Lisa Park

Eunoia II
It is an interactive performance and installation that attempts to display invisible human emotion and physiological changes into auditory representations. The work uses a commercial brainwave sensor to visualize and musicalize biological signals as art. The real-time detected brain data was used as a means to self-monitor and to control. The installation is comprised of 48 speakers and aluminum dishes, each containing a pool of water. The layout of “Eunoia (Vr.2)” was inspired by an Asian Buddhist symbol meaning balance.’ The motif of number 48 comes from Spinoza’s ‘Ethics’ (Chapter III), classifying 48 human emotions into three categories – desire, pleasure, and pain. In this performance, water becomes a mirror of the artist’s internal state. It aims to physically manifest the artist’s current states as ripples in pools of water.

LISA PARK

Лиза Парк
eunoia
“Eunoia” is a performance that uses my brainwaves — collected via EEG sensor– to manipulate the motions of water. It derives from the Greek word “ey” (well) + “nous” (mind) meaning “beautiful thinking”. EEG is a brainwave detecting sensor. It measures frequencies of my brain activity (Alpha, Beta, Delta, Gamma, Theta) relating to my state of consciousness while wearing it. The data collected from EEG is translated in realtime to modulate vibrations of sound with using software programs. EEG sends the information of my brain activity to Processing, which is linked with Max/MSP to receive data and generate sound from Reaktor.

GILBERTO ESPARZA

Nomadic Plants
Vegetation and microorganisms live in symbiosis inside the body of the Nomadic Plants robot. Whenever its bacteria require nourishment, the self-sufficient robot will move towards a contaminated river and ‘drink’ water from it. Through a process of microbial fuel cell, the elements contained in the water are decomposed and turned into energy that can feed the brain circuits of the robot. The surplus is then used to create life, enabling plants to complete their own life cycle. As Gilberto wrote in our email conversation, “The nomadic plant is a portray of our own species. It also deals with the alienated transformation of this new hybrid species that fights for its survival in a deteriorated environment.”

PHILIPPE PARRENO

ФИЛИПП ПАРРЕНО
فيليب بارينو
菲利普·帕雷诺
sonic water

TEAM LAB

Universo di particelle d’acqua
Universe of Water Particles è una cascata creata in un ambiente simulato al computer. Una roccia virtuale viene prima scolpita e l’acqua generata dal computer composta da centinaia di migliaia di particelle d’acqua viene poi versata su di essa. Il computer calcola il movimento di queste particelle per produrre un’accurata simulazione di cascata che scorre secondo le leggi fisiche. Successivamente, viene selezionato lo 0,1 percento delle particelle e vengono tracciate delle linee in relazione ad esse. La sinuosità delle linee dipende dall’interazione complessiva tra le particelle d’acqua e forma la magnifica cascata vista sullo schermo.

Joanie Lemercier

Constellations
“Constellations” is an audio visual installation. Light is projected on invisible water particles to form shapes and intangible structures in the air. It’s an abstract journey through geometric structures formed by the universe.

team lab

Universe of Water Particles
Universe of Water Particles is a waterfall created in a computer-simulated environment. A virtual rock is first sculpted and computer-generated water consisting of hundreds of thousands of water particles is then poured onto it. The computer calculates the movement of these particles to produce an accurate waterfall simulation that flows in accordance to physical laws. Next, 0.1 percent of the particles are selected and lines are drawn in relation to them. The sinuousness of the lines depends on the overall interaction among the water particles and forms the magnificent cascade seen on screen.

DILLER SCOFIDIO + RENFRO

SLOW HOUSE

To either side of the “picture window” are two antenna-like stacks: the chimney is to the right, the video apparatus to the left. At the summit of the left stack sits a live video camera directed at the water view and feeding the monitor in front of the picture window. The electronic view is operable; the camera can pan or zoom by remote control. When recorded, the view may be deferred— day played back at night, fair weather played back in foul. The composite view formed by the screen in front of the picture window is always out of register, collapsing the opposition between the authentic and mediated.

FUJIKO NAKAYA

中谷芙二子

fog sculptures
ok-offenens kulturhaus linz

In 1970 Nakaya created her first fog sculpture when commissioned by the group Experiments in Art and Technology (E.A.T) to make a work for the Pepsi Pavillion of the Osaka World Exposition. In creating a work of white mist enclosing the building, Nakaya became the first artist to have used fog as a sculptural medium. E.A.T is an organisation devoted to facilitating working relationships between artists and engineers. Nakaya worked with American engineer Thomas Mee to create the fog for her Osaka commission, the technique for which she has continued to use, with minor moderations, for her subsequent fog sculptures since.Whilst Nakaya has also worked in film and video, it is her use of fog for which she is best known. Nakaya has used pure-water fog to create installations, performances, stage-sets and environmental park designs, often collaborating with other artists or with performers, choreographers and composers. Nakaya’s interest in fog has developed from its relation to our visual sense. In a thick fog we become disorientated, frustrated at our inability to see. In this way, Nakaya’s sculptures activate our other senses, to compensate for our loss of sight.

daan roosegaarde

waterlicht

Dubbed “the northern light of the Netherlands” by Studio Roosegaarde, the Waterlicht installation is designed to create the impression of a “virtual flood”.The waving lines of light spread across 1.6 hectares bear a resemblance to the northern lights – the natural phenomenon created when charged particles enter the Earth’s atmosphere – when viewed from underneath.

OLIVIER GROSSETÊTE

Ponte do macaco
Este projeto é a continuação da ponte suspensa. Um formato externo, planejado para o jardim japonês Tatton Park para a bienal de mesmo nome. Esta ponte de corda sairá da água e formará um arco pela tração dos grandes balões de hélio.

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monkey bridge

This project is the continuation of the suspension bridge. An outdoor format, planned for the Japanese Tatton Park garden for the biennial of the same name. This rope bridge will come out of the water and form an arc by the pull of the large helium balloons.

 

Soichiro Mihara

三原 聡一郎
The Blank to Overcome
file festival
Part of the ”blank” project that the artist has been creating since 2011, “The Blank to Overcome” utilizes air pumps, power supply control circuitry, water, solution, glycerin, ethanol and electricity to produce bubbles in the air. The theme of ”blanks” denotes a space for an unsolved ”inquiry” through the perspectives for thinking about the post-3.11 present: how the bubbles are always shifting as a giant cluster, almost without mass or structure, and the facing up to this; and the framework since modernity that has prescribed society, and the ”involved” or the ”other”. From this work debate will surely emerge.

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克服するための空白

アーティストが2011年から作成している「ブランク」プロジェクトの一部である「TheBlankto Overcome」は、エアポンプ、電源制御回路、水、溶液、グリセリン、エタノール、電気を利用して空気中に気泡を生成します。 「空白」のテーマは、3.11以降の現在について考えるための視点を通して、未解決の「問い合わせ」のためのスペースを示しています。泡は、ほとんど質量や構造がなく、巨大なクラスターとして常にシフトしており、これに直面しています。 ; そして、社会を規定してきた近代以来の枠組み、そして「関与する」または「その他」。 この仕事から議論が確実に浮かび上がるでしょう。

ポンプ

Doug Aitken

ダグエイケン
道格·艾特肯
Station to Station
Doug Aitken gilt als einer der wichtigsten Künstler unserer Generation. Seine Projekte sind immer over the top und noch nie dagewesen. Er erweitert Horizonte und sucht nach neuen Grenzen. Jetzt hat er das Projekt Station to Station organisiert. Im September gehts los und gefahren wird in einem Zug von Station zu Station quer durch die USA. An Bord sind Künstler, Musiker, Köche, Autoren, Filmemacher und Philosophen. Inspiration ist wohl das gleichnamige Album von David Bowie. Mit von der Partie im Zug und an den einzelnen Stops auf dem Weg sind Künstler wie Urs Fischer, Christian Jankowski, Aaron Koblin, Ernesto Neto, Jack Pierson, Alice Waters, Rick Moody, Rirkrit Tiravanija, Kenneth Anger und Musiker wie Savages, Cold Cave, Cat Power, Ariel Pink, Charlotte Gainsbourg, Beck und und und. Entweder reist ihr dem Zug hinterher oder, wenn Euch das zu anstrengend ist, dann reist ihr virtuell auf der Website mit.

Jeppe Hein

Path of silence
Inspired by the remarkable topography of the landscape of the Kistefos Sculpture Park, the stepped slope and terraces beside the Industry Museum, where the power and energy of water is directly visible and gives the site a special quality, a free form is adapted to the shape of this landscape, thus creating a dialogue between the place and the object. The sculpture is defined by an extensive mirror labyrinth that encloses three spaces of silence: A contemplative space, where an enclosure of high mirror steles promotes an upward glance to the sky, a natural space, where a tree inside the sculpture links the inside with the outside and an active space where walls of water appear and disappear, thus offering ever-changing perspectives of the surroundings.

DOUG AITKEN

Underwater Pavilions
Underwater Pavilions is artist Doug Aitken’s large-scale installation produced by Parley for the Oceans and presented in partnership with The Museum of Contemporary Art, Los Angeles (MOCA). The work consists of three temporary underwater sculptures, floating beneath the ocean’s surface that swimmers, snorkelers, and scuba divers swim through and experience. Geometric in design, the sculptures create underwater spaces synthesizing art and science as they are constructed with carefully researched materials and will be moored to the ocean floor. Part of each structure is mirrored to reflect the underwater seascape and create a kaleidoscopic observatory for the viewer, while other surfaces are rough and rock-like. The environments created by the sculptures will constantly change with the currents and the time of day, focusing the attention of the viewer on the rhythm of the ocean and its life cycles.

