Robinson
FILE FESTIVAL SAO PAULO 2016
The piece “Robinson” is part of Ting-Tong Chang’s new body of work investigating the history of automatons in Europe as a means of exploring utopian visions. The word “automaton” is often used to describe self-moving machines, especially those that have been made to resemble human or animal actions. From Jacques de Vaucanson’s Digesting Duck (1739) to Andreas Jakob Graf Dietrichstein’s Mechanical Theatre (1752), automatons have entertained kings and princesses, taught moral lesson to citizens and raised deep philosophical questions

Robinson
FILE FESTIVAL
A obra “Robinson” faz parte do corpo de trabalho de Ting-Tong Chang que investiga a história dos autômatos na Europa como meio de explorar visões utópicas. A palavra “autômato” é freqüentemente usada para descrever máquinas que se movem sozinhas, especialmente aquelas que foram feitas para se assemelhar a ações humanas ou animais. Do Pato Digesting de Jacques de Vaucanson (1739) ao Teatro Mecânico de Andreas Jakob Graf Dietrichstein (1752), os autômatos divertiram reis e princesas, ensinaram lições morais aos cidadãos e levantaram questões filosóficas profundas.

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“Robinson” is part of Ting-Tong Chang’s body of work investigating the history of automata in Europe as a means of exploring utopian visions. The word “automaton” is often used to describe machines that move by themselves, especially those that are made to resemble human or animal actions. From Jacques de Vaucanson’s Duck Digesting (1739) to Andreas Jakob Graf Dietrichstein’s Mechanical Theater (1752), automatons entertained kings and princesses, taught moral lessons to citizens, and raised deep philosophical questions.

ニコラ·シェフェール
Chronos 5
In 1948 he created the concept of “space dynamism”. In his words, space dynamism is “the constructive and dynamic integration of space in plastic work.” Based on this idea, he will seek to create the total work of art, concretized in the cybernetic village, a city full of utopian spaces. His work combines cybernetic, kinetic art and interactive art, of which he is one of its first representatives, making the first works of art in real time or live in the history of art.

Planet City

Planet City, by Los Angeles-based film director and architect Liam Young, explores the productive potential of extreme densification, where 10 billion people surrender the rest of the planet to a global wilderness. Although wildly provocative, Planet City eschews the techno-utopian fantasy of designing a new world order. This is not a neo-colonial masterplan to be imposed from a singular seat of power. It is a work of critical architecture – a speculative fiction grounded in statistical analysis, research and traditional knowledge.
It is a collaborative work of multiple voices and cultures supported by an international team of acclaimed environmental scientists, theorists and advisors. In Planet City we see that climate change is no longer a technological problem, but rather an ideological one, rooted in culture and politics.

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

لارس فون ترير
拉斯·冯·特里尔
라스 폰 트리에
לארס פון טרייר
ラース·フォン·トリアー
Ларс фон Триер
melancholia
Truth be told, the best thing about Melancholia is its title. In an era where pop therapy abounds, true melancholy and its affinity to beauty needs to be rehabilitated—and of course differentiated from the more banal categories of “mental illness” and “depression.” In a pivotal phase of German Romanticism exemplified by Novalis’ poetry, the quintessentially melancholy category of “longing” is linked with a quest for the “unattainable.” Yet there’s also a tangibly utopian element to Novalis’ melancholy, personified by his dictum, “All representation rests on making present that which is not present.” Or as Max Blechman puts it in his essay “The Revolutionary Dream of Early German Romanticism, the Romantics pantheistic faith points to how art and religion are fundamentally one and the same activity. For is not art the desire to see the real in the ideal, to enliven the ideal behind the real, to transform unconscious idealism into conscious idealism—and is this not done through faith in the ideal?”

Paradise

serpent mouthpiece

Paradise is the term used to describe a place or state of timeless harmony and beauty. Whether connected to religion or not, the term Paradise echoes Utopian realms of humanity living at one with nature, sharing their tope with every exotic and fantastical creature imaginable.

computer 1.0
C O M P U T E R 1.0 seeks to function as a historical lens that shows how our relationship to computing technology has always been fraught with juxtaposed promises of utopian and dystonia futures, while the reality consistently finds itself somewhere in between.
This installation reminds it’s onlookers that society has been grappling with a digital existentialism and the question of ‘are we better off?’ since the birth of programming itself. In this way, C O M P U T E R 1 . 0 is the physical display of the eternally uncertain potential of technology.

Untitled

“This work arose from Mullican’s preoccupation with urban space and the creation of virtual cities and worlds. Mullican works with the symbols and old concepts that were used in the explanation of the world. The five parts of this work resemble archive boxes or type cases, which address the reduced character of virtual models. The containers could, however, also make us think of industrial complexes. They point to the loss of old concepts of the world and build on the creation of utopian ideals that remain valid for all time.” Teresa Lošonc

Annett Zinsmeister is a german artist based in Berlin. She received her diploma at UDK – University of Arts and Design in Berlin[…] Her work has been shown in international exhibitions and museums, it is part of public and private collections and published in numerous publications. In her work she focuses on the intersection of art and architecture. She creates large-scale installations, conceptual and built spaces, photography, drawings, films and collages dealing with space. Recurring fundamentals in her oeuvre are the analysis, use and creation of modular principles, multiples, structures, patterns; and themes referring to the search for identity and utopian ideas, social interaction, communication, and the transformation of urban space.

Walking Tall
Walking Tall was a skyscraper designed for New York in 1982-1983. The building, which was intended to rise to a height of more than 250 meters, employs asymmetric tetrahedral elements and is structurally reminiscent of utopian blueprints of the Soviet constructivist architectures of the 1920′s. Giorgini kept long-lasting friendships with the artists Jean Arp and Roberto Matta. The former artist may have left his biomorphic influences on Giorgini’s early topological architectures, while the latter artist’s dynamic three-dimension ‘inscape’ spaces may well be connected to Giorgini’s later angular works.

Re-projection: Hoosac

Influenced by the utopian projects — and notable failures — of innovative artists and designers such as Buckminster Fuller, Frederick Kiesler, and Charles Eames, Tobias Putrih likens his works to experiments, or design prototypes. His use of cheap materials, including egg crates, cardboard, and plywood signify both a sense of potential and impending collapse. Many of the artist’s works reference the architecture and spectacle of the cinema: a space suspended between fantasy and reality, image and environment. With Re-projection: Hoosac Putrih distills the cinema to its most basic element: fishing line stretched across the gallery mimics the conical trajectory of a beam of light. A spotlight hits the strands of monofilament which in turn become a screen, reflecting an image in illuminated dots. Inspired by the Hoosac Tunnel just east of North Adams — a storied, engineering marvel that draws ghost-hunters to the area — Putrih’s tunnel is, likewise, both real and a representation, an optical trick that invites both wonder and investigation.

АНДРЕЯ МОЛОДКИНА
Democracy

Democracy, is a mirror reflecting the commodification of the democratic ideal. Empire at War, Molodkin’s portrait of an evangelistic George W. Bush, embodies the danger of theocracy – patriotism, nationalism, and religion are used to justify the most horrifying war crimes. Like a prismatic chessboard, Molodkin’s artworks articulate the contradictions between utopian ideals and reality.