SMS Slingshot
file festival

SMSlingshot
The SMSlingshot est un lance-pierre numérique qui envoie des SMS colorés sur les murs, telles des billes de paint-ball. La recette est simple, ou presque : un vidéo projecteur, un lance-pierre en bois muni d’un pointeur laser et une radio à Ultra Haute Fréquence. L’utilisateur utilise le clavier du lance-pierre pour écrire son message, vise un mur et le bombarde. Son SMS s’inscrit dans une tâche de peinture colorée.
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SMSlingshot
Der SMSlingshot ist eine digitale Schleuder, die wie Paintballs bunte Textnachrichten an Wände schickt. Das Rezept ist einfach oder fast: ein Videoprojektor, eine Holzschleuder mit Laserpointer und ein Ultrahochfrequenz-Radio. Der Nutzer schreibt mit der Schleuder-Tastatur seine Nachricht, zielt auf eine Wand und bombardiert diese. Ihre Textnachricht ist Teil einer bunten Lackierung.

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SMSlingshot
SMSlingshot è una fionda digitale che invia messaggi di testo colorati ai muri come palline di vernice. La ricetta è semplice, o quasi: un videoproiettore, una fionda di legno con puntatore laser e una radio Ultra High Frequency. L’utente utilizza la tastiera a fionda per scrivere il proprio messaggio, mira a un muro e lo bombarda. Il suo messaggio di testo fa parte di un lavoro di pittura colorato.

Spektrum
SPEKTRUM is an interplay of light, music and the performers. The use of projections in a theatrical context was a very pleasant experience for us, for when projections are used indoors, they can be controlled so precisely that amazing changes of perspective are possible. Once the stage is perceived as a platform, once as a white cube, once the spatial perception itself is completely challenged. As the three different elements of the performance merge into one unified language, SPEKTRUM is able to be many things at once: playful and yet fierce, touching and yet disturbing. Less a narrative than an emotional and sensory experience SPEKTRUM challenges the mind of the spectator in a quite a poetic way.

320 degree licht

L’installation «320° Lumière» du groupe artistique URBANSCREEN, implanté à Brême, utilise comme point de départ la beauté et le caractère de cathédrale du Gazomètre pour créer un jeu fascinant de volumes et de lumière. Des motifs graphiques se développent et se transforment dans un rayon de 320 degrés sur la paroi intérieure du Gazomètre d’une hauteur de 100 mètres. Le spectateur assiste alors à une alternance entre un espace réel et un espace virtuel, le Gazomètre semble se dissoudre dans ses propres structures filigranes pour finalement retrouver continuellement sa forme distincte. «320 ° Lumière» est réalisée à partir d’une technologie de projection Epson. L’installation couvrant une surface de 20 000 mètres carré fait partie des projections intérieures les plus grandes et en terme de technique les plus complexes.

HyperveloCity

HyperveloCITY is a fast forward connected cultural organism that grows on top of the subway stations in downtown Los Angeles. The movement time line of the users (pedestrians, students, cars and train) is used as the operational strategies of the buildings framework. Velocities and rhythms are used to generate a new perception of space. The distance of the institutions would generate a wider field of influence in a dense cityscape. The main three volumes are an urban art museum, educational institution and a new convention centre, all separated one kilometer from each other. The various components of HyperveloCITY are connected by way of a the underground train system. The project is structured to emphasize the use and efficiencies of the public transport system and create not-so-often-seen public spaces and realms in densest part of downtown Los Angeles.

CAPACITIVE BODY
file festival

The installation “capacitive body” is a modular light system that reacts to the sound of its environment. Each custom-built module consists of an electro-luminescent light wire linked to a piezoelectric sensor and a microcontroller. Through its modular setup it can easily be adapted to various urban spaces. The sensors are used to measure vibrations of architectural solids in a range of low frequencies. These oscillations are triggered by surrounding ambient noise, for example traffic noise. The data sensor controls the light wires, which are tensed to a spatial net structure. According to the values of the measurement, light flashes are generated. With increasing vibrations the time between flashes becomes shorter and shorter. The stability of this nervous system gets to an end where it collapses and restarts again. A dynamic light space is thereby created, which creates a visual feedback of the aural activity around the installation.