JAUME PLENSA

Crown Fountain
Designed by Spanish artist Jaume Plensa, the Crown Fountain in Millennium Park is a major addition to the city’s world-renowned public art collection. The fountain consists of two 50-foot glass block towers at each end of a shallow reflecting pool. The towers project video images from a broad social spectrum of Chicago citizens, a reference to the traditional use of gargoyles in fountains, where faces of mythological beings were sculpted with open mouths to allow water, a symbol of life, to flow out.

Nina Katchadourian

Survive the Savage Sea

When I was seven years old, my mother read a book aloud to me titled Survive the Savage Sea (1973). It was the true story of the Robertsons, a family of farmers in England who sold all their possessions to buy a sailboat with the intent of sailing around the world for several years. In June 1972, the Robertsons lost their sailboat in a remote part of the Pacific Ocean when a pod of Orca smashed the hull, leaving the four adults and two children adrift for 38 days. After their inflatable life raft grew too leaky to be safe, they abandoned it for their nine-foot fiberglass dinghy, Ednamair, a vessel so small that with everyone aboard only six inches of the boat remained above the waterline. The family navigated to areas where they could collect rainwater and survived by finding ways to catch sea turtles, dorado, and flying fish until they were spotted and rescued by the crew of a Japanese fishing boat.

video

Ronald van der Meijs

Odoshi Cloud Sequence
A symbiosis between nature and culture is created against the backdrop of the Japanese garden in the pond of the Amstelpark. This artwork explores new possibilities to generate sound and composition that are controlled by slow, unpredictable and unexpected elements of nature which are highly respected in Japanese culture. The diversity of natural sounds gives the work an almost meditative character, while the dependance on natural factors evoke a tension between longing and acceptance. This sound installation engages, as a natural sequencer, in a dialogue with the water, sun wind and clouds. It refers to Japanese garden culture by using the principle of the Japanese bamboo water tumbler.

Ujoo+limheeyoung

Fountain with Red
Stainless steel, water pump, red liquid, urethane paint. Ujoo+limheeyoung is the husband and wife team of media artists Ujoo and Limheeyoung. Since first working together in 2004 in preparation for design competition, they have been involved in projects that use a variety of means of visual expression – kinect expression sculpture, drawings, real-time interactive videos – to address the theme of absurdity of reality.

Samuel Bianchini

At Present
Who has never contemplated drops of water seeking their path down a windowpane? Drops of water fall on a glass stele; they do not seem to be moving randomly, they wander, follow invisible bends and form letters and parts of letters; they provide glimpses of words […]

Iannis Xenakis

Oresteia Opera

Scored for soloists, mixed chorus, children’s chorus and chamber ensemble, Iannis Xenakis’ music for Oresteia has been cited as “ruggedly dissonant” since its 1987 première in Sicily. A wooden-planked stage is empty save three platforms, one each for the chamber players and percussion, another for a drummer on a separate perch. On a high screen to start, a loop video shows an almost-naked woman stretched out face down in a bathtub who is being hosed down uninterruptedly with water. No forewarning, and the clip changes to a thick forest, a small girl being physically abused by an adult man. While the same video images reappear at the end of the opera, but it’s nebulous soft-edged shapes –mood landscapes as it were – that are the usual backdrop for the 90-minute piece.

 

olafur eliasson

オラファー·エリアソン
اولافور الياسون
奥拉维尔·埃利亚松
אולאפור אליאסון
ОЛАФУР ЭЛИАССОН
water fall versailles
Palácio de Versalhes recebe exposição de artista islandês que conta com uma queda d’água que parece surgir do meio do nada. Componente de uma exposição que propõe alterar as silhuetas do Palácio de Versalhes, a queda d’água do Grand Canal é com certeza a mais impactante. A estrutura amarela é escondida pela corrente de água e as nuvens adjacentes, fazendo com que a queda tenha sua origem incerta, parecendo ter aparecido do nada. O artista islandês Olafur Eliasson é conhecido por seus trabalhos grandiosos que conseguem alterar toda atmosfera explorando a luz, profundidade e sensações.

Edwin van der Heide

Fog Sound Environment
Fog Sound Environment is a site specific installation originally conceived for the foreland of DordtYart located nearby the junction of the three rivers that traverse Dordrecht. In this experiential artwork real fog is being created by pushing water under very high pressure through hundreds of nozzles. The fog system consists of independent sections that surround the foreland. The timing and distribution of the fog is part of a composition system that incorporates the on-site wind direction in real-time. The fog is dispersed across the, by high trees and water enclosed, grassy terrain . The behavior of the fog is under direct influence of the local weather; sun, rain and wind all have their influence on the behavior of the fog and experience of the work.

