Cho Youngkak
A Hot talks about Something, Someday, Someone
Se basa en Meme (meme / meme; imagen, video), que es un nuevo medio de comunicación que funciona como lenguaje en un sistema de red como Internet. Basados en Meme, las imágenes y los videos reproducidos se reconstruyen recientemente mediante inteligencia artificial y se presentan en una forma que cambia según la interacción de la audiencia. Basado en los datos recibidos a través de la cámara, un algoritmo de inteligencia artificial (StyleGAN: A Style-Based Generator Architecture for GANs) reacciona con cada modelo entrenado y audiovisualmente a través de la visualización y la robótica (robot cooperativo) en el lenguaje reconstruido. Este proyecto se enfoca en crear interacciones basadas en resultados artificiales que no existen en la realidad. El modelo de inteligencia artificial creado proporcionará más experiencias emocionales como sustituto del diálogo humano en lugar de ser aceptado por los humanos en el sentido del meme cotidiano.
JOACHIM SAUTER, ART+COM AND ÓLAFUR ARNALDS
Symphonie Cinétique
The exhibition project focuses mainly on the correlation and interaction of three elements: reflection, sound and movement. Symphonie Cinétique narratively interrelates the three elements, and brings out their inherent, almost mystic harmony. The result of this process is an artistic synthesis, a unique spatial experience. At the premiere, Arnalds performed the Symphonie Cinétique live on piano and tablet. This fascinating interplay between music, light and movement served as a prelude to the exhibition.
Georgina Santiago and Guillermo Mora
ギジェルモ・モラ
VITRINE
VITRINE is a collaboration with artist Guillermo Mora, with who Georgina Santiago has a speciall creative connection. The idea behind it was to merge the two creative worlds in the way that the essence of a gallery is translated to the clothes and sorround them with a sculpure. The boundaries between art and fashion get blurry and the body become a sculpture itself. The surroundings of the body become part of it and all mutate into one. The body became a vitrine were the art is exposed.
IVONNE THEIN
ИВОНН ТЕЙН
DIE MASKERADE DES REALEN
The work “The Masquerade of the Real“ deals with theperception of the human body in the digital age. As a two-dimensional image the body loses its organic function and becomes a empty covering.
Nathaniel Rackowe
Designed to interact with the environment in which they are situated, Nathaniel Rackowe’s large scale architectural structures are built using light, kinetic elements and common industrial materials. Drawing on Minimalism’s attention to the relationship between viewer, object, and space, and fusing the structural codes and material outcomes of Modernism, Nathaniel’s works transports the viewer from passive observer to participant, exposing the otherwise unseen dimensions of visual and temporal spaces.
ELIZABETH MCALPINE
’98m
Le travail d’Elizabeth McAlpine est souvent lié à la question du temps et à l’expérience du regard. Dans « The Height of the Campanile », l’artiste a calculé la durée de son film en fonction de la hauteur de son sujet, le Campanile, de sorte qu’au final la longueur de la pellicule soit équivalente à celle de la tour. De même, le temps nécessaire pour visionner le film et le rythme du travelling effectué par la caméra correspondent. Ainsi, tandis que nombre des oeuvres de McAlpine sont basées sur le montage, la répétition et la fragmentation, « 98m » se présente comme un simple plan-séquence.
L’image, au grain apparent, est projetée au mur à la taille d’une carte postale, pendant que le film forme une boucle au sein d’une structure en verre pensée par l’artiste. La taille de la projection rappelle que Venise est devenue une destination touristique incontournable. L’utilisation du Super 8 est une évocation de la pratique amateur – précédant l’invention de la vidéo, du touriste fixant le souvenir de ses vacances pour le projeter une fois rentré à la maison. Si ce support procure à l’oeuvre un caractère daté, la boucle continue et hypnotique formée par la pellicule suggère au contraire une certaine intemporalité, semblable à celle que peut ressentir le touriste qui découvre San Marco.
GUILHERME MAUELER
Neither fish nor flesh
via highlike submit
Los Carpinteros
ロス·テロス
ЛОС-КАРПИНТЕРОС
Los Carpinteiros é um coletivo fundado em 1991 pelos artistas Marco Antonio Castillo Valdes (1971), Dagoberto Rodríguez Sánchez (1969) e Alexandre Jesús Arrechea Zambrano (1970), sendo que o último fez parte do grupo até 2003. Realiza desenhos, esculturas e instalações e discute temas relacionados à arquitetura, ao design e à política, aproximando constantemