White Void

Electric Moon
The large-scale art piece is a new color version of Christopher Bauder’s first large-scale installations, this time specially constructed for the imposing church environment — a setting where an interplay of light and space has been a foundational experience for centuries. For ELECTRIC MOONS, WHITEvoid uses products and technical expertise of Kinetic Lights, featuring and a new RGB version of Kinetic Lights’ helium light Balloon and a modular system made of 36 ground-based Kinetic Lights Winch XS perfectly suited for architectural spaces that require specially tailored schemes such as St. Maria Church.

Void

Abysmal
Abysmal means bottomless; resembling an abyss in depth; unfathomable. Perception is a procedure of acquiring, interpreting, selecting, and organizing sensory information. Perception presumes sensing. In people, perception is aided by sensory organs. In the area of AI, perception mechanism puts the data acquired by the sensors together in a meaningful manner. Machine perception is the capability of a computer system to interpret data in a manner that is similar to the way humans use their senses to relate to the world around them. Inspired by the brain, deep neural networks (DNN) are thought to learn abstract representations through their hierarchical architecture. The work mostly shows the ‘hidden’ transformations happening in a network: summing and multiplying things, adding some non-linearities, creating common basic structures, patterns inside data. It creates highly non-linear functions that map ‘un-knowledge’ to ‘knowledge’.

WHITEVOID

fluidic

CHRISTOPHER BAUDER/WHITEVOID

OLED lighting installation
WHITEvoid designed a modular plug and play OLED system that allows for infinite variations in layout and arrangement of a ceiling or wall lighting installation. The highly flexible system consists of an online configurator to create and order the individual arrangement, modular hardware system and an iPad controlled light animation application.

CHANG FUNJU & HAN CHENGYEH

Jungle du Vide
Bai Ailin_VOID JUNGLE est une performance audiovisuelle numérique qui se déroule dans une installation d’éclairage immersive. Les faisceaux lumineux entraînés par le son sont combinés dans une variété de structures lumineuses géométriques grâce à des calculs de programme, combinant le champ sonore numérique et des chants chuchotés écrits par le créateur de musique électronique Han Chengye, donnant au public l’impression d’entrer dans un monde froid et sans fin mais plein. de tension émotionnelle.

Fabrice le Nezet

Elasticity
With an urge to constantly explore the intersection between architecture, fashion, and product design, london-based artist Fabrice le Nezet has created ‘Elasticity.’ the work materializes the idea of tension by making the notion of weight and stretch palpable through the use of four massive and abstract metal structures. These components run perpendicularly across the long edges of rectangular voids in the ceiling. by presenting this normal condition, several of the wires bend to support large prisms of concrete that provide a feeling of force and motion. as they drop down to occupy spaces below, movement is emphasized by their strategic orientation below clerestory windows shining light onto the forms. As observers move around the constructs, a contrast is created between the real properties of the materials and the way they are perceived.

Keith Lyk

Cycling Wheel
杜象說他喜歡看到作品《單車輪子》展出時被觀眾轉動的樣 - 即使在之後的展覽中觀眾都沒機會再轉動它。《單車輪子》是杜象首件以「現成物」製成的作品:他的本意是鼓勵觀眾與它互動,可惜它卻一直被封印起來,沒有再和觀眾互動。然而,杜象的概念一直被藝術家們重塑及借用。《 Cycling Wheel: The Orchestra 》就借用了《單車輪子》的概念,讓被封印的輪子重新運作。藝術家將輪子本身轉化為控制聲音和光影的機器,把三台單車輪子塑造成表演工。表演把燈光和聲音和輪子結合,幻化成杜象回憶中那飛舞的火焰。

tabor robak

balenciaga collaboration
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.

Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.

