NILS VÖLKER

Two Hundred and Seventy
Through the combination of an everyday material with precise technology the mixed media installation fills the whole columned hall from the 19th century with its fluid movement and peculiar sound. Concavely arranged and floating above the spectators heads the form of the artwork seems to pass the skylight like the sun’s rays. Subdivided into nine columns, the nearly 70 square metres large piece of art follows a site-specific choreography determined by a program. Its moving surface is made from 270 white garbage bags, being inflated and deflated. In this way shapes and the boundaries of the installation itself start to dissolve. “Two Hundred and Seventy“ is the first installation with an undisguised view behind the scenes and onto the origin of the wavelike and organic movement: 1080 fans, lots of cables and 45 circuit boards

Daniel Jolliffe

FILE SÃO PAULO 2017
Perfect View
the viewer encounters a badly damaged Cloisonné vase, mounted on a white plinth. When the viewer comes within a few meters of the piece, the vase begins to turn silently, adjusting its position so as to always show the viewer a perfect view of its undamaged side.

László Moholy-Nagy

Light Space Modulator

“This piece of lighting equipment is a device used for demonstrating both plays of light and manifestations of movement. The model consists of a cube-like body or box, 120 x 120 cm in size, with a circular opening (stage opening) at its front side. On the back of the panel, mounted around the opening are a number of yellow, green, blue, rot, and white-toned electric bulbs (approximately 70 illuminating bulbs of 15 watts each, and 5 headlamps of 100 watts). Located inside the body, parallel to its front side, is a second panel; this panel too, bears a circular opening about which are mounted electric lightbulbs of different colors. In accordance with a predetermined plan, individual bulbs glow at different points. They illuminate a continually moving mechanism built of partly translucent, partly transparent, and partly fretted materials, in order to cause the best possible play of shadow formations on the back wall of the closed box”. László Moholy-Nagy

Roy Andersson

World of Glory
World of Glory is a 1991 Swedish short film written and directed by Roy Andersson. Its original Swedish title is Härlig är jorden, which means “Lovely is the Earth”, and is the Swedish title of the hymn “Fairest Lord Jesus”. The narrative portrays a man in white make-up who guides the viewer through his life in a bleakly stylised world. The film was Andersson’s critical comeback to cinema, after many years in advertising

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.

KEITH ARMSTRONG

Shifting Intimacies
An interactive/media artwork for one person at a time. Each participant enters a large, dark space containing two circles of projected film imagery presented within an immersive sound environment. One image floats upon a disc of white sand and the other on a circle of white dust. Participants’ movements direct and affect the filmic image and spatialised audio experience. Throughout the work a layer of dust (an artificial life form) slowly eats away and infuses itself deep into the imagery and sound. Each person has 10 minutes alone with the work. Their movement through the space continually affects speed, quality, balance and flow within the work. At the end of the experience they are invited to climb a lit platform and cast dust back onto the images below.

FRANCK SORBIER

On stage, the ample white strapless dress of a still model serves as a screen for all kinds of projections that echo those of a big screen in the background. “Mixing 3D video with certified fairy tale stories and tailoring tradition” is the idea of the atypical Mountain Ash. Intel technology brings to life on the fabric all kinds of patterns simulating embroidery or painting on silk: stripes of neon lights, butterflies flapping their wings, “mapping” of crystal tassels or the northern lights …

 

Cocolab

White Canvas
“CoCoLab engages in the area of programming languages. We provide frameworks for the analysis and the transformation of programs. Our technology is based on know-how from compiler construction. The frameworks contain parsers and preprocessors which convert source code to abstract syntax trees and symbol tables. These data structures are the foundation of program analysis and program transformation.”

Jeppe Hein

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
Distance

An immense circuit, conceived as a graphic composition, is extended across a forest of fine metal pillars. Arabesques, spirals and nodal interconnections support a track for a hundred or so white balls, razing the ground or very high up in the air. An infrared sensor detecting the arrival of each visitor triggers the propulsion of a ball, which then journeys through the vast visual and sonic landscape. The installation draws on different sources evoking a primitive industrial imaginary, such as the machines of Fritz Lang’s Metropolis and Tinguely’s assemblages, and the fairground universe of roller coasters and pinballs.