Janna Nikoleit, Mathias Foot, Franziska Rast, Stephan Schakulat

30°
Die Installation 30° macht die Auswertung großer Datenmengen ästhetisch zugänglich und räumlich erfahrbar. Die gezeigten Daten stammen aus Messungen entlang des dreißigsten Meridians westlicher Länge, welcher größtenteils durch Wassermasse verläuft. Kurze Animationen thematisieren Parameter wie Temperatur, Salzgehalt oder Sauerstoff. Schwankungen in den Werten und Vergleiche von einzelnen Messpunkten werden grafisch visualisiert und eine zeitliche Einordnung der Messungen anhand einer Skala nachvollziehbar gemacht. 30° stellt die Arbeit der Forscher, das Meer noch besser zu verstehen und zum Erhalt der Weltmeere beizutragen, in den Fokus.

John Wong

RuShi
如是 (RuShi) means “as is”. Nothing more or less, but the true colors. It’s a piece of contemplative immersive installation art, where in using the ancient Chinese metaphysic algorithm, “八字” (BaZi). Yet take out all the extra cultural signs & materialistic interpretations, remain only the “Basic”, i.e. the 5 elements (gold/ wood/ water/ fire/ earth). Participants type in their date & time of birth, the fortune-telling algorithm turns out showing only the unique ones’ flow of colors. We can see no prediction of life from this machine, but only time & changes.

SEBASTIAN WOLF

Brume
In the collaborative work Brume fog emerges from and self-organizes on the surface on a sculptural element, congealing with light into an elusive stratum. The installation utilizes a series of ultrasonic transducers that generate thick clouds of dense, yet extremely lightweight water vapor. Fog is produced in an inner chamber contained within an enclosure that is outfitted with a porous surface. A small radial blower inside the apparatus gently pumps air into the inner chamber lifting the fog through the membrane, whereby it “settles” on the surface. Viewed from a distance, the fog appears as a visualized mass of air circumscribing the perimeter of the enclosure.

Maya Alam

Interference Fit Canyon
“by Maya Alam uses an entropic drawing process to capture the coalescence of solid and fluid states of matter within a single object. The drawing is comprised of contours that delineate a cube with hard edges that appear to be soft from particular vantage points and soft edges that appear to be hard from others. These contours are mapped back onto the cube geometry in a transitional process whereby the legibility of the cube becomes progressively more inscrutable. The drawing process parallels the effects created by the presence of a cubic object within the L.A. River that disrupts the flow of water and accentuates the presence of detritus. A process of continual erosion acts differentially on the object over time, transforming its appearance and performance in relation to water flow”. Marcelyn Gow

Signe Lidén and Espen Sommer Eide

Vertical Studies
Vertical Studies: Acoustic Shadows and Boundary Reflections; Water Tower Sint Jansklooster In their new collaborative work, Vertical Studies: Acoustic Shadows and Boundary Reflections, Signe Lidén and Espen Sommer invite participants on a journey to a 46-metre-high abandoned water tower in Sint Jansklooster. The tower has been re-imagined as a vertical field-lab where Lidén and Sommer discuss their ongoing research into connections between sound, history, wind and weather. To this end they have constructed a range of special instruments to record and playback sounds in the vertical dimension. The participants on this journey will experience live outdoor vertical studies and a vertical soundscape shaped by Eide and Lidén that ascends the tower’s spiral staircase.

Carsten Nicolai

reflektor distortion

The installation reflektor distortion – conceived as a rotating, water-filled basin – is inspired by the shape of a parabolic mirror that ‚rotates‘ water via centrifugal force. The work consists of the three main components mirror, reflection and distortion. Both curve and distortion of the water surface is affected by speed and integrated resistors that generate a permanently new and re-organizing mirror reflection. The water surface will be supplementary distorted via speaker by resonating low sound frequencies. The function of the mirror is hereby eminent: The mirror surface is the medium that reveals reality as distorted reflection. Rising the question of the observed and the real image the installation plays with the artist’s thesis that we all have a permanent distorted perception of reality.

JAUME PLENSA

ジャウメ·プレンサ
Жауме Пленса
Crown Fountain

In his public art, Plensa challenged himself to involve the viewer with his art, which led to his conception of the Crown Fountain. His objective was to create a socially relevant, interactive fountain for the 21st century.] Since water is the focus of a fountain, and since Chicago, and especially Millennium Park, is so greatly affected by the nearby waterfront, Plensa sought to create an eternal water work to complement the local natural inspirations

Marc Fornes

FORM OF WANDER
Where the Riverfront Park recreational space extends onto the waterway, this structure is situated to host new outdoor activities and new memories of the Tampa’s active waterfront. As an inverted mangrove, the green-hued aluminum canopy announces itself among palms as a signal on the Hillsborough River. The tree-like structure appears to float between water and land.