Jez Fang and aka_chang

June Orbs
“六月球兒 June Orbs”是一複合光結構的audiovisual裝置與表演。取雷射強烈極端的,與投影相對柔和且具畫面感的特性,表現光的結構與解構,鏈結聲音頻率的數位音像球體雕塑為主要概念。為了紀念六月在台東泰源國小畢業典禮首演而得名。準備這個首演的過程是一則單純美好的創作旅程。數位術因其聲光電之表現特性,總予人冰冷與距離的印象。創作者期待藉由聲音與文字置入情感元素,為邏輯與簡約的視覺感官增添些許人味與暖度

Ben Cullen Williams

Remnants

Remnants is an installation, comprised of two individual sculptures, Anatomy and Lacuna, which explores this evolving symbiosis between the mechanical and the biological become. Anatomy and Lacuna are constructed of aluminium, both containing areas of uncertain space. Anatomy contains a plane of black viscous matter and Lacuna, a black void, creating a tension between the two sculptures. The work draws on diagrammatic anatomical and architectural models, distorting scale and hijacking visual languages, creating an undetermined terrain where the purpose of our made objects is undefined.

NICOLÁS KISIC AGUIRRE

Sirenas
“Sirenas” in Spanish means both siren and mermaid or siren (mythology). The title of the performance invoked both the sensation of alertness associated to the sound of alarm sirens and the mesmerizing ‘siren call’, the song of dangerous mythological creatures. The ‘siren call’, in Spanish “el canto de sirena” (literally ‘the siren chant’) is popularly referred to as an unavoidable attraction to a seductive, dangerous situation.

VTOL

Until I die
This installation operates on unique batteries that generate electricity using my blood. The electric current produced by the batteries powers a small electronic algorithmic synth module. This module creates generative sound composition that plays via a small speaker. The blood used in the installation was stored up gradually over 18 months. The conservation included a number of manipulations to preserve the blood’s chemical composition, color, homogeneity and sterility to avoid bacterial contamination. The total amount of blood conserved was around 4.5 liters; it was then diluted to yield 7 liters, the amount required for the installation. The blood was diluted with distilled water and preservatives such as sodium citrate, antibiotics, antifungal agents, glucose, glycerol etc. The last portion of blood (200ml) was drawn from my arm during the performance presentation, shortly before the launch of the installation.

TZUSOO

SCHRÖDINGER’S BABY
Schrödinger’s Baby(2019/20), TZUSOO alludes to the popular thought experiment devised by Austrian physicist Erwin Schrödinger in 1935. Schrödinger proposed a scenario in which a cat is locked in a box with an unstable radioactive atom that could potentially begin to emit radiation and release a toxic gas. However, there is no way to say with certainty when or indeed whether this will happen without opening the box. The result is a paradox, with Schrödinger asserting that the cat enters a state of superposition that makes it impossible to say whether it is alive or dead.The South Korean artist translates this famous paradox into the reality of her own life, creating a digital baby in virtual space. Based on her inner grappling with potential motherhood, TZUSOO bought the digital model of a developing embryo, refining it according to her own ideas. She is free to determine the sex, skin colour and other characteristics or to dispense with all specifications so as to avoid stereotyping. In Schrödinger’s Baby, TZUSOO thus discuss core aspects of her work including reflection on gender and origin for which she also draws on her personal experience as a South Korean artist in Europe.

marleen sleeuwits

object no. 9

Marleen Sleeuwits is inspired by impersonal environments—places that could be anywhere and nowhere—such as vacant zones in airports, unoccupied corridors of hotels, and empty rooms in office buildings. The Netherlands-based artist is attracted to these non-spaces for the lack of impression they leave on people; her work focuses on finding ways of visualizing the identity of these voids and connecting to them in novel ways. Through structural contradiction, illusion, and the manipulation of scale, she aims to transform viewers’ awareness of their surroundings.

Stine Deja

poster sky3

Deja’s work is so effective because it engages with the aesthetics of new technologies in order to critique their sociological, psychological, and physical impact on our embodied selves. At times idealistic and others damning, Deja avoids sorting technology into a
good-bad binary, but instead allows both ends of that spectrum to proliferate, allowing visitors to her supersensory exhibitions come to their own conclusion. She just asks “Technology enhances
and simplifies communication, but are we really more connected?”

HENTSCHLÄGER AND LANGHEINRICH

Akemi Takeya
Granular Synthesis

“From a few expressions on the face of the performer Akemi Takeya to a frenzied exploration of the alter ego, any known context of meaning ends in the dissolved movements, is stalled in denaturalized redundancy, in machine pain. The semantic void is too loud to be amenable to meditative reception. The frontal images, the rhythmic structures generate contradictory emotions and great strain.”

kite & laslett

Orbit
Orbit is a kinetic light installation designed for a former railway tunnel. A series of rotors of increasing diameter and speed are positioned along the 80m space, projecting laser beams into the void. Their orbiting constellation targets towards a circular plane at the end of the tunnel.

Jordan Wolfson

요르단 울프슨
ジョーダンウォルフソン

Female Figure

The stare of the animatronic sculpture is so intense, it would put anyone uncomfortable. The mask is probably there as a way to avoid creating a human face using animatronics but it also definitely adds to the creepiness of the overall look. The importance of the gaze is found throughout Wolfson’s work but it finds here a very special interpretation. He gives the ability to gaze to two different entities, a stripper and a robot, who are by definition never supposed to look up. The visitor is no longer in control of the situation, creating the awkwardness that is at the core of the work.

ron arad

رون اراد
阿拉德
רון ארד
ロン·アラッド
론 아라드
РОН АРАД
evocative proposal
For the canadian national holocaust monument competition, Ron Arad Studio teamed up with david adjaye associates to envision an evocative proposal commemorating the events, victims, and survivors of a grave moment in human history. Avoiding the use of direct symbols, the design places 23 sinuous and slender walls parallel to one another, creating a field of canyon-like passageways. Spaced 120 centimeters (47 in) apart, visitors are only able to pass through each crevice in single file. The partitions rise to a height of 14 meters (46 feet), drawing the eye upward toward the framed sky. This isolated journey is complemented by the shared experience of reflecting back on the monument’s significance.

Cod.Act

振り子の合唱団
Pendulum Choir

Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir stands on tilting platforms, constituting a living, sonorous body. That body expresses itself through various physical states. Its plasticity varies at the mercy of its sonority. It varies between abstract sounds, repetitive sounds, and lyrical or narrative sounds. The bodies of the singers and their voices play with and against gravity. They brush and avoid each other creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and burst into lyrical flight or fold up into an obsessional and dark ritual. The organ travels from life to death in a robotic allegory where the technological complexity and the lyricism of the moving bodies combine into a work with Promethean accents.

Ludmila Rodrigues

Polytope
Polytope” is a lightweight, tractable structure that engages the visitor in a space-bodily investigation. It is rigid and at the same time, tractable. A void which takes space. Its volume is juxtaposed and re-arranged through the action of the visitor.

FILE FESTIVAL

NUMEN/FOR USE

tube
‘combining a transparent, gentle, woven structure, devoid of any hard angles and surfaces, with unsettling heights/vistas and uncanny spatial sensations.’NUMEN/FOR USE

Chang Funju & Han ChengYeh

Void Jungle
白靄林_Void Jungle是發生在ㄧ沉浸式燈光裝置裡的數位像表演。
被聲音驅動的光經過程式演算組合成各種幾何的光結構,揉合電子音樂創作人韓承燁編寫的數位音場與呢喃吟,讓閱聽者仿若進入一處冷冽無垠卻充滿情緒張力的異度空間。

GREYWORLD

The Source
The Source, an eight storey high kinetic sculpture, is the new symbol for the London Stock Exchange. Every morning, millions of viewers around the world will watch the installation come to life, signifying the opening of the London Markets.
“The Source is formed from a grid of cables arranged in a square, 162 cables in all, reaching eight stories to the glass roof. Nine spheres are mounted on each cable and are free to move independently up and down its length. In essence the spheres act like animated pixels, able to model any shape in three dimensions a fluid, dynamic, three dimensional television.Visitors to the atrium are greeted by this motion: its particles rising and falling, generating an infinite range of figurative and abstract shapes that rise, dissolve and reform at different heights in the atrium. The shape of the sun rising on a new day of trade, the names and positions of currently traded stocks, the DNA helix at the center of life formed by the work, and floating in the 32m void of the atrium.”

ANDREW HIERONYMI

move
File Festival
MOVE is an interactive installation divided into six distinct modules, JUMP, AVOID, CHASE, THROW, HIDE and COLLECT. Each module offers a single-user interaction, based on a verb corresponding to the action the participant is invited to perform. Each verb corresponds to a common procedure acted out by avatars during videogame play. Each module offers an interaction with abstracted shapes (circles, rectangles) behaving according to simplified rules of physics (collision, friction). Each module is color-coded with consistency, where the color red is used for the graphical element that poses the core challenge. Each module increases difficulty in a similar linear manner.What makes MOVE unusual is that unlike most computer vision or sensor based games like Eye-toy or Dance Dance Revolution, the participant IS the avatar, he is not seeing a representation of herself or an indirect result of her actions on a separate screen but instead interacts directly with the projected graphical constituents of the game. Because those graphical elements are non-representational they do not allow for a projection in a fictional space. The combination of abstracted shapes and direct interaction reinforces in the player the focus on the action itself (JUMP, AVOID, CHASE, THROW, HIDE or COLLECT) instead of an ulterior goal.

Rufus Wainwright

Sword of Damocles

At a lavish banquet, King Dionysius is confronted by his servant Damocles – a brat who is jealous of the king’s splendor and power. Through supernatural forces, the two roles are switched. The smug, inexperienced commoner becomes the king. But his joy is short-lived.
He quickly realizes that being king isn’t all crowns and cheeseburgers. With great power comes great responsibility.
.
.
Release
The Sword of Damocles
Just release it
To the authorities

Raise kindness
Above all else
Avoid the books of
Hatred behind the shelves

I will caress your
Caress your curly hair
With affection
Many a good reason to cut off your head
Then and then

Release
The Sword of Damocles
Just release it
I’m begging
You on my knees

There is no reason
To hide it from the sun
I am a tyrant
Trust me, you are not the one and only
And trust me, you are not the one and only
And trust me, you are not the one and only
Lonely person

Release
The Sword of Damocles
Release
The Sword of Damocles
Just release it
Cut the thread
Why don’t you please

.

Akram Khan

Kaash
Inspired by Akram Khan’s early training in the Indian classical dance form Kathak, and the hybrid language that organically emerged when Akram’s kathak training encountered contemporary dance in his teens, a vision began to form, fuelled by a desire to learn and create through collaboration with the very best people across all the disciplines in the arts.

The rules were simple: take risks, think big and daring, explore the unfamiliar, avoid compromise and tell stories through dance that are compelling and relevant, with artistic integrity.
.

DAVID HAMMONS

Bliz-aard Ball Sale
David Hammons was born in 1943 in Springfield, Illinois. An African-American, he is a conceptual installation artist using his found-object media as a platform for Dadaist social commentary, primarily on racial themes. Hammons places himself as an artist between Arte Povera and Marcel Duchamp. He has risen to prominence while at the same time consciously avoiding the attention of critics, galleries, and museums, preferring to do things in the street.

HART+LËSHKINA

Void Entity
HART+LËSHKINA is an interdisciplinary image-making duo, composed of Tatiana Lëshkina and Erik Hart. Their work deals with the themes of vulnerability, disengagement, relationship between the individual and its surroundings, and a dislodging of everyday life through simple acts and absurdist theatricality.

