FILE FESTIVAL

FILE LED SHOW

saccade
OUCHHH STUDIO
Neuroscientific-Installation
We are invited to São Paulo for our vertical light and sound installation which will transform the facade of São Paulo’s one of the most important architecture which is Fiesp Led Building.
We started this project with the idea that Neuroscience and simultaneous movement of both eyes between two or more phases of fixation in the same direction algorithms, and we transform the high-resolution led screen into a media canvas which transformed into living architecture.

Erebeta
« Erebeta » drives us on a vertical jump above the city. We ricochet on the pavement, twirl around the buildings and pass through streets. This bouncing point of view on modern Japan is accompanied by the traditional Kuroda Bushi music.

IN MEMORIAM
Joachim Sauter

1959-2021

R.I.P

ART+COM Studios

MOBILITY
THE INSTALLATION SPANS A CORRIDOR OF 7-METRES WIDTH. ON THE LEFT WALL ONE HUNDRED PROSTHETIC HANDS ARRANGED IN A MATRIX REVOLVE AROUND THEIR OWN VERTICAL AXIS, THE MOVEMENTS BEING CONTROLLED BY MOTORS. THE MIRRORS THEY HOLD REFLECT THE BEAM OF A STRONG LIGHT ACROSS THE SPACE AND ONTO THE OPPOSITE WALL. WHAT INITIALLY SEEMS LIKE AN ASYNCHRONOUS, CHAOTIC PATTERN OF MOVEMENT SOON REVEALS ITSELF AS A COMPLEX, COMPUTATIONAL
.
流动性
该安装跨越了7米宽的走廊。在左墙上，排列成矩阵的一百个假肢手绕其自身的垂直轴旋转，其运动由电动机控制。他们持有的镜子将强光光束反射穿过整个空间并射向对面的墙壁。最初看起来像是一个异步的，混乱的运动模式，很快就显示出一种复杂的计算编排：首先，一百个光点围绕一个中心点移动，类似于行星的天体动力学或昆虫群的飞行模式。并创造出三维空间的印象。然后突然之间，这种有机振动会聚成一个表示运动和动作的汉字。

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.

Windows of the Soul
In de installatie Windows of the Soul gebruikte Sonia Falcone haar spiritualiteit als centraal thema en presenteerde ze dit op de XVII Bienal de Arte de Santa Cruz de la Sierra, in 2010. De video-installatie was gemaakt van dunne, verticale blokken die rond zes meter en ongelijk uitgelijnd. Op de blokken projecteerde ze video gemaakt van korte en kleurrijke componenten die elk een deel van haar persoonlijke leven vertegenwoordigden. Ze mengde kunstmatige en natuurlijke landschappen om de eenheid en het belang van beide in het menselijk bestaan ​​te benadrukken, en de boodschap die ze wilde overbrengen is dat leven mooi is, vanaf het moment van conceptie door alles wat de mens doet en voelt in zijn leven. Haar missie was om hoop te sturen en aan te geven dat er een belofte is voor een betere toekomst.

Wearable Architecture
SCI-Arc Fall 2020 Vertical Studio Wearable Architecture Final Presentation

Abstract
Movement, sound and light interweave in Abstract. It presents a repeating 20 minutes loop inspired by the concept of relativity. Time can be perceived as a vertical dimension in which the pixels travel. This movement will be used to freeze time while the audience keeps their feet firmly on the ground.

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.

OPPO’s new headquarters
Four interconnected towers reaching a height of 200m (42 floors), the 185,000 square meters design incorporates two towers of flexible, open-plan spaces linked by a 20-storey vertical lobby, and two external service towers providing vertical circulation.

Counterweight project
Tethered to either end of a single rope that goes over the top of this tall thin building, movement in this vertical house for two depends on using the body mass of one’s roommate as a counter weight to aid ascent or slow descent. When one occupant wishes to go up to the kitchen at the top level, the other must go down to the bathroom at the bottom. Between these two rooms are two private sleep / work rooms on levels two and four, and a common room at level three where the ends of the rope meet. Counterweight Roommate was continuously inhabited for five full days of Scope Basel in 2011 by performance-architecture artists Alex Schweder and Ward Shelley, and acquired in 2015 by New York’s Museum of Modern Art.

マイケル·クラーク·カンパニー
Tate Project Part I ]
The choreography rehearsed and performed in 2010 paired the rigour of classical steps with contemporary movement, a juxtaposition that paralleled Clark’s training as a ballet dancer at the Royal Ballet, and his later anti-hierarchical, anti-authoritarian choreographic experiments. Balletic poses, jumps and steps were isolated from traditional narrative sequences and made strange through repetition. The graceful leaps and turns of the trained dancers seemed awkward and uneven, just as they were often out of sync and oriented in different directions. This choreography paralleled the performance space, which was demarcated by geometric and striped floor mats designed by Charles Atlas, which resembled the large windows at the back of the hall and the black beams that extend vertically from floor to ceiling.