Heatherwick Studio

Zeitz MOCAA
The Zeitz Museum of Contemporary Art Africa

Heatherwick Studio au inaugurat în data de 22 septembrie 2017 un nou Muzeu de Artă Contem­porană în Africa de Sud – Zeitz MOCAA. Muzeul este amplasat în Cape Town în lungul celebrului V&A Waterfront. Frontul la apă, denumit cu sens istoric Victoria and Albe­­­rt, atrage zilnic peste 100 000 de oameni. Este amplasat la baza Muntelui Table, în golful natural al fostului port istoric, beneficiind de o deschidere superbă spre ocean, pe de o parte, şi spre vârfurile muntoase, pe de alta.

Wade Kavanaugh and Stephen B Nguyen

Hubris Ate Nemesis
Curvy and bent wooden strips are laid out to resemble a wave in this installation in Maine, created by local designers Wade Kavanaugh and Stephen B Nguyen. Kavanaugh and Nguyen designed the Hubris Atë Nemesis installation for the Center for Maine Contemporary Art (CMCA), taking cues from the from the rough waters and wind in Maine. Long, timber strips are layered across the floor and up the ceiling to fill the open-plan gallery space, with crests curling over entrances to other parts of the contemporary art gallery.

Lina Ghotmeh

Light in Water Installation
‘Light in Water’ is a site-specific installation intended to provide an immersive and emotional experience. It was previously presented at Milan Design Week 2011. The installation took advantage of the unique status of the venue – one of the oldest concrete domes in Paris. The installation was thus adapted to the circular form of the space, defining the inner sanctuary as a ‘place to be’ and an outer area as a space for a bystander. There are sixteen rings of slotted tubes on the ceiling. From each hole, 60 drops of water fall every minute; in total 3 tons of water circulate in the space. The LED lights vibrate between on and off, with frequencies ranging from the shortest interval possible, at 7μs, allowing the viewer to materialise a point of light in water, up to 6000μs, where light becomes the line of water.

james casebere

on the water edge

bright yellow house on water

An interest in architecture and coastal living led Casebere to develop the project, which is a follow up to a set of images he created in 2016 based on the buildings of Luis Barragán. Casebere created the series titled On the Water’s Edge to draw attention to issues relating to climate change and, in particular, the need for humans to respond creatively to the threat posed by rising sea levels.

 

Eyal Gever

Waterfall
Waterfall Sculpture created using fluids simulation (particle based simulations. These particles are influenced in a multitude of ways by point-based nodes, known as daemons, which can simulate gravity, fluids, water surfaces flow and collision.

Jeppe Hein

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
Please touch the art
Brooklyn park NYC
celebrated for engaging audiences in seas of sculptural, inventive and whimsical works, danish artist jeppe hein brings a series of participatory installations to new york city, situated around the waterfront brooklyn bridge park. from now until april 17, 2016, public art fund presents ‘please touch the art’, an exhibition of 18 interactive sculptures including ‘social’ benches, rooms made of jetting water, and a dizzying mirror maze.

SUSAN CLUSENER

Fruit Series
“I am fascinated by the physical-ness of things: how a flame moves, how trees bend, how water feels on the skin. I am especially fascinated by the invisible forces at work in living things. In particular, those forces associated with growth and renewal, but also its other side, death and decay.”

CARLOS NO

Pillar
Portuguese artist carlos nogueira‘s series of sculptural works ‘villa bidão’ (braggart city) draw attention to societal issues such as poverty and deprivation, particularly the lives of billions of people without access to housing or drinking water. The improvised dwellings made from makeshift and recycled materials lack a stable framework and basic sanitation, recall the idea of a shanty town as a place unsuitable for habitation. through their metaphorical undertones — huge barrels evocative of a heavy burden and worn materials personifying neglect, the objects present subjects of scarcity and exclusion through visual artworks.

tracy featherstone

Wearable Structure: Tudor Collar
The traditional role of structure or stability becomes mobile when placed on the figure allowing the individual to indulge in the illusion of stability. The mobile/wearable element of the work further subverts attempts of control and order. Similar to the way water will carve a new path around an obstruction, participant finds new ways to move about daily routines in ordinary fashion.

Doug Aitken

ダグエイケン
道格·艾特肯
Underwater Pavilions
At around 12 feet in diameter, each one is big enough to swim through, for divers and fish alike. Aitken sculpted the pavilions from mirrors and artificial rock, and collaborated with a range of specialists to submerge them in the local dive park and moor them to the ocean floor. But building and installing these structures wasn’t easy. Aitken wants his exhibit to raise awareness about the declining health of the oceans.