David Lynch

Дэвид Линч
ديفيد لينش
大卫·林奇
デビッドリンチ
데이비드 린치
Дэвид Линч
Eraserhead
The Man in the Planet (Jack Fisk) pulls levers in his home in space, while the head of Henry Spencer (Jack Nance) floats in the sky. A giant spermatozoon-like creature emerges from Spencer’s mouth, floating into the void. The Man in the Planet appears to control the creature with his levers, eventually making it fall into a pool of water.
cinema

DANA CASPERSEN, WILLIAM FORSYTHE AND JOEL RYAN

White Bouncy Castle
The visitor’s unavoidable inclusion in the idiosyncratic kinetics of Dana Caspersen and William Forsythe’s «White Bouncy Castle» creates a choreographic space where there are no spectators, only participants. The choreography that appears, led by Joel Ryan’s encompassing soundtrack, is the result of complete physical destabilisation and the resulting social absurdity. The inadvertant euphoria that results from the situation is infectious and, in some cases, addictive.

BANKSY

班克斯
バンクシー
Бэнкси

Like most of Banksy’s work, this piece welcomes ample political and social discussion from both sides of the spectrum while prompting the unavoidable question: shop till you drop?

Neil Mendoza

Eggsistential Angst
“I thought it would be fun to pit a large metal machine against a small fragile object,” says Mendoza. “When people look at the egg darting around on a long stick to avoid the pendulum they seem to see it like a Looney Tunes cartoon with the big lumbering pendulum forever chasing the egg but never quite catching it.”

echo morgan

falling star
“The role of translation, the passage between gesture, body and voice, the shift from Chinese into English and back again, the relationship between performance and prints this is the sense contained within my work. Always movement across surfaces, entering and exiting backwards and forwards therefore I cannot settle on any one point. I am in flux, restless: a pure relationship between motion and the void.”

EASTERN DESIGN OFFICE

On the Corner
A shuffle of stones, concretes, and glass. Keen edge of each material is too sharp. A shuffle of mass and void. The design “on the corner” consists of blue and the cross. A composition of line and plane surface is created by the clearly distinguished edges of the material.

alexandre deschaumes

Photographies éthérées
Cerro Espada

Alexandre Deschaumes is a self taught french photographer. These photographs take place in the French Alps, Austria, Iceland and Patagonia.
“When I am in nature, the environment makes me feel humble about all that surrounds me, opening a new abstract door of inspiration, making me very grateful about these fantastic benefits. And the most important aspect that i like about the abstract photography quest is that when I am in nature, I feel home and I feel alive.” From one of his last interviews,”What are some tips you could give to people that really like your work?”
“I would advise them to listen to their inner feeling, to take their camera and go somewhere remote, like a deep forest during a foggy day and keep watching everywhere to seek details, because beauty is everywhere.To feel the atmosphere of the surroundings, vision is always the most important. In composition, you should avoid everything that disturbs and focus on simple shapes, because elegance comes with simplicity.”
.

RUPPERT TAPPER

Chronicles Of Never
Into The Voided

TATSUO MIYAJIMA

Counter Void
宫岛达男

hc gilje

in transit
Two swift beams of light travel through a room creating infinite shadows on a series of floating white frames. This is In Transit X, a darkened, room-based installation that alludes to an endless void.The dizzying effects of In Transit X place the viewer into a monochromatic man-made space. The fifty-foot-wide animated light installation by artist Hc Gilje was originally made for the Wood Street Galleries in Pittsburgh in 2012, and recently went on display last month at Kulturkirken Jakob in Oslo. Using block-like frames and light as the mediums, Gilje creates dynamic visual dimensions that lend themselves to a mesmerizing noirish experience.

William Forsythe

ויליאם פורסיית
ウィリアム·フォーサイス
威廉‧科西
윌리엄 포사이드
УИЛЬЯМ ФОРСАЙТ
Swinging Pendulum

Suspended from automated grids, more than 400 pendulums are activated to initiate a sweeping 15 part counterpoint of tempi, spacial juxtaposition and gradients of centrifugal force which offers the spectator a constantly morphing labyrinth of significant complexity. The spectators
are free to attempt a navigation this statistically unpredictable environment, but are requested to avoid coming in contact with any of the swinging pendulums. This task, which automatically initiates and alerts the spectators innate predictive faculties, produces a lively choreography of manifold and intricate avoidance strategies.

