de visitas humanas.

parallel image
This work consists of 2500 magnetic wire cables that connect an emitter (one square meter made of epoxy resin) that consists of a 50 × 50 grid with photo sensors that have their counterparts in the receiver with a grid of bulbs. Thus the sensors detect the light and transmit in parallel each pixel (“image element”) with its corresponding brightness effect to the light bulb in the receiver. Unlike conventional electronic image transmission procedures, “A Parallel Image” uses a technologically transparent procedure, transmitting to the viewer a correspondence between the real world and its transmission.

THE TRANSPARENCY OF RANDOMNESS
“The Transparency of Randomness” gives insight into the world of randomness. In this interactive installation, visitors can directly experience the significance of the complex interplay of randomness and stochastics in current mathematical and physical research. 27 transparent boxes, floating in space, continuously generate random numbers by using the well-known medium of the dice.The process of random number generation is influenced by the complexity of nature and its structures, using a variety of natural materials. The ensemble of all generated random numbers forms the basis of a real-time calculation and comprehensibly demonstrates the impressive role in scientific research.

Bubbles in Canyon
Paris-based artist, Vincent Leroy, has taken his characteristic use of levitating orbs to bryce canyon in the USA. This conceptual project, titled ‘bubbles in canyon’ imagines a mass of transparent spheres suspended in rotation between the cliffs. The installation hopes to offer viewers the opportunity to contemplate nature through an optical effect.

Anato-me
Cette installation initie un cycle de recherche visant à augmenter ou détourner la notion d’écran par le biais de dispositifs additionnels transparents. L’image est ici constituée d’un masque gravé en 3D au laser dans 3 blocs de verre. Il est prolongé dans sa partie réelle par des impressions 3D. Une image interactive à l’arrière des blocs vient donner vie à l’ensemble. Le masque de Geisha fait référence au manga “Ghost in the Shell” de Shirow Masamune et à son adaptation en film réalisé en 2017 par Rupert Sanders.

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.

Light Space Modulator

“This piece of lighting equipment is a device used for demonstrating both plays of light and manifestations of movement. The model consists of a cube-like body or box, 120 x 120 cm in size, with a circular opening (stage opening) at its front side. On the back of the panel, mounted around the opening are a number of yellow, green, blue, rot, and white-toned electric bulbs (approximately 70 illuminating bulbs of 15 watts each, and 5 headlamps of 100 watts). Located inside the body, parallel to its front side, is a second panel; this panel too, bears a circular opening about which are mounted electric lightbulbs of different colors. In accordance with a predetermined plan, individual bulbs glow at different points. They illuminate a continually moving mechanism built of partly translucent, partly transparent, and partly fretted materials, in order to cause the best possible play of shadow formations on the back wall of the closed box”. László Moholy-Nagy

Etherea
Edoardo Tresoldi gioca con la trasparenza della rete metallica e con i materiali industriali per trascendere la dimensione spazio-temporale e narrare un dialogo tra Arte e Mondo, una sintesi visiva che si rivela nella dissolvenza dei limiti fisici.
La fusione del linguaggio classico e di quello modernista ne genera un terzo, marcatamente contemporaneo.

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.

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

Microfluidic Origami for Reconfigurable Pneumatic/Hydraulic (MORPH)
Looking to create a robot smaller than a centimeter that might someday perform precision surgery or help destroy tumors, researchers from Harvard University’s Wyss Institute and School of Engineering and Applied Sciences (SEAS), and Boston University looked to nature for inspiration, and developed a novel microfabrication technique to construct it. Their tiny robot looks like a rubbery, transparent spider — and in fact, the team modeled the form after Australia’s famously colorful and captivating peacock spider.

3DESTRUCT
3Destruct is an immersive installation, a large semi transparent cube that generates light an sound, and as the visitor walks through, he loses his landmarks in this non-linear universe that destroys any spacial coherence.

Transparent Room
Transparent Room suspends viewers in a virtual space where they see through walls to hidden rooms and city streets, and through ceilings to the sky. The room’s confining walls are replaced by projections of the outside world, its time accelerated as clouds speed by and as cars and pedestrians alike race down the street. In this caricatured passing of time, views of the cityscape and of the building’s interiors are magnified, first showing details, then textures and, finally, just single colours.