Kevin Cooley

Fallen Water
Fallen Water explores questions about why humans are drawn to waterfalls and flowing water as a source for renewal. Waterfalls imbue subconscious associations with pristine and healthy drinking water, but what happens when the fountain can no longer renew itself? Is the water no longer pure? Cooley’s choice of subject matter strikes a deep chord with current social consciousness and anxieties about contemporary water usage and the drought crisis faced by the American West. Cooley references Blake’s famous quote from The Marriage of Heaven and Hell as context for the diametric opposites of the current water conundrum: our deep sense of entitlement to and dire dependence on this precious commodity, coupled with a pervasive obliviousness concerning the sources which supply it. As a way to connect with his personal water use, Cooley hiked into the mountains to see firsthand the snowpack (or lack thereof), streams, and aquifers which feed the water sources supplying his Los Angeles home. This multi-channel installation is an amalgamation of videos made over numerous trips to remote locations in the San Gabriel Mountains, the Sierra Nevada Mountains, and locales as far away as the San Juan Mountains in Southwestern Colorado. These disconnected video vignettes coalesce, constructing a large water landscape canvasing the gallery walls and floors – reflecting the disparate and widespread origin of Los Angeles’s drinking water. The colorspace within the videos is inverted, turning the water pink, orange and yellow—channeling an altered vision of water—in which something is definitely amiss: a stark reminder of the current water crisis in the state of California.
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BERNIE LUBELL

Conservation of Intimacy

Made of pine, latex, music wire, copper, nylon line, paper, pens and video surveillance. It measured 20′ x 35′ x 26′ at Southern Exposdure.
A couple rocking on the bench sends air pulses to another room causing balls to move and pens to transcribe their motions onto paper. The paper is moved by a third person on a stationary bike. The couple on the bench can watch the balls on a video monitor before them where the balls appear to bounce into the air. The motion is delayed and languid as though under water. Action is best when the couple is moving slowly together.As visitors work together to animate the mechanisms, they create a theatre for themselves and each other. By encouraging participation, and touch the pieces coax visitors to engage their bodies as well as their minds. The way that pieces move and feel and sound as you rock them, pedal, crank and press against them applies the kinesthetic comprehension’s of childhood to the tasks of philosophy.Bernie Lubell’s interactive installations have evolved from his studies in both psychology and engineering. As participants play with his whimsical wood machines, they become actors in a theater of their own imagining.

FIONA TAN

פיונה טאן
フィオナ·タン
Фиона Тан
فيونا تان
Rise and Fall
Fiona Tan explores storytelling, memory, and the part they play in the formation of identity throughout this exhibition of five video installations, various associated sketches and one single-channel video. Rise and Fall (2009), elongated projections onto two large, side-by-side screens, is a wordless meditation, set to music, of a woman no longer young but still conscious of her looks; she was clearly a beauty in her youth. As the video proceeds we gather that the young woman pictured on the second screen is the memory of her younger self. They often move through domestic activities (sleeping, bathing, dressing) in parallel; this is inter-cut with scenes of violently rushing water (shot at Niagra Falls, it turns out). It’s a hackneyed metaphor – the water’s endless surging as an image of time’s relentless uni-directionality – but in Tan’s hands that doesn’t seem to matter; she creates extraordinarily emotional work out of simple stories and well-worn themes.

Dan Corson

Sensing YOU and Sensing WATER
San Jose
Santa Clara Street at Highway 87 parking lot

Milo Moire

FLUID ECSTASY
by Peter Palm
is an artistic underwater video work by Peter Palm, which he realized on the island of Mauritius with the conceptual artist Milo Moiré. Filled with a naive sexuality, this short film lasting just under six minutes reveals surreal, grace-filled perspectives on the female nude. Beneath the surface, within the concealing element of water, nothing remains concealed.
The title “Fluid Ecstasy” describes a trance-like, natural bliss in the flow of merging.
“Fluid Ecstasy” presents a metaphysically ambivalent ambience that documents our prenatal state of becoming in the form of a visual metaphor. In an analogous notion of being, “being” is understood as that in which everything partakes, though in various ways. The origin of all life lies in water. Peter Palm shows the nude Milo Moiré in a peaceful world, comparable to our “being” in the womb prior to our birth.
Both Milo Moiré and Peter Palm have done without technical aids, with one exception … flippers, which make reference to the metamorphosis from fish to Homo sapiens.
The video was created during numerous dives.

HEATHERWICK STUDIO

Zeitz MOCCA
V&A Waterfront and Jochen Zeitz have announced a unique partnership to create a major new cultural institution that will focus on collecting, preserving, researching, and exhibiting contemporary art from Africa. An addition to Cape Town’s already prestigious V&AWaterfront, the museum is scheduled to be completed in 2016, at which point it will assume its place as the largest museum of modern art on the continent. In the meantime, the Zeitz MOCCA Pavilian presents changing exhibitions and educational programs that are available throughout the year.

jaesik lim, ahyoung lee, jaeyeol kim and taegu lim

clear orb

“The sustainable architectural culture that aspires the coexistence of human, nature and the architecture itself” is a core value of Heerim Architects and Planners in South Korea, the team behind a sparkling orb designed for Santa Monica Pier. A finalist in the biennial site-specific 2016 Land Art Generator Initiative design competition, which promotes the uptake of energy-generating public art that informs, delights, and uplifts communities and visitors, The Clear Orb reveals a playful approach to holistic design. Using transparent luminescent solar concentrators, the installation is purportedly capable of producing up to half-a-million gallons of fresh water each year for California.