James Whitaker

Joshua Tree Residence

Whitaker has envisioned an “exoskeleton” made of shipping containers painted bright white. The containers appear like a starburst, with cuboid forms pushing out in all directions.The home is intended to offer a connection to the sun-baked landscape, while concurrently providing a sense of protection and privacy. Square windows frame views of the blue sky and rugged terrain. In some areas, faceted ceilings give the effect of being inside a crystalline form.

Philippe Parreno

ФИЛИПП ПАРРЕНО
فيليب بارينو
菲利普·帕雷诺
H {N)Y P N(Y} OSIS
H {N)Y P N(Y} OSIS includes a vast collection of sculptural lighting that suspends from the cavernous ceiling. glowing white shapes informed by the design of movie marquees hang above visitors in bundles and as single geometries, casting dynamic patterns on the ground. as a participant walks through the site, they meet video installations, projections, pianos, chairs, speakers and sounds, all which have been carefully orchestrated to produce an immersive, sensory, and constantly-unfolding creative environment.

carsten holler

Decimal Clock
dans Decimal Clock (White and Pink), les instincts rationalistes de Höller se tournent vers la division du temps. L’horloge fonctionnelle, qui représente 10 heures, 100 minutes et 100 secondes, nous rappelle que l’homogénéisation globale du temps n’a eu lieu que récemment en réponse au degré sans précédent d’interconnexion planétaire. Decimal Clock (White and Pink) fait signe aux expériences avec le temps décimal pendant la Révolution française et rend hommage aux efforts visant à la comparabilité et à la régularité temporelles. Pourtant, il reconnaît également diverses manières non occidentales de mesurer le temps et, plutôt que de les voir comme une menace pour l’empire de la raison, les célèbre comme une expression enrichissante de la diversité de notre existence dans le temps.

Merce Cunningham

简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
МЕРС КАННИНГЕМ
« Scenario » de Merce Cunningham
Rei Kawakubo’s humorous costumes toy with the idea of physical distortions, such as humps and big rear ends. They are in mostly vertical blue stripes on white, or in pale green and white-checkered patterns. For much of the dance, five or six dancers twist and pose, each in his or her own space, with a rush of additional dancers to the stage toward the end of the performance. The bold electronic musical score is by Takehisa Kosugi.

Tomas Saraceno

توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
Aerocene

In the desert of New Mexico, artist Tomás Saraceno realized the very first human flight in a zero carbon solar-powered hot air balloon, propelled by Studio Tomás Saraceno and curated by Rob La Frenais. For three hours without touching the ground, the balloon rose into the air without the usual burner, its black fabric heated by the sun and the infrared rays reflected by the white dunes.
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SANKAI JUKU

山海塾

butoh

TOBARI

“Over the 90 minute performance, I feel no less than transported. There are eight male performers, including Ushio Amagatsu himself. The dancers often move slowly, with incredible muscular control, fluidity and elegance. And suddenly the spell will be broken and they’ll run across the stage, their painted bodies leaving clouds of white powder hanging in the air like a shadow or ghost. Slow sustained movements are countered with tiny, minute gestures of the fingers. Hands are often gnarled, the joints contorted with incredible tension. It is mysterious, hypnotic and strange. The countenance of the performers is most arresting – behind the white paint, their faces reveal the fragility, humility, vulnerability and truth of their humanity.”Day Helesic

RYOJI IKEDA

池田亮司
이케다 료지
Редзи Икеда
Transfinite
test pattern [n˚2] presents flickering black and white imagery that floats and convulses in darkness on two screens, one on the floor and another floor to ceiling, in time with a stark and powerful, highly synchronised soundtrack. Through a real–time computer programme, Ikeda’s audio signal patterns are converted into tightly synchronised barcode patterns on the screens. Viewers are literally immersed in the work, and the velocity of the moving images is ultra–fast, some hundreds of frames per second, providing a totally immersive and powerful experience. The work provides a performance test for the audio and visual devices, as well as a response test for the audience’s perceptions.

sou fujimoto architects

على فوجيموتو
후지모토에
על פוג’ימוטו
НА ФУДЗИМОТО
L’Arbre Blanc

Arbre Blanc (White Tree) แปลว่า ต้นไม้สีขาว เป็นชื่ออาคารสูง 17 ชั้น ที่กำลังจะก่อสร้างขึ้นในเมืองมงต์เปอลิเยร์ ทางตอนใต้ของประเทศฝรั่งเศส โดยอาคารรูปทรงแปลกตานี้เกิดขึ้นจากความมุ่งมั่นและความตั้งใจที่จะแสดงให้เห็นถึงความทันสมัยที่เหมาะกับศตวรรษที่ 21 ซึ่งเป็นผลงานการออกแบบของบริษัทสถาปัตยกรรมสัญชาติญี่ปุ่น Sou Fujimoto ที่นำกลิ่นอายของความเป็นญี่ปุ่นและเมอดิเตอร์เรเนียนมาผสมผสานกันได้อย่างลงตัว บนพื้นที่ขนาด 10,225 ตารางเมตร ประกอบไปด้วยที่อยู่อาศัยที่มีระเบียงกว้างขวางหลอมรวมบรรยากาศภายในและภายนอกเป็นอันหนึ่งอันเดียวกัน นอกจากนั้นยังมีพื้นที่ในส่วนของสำนักงาน ห้องจัดแสดงผลงานศิลปะร้านอาหาร และบาร์ ที่สามารถนั่งชมทิวทัศน์ของทะเลและภูเขาโดยรอบอย่างรื่นรมย์

Susanne Wiegner

The Light – The Shade
FILE ANIMA+ 2016 | WINNERS FILE ANIMA+ AWARD | 2nd Place

“The Light – The Shade” is a poem by Robert Lax that plays with the contrasts and opposites light and shade, with bright and dark, black and white, red and blue. The film becomes a journey through the realm of imagination, through spaces and pictures, through letters and words.

KARINA SMIGLA-BOBINSKI

SIMULACRA
file festival

“SIMULACRA” is an optophysical experimental arrangement. At its heart are four LCD monitor panels, which are assembled in the form of a hollow square, and installed at eye level in the middle of the room. The ensemble appears internally gutted, overgrown and embraced. A tangle of cables and control devices pours out of the middle of the square. All around it several magnifying lenses dangle from chains. The imageless glaring ray of the monitors looks as if the images had fallen out of them. What remains is the essence of the medium: Light.It is an impressive, wondrous experience when images suddenly appear from the pure white by the mere glance through a seemingly transparent film. But if you turn the lens in front of your eyes, the polarizing structure of the film creates wild color shifts or even complementary negative images.

HOWARD SHORE

The Hobbit An Unexpected Journey Soundtrack
Tracklist:
00:00:00 – My Dear Frodo
00:06:58 – Old Friends
00:12:18 – An Unexpected Party
00:16:00 – Axe or Sword?
00:21:56 – Misty Mountains
00:23:30 – The Adventure Begins
00:25:28 – The World is Ahead
00:27:37 – An Ancient Enemy
00:32:28 – Radagast the Brown
00:37:13 – Roast Mutton
00:40:50 – A Troll-hoard
00:43:43 – The Hill of Sorcery
00:47:28 – Warg-scouts
00:50:25 – The Hidden Valley
00:54:10 – Moon Runes
00:57:24 – The Defiler
00:58:32 – The White Council
01:05:48 – Over Hill
01:09:22 – A Thunder Battle
01:13:11 – Under Hill
01:15:00 – Riddles in the Dark
01:20:15 – Brass Buttons
01:27:50 – Out of the Frying-Pan
01:33:40 – A Good Omen
01:39:20 – Song of the Lonely Mountain
01:43:22 – Dreaming of Bag End