吉冈德仁
吉岡徳仁
transparent mannequins
Considered ‘grid bodies’, or the ‘transparent body installation’ yoshioka has specially conceived these figures to highlight issey miyake’s garments. in room A, one finds the 1970s collections of miyake dressing figures composed out of 365 laser cut cardboard parts, arranged as a grid structure to create a futuristic human body. they are adorned by pieces that investigate miyake’s constant innovation in fabric-making, and his deep respect for tradition.

A Transparent Leaf Instead Of The Mouth

Your Body Of Work
Transparent sheets of coloured plastic – in either cyan, magenta, or yellow – are suspended from the ceiling to form a maze. Additional colours appear where these hues visually overlap, forming spontaneous compositions that continually change in response to viewers’ movement through the space. ‘Seu corpo da obra’ was inspired by the work of Brazilian artist Hélio Oiticica (1937–1980).

Cliff Jumper
Unter dem Pseudonym Moto Waganari entwirft Lutz Wagner transparente Gitternetz-Skulpturen, die sich als schwerelose Körperhüllen vor dem Auge des Betrachters abzeichnen. Inszeniert als Lichtinstallationen werden die dreidimensionalen Figuren um ein zweidimensionales Schattenbild erweitert und erhalten ein immaterielles Alter Ego. Seine Wesen visualisieren eine surreale Parallelwelt, die voller Rätsel und Überraschungen steckt. Moto Waganaris raffinierte Kunstwerke bestechen durch formale Schönheit und filigrane Leichtigkeit.

0,16
0,16 is a light installation in which the shadows of a passer-by is transformed into ‘pixels’. The installation consists of a wall built of small square frames covered front and back with transparent paper. A third layer of paper is attached in the centre of the frames. A lamp shining at a distance breaks the shadows of the passers-by into squares, allowing a pixellated human figure to be seen on the other site of the installation. In this simple way, Bartholl renders tangible the pixels found in the world of digital communications.The ‘resolution’ of the screen is 0,16 ppi (pixels per inch), hence the title.

A Time Capsule of Life
FILE FESTIVAL
The sculpture is created from plastic bags, a contemporary mode of collecting daily goods. When connected together they form a transparent structure of cells and conduits. By connecting the bags with air tubes the bags will be pumped up. This is put in motion by the movement of the audience who become part of the system, allowing the seed to grow out as a mature structure. By vacuum the balloon structure growth and decay alternate in a process of which man forms a natural part. When the sculpture is growing or reducing it causes a cracking sound because of the sort of plastic the shopping bags are made of.

أغوستينو دي سكيبيو
stanze private
Stanze Private – Private Rooms” amplifies the noise inside these small rooms, these few jugs and glass ampoules, transparent. And it amplifies the noise in the surrounding environment, in the largest room where the installation is placed. It produces sound from the audience. We as listeners can not only be part of this small ecosystem, our physical presence alters the acoustics of the surrounding space, altering the dynamic. Listening thus interferes on listening, the listening is never something objective, is always something that changes the listening itself.

茜森山
森山茜
cubic prism
Gently responding to wind movements and rain drops, ‘cubic prism’ by stockholm-based designer akane moriyama is a large cube-based structure made out of three different colors of textiles. suspended between two buildings at the goldsmith hall in the university of texas, austin, the piece reacts to environmental factors, as the geometry of a rigid cube is replaced with soft semi-transparent fabrics.

Chandelier with The LEGO Group
Coup de cœur pour le travail de Tobias Tostesen basé au Danemark, qui a imaginé un énorme chandelier composé de près de 8000 briques transparentes de Lego. Ayant lui-même construit pièce par pièce cette oeuvre d’art[…]

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

lawrence malstaf
NEMO OBSERVATORIUM
CCBBRJ
photo:Dim Carvalho
file rio de janeiro 2018
Se pudéssemos descrever o Observatório Nemo, falaríamos dele como uma sala, e não como um quarto, que só poderia ser visitado por uma ou duas pessoas, no máximo. No Observatório Nemo, o visitante se posiciona no centro de um cilindro transparente e pressiona um botão. Este botão então dispara um vórtice que faz pequenas bolhas de poliestireno tremularem em alta velocidade, que se movem muito rapidamente para serem seguidas pelo olho humano. A pessoa que está dentro decide a duração do tornado. O tornado opera a partir de 5 grandes ventiladores. Um localizado abaixo do visualizador e 4 outros ao redor do cilindro.

БОХЬЮН ЮН
윤보현
Transparent Business Suit

“There is much to support the view that it is clothes that wear us and not we them; they mold our hearts, our brains, our tongues to their liking.” -Virginia Woolf. Uniforms group people in simplified versions of our social strata and take away our identity and individuality. In my transparent suit, I wanted to break the rigid impositions of the formal suit. Therefore, I juxtaposed the suit of a businessman and the naked body.