Sabrina Ratté

Waterfall
Sabrina Ratté est une artiste vidéo établie à Montréal. Son travail est caractérisé par la création d’environnements virtuels générés par des signaux électroniques. L’électricité, comme matériel brute, est sculptée, manipulée et altérée numériquement pour renaître en une architecture vibrante et lumineuse. Ses oeuvres se situent à la limite de la science-fiction, à mi-chemin entre l’abstraction et le figuratif, l’utopie et la dystopie, l’architecture et le paysage. Elle travaille avec les divers aspects de la vidéo, tels que l’installation, le GIF animé, l’impression et la performance live.

HERMAN MAAT

Paranoid Panopticum

The viewer activates the «Paranoid Panopticum» by entering its small corridor between two «walls». Recorded through the mirrored wall by a video camera, the viewer’s image is projected onto the opposite wall, where it becomes part of a story freely adapted by Alfred Kreijemborg in his play titled «An Echo Play» (1923), based on the Greek myth of Narcissus. Instead of returning the affections of the nymph Echo, the protagonist falls in love with his own reflection. Like with the image of Narcissus on the water, the viewer’s own reflection appears now – and the viewer observes only himself. The Panopticum, the terminus of a circulatory prison complex, is controlled from a watchtower not visible for the prison inmates. Having consciousness controlled here causes in effect the self-control among the prisoners. The paradox in this experience – control and society’s surrendering to its own mechanisms – forms the basis of Maat’s installation. Whether as the observer or observed, the viewer is consistently extradited to the panoptic omnipresence of his own all-pervading reflection.

EUNJOO SHIN

Vocal Trio
FILE FESTIVAL
“Vocal Trio,” which consists of three musical instruments, transforms the voice of a singer or a speaker received through a mike into a sound of each musical instrument while maintaining the same rhythm and musical scale. A pipe horn, which looks like a long trumpet or pipe, makes a deep and low-tone horn sound. A water bell, which looks like a water drop, makes a clear bell-sound, and a leaf flute, which looks like a leaf, makes a reed pipe sound. The spectator’s voice is transformed into the sound of a musical instrument by means of a microcontroller chip. The microcontroller chip of each musical instrument makes a sampling of his or her voice’s frequency. A sampling of the voice made through frequency data is sent to midi chips, which transform it into the sound of a particular musical instrument and the sound is released through the speakers.

OTA+

Taipei Museum of Contemporary Art
This building proposal challenges the traditional definition of a museum and the conventional relationship between building and site. The ground floor of the building is reduced to a nominal footprint, enclosing only enough space for basic services, structure and ticketing functions. The ground plane is primarily reserved for exterior public space, including an art park, Hall of Fame, and garden walk. The bulk of the program and building mass are split by the open ground floor. Half of the building is coupled with the earth while the other half hovers in the air. The purpose is twofold; to minimize the damaging effects of extreme local weather by harnessing environmental flows toward productive outcomes and to re-conceptualize the identity of a modern art museum. The manicured roof plane of the below ground program is pocketed with water absorbing vegetation and catchment systems, while the hovering museum above expands to form open atriums, allowing diffuse light to brighten the space and passive airflow to comfortably condition the building.The program of the museum is interconnected. The Contemporary Museum of Art, Children’s Museum of Art and Administration are located within the floating mass. The lecture hall, parking, art resource center, library and classrooms are located below ground. The programs below ground are easily accessible and directly connected through vertical circulation tubes, providing both structural support for the floating mass above and space for movement systems, such as escalators, stairs and elevators between levels. All of the below ground programs are flooded with diffuse light passing through skylights that penetrate the landscape.

GRAHAM BILLINGS

NORMATIVE FLUIDITY

Graham BILLINGS: “Normative Fluidity” is a museum extension that explores the process of transposition between a series of light studies, diagrammatic implications of the “affect,” and their resultant three-dimensional forms and spaces. Diffraction of light through water is known as caustics; a process that was coupled with a camera obscura during my initial research.These light studies can be diagrammed with involute lines that generate governing geometries amplifying spatial expression and also compartmentalize space for programmatic elements. Through these spatial transpositions, the proposal mitigates the orthogonal forms found in the existing museum and its context, while respecting the initial light studies.