Steven Parrino

Void Vortex

Numen/For Use

String
String Sculpture是由奥地利设计组合Numen/For Use带来的一个艺术装置,设计师在大型的充气立方体内从一端到另一端拉满了绳索,形成了一个小小的网世界。当整个立体充 足气时 ,密布其中的绳索便绷的紧紧的,每一根绳索都足以支撑起人的重量。人们可以攀爬、穿梭其中,在方向不可感知中,体验到中一般的空间

TUNDRA

THE VOID
via highlike submit
Audiovisual installation “Void” is an attempt to visualize the idea of emptiness.
Emptiness here is regarded not as an absence of everything, but as an initial state when anything can appear. To see how dark room turns into the Big Bang epicenter a visitor should become “empty”. Every move and sound, captured by sensitive equipment, stops the 360 degrees audiovisual flow around.
“Void” is a social experiment, to see how long today people can stay totally calm.

STUDIO FUKSAS

Shenzhen Bao’an International Airport

The new terminal of Shenzhen Bao’an International Airport, the first airport by Massimiliano and Doriana Fuksas, encompasses 63 contact gates, with a further 15 remote gates and significant retail space.
It increase the capacity of the airport by 58%, allowing the airport to handle up to 45 million passengers per year.The sculptural 500,000 sqm terminal evokes the image of a manta ray and features an internal and external double skin honeycomb motif that wraps the structure.1.5 km long, with roof spans of up to 80 m, honeycomb shaped metal and glass panels punctuate the façade of the terminal allowing natural light to filter through. Inside, the terminal is characterized by distinctive white conical supporting columns that rise to touch the roof at a cathedral-like scale.The focal point of the design is the concourse located at the intersection of the building.
Consisting of three levels – departure, arrivals and services – vertically connected to create full height voids and allowing natural light to filter from the highest level down to the lowest.

JENNIFER RUBELL

جنيفر روبل
제니퍼 루벨
ジェニファールベル
Portrait of the Artist

Jennifer Rubell, the American artist and niece of Studio 54 co-founder Steve Rubell, brings a maternal touch to this year’s Frieze Art Fair with her autobiographical piece Portrait of the Artist. The pristine white nude, cast from steel-reinforced fibreglass, reclines like an odalisque at the Stephen Friedman Gallery stand. The sculpture is a replica of Rubell’s own eight-months-pregnant body, except it is eight metres high: the large belly, which is carved out to leave an egg-shaped void, can accommodate a fully grown adult. Spectators are able to clamber into the artwork and curl up inside as if they are the artist’s unborn child.Rubell’s intention was to create a monumental gesture of unconditional motherly love. There is a feminist statement here, too: Rubell has appropriated a style and scale historically reserved for male leaders to show, she says, “an emotion that is intensely personal and un-heroic”. The artist adds that watching members of the Frieze audience enter in the sculpture’s womb is “tremendously satisfying” – in her eyes the enlarged form was “incomplete until the first viewer entered”. Amid the hustle of Frieze’s mini-city there is something undeniably appealing about the opportunity to put your feet up in the foetal position in the name of art. Not to mention the comfort factor.

BAUMGARTNER+URIU

Animated Apertures

instead of windows, mouths with green “hair” that sway in the wind. This is the Animated Apertures Housing Tower, a project of the American architecture firm B + U. The fun building appears to have been attacked by carnivorous plants. The residential building will be built in Lima, Peru. Architects Herwig Baumgartner and Scott Uriu, known for the use of new materials, explain that they wanted to “show that architecture can exist between nature and technology”. Therefore, the designs and colors that imitate plants, in a building that looks more like a living organism. The “hairs” of the windows will be made of a special silicone and will move with the wind, giving the impression of being tentacles. The project is also innovative in its structure, because instead of several small windows, it proposes few and large openings. Thus, professionals avoided a regular facade. The building will have 20 floors and 90 car spaces in an underground car park. The coverage will also have a garden and swimming pool for residents.

LAVA

Green Void