吉冈德仁
吉岡徳仁
transparent body installation

clear orb

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

Für Gisela Hoffmann ist die Linie in all ihren Arbeiten das definierende Medium. Sei es, dass Sie eine Lineatur beschreibt, eine Grenze oder eine Fläche definiert, immer schafft die Linie Raum. Mit Ihren modularen Systemen schafft sie wandelbare Zwischenräume, Spannungsräume, Farbräume oder auch Denkräume.„Ihre Strategie des „Fast Nichts“ hat den Vorteil, das die solcher Art definierten Flächen die unendliche Fülle anderer potentieller Raumausschnitte erlebbar machen. In der Summe also Raum. Raum aber nicht als Leere, sondern als unerschöpfliche Fülle. Gisela Hoffmanns skulpturale Kunst nimmt nicht Raum, füllt nicht Raum, verdrängt ihn nicht, sondern gibt ihn.“
(Dr. Thomas Heyden Kurator/Konservator Neues Museum Nürnberg)Wenn sie ihre transparenten Bänder über Wände, Decken und Böden spannt, wird der architektonische Raum zu Ihrem Bildträger. Ihre Raumlinien werden direkt physisch erfahrbar, indem man die Installation umgeht. Leere, Luft Distanz, Dichte, Transparenz Form, Gegenform und Volumen werden körperlich erfahrbar. Die Visualisierung von Raum ermöglicht das Nachdenken über Raum, den speziellen Ausstellungsraum oder Raum an sich.

توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
Flying Garden
Les recherches de Saraceno ont un objectif très précis, la création de systèmes de vol en plates-formes flottantes dans le ciel, constitués de cellules habitables en suspension dans l’air, qui peuvent changer de forme et se rejoindre comme des nuages. Ce projet, baptisé Air – Port-City, n’est pas une simple expérimentation des possibilités technologiques, mais vise à réexaminer la liberté de voyager d’un pays à l’autre, en relation avec les dynamiques géopolitiques, en n’utilisant que le droit international et en dépassant les restrictions politiques, sociales, culturelles et militaires de la société contemporaine. Au fil des années, cette vision utopique d’une vie suspendue dans le ciel a conduit Saraceno à créer une série de structures expérimentales telles que des ballons gonflables ou des structures modulaires pouvant interagir avec les énergies naturelles. Ses recherches étudient la possibilité de coloniser le ciel, à la recherche de tout appareil pour la vie dans les nuages, dans une bulle transparente, la migration entre les nuages, basée sur les vents et la météo, en utilisant l’énergie solaire.

SIMULACRA
file festival

“SIMULACRA” is an optophysical experimental arrangement. At its heart are four LCD monitor panels, which are assembled in the form of a hollow square, and installed at eye level in the middle of the room. The ensemble appears internally gutted, overgrown and embraced. A tangle of cables and control devices pours out of the middle of the square. All around it several magnifying lenses dangle from chains. The imageless glaring ray of the monitors looks as if the images had fallen out of them. What remains is the essence of the medium: Light.It is an impressive, wondrous experience when images suddenly appear from the pure white by the mere glance through a seemingly transparent film. But if you turn the lens in front of your eyes, the polarizing structure of the film creates wild color shifts or even complementary negative images.

The Architecture of Radio
In case you’ve ever wondered exactly what lies beyond the realm of the visible, Dutch designer Richard Vijgen has created a new app that is able to visually portray the network of radio waves that lies below the surface. The app was created as a part of Vijgen’s new ”The Architecture of Radio” exhibition at Germany’s ZKM, and combines technologies from GPS, OpenCellID, and NASA’s public satellite feeds to amalgamate a rendering of the data webs all around us. The app was intended to give a physical portrait of the very data waves that rule the modern day, according to Vijgen: “We cannot see the very thing that is defining our time, and that concerns me.” The designer went on to note “as technology is becoming more and more transparent, I think data visualization can help us to relate to things that are invisible, yet play an important role in our lives.”

Connect, Back to Back
Regine Schumann\’s works live in transparent zones between radiating light and darkness. She works between visible light and inner enlightenment, between sensual dematerialization of space and magical colors. Inspired by the invisible black light, the surfaces of her works send intensely radiating color realities that create a paradox, almost chromatic aura. The color and light produces this ambivalent states which also reflect sculptural qualities.