MAN-NAHĀTA
Computational growth across material and urban scales offers a framework for design through self-organization, enabling the generation of vast, diverse forms exhibiting characteristics like those that emerge through the biological growth processes found in Nature. In this project, we construct an oriented volume spanned by surface normals of the shape at every point. The value of the oriented volume drives the iterative deformation of the shape. Depending on the parameterization of this process, we can obtain distinctly different growing forms. Importantly, the emergence of these forms is driven only by the time evolution of a geometric operator acting on the shapes iteratively, thereby connecting geometry and growth through an algorithm. To form the Man-Nahata landscape, the buildings of the urban landscape are transformed through repeated morphological closing operations, where the field of influence follows a gradient from the center to the outskirts of a circular region.

Urban Sun
URBAN SUN des Designers Daan Roosegaarde und seines Teams ist die weltweit erste künstliche Sonne, die öffentliche Räume mit einem sicheren UVC-Licht von 222 Nanometern vor dem Coronavirus desinfiziert. Nach dem erfolgreichen Start in Rotterdam geht URBAN SUN auf Welttournee zum Aarhus Festival in Dänemark, dem Museum of Design Atlanta in den USA, dem niederländischen Pavillon auf der World Expo 2020 Dubai in den VAE und anderen Orten. URBAN SUN ist eine innovative Designinstallation, die bessere und sicherere Räume schafft, um freier zu atmen.

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.

도시의 흔적
“”새로운 도시화가… 더 이상 다소 영구적인 배치에 관심을 두지 않고 … 결정적인 형태로 결정화되기를 거부하는 … 그것은 더 이상 세심한 정의, 한계의 부과가 아니라 개념 확장, 경계 거부, 개체 분리 및 식별이 아니라 하이브리드 발견에 관한 것입니다. 그것은 더 이상 도시에 집착하지 않고 끝없는 강화와 다양화, 지름길과 재분배를 위한 기반 시설의 조작 – 심리적 공간의 재창조.”, 네덜란드 건축가 + 하버드 교수, Koolhaas 959, Deliious New York의 작가. URBAN IMPRINT는 우리가 정의하는 이 새로운 도시주의, 증강된 물질성을 디자인하는 방법입니다. 미래의 나에 의해 재구성되는 ‘빈 캔버스’인 환경.

Urban Sun
디자이너 Daan Roosegaarde와 그의 팀이 만든 URBAN SUN은 코로나바이러스로부터 222나노미터의 안전한 UVC 빛으로 공공 장소를 소독하는 세계 최초의 인공 태양입니다. URBAN SUN은 로테르담에서의 성공적인 출발을 끝으로 덴마크 오르후스 페스티벌, 미국 애틀랜타 디자인 박물관, UAE 두바이 2020 세계 엑스포 네덜란드관 등 세계 순회 공연을 펼친다. URBAN SUN은 보다 자유롭게 호흡할 수c 더 좋고 안전한 공간을 만드는 혁신적인 디자인 설치입니다.

Agulhas Drifter
Agulhas Drifter est un nouveau projet d’art médiatique passionnant qui présente les conditions des vagues en haute mer aux visiteurs de la galerie. En juin 2018, Sai Keener a lancé une bouée en verre soufflé personnalisée le long de la rivière Agulhas au large de Durban, en Afrique du Sud, et a créé un système lumineux et sonore immersif qui répond aux formes d’onde des satellites en temps quasi réel. La bouée enregistre le tangage, le roulis et l’accélération verticale des vagues, enregistre la température de surface de la mer et surveille les courants. Ces données sont transmises par satellite toutes les huit heures. L’installation de la galerie utilise les dernières données de mouvement des vagues en utilisant une sculpture cinétique pour projeter une ligne d’horizon changeante de lumière laser à travers la salle de la galerie afin de visualiser les conditions océaniques actuelles.