DILLER + SCOFIDIO

The Blur Building (an architecture of atmosphere)
The Blur Building is a media pavilion for Swiss EXPO 2002 at the base of Lake Neuchatel in Yverdon-les-Bains, Switzerland.From piles in the water, a tensegrity system of rectilinear struts and diagonal rods cantilevers out over the lake. Ramps and walkways weave through the tensegrity system, some of them providing a counterweight for the structure. The form is based on the work of Buckminster Fuller.The pavilion is made of filtered lake water shot as a fine mist through 13,000 fog nozzles creating an artificial cloud that measures 300 feet wide by 200 feet deep by 65 feet high. A built-in weather station controls fog output in response to shifting climatic conditions such as temperature, humidity, wind direction, and wind speed.The public can approach Blur via a ramped bridge. The 400 foot long ramp deposits visitors at the center of the fog mass onto a large open-air platform where movement is unregulated. Visual and acoustical references are erased along the journey toward the fog leaving only an optical “white-out” and the “white-noise” of pulsing water nozzles. Prior to entering the cloud, each visitor responds to a questionnaire/character profile and receives a “braincoat” (smart raincoat). The coat is used as protection from the wet environment and storage of the personality data for communication with the cloud’s computer network. Using tracking and location technologies, each visitor’s position can be identified and their character profiles compared to any other visitor.In the Glass Box, a space surrounded by glass on six sides, visitors experience a “sense of physical suspension only heightened by an occasional opening in the fog.” As visitors pass one another, their coats compare profiles and change color indicating the degree of attraction or repulsion, much like an involuntary blush – red for affinity, green for antipathy. The system allows interaction among 400 visitors at any time.Visitors can climb another level to the Angel Bar at the summit. The final ascent resembles the sensation of flight as one pierces through the cloud layer to the open sky. Here, visitors relax, take in the view, and choose from a large selection of commercial waters, municipal waters from world capitals, and glacial waters. At night, the fog will function as a dynamic and thick video screen.

LUMEN

Homage to B. Franklin
File Festival
Homage to B. Franklin is an interactive sound installation. Like Franklin, we also got inspired by the glass harps, so popular in the eighteenth century and still enjoyed nowadays. With this reference in mind, we aim to realize a dialogue between the past and the approach to explore sonority from elements of everyday life -like simple crystal glasses filled with water- and the present, in which we use electronic synthesizers and tangible digital interfaces to generate music. In both cases, there is something magical about being able to generate music without necessarily being an instrumentalist, without making use of classical or conventional instruments. In both, the resulting sound is different from what these instruments can generate, but still music. Participation from the audience is essential for this work to make sense. This is not an artwork of mere contemplative character. We are interested in motivating the participation and the dialogue work-individual and between individuals, since this is a project in which one can interact in groups.

HAUS-RUCKER-CO

하우스-루커-코
是由豪斯拉克科
“Climate Capsules: Means of Surviving Disaster”

In view of the advancing climate change, the exhibition “Climate Capsules: Means of Surviving Disaster” at the Museum für Kunst und Gewerbe Hamburg poses the question: “How do we want to live in the future?” and draws attention to the socio-political consequences of coexistence under new climatic conditions. In view of the fact that the politicians are hesitant to enforce strict measures for climate protection and the citizens very sluggish about changing their habits, the change appears inevitable. The world community is accordingly confronted with the challenge of investigating various possible means of adapting to the climate change. This exhibition is the first to bring together historical and current climate-related models, concepts, strategies, experiments and utopias from the areas of design, art, architecture and urban development – pursuing not the aim of stopping the climate change, but envisioning means of surviving after disaster has struck. More than twenty-five mobile, temporary and urban capsules intended to make human life possible independently of the surrounding climatic conditions will be on view – from floating cities and body capsules to concepts for fertilizing sea water or injecting the stratosphere with sulphur. A symposium, film programme, readings, performances and workshops will revolve around the interplay between design processes and political factors such as migration, border politics and resource conflicts, and investigate the consequences for social and cultural partitioning and exclusion.

CARSTEN HÖLLER

卡斯滕·奥莱
Карстен Хеллер
Aquarium

Aquarium proposes the direct contemplation of the link between the human being and the animal kingdom far from any anthropocentric perspective. For this, the artist arranged a fish tank with three holes underneath, so that the spectators could notice – lying down – the behavior of aquatic life from another point of view, influenced by the hypnotic pattern created by the fish in the water. . The public, being “submerged” and exposed only to what they can see inside the tank and the sounds that can seep in from the outside, are immersed in a separate reality.

GUN ARCHITECTS

Water Cathedral

Le pavillon est une initiative horizontale composée de suspension d’éléments verticaux à différentes hauteurs et densités, naturellement afin de sculpter des espaces par des composantes pyramidales qui sont en tissu et en béton pour imiter les stalactites et stalagmites trouvés dans les grottes.
Soutenus par un cadre en acier extérieur minimal, les cônes inversés sont suspendues à partir d’une grille métallique pour capturer l’eau de pluie dans un sac en plastique. Coulant goutte à goutte, avec des impulsions et des vitesses différentes, les gouttes d’eau sortent du revêtement textile pour générer une atmosphère fraîche pour les visiteurs sous la canopée. Les stalagmites formées de blocs de bétondoubles bancs, les personnes plaçant stratégiquement sous les jets d’eau.
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