CIE YOANN BOURGEOIS

Lauf
Zwei Tänzer fliegen durch die Luft. Der Filmemacher und Choreograf Yoann Bourgeois ließ sich vom Zirkus inspirieren. Ihr Tanz spiegelt seine Liebe zu schwindelerregenden Spielen wider und trotzt der Schwerkraft mit Leidenschaft.

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跑步

两名舞者在空中飞舞。 电影制片人和编舞家Yoann Bourgeois受到马戏团的启发。 他的舞蹈反映了他对令人眼花games乱的游戏的热爱,并以激情克服了重力。

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Cours

Deux danseurs volent dans les airs. Le cinéaste et chorégraphe Yoann Bourgeois s’est inspiré du cirque. Sa danse reflète son amour pour les jeux vertigineux de maior et défie la gravité avec passion.

jurgen h. mayer and juan rey

Mira Madrid
Jürge Hermann Mayer and Juan Rey sign this project whose flagship is the placement of seven bastions (one for each star of the Community flag) 100 meters high that would be illuminated at night. Km 0 and the statues would maintain their position, and the entrances to the Metro would be surrounded by landscaped areas and perimeter seats.

Davide Balula

Mimed Sculptures,(Henry Moore, Moon Head)

“Artistas vestidos com uniformes brancos e luvas de manuseio de arte rosa se movem em torno de pedestais de vários tamanhos. Eles gesticulam, imitando os contornos de esculturas – Le-nez de Giacometti (1947), Hang up de Eva Hesse (1966) e Paisagem inconsciente de Louise Bourgeois (1967 -8), entre outros.
Como se fosse um jogo de charadas da história da arte, você se pega adivinhando com o que eles estão manipulando, qual é a superfície e a textura dos objetos. Através dessa performance, a nova relação sensual com essas obras é formada. No entanto, você não pode deixar de fazer a conexão com o comentário sobre a arte de manipular em si – pode o mundo da manipulação de arte, instalação de exposições e, de fato, venda de obras de arte estar se tornando tanto uma arte quanto a própria obra de arte? ” Maisie Skidmore

Ke Jyun Wu

Clairvoyance
“Clairvoyance means the ability to perceive objects and matters beyond ordinary senses. We named this work as Clairvoyance because it perfectly describes the curiosity people have about the future. This grand artwork tells the story of how curiosity intrigues imaginations and improves technology, both of which urge people to move on.” Ke Jyun Wu

John Butler

Gaitkeeper
“Just be yourself, and nobody else”. Our motions, as distinctive as our faces, will soon be captured and interned. Gaitkeeper is a biometric control suite designed to counter the challenge of ‘Locomotive Camouflage’. LoCam, which combines the physical control of dance with the unpredictability of performance art, is rapidly being adopted by civic insurgents. Gaitkeeper units, based on the off-the-shelf Kiva chassis, are now being deployed as standard counter measures.

ANAISA FRANCO

от стыда
On Shame является частью серии Psychosomatics, которая была начата в 2010 году. В этих работах Франко позволяет ощутимо испытать такие эмоции, как радость, страх, замешательство, счастье или стыд с помощью цифровых технологий. Камеры, датчики движения и тактильные сенсоры служат инструментами для облегчения диалога между людьми и машинами. более…

Carlos Motta

Patriots, citizens, lovers was developed in conversation with Ukrainian journalist Maxim Ivanukha as a commission of the PinchukArtCentre’s Future Generation Art Prize 2014 and is composed of ten urgent interviews with Ukrainian LGBTI and queer activists who discuss the critical and dire situation of lesbian, gay, trans and intersex lives in Ukraine in times of war[…] Social invisibility, physical and psychological abuse, political violence, and a deeply patriarchal culture frame the context for the difficult work of LGBTI activists who denounce discrimination and demand the transformation of the system.

ANN-SOFI SIDÉN

Same Unknown
Ann-Sofi Sidén hat zuvor Menschen in Videoarbeiten wie “Warte Mal!”, “Wer hat es dem Zimmermädchen erzählt?” und “Im Vorbeigehen”. “Same Unknown” unterscheidet sich von ihren früheren Arbeiten dadurch, dass es keinen Dialog oder räumlichen Kontext gibt. Hierarchien wurden aufgelöst, jeder ist gleich, aus seinem Kontext gerissen, aber in einer Art klinischem Hyperrealismus vereint: Jeder Blick, jeder Oberkörper, jede Hüfte, jede geballte Hand und jeder angespannte Muskel, jeder Schritt hat eine spezifische Bedeutung. Wie eine Geschichte ohne Anfang oder Ende. Zusammen bilden sie eine Art fließendes Dokument, Hieroglyphen, die von menschlichen Körpern in westlicher Mode geformt wurden. „Gleiches Unbekanntes“ wurde ab 2008 mit Unterstützung der Bürger der Stadt Reggio Emilia in Italien für die Ausstellung „Mensch, alle too human “, für Fotografea Europea, 2008. Die Videoarbeit wurde dort als ortsspezifische Installation gezeigt und ist nun in der Kunstsammlung der Stadt enthalten.

Índice

Jonattas Poltronieri, Luis Mello, Pedro Venetucci & Rofli Sanches
Phantom Limb

Just like the original box, the installation is a rectangular unit where the user inserts his arm and is urged to move it in different ways. The similarity with the original object disappears as, instead of having a mirror to provide the image that motivates the interaction, there is a screen that mediates the user’s view and the place where his arm actually is. The displayed image of the user’s arm can be reversed, distorted and coloured, among several modifications to simulate in a rich way the strangeness of not having control over a member, and to question whether what is seen is an accurate portrayal of the real body. Although deep and subjective, the topic addressed in this experience is easy and accessible in its interaction, offering various sensory feedbacks to the user. Through it, it is proposed that we experience and reflect upon the disconnection between thought and body, intention and action, sensation and reality.

 

FILE SAO PAULO 2015

thomas lebrun

Avant toutes disparitions
“Before any disappearance“, it is urgent to live, to dance, especially to transmit. By continuing his playful exploration of the history of dance and in particular by defeating the codes of ballroom dancing, the current director of the Center chorégraphique de Tours once again imposes an intergenerational vision of his art.

J. MAYER H. und Partner, Architekten

于爾根·邁爾
يورغن ماير
위르겐 마이어
יורגן מאייר
ユルゲン・マイヤー
Юрген Майер
Danfoss Universe Science Park

Jürgen Mayer H. prévoit d’étendre «Danfoss Universe», un parc d’aventures scientifiques et technologiques à Nordborg, au Danemark, près du siège de Danfoss au printemps 2007. Plusieurs bâtiments d’extension sont en cours de construction sur le site de 5,5 ha, dont un restaurant et un centre d’expositions et de conférences (total 1400 m2). Ces bâtiments, d’une apparence exceptionnelle, mettent en valeur l’idée de base pédagogique et innovante de Danfoss Universe et visent à susciter l’intérêt pour la nature et la science.

Christoph De Boeck

Staalhemel

The intimate topography of the brain is laid out across a grid of 80 steel ceiling tiles as a spatialized form of tapping. The visitor can experience the dynamics of his cognitive self by fitting a wireless EEG interface on his head, that allows him to walk under the acoustic representation of his own brain waves.The accumulating resonances of impacted steel sheets generates penetrating overtones. The spatial distribution of impact and the overlapping of reverberations create a very physical soundspace to house an intangible stream of consciousness.‘Staalhemel’ (‘steel sky’, 2009) articulates the contradictory relationship we entertain with our own nervous system. Neurological feedback makes that the cognitive focus is repeatedly interrupted by the representation of this focus. Concentrated thinking attempts to portray itself in a space that is reshaped by thinking itself nearly every split second.

Katharina Grosse

It Wasn’t Us

A painting by Katharina Grosse can appear anywhere. Her large-scale works are multi-dimensional pictorial worlds in which splendid color sweeps across walls, ceilings, objects, and even entire buildings and landscapes. For the exhibition “It Wasn’t Us” the artist has transformed the Historic Hall of Hamburger Bahnhof – Museum für Gegenwart – Berlin as well as the outdoor space behind the building, into an expansive painting which radically destabilises the existing order of the museum architecture.

ELIŠKA SKY

Eco Warriors

A Beginner’s Guide for Eco Warriors is inspired by the current dramatic changes in Earth’s ecosystem due to the human impact, the so-called age of Anthropocene. This short film represent, with certain level of exaggeration, tips and inspirations how to lower your ecological footprint and contribute to the slowing down of global warming and the protection of natural habitats. This short film then becomes a small guide for Eco Warriors and urges for reflection and reaction from each of us.

Marc Quinn

A Surge of Power
Within 24 hours Marc Quinn’s statue A Surge of Power (Jen Reid) 2020 has been erected in secret on a Bristol plinth and as quickly removed by the council. Life-sized, cast in black resin, it showed the campaigner Jen Reid standing, one fist raised, in a pose in which a photographer had captured her a few weeks earlier when she had stood on the empty plinth after Black Lives Matter (BLM) protesters tore down a bronze monument to the 17th-century slaver Edward Colston.

Iris van Herpen

Transmotion
The term transmotion not only depicts the process of change from one state, form, style or place to another, it is also the visionary perceptions of the seasons and the visual scenes of motion in art and literature. In parallel to Iris van Herpen’s drive to visualise the invisible, her quest to question reality and urge to explore the realms of impossibility, the project aims to narrate the process that ushers change, to materialise an unconscious state of meditation.

ALMA HASER

Cosmic Surgery
Originally from Germany, Alma Haser is currently based in London, UK. She received her photographic degree from Nottingham Trent University in 2010[…] Her most recent series titled, Cosmic Surgery, combines the tangible photograph and the subject with the photograph itself. This facet of the images creates distinctive stages. Alma as the viewer of the subject, the origami construction, and then the reconstruction is then photographed thus creating a new aspect of the subject’s identity.