LABY-FOOT

As part of the 1 + 1 biennial, organised jointly by the Casino Luxembourg and the Fonds Kirchberg, the artist Benedetto Bufalino (born in 1982 in Décines; lives and works in Paris) was invited to submit a work for the plant labyrinth of the Kirchberg Central Park. The artist’s approach consists of investing urban space, playing with the architecture of given places and offering, with his funny or poetic installations, an offbeat reinterpretation of reality.
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L’installation Laby-Foot de l’artiste Benedetto Bufalino se trouve à proximité du Centre National Sportif et Culturel d’Coque à Luxembourg-Kirchberg. Comme son nom l’indique, Laby-Foot est un terrain de football réinventé pour le labyrinthe végétal du parc central du Kirchberg. Ses formes et ses matériaux insolites permettent au public de l’explorer, de participer à des matchs de football et d’en repenser les règles.

Cloud Osaka
Envisioned as a high-resolution urban interchange, Cloud Osaka embodies Biothing’s approach to complex design synthesis across multiple orders of scale. Due to its central position in the city, a high convergence of users and one of Asia’s densest transportation nodes found in the adjacent JR Osaka Station, the key driver for the project was to understand 2.5 million people traversing the site every day. This is nearly 10 times the number of daily passengers at the busiest airports in the world. Such an extreme volume of pedestrian traffic, compounded by other forms of traffic in the area, warranted choosing computational physics simulation ordinarily used to simulate systems like river flows; indeed, a key driver for the project became the concept of a “river of people”.

ダークマター
「トロイカの形而上学的に奇妙なぶら下がっている彫刻ダークマター（2014）、立っている場所に応じて円、正方形、または六角形のように見える大きな黒いオブジェクトは、（オールドウォルバーのビデオのように）主観的な視点と客観的な真実。
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Dark Matter, a large black object that looks like a circle, a square or a hexagon depending on where you’re standing, probes (like Olde Wolber’s video) a very contemporary disturbance about the irreconcilability of subjective point-of-view and objective truth.

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Un grand objet noir qui ressemble à un cercle, un carré ou un hexagone selon l’endroit où vous vous trouvez, sonde (comme la vidéo d’Olde Wolber) une perturbation très contemporaine sur l’inconcilabilité du point de vue subjectif et de la vérité objective.

Down with Wrestlers with Systems and Mental Nonadapters!
file festival

“The work of Dmitry Kawarga normally deals a lot with ideas of biomorphism. A term and a small branch in art history that was very much influenced and formed by Hans Arp. Not just remaining in biomorphism, like Arp, Kawarga adds a whole new social and urban dimension to the works that make us think of terms like ”rhizome” developed by the post-structuralists Deleuze and Guattari. For Dada Moscow, Kawarga invented a totally new work, which seems to be quite different from the abstract biomorph works he normally does. It is an interactive installation that brings up a very powerful sense of the machine and technology fascination the society before the WWI had and it also shows the brutal consequence this fascination had. Kawarga creates a machine that brings the ideas of social models totally to the absurd.” Adrian Notz

FLOW

Dall’inizio degli anni ’80, Pia MYrvoLD ha lavorato in un ampio campo di tecniche, sviluppando e combinando diversi mezzi: pittura, suono, video, design infrastrutturale, arte vivente e urbanistica e nuove tecnologie. La ricerca ibrida di MYrvoLD all’interno dei media visivi ha dato al mondo dell’arte e del design concetti nuovi e unici, tra cui CyberCouture, vestiti come editoria, opere multi-superficie, interfacce femminili e progetti nell’area di confine tra spazi virtuali e reali – con l’arte interattiva come un elemento ricorrente. MYrvoLD – che ha iniziato come pittrice – ha continuato anche con i media tradizionali e produce continuamente nuove serie di dipinti, grafica, sculture e video, dove la sua narrativa visiva si riferisce alla tecnologia, alla codifica del DNA, agli oggetti e alle interfacce sensoriali, dove la dialettica tra l’oggetto e lo spazio suggerisce linee guida e nuovi codici su come la società può utilizzare e sviluppare nuova sensualità.

Brazil Now
BRAZIL NOW is a composition that addresses increasing militarization and surveillance within urban areas. Its geographical and acoustic reference is São Paulo, the largest megacity in Latin America. The piece is based on field recordings that capture the symptoms of a Latin American variant of turbo-capitalism with its distinctive acoustic features. Eruptive public demonstrations on the streets are often accompanied by loud, carnivalesque elements. These are controlled by a militarized infrastructure, openly demonstrating a readiness to deploy violence. The sonic documents are analyzed by machine learning algorithms searching for acoustic memes, textures, and rhythms that could be symptomatic for predominant social forces. The algorithmic results are then used as a base for a score and its interpretation through a musical ensemble. The piece drafts a phantasmatic auditory landscape built on the algorithmic evaluation of urban conflict zones.

Città emotiva
Emotive City è una cornice per esplorare un modello mobile e auto-organizzativo per la città contemporanea. I modelli del passato sono limitati e non dovrebbero funzionare, in quanto progetti per il nostro futuro urbano, una nuova generazione di ricerca progettuale deve necessariamente affrontare le sfide di oggi. Le tendenze fisse e finite che un tempo servivano all’architettura e all’urbanistica sono state rese obsolete. Oggi le intersezioni di informazione, vita, macchine e materia mostrano complessità che suggeriscono la possibilità di una sintesi molto più profonda. In questo contesto, l’architettura è costretta a rifattorizzare radicalmente la sua risposta alle nuove sfide sociali e culturali con un ambiente di urbanizzazione accelerata. Proponiamo un quadro che partecipa e si impegna con gli ambienti ricchi di informazioni che stanno plasmando le nostre vite attraverso un modello di vita che chiamiamo ecologia adattiva.

Cryptic Ruins
It’s the year 21020 and a mysterious archaeological site has been uncovered in what was central London. A large communal structure seemingly dedicated to unproductive expending of energy from human bodies. Whilst we might easily identify it as a gym, our descendants are concerned with why it exists at all. By framing the 21st century compulsion towards physical fitness as a mysterious practice of the past that requires decoding, Deja’s playful film reveals something of the absurdity of contemporary urban life and questions the rationality of our obsessions.

Tower C
‘tower C’ by zaha hadid architects within the Shenzhen bay super headquarters base responds to its location at the intersection of the city’s planned north-south green axis and shenzhen’s east-west urban corridor. Connecting directly with its adjacent park and plazas, which transform into a terraced landscape extending upwards within its two towers, the design invites the public into the heart of the building where cultural and leisure attractions are housed in sweeping bridges that tie the towers together and give panoramic views of the city.

Particle Falls

Particle Falls is a large-scale, real-time visualization of air-quality data.On a background of falling blue light, spots of bright, fiery color emerge and crackle, representing the presence of fine particulate matter, as detected by a nearby air monitor. Fewer bright spots over the falls mean fewer particles in the air.Particle Falls draws our attention to the invisible particles that surround us and that may affect our health. While the visible smog that plagued many U.S. urban centers decades ago has been mitigated by technology and regulatory measures, microscopic threats to our air continue to exist and often go unnoticed. Particle Falls is one way we can learn more about the quality of air around us.

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.

ג’רג’ ליגטי
Дьердь Лигети
ジェルジ·リゲティ
Le Grand Macabre
In the mid-70s, Ligeti wrote his only opera, Le Grand Macabre, loosely based on the 1934 play, La Balade du grand macabre, by Michel De Ghelderode. It is a work of absurd theatre that contains many eschatological references.After having seen Mauricio Kagel’s anti-operatic work Staatstheater, Ligeti came to the conclusion that it was not possible to write any more anti-operas.[citation needed] He therefore resolved to write an “anti-anti-opera”, an opera with an ironic recognition of both operatic traditions and anti-operatic criticism of the genre. From its brief overture, a mixture of rhythmic sounds scored for a dozen car horns, to the closing passacaglia in mock classical style, the work evolves as collage of sonorities ranging from a grouping of urban sounds to snippets of manipulated Beethoven, Rossini and Verdi.