Vertikal
“Pour cette nouvelle création, je désire aborder un nouvel espace, celui de la verticalité. À travers un dispositif proposé par la compagnie Retouramont et Benjamin Lebreton, et accompagné d’une dizaine de danseurs au plateau je me confronterai à un environnement où le mouvement se joue de la gravité.”more…

الكسندر بونوماريف
АЛЕКСАНДР ПОНОМАРЕВ
A PARALLEL VERTICAL

Chapel Saint Louis, de la Salpetriere, Paris
Installation
Periscope installation with a cable suspension system. Metal, plastic, video optic system, acrylic spheres, sound wave generators.
The keystone artistic project of the Paris Fesitval d’Automne will be realized in September 2007, at the Salpetriere chapel in the center of Paris. A 36-meter periscope hanging from the dome forms a rigid vertical, equipped in the lower part with the head of the periscope with an ocular allows any viewer to look at the Parisian horizon, expanding vision in the spectacular spaces of the cathedral. The real-time video image is broadcast on closed-circuit television to chambers, offices and other buildings attached to the chapel of Salpetriere hospital. The patients, doctors and staff have the opportunity to take in the unexpected view point of the random viewer and peek past the horizon. This project has been organized by the French Ministry of Culture and the Energy of Art Foundation, Moscow

emerging colorspace
Julian Adenauer and Michael Haas
Emerging Colorspace was a robotic drawing installation, realized by the Berlin based duo of artists, designers and inventors Julian Adenauer and Michael Haas, aka Sonice Development, as part of the Red Never Follows exhibition the Saatchi Gallery in London last summer. A new version of the studio’s Vertwalker, a machine with the ability to move on vertical surfaces, walking on buildings, and crawling on interior walls. The machine autonomously applied paint to the wall using a marker, referencing the vertical streets in Minority Report, the flying cars in Bladerunner and 5th Element, or Spiderman, the Silver Surfer and the Green Goblin – just to name a few sources of inspiration that expressed the supernatural. Thousands of lines drawn with different colors gradually formed an increasingly dense colorspace that emerged during the more than 200 exhibition hours, while the wandering behavior of the machine followed simple algorithmic rules with random elements. The result was a web that constantly changed, and never looked the same, exploring new territories and the future in a way ordinary mortals can’t.

تويو ايتو
伊东丰雄
טויו איטו
伊東豊雄
도요 이토
Serpentine Pavilion

“Otro ejemplo de esta evolución estructural es el pabellón que proyecté en el verano de 2002 para la Serpentine Gallery de Londres, una follie que duraba sólo tres meses y que hice en colaboración con el ingeniero Cecil Balmond. Balmond llama “estructura no lineal” a sus ideas. La forma usual de analizar estructuralmente un cubo de 18 metros de lado es primeramente dividir en cuartos cada cara y después subdividir cada cuarto en cuartos. En lugar de ello, el método de análisis de Balmond implicaba inscribir cuadrados telescópicos, uno dentro del siguiente, manteniendo las líneas continuas de fuerza que pueden extenderse sobre las caras verticales del cubo en una proliferación de líneas “al azar”. Se elimina así la necesidad de cualquier estructura inicial de pilares y vigas, pues en esta estructura no hay distinción alguna entre pilar, viga o arriostramiento. Siguiendo esta vía, este esquema promete suprimir las jerarquías espaciales existentes liberando a la arquitectura de su larga y pesada historia para ofrecernos una apertura cada vez mayor. Del mismo modo, el hecho que fuese una estructura temporal, que existió sólo durante tres meses, significaba que no se necesitaba puerta alguna y tan sólo algunos de los huecos debían acristalarse de un modo muy sutil. Esto también permitió que los visitantes disfrutaran del espacio relajadamente intentamos construir con cierta libertad. El pabellón de la Serpentine Gallery, el pabellón de Brujas y el edificio TOD de Aoyama son todos intencionalmente abiertos. Cecil Balmond es un genio de la geometría que tiene su propia y excepcional lógica. Justo hace poco tuve una larga conversación telefónica con él sobre un proyecto que estamos haciendo en Inglaterra y le pregunté:”¿no podríamos simplemente dibujar líneas al azar sin girar el cuadrado como hicimos en la Serpentine Gallery?”. Pero él insistía: “No, necesitas un algoritmo. Tienes que girar el cuadrado de acuerdo con alguna regla”. Es extraño, incluso las líneas dibujadas al azar recurren a las costumbres. Las reglas hacen algoritmos. Al manipular las reglas obtienes cosas que nunca hubieras pensado”.