Eugenia Loli

1000scientists- Secret Affair
“It’s important for me to “say” something with my artwork, so for the vast majority of my work there’s a meaning behind them. I usually do this via presenting a “narrative” scene in my collages, like there’s something bigger going on than what’s merely depicted. Sometimes the scene is witty or sarcastic, some times it’s horrific with a sense of danger or urgency, some times it’s chill. I leave it to the viewer’s imagination to fill-in the blanks of the story plot.”

RENATA LUCAS

Cabeça e cauda de cavalo

In ihrer neuen Arbeit Kunst-Werke 2010 (Cabeça e cauda de cavalo) hat Lucas zwei Interventionen am KW-Institut für zeitgenössische Kunst in Berlin durchgeführt. In der ersten verlegt sie den Bürgersteig und in der zweiten macht sie einen kreisförmigen Schnitt in den Boden. Die Positionierung des Pflasters und der Türschwelle an der Vorderseite des Innenhofs wurde um 7,5 Prozent angepasst (siehe Bilder). Im Ausstellungsraum hat sie einen zweiten Kreis in den Boden geschnitten, der durch die Position der Wand in zwei Hälften geteilt wird. Dieser Boden wird dann zu einer kreisförmigen Drehfläche, auf der Besucher zwischen Innen und Außen gehen können.

ANDREI TARKOVSKY

أندريه تاركوفسكي
塔可夫斯基
アンドレイ·タルコフスキー
Андрей Тарковский
el sacrificio
Para comenzar a hablar de este poema, es recomendable hacerlo utilizando las mismas palabras de Andrei, en su libro ‘Esculpir en el tiempo’, página 44:
“Normalmente se busca una puesta en escena más expresiva, porque con ella se quiere mostrar de forma inmediata la idea, el sentido de la escena y su subtexto. También Eisenstein trabajó de este modo. Además se parte de la base de que la escena cobra así la necesaria profundidad, una expresividad dictada por el sentido. Esto es una idea primitiva, sobre cuya base surgen muchas convenciones superfluas, que diluyen el tejido vivo de la imagen artística”
Esta reflexión estética ya confirma en Tarkovski un artista asombroso, muy superior a prácticamente todos sus coetáneos, principalmente porque pudo contextualizarla en su labor como director, más que nunca en ‘Sacrificio’, como también llevó hasta sus últimas consecuencias su idea del cine como una captura del tiempo real. Y lo hizo homenajeando a Bergman sin perder su propia esencia, y a otros admirados cineastas como Kurosawa, el primero en dirigir una ficción en torno a la amenaza nuclear (lógico, siendo Japón el primer país que sufrió sus aterrador poder de devastación) en ‘Crónica de un ser vivo’ (‘Ikimono no kiroku’, 1955). Los primeros ochenta, con los coletazos finales del imperio soviético y la paranoia sobre una inminente guerra nuclear, vieron nacer la que probablemente sea la obra magna sobre el tema, ‘Terminator’ (‘The Terminator’, James Cameron, 1984), que Tarkovski pudo ver en el Festival de Londres antes del rodaje de su última película, sintiéndose impresionado por ella a pesar de despreciar su extrema brutalidad.
Hablar con Dios
cinema full

HERZOG & DE MEURON AND AI WEIWEI

THE SERPENTINE GALLERY PAVILION 2012

Segundo já anunciado pela Serpentine, o pavilhão deste Verão proporcionará uma viagem aos projectos dos anos anteriores. “Seguindo uma abordagem arqueológica, os arquitectos criaram um design que vai inspirar os visitantes a olhar para baixo da superfície do parque assim como a olhar para trás no tempo através dos fantasmas das estruturas antigas”, lia-se no comunicado da galeria londrina, que explicava que através da recuperação dos vestígios de intervenções de outros anos, vão ser construídas doze colunas, uma para cada edição. Apoiarão uma plataforma flutuante, a 1,5 metros acima do chão.

A cortiça surge como o elemento estruturante da obra por ser, segundo a dupla de arquitectos Herzog & de Meuron, um “material natural, com fortes mais-valias aos níveis do tacto e do olfacto, de grande versatilidade, permitindo ser facilmente esculpido, cortado, moldado e formado”.

Em comunicado, António Rios de Amorim, presidente da CA, escreve que esta “é uma oportunidade ímpar de demonstrar ao mundo que a cortiça não é apenas um produto único, criado pela natureza, mas também um material tecnologicamente relevante para o século XXI”. Carlos Jesus não tem dúvidas de que para esta aposta terá contribuído o sucesso do Pavilhão de Portugal na Expo 2010, em Xangai. “O pavilhão, todo revestido com cortiça, foi um dos mais visitados e acabou premiado”, disse Jesus, explicando que desde então a empresa se tem dedicado também a promover “estas particularidades técnicas”.