SHIBUYA HYPER CAST. 2
Shibuya Hyper CAST. 2 is a showcase of most cutting-edge urban innovations combined into one building. Shibuya CAST., an existing development designed by noiz, has been an urban lab of mixed function and culture located in the middle of one of the hottest areas in Tokyo. This hypothetical project has started for the 5-year memorial celebration of the CAST., to project future possibility of the building, the area, our society, and potentially a form of future city. It demonstrates how cities of the future could be structured and operated. The project is based on urban studies in the area of mobility, social welfare, administration, funding, security, sustainability and more. Shibuya Hyper CAST. 2 translates the best features of vibrant downtown districts into vertical language of ever-growing cities of the future.

Metabolism _ Invisible Cities
Pierre-Jean Giloux’s first monograph, the publication extends the eponymous video tetralogy inspired by the Japanese utopian architectural movement: Metabolism (1960-70).
The films of the Invisible Cities cycle are portraits of Japanese cities, superimposing filmed and photographed images of everyday, social and urban reality, with virtual images.
The book explores the links in Pierre Jean Giloux’s work that connect four Japanese cities with a rich architectural past (Tokyo, Yokohama, Osaka, Kyoto). This jorney through Japan’s Megapolis traces the history of Japan and ends with the reconstruction of pavilions for the Osaka 70 Universal Exhibition and a virtual proposal for a smart city on the waters of Lake Biwa.
The metabolist utopia to which reference is constantly made in the work of Pierre Jean Giloux played a decisive role in the constitution of post-war Japanese cultural identity and had a notable influence on many contemporary architects.

video

The Sky over Nine Columns
Heinz Mack has developed a genuine language of light and colour since the 1950s and is a leading exponent of kinetic art. The concept of ‘Light Stele’, to which ‘The Sky Over Nine Columns’ refers, was first formulated by Mack in the late 1950s in his Sahara Project. His works in public spaces – whether in urban settings or nature – are always conceived as objects for light: “Light is decisive for my art. As far as light is concerned, I want to go to the limits of the possible.” (Heinz Mack)

Марин Савва
مارين سوا

Algaerium
Algaerium is an in-vitro aesthetic photosynthesis system of microalgae for spatial installation of algal biotechnology in the urban environment. As a collective family, each member of Algaerium represents an urban bio-repository, floating biota, in which to preserve the microorganisms for their future biotechnological use such as bio-energy. Through displacement into the urban environment, Algaerium re-contextualises the sterile environment of the algae culture laboratory. I have incorporated and manipulated the endogenous yet ‘re-programmable’ biological processes of photosynthesis and bioluminescence.

Machine Hallucination
Refik Anadol’s most recent synesthetic reality experiments deeply engage with these centuries-old questions and attempt at revealing new connections between visual narrative, archival instinct and collective consciousness. The project focuses on latent cinematic experiences derived from representations of urban memories as they are re-imagined by machine intelligence. For Artechouse’s New York location, Anadol presents a data universe of New York City in 1025 latent dimensions that he creates by deploying machine learning algorithms on over 100 million photographic memories of New York City found publicly in social networks. Machine Hallucination thus generates a novel form of synesthetic storytelling through its multilayered manipulation of a vast visual archive beyond the conventional limits of the camera and the existing cinematographic techniques. The resulting artwork is a 30-minute experimental cinema, presented in 16K resolution, that visualizes the story of New York through the city’s collective memories that constitute its deeply-hidden consciousness.

The Flat Arc
​Intent: Experimenting artistic freedom on data, a road to explore possibilities of telling abstract yet emotional stories not with literature but visuals corresponding to datasets. Method: Generative visual parameters based on World Urbanization Prospects data are governed by real time image/video synthesis, with the help of graphic manipulative software platforms and creative coding.

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أندريه تاركوفسكي
塔可夫斯基
アンドレイ·タルコフスキー
Андрей Тарковский
Solaris
In Solaris (1972), Andrei Tarkovsky presents a vision of contemporary society as one that has become cut off from nature, and provides a narrative that illustrates the possibility of remaining human in the inhuman world that is the result. The film contrasts a life-affirming natural landscape to an urban, constructed landscape where the natural world is submerged and invisible. The Solaris space station is both a projection of this second, inhuman, landscape and an allegory for Tarkovsky’s view of urban life. The narrative of the film concerns the journey by the central character, Kris Kelvin (Donatas Banionis), from emotional deadness to a rediscovery of his humanity as he charts a course between these two worlds, and the role that art, whether painting, music or film, plays in this.
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DIM

DIM’ is a music video based on the footage from the pilot episode of FJER, a poetic and freaky urban fantasy web series about the young bird-woman Crane’s emancipation from her father, ruler and lover Hawker.

FILE Sao Paulo 2019 | Anima +

Dark Matter

‘Troika’s metaphysically strange hanging sculpture Dark Matter (2014), a large black object that looks like a circle, a square or a hexagon depending on where you’re standing, probes (like Olde Wolber’s video) a very contemporary disturbance about the irreconcilability of subjective point-of-view and objective truth.’

Headquarters ‘Ribera del Duero’
Fabrizio Barozzi and Alberto Veiga began their career together in 2004 in Barcelona. EBV is an architectural practice devoted to architecture, urbanism for both public and private sectors. EBV has won numerous prizes in national and international competitions. Projects that stand out for their singularity include the rehabilitation of the Santa Clara Convent in the historic city centre of Úbeda, Andalucía (under construction); the Congress Hall of Águilas, Murcia (built); the Headquarters of Ribera de Duero in Roa, Burgos (built); and the Philharmonic Hall in Szczecin, Poland (under construction)

Amos Rex Museum
Amos Rex rethinks the urban park as part of our museum experience. Its structure is built with large concrete domes. This principle is very functional for museum use: it allows long column-free spans and flexible exhibition spaces. The domes contain skylights that introduce natural light into the galleries below as well as carefully selected views of life above. At street level, a new urban square has been created with a unique identity. The domes form an undulating landscape for people to enjoy, especially children. The Lasipalatsi building was restored respecting its valuable 1930´s Functionalist era interiors and details.

Paradise Cage
Museum of Contemporary Art
Los Angeles
Known as the punk rockers of architecture Coop Himmelb(l)au was founded in Vienna in 1968 by Wolf Prix, Helmut Swiczinsky and Michael Holzer. With the exhibition ‘Wiener Supersommer’ in 1976 they delivered an aggressive alternative to the usual urban architecture and stated their name as a provocative, mould-breaking studio not afraid to go beyond the scope of architecture.

Today’s Levitation
Tokyo-based photographer Natsumi Hayashi is known as the “levitation girl.” She became an internet sensation over the past year with her “Today’s Levitation” series, a self-portrait project consisting exclusively of images that capture her in mid-air, usually against an everyday urban backdrop.

The photographic images Niv Rozenberg creates allows us to see the urban environment through a new perspective. With New York City and Tel Aviv as his subjects, he “breaks the visual and spatial congestion of the city by constructing an archetypal form, isolated from function and separated from the city’s total urban structure.”

Mercat dels Encants
Rafael Vargas Photography
Una gran plataforma suspendida como un dosel, de unos 25 metros de altura, otorga al mercado el reconocimiento como el principal equipo urbano y protege contra los distribuidores y usuarios de la radiación solar. La plataforma se divide en bandas de ancho variable. Su parte inferior genera varios planos con un techo roto, convirtiéndose en un mecanismo de reflejo de la ciudad en el mercado.

فريتز لانغ
弗里茨·朗
הפריץ לאנג
フリッツ·ラング
Фриц Ланг
Metropolis
Made in Germany during the Weimar period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder, the wealthy son of the city master, and Maria, a saintly figure to the workers, to overcome the vast gulf separating the classes in their city and bring the workers together with Joh Fredersen, the city master. The film’s message is encompassed in the final inter-title: “The Mediator Between the Head and the Hands Must Be the Heart“.
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The building of student dwellings in the complex of buildings belonging to Utrecht University has transformed the Uithof site into a full-fledged campus. It will also help relieve the chronic housing shortage for young people in the city of Utrecht. Within the line of freestanding buildings (‘Objectenstrook’) the master plan designed by OMA, our block of 380 independent and clustered rooms presents itself as a solitary mass with a 20 metre cantilever. The spectacular main concrete supporting structure consists of four slabs that together form a theatrical single table leg. The ‘leg’ and its rocking bench dramatize the main entrance and create an urban rendezvous which distills the encounters and the to-and- from of all those students.

