Les trois Grâces

file festival
“Les Trois Grâces” is a presence and corporeality simulation in virtual reality. Exposing the underlying power struggle implied within touch, this piece explores the trespassing  of bodily frontiers and territoriality. As a sculpture, its object is not matter, but our relationship to the other.
It offers a troubling experience of intimate proportions.

Liquid Skin
‘Liquid Skin’ is a visual research towards the changing boundaries between the physical world of the human body and the digital world. By borrowing techniques found in touch screen technologies, but instead of following the cold underlying logic of present day devices, it proposes a situation where this border becomes liquid and sensual with an emphasis on the fluidity of touch and movement. Turning the skin itself into a medium of visual expression without the constraint of the technical grid.

“6 Sided Plane in 5 Masses and 3 Scales with 2 Free Regions
The drawings also clarify the schema underlying the locations of the bored holes in the sculptures. Situated along lines linking vertices at the perimeter of the forms, they recall constellation maps or, as with 8 Sided Plane in 7 Masses and 2 Scales with Free Region (1975/2018), the plans of Romanesque cathedrals. Here, again, the relationship is inverted. The black shapes representing the solid stone columns in the plans echo the shafts of air bored through the steel. The term “Romanesque” appears frequently in Rabinowitch’s titles. Though absent here, the conglomeration of shapes visible in Romanesque church plans, like those of Cluny in France, bear an affinity with the additive sensibility evident in Rabinowitch’s structures. Donald Kuspit has focused attention on the artist’s interest in Northwest Coast traditions, especially the totem pole. Like the totem pole, Rabinowitch’s works manifest a “disrupted continuum,” a whole built out of distinct parts. For me, the presence of the drawings in this exhibition subtly undermined that assertion. The lines along which the bored holes are situated form a network that passes over all (or at least most) of the components in each work, in effect linking them. Though no longer visible in the steel versions, the connective links act as a reminder of this second related principle of organization. Some may see it as a complication, a discrepancy, or be disappointed by the realization, but I think it helps demystify these “new” early sculptures. At the same time, the proximity of the studies by no means diminished the deep-rooted and intriguing complexity of Rabinowitch’s sculptural work.”John Gayer

Matrix Paris
Matrix Paris is a fully immersive and experiential light installation. The visitors walk into a maze of LED lights distributed over two floors. The colors of the lights slowly change between red and blue. These colors delineate the visible color spectrum as well as the spectrum of our human emotion with red as the most sensual color and blue as the cool, rational counterpoint. The corporeal intensity of the immersive aesthetic experience combined with the underlying technological aspects of a highly sophisticated binary logic blurs the border between the virtual and the real.

Vitreous
The nine virtual sculptures underlying vitreous resulted from experimental setups by Robert Seidel for generating three-dimensional clusters of fibrous refractions, as well as the gravitational lensing of different volumetric and chromatic densities. Singular elements gravitate towards each other, accumulating in a gigantic sculptural system, where each entity exists with its own visual axis and vanishing point. The impalpable luminous formations create prismatic interactions between the ridges and plateaux of the main colours floating in front of the infinite violet background.

Захаров, Вадим Арисович
danaë installation
Drawing from the perpetually revisited myth of Zeus and Danae, an installation by Vadim Zakharov in the Russian pavilion at the Venice Biennale 2013 used consumable objects and the sequence of architectural spaces to make manifest underlying ideas about ‘rudeness, lust, narcissism, demagoguery, falsehood, banality, and greed, cynicism, robbery, speculation, wastefulness, gluttony, seduction, envy, and stupidity.’ the impregation of danae occurs when zeus appears to her as a golden shower after she is locked in a tower to prevent the professed death of her father. gender dynamics and the poetic cycle of gestation are reconstructed spatially with a total use of the pavilion– a first in the history of the building.

APPARITION
Materiality and process are central to Rebecca Ward’s practice and evoke “architectural garments” ripped, unwoven, and re-stitched from fleshtoned canvas duck, leather hide, and silk organza. In her canvas works, the artist removes the weft (horizontal) threads of the fabric to reveal the underlying stretcher bars, highlighting the physical structure of the painting itself. Ward’s artworks reveal and obscure, and by their nature, entice viewers to closely investigate contrasts in line and material, modulations in color, and multi-dimensional layers.

Biometric Mirror exposes the possibilities of artificial intelligence and facial analysis in public space. The aim is to investigate the attitudes that emerge as people are presented with different perspectives on their own, anonymised biometric data distinguished from a single photograph of their face. It sheds light on the specific data that people oppose and approve, the sentiments it evokes, and the underlying reasoning. Biometric Mirror also presents an opportunity to reflect on whether the plausible future of artificial intelligence is a future we want to see take shape.

Study of a Female Nude II
Kilumets’s practice is an investigation of photography as a medium and, in particular, it’s role as a representational device. His ongoing research is concerned with questions such as what are the underlying mechanisms of photographic representation and how do photographic images influence our perception and understanding of the world.

Multiple Identities, Sustainable Development
The focus is on multiple identities. There are pale, milky plastic pipes attached to the ceiling of the concrete interior, inside which, moved by fans, roll white balls. One after the other. If the one arrives, a new one is sent to another tube.Such works breathe inner unity. This closeness is sometimes a closeness, if not encryption. Because the language of contemporary installation art is foreign and difficult to read. The viewer’s gaze likes to evaluate subjectively and is always shaped by environmental influences such as culture, trends, styles, beliefs, experiences and politics. This makes the interpretation uncertain, it becomes subjective, often tempting to misconduct. Because anyone who claims that the work of art is created in the eye of the beholder and means that everyone, regardless of where they come from and how educated, can make a valid statement about a work of art is wrong. What Marcel DuChamp meant is that it unfolds in the eye of the beholder. But this development should not mean that simply opening the eyes also brings with it knowledge and insight. These qualities are developed through active participation, through perception. This, in turn, is not only feasible through the visual stimulus in the eye. It is possible, however, if you know who the artist is, what he is doing, what he wishes to express and with which underlying design principles the view is guided in what way to what. Only then does the processing take place, a connection of the causal relationships, which ultimately leads to art in the eye of the beholder. To an inner feeling outside of the spontaneous feelings.

Anamorphic sculpture

London-based artist Jonty Hurwitz creates amazing anamorphic sculptures that can only be seen in their own reflections. In fact, without the mirror cylinder, most of his pieces would look like rubbish.
To create these sculptures, Jonty first scans a three-dimensional object, then uses computational software to come up with new physical forms.
“Finding that line between art and science is the underlying motivator in my art life,” says Jonty. “At heart I’m an artist scientist archetype that loves projects and people. Each of the art works and ventures on this site represent a part of what I am.”

Anatomy of Form
The Divine Proportion in the Platonic Solids

In fact, the Graham Foundation recognized Tyng’s talent nearly half a century ago in 1965, when she was awarded for her project Anatomy of Form: The Divine Proportion in the Platonic Solids:In her research she developed a theory of hierarchies of symmetry—symmetries within symmetries—and a search for architectural insight and revelation in the consistency and beauty of all underlying form.It’s fascinating stuff, and the images alone have piqued my interest in Tyng’s theories, which cover topics from Jungian cycles to the cosmos. Tyng (b. 1920 in Jiangxi, China) was one of the first women to earn a Masters in Architecture from Harvard. She spent nearly three decades collaborating with Louis Kahn before shifting her focus to research at the University of Pennsylvania in the late 60’s. The title of the exhibition and her works belie the understated beauty of their execution, which demonstrate the expressive power of order and geometry. Tyng’s unique command of form is matched by her raw intellect; thus, she elegantly articulates her vision in the models seen here.