Horse And Rider
“The images are, over the years, diverse in discipline and form, but always show a sense of disturbance and a multi layered story. This has resulted in a body of work with an unique personal handwriting and markable face.
Carmen and Elle have created all look-books and art-directing several shows for Bernhard Willhelm from 2001 till 2007. For recent exhibitions they integrated photography with 3-dimensional installations, projected video on photographs and printed photographs on draped silk sheets.”

Contenedor de ideas
“The work I have been developing in recent years explores the relationship between our essence and our environment ; the contradictions that postmodern urban life generates in us ; and the impact of cultural constructions and stereotypes, always referring to our instincts and the most elementary parts of our nature.”more…

Craco

Tobias Stretch channels the beauty and melancholia of Hauschka’s single “Craco” in his uncanny video filmed in Philadelphia’s answer to Brooklyn’s High Line, Reading Viaduct Park. With music videos for Radiohead, Crystal Fighters and Christopher Bono to his name, the Philly-based animator is known for his distinct aesthetic and method, pairing landscape photography with life-size stop-motion puppets. “I thought right from the beginning when I saw Tobias’s work that it has a mixture of analog and handmade elements and a surreal atmosphere. In my music you have similar elements,” says Hauschka himself, aka the German pianist and composer Volker Bertelmann, who headline’s London’s Union Chapel tonight as part of his European tour. Although best known as a 21st-Century protagonist of the prepared piano practice championed by John Cage, Bertelmann “left all the preparations at home” in order to work with a pure sound on this track. Named after the Italian ghost town, “Craco” is taken from his entropy-laced album Abandoned City and played to Stretch’s own fascination with urban decay. “The music was there beforehand, but I had a bowl of music and a bowl of names and I tried to pair them up. I think the music sounded not only like an abandoned place but also like a nostalgic place and that’s why I thought it was a great match.”

Strange Fruit
Using both sculpture and musical performance in his practice, Kevin Beasley explores the physical materiality and cultural connotations of both objects and sound. His sculptures typically incorporate everyday items like clothing, housewares, or sporting goods, bound together using tar, foam, resin, or other materials. Often they also contain embedded audio equipment that warps and amplifies the ambient tones of their surroundings. For Storylines, Beasley has created two new works specifically for the Guggenheim’s Frank Lloyd Wright–designed building. Within this vast and open sonic environment, Strange Fruit (Pair 1) and Strange Fruit (Pair 2) (both 2015) offer an experience of intimacy, absorbing and reflecting the sound of the crowd at the scale of a personal conversation. Each work embodies this spirit of dialogue in its two-part structure—at its core are two athletic shoes, one merged with microphones, the other with speakers. Suspending these objects in space, Beasley compounds their technological interchange with additional layers of meaning, bringing to mind the urban phenomenon of shoes hanging from overhead wires or poles (itself an open-ended form of communication). At the same time the works’ titles refer to history of lynchings in the American South memorialized by Bronx schoolteacher Abel Meerepol in the 1937 protest song “Strange Fruit.” In these contexts, the hanging forms of Beasley’s sculptures resonate not only with his body, which molded them by hand, or with the bodies moving through the museum, but also with those inscribed in the problematic history of race and class in the United States.

Pow2045

Helle Strahlen durchschneiden den Raum und ersetzen die völlige Dunkelheit. Sie leuchten in bedrohlichem Weiß, wenn sie mit mathematischer Präzision bis zur Decke reichen. Zwei Männer betreten den Raum, während Scanmatrizen ihren Körper wahrnehmen. Sie werden in ihre Bestandteile zerlegt, neu angeordnet und vom Licht manipuliert, bis sie beschließen, die Diktatur der Maschine zu brechen und nichts mehr zu finden – außer sich selbst. Pow ist ein Stück der städtischen Choreografen Raphael Hillebrand und Christian Mio Loclair. Es kombiniert interdisziplinäres Fachwissen, das von computergenerierter Kunst und wissenschaftlicher Mensch-Computer-Interaktion bis hin zu urbaner Choreografie reicht.

Рейнальд Друхин

Der 1969 geborene zeitgenössische Künstler Reynald Drouhin lebt und arbeitet in Paris und unterrichtet Multimedia an der School of Fine Arts in Rennes. Er studierte Bildende Kunst an den Beaux-Arts de Paris (DNSAP und Masters in Hypermedia Multimedia, 1998) und an der Universität Paris 1 (Maîtrise, 1994). Seine Praxis umfasst digitale Werkzeuge, Fotografie, Video, Installation und Skulptur. Er ist nicht zufrieden mit einem dedizierten Raum (dem des Internets, einer Projektionsfläche oder der Räumlichkeit einer Galerie), sondern erfasst wiederum verschiedene Möglichkeiten und versucht so, etwas anderes als das Sichtbare zu enthüllen, wie einen parallelen Raum, gespenstisch, seltsam, oder er hat sich aus kodifizierten Daten ergeben. Er hat an Veranstaltungen teilgenommen, die von Digital Arti (2011), auf der Rennes Biennale (2010), beim File Festival (2013) Media Art, organisiert wurden. Ghost Walk “(2009) und„ Es war einmal… “(2007) in der Galerie der schönen Künste in Lorient („ Ohne Titel “, 2006) in der Galerie Biche de Bere („ Natural / Digital “, 2005), bei Confluences (2003), in der Public Gallery (2001), beim Belfort International Urban Multimedia Arts Festival (2000), auf der Montreal Biennale und bei der von Champ Libre organisierten internationalen Veranstaltung Video & Electronic Art (Montreal, 2000 und 1999) und bei ISEA (Chicago, 1997).

Cybertecture Egg
Cybertecture is the revolutionary concept that provides a symbiotic relationship between the urban fabric and technology. Pioneered in 2001, Cybertecture forges both the hardware of the built environment and software systems and technologies from the micro to macro scales of development.The genesis of Cybertecture is in response to man’s progress into the 21st century, where working and living environments need to adapt and evolve to cope with the demands of modern working life. It plays an integral part in this evolution by providing awareness and connectivity via seamless integration of technology into the fabric of space.Cybertecture designs, from technology, products and interiors to systems, buildings and masterplans, allow flexibility and accessibility to inform, adapt, react, communicate, manipulate and control environments, whilst being sustainable and environmentally considered in application and context.Cybertecture embraces the future through continuous innovation and evolution of design and technology. It provides a myriad of solutions, all of which are diverse in individual application but holistic to the overall user environment, and always being integrated with innovation being pursued.

אדוארדו סרור
Boat
Festival Serrinha

Eduardo Srur, from São Paulo, started painting, but stood out in urban interventions. His works use the public space to draw attention to environmental issues and daily life in the metropolises, always with the objective of expanding the presence of art in society and bringing it closer to people’s lives. The city is your research laboratory for the practice of artistic experiences; the public and governments are his target. Srur’s set of works serves as a guide for poorly managed spaces and urban errors. Above all, they are conceptual criticisms that awaken awareness and look at a new aesthetic and understanding of the visual arts.

Морис Бенаюн
莫里斯·贝纳永
Cosmopolis
Overwriting the city

Cosmopolis endeavours to examine urban realities through people’s eyes. It is an artistic, and scientific interpretation of urbanization, making a visit a physical and intellectual experience.
The visitor enters a big, moving panorama of a constantly changing city. Twelve observation binoculars, much like those found at scenic lookout points, allow one to be surrounded 360° by twelve urban environments. Seven Occidental cities and five Asian cities: Paris , Berlin , Barcelona , Chicago , Johannesburg , Cairo , Sao Paulo , Beijing , Shanghai , Chongqing , Chengdu , Hong Kong , can thus be discovered, each from different viewpoints. Bearing no resemblance to the touristy landscapes one may expect to see, these scenes lay out major urban issues simply through a choice of viewpoint: transportation, environment, architecture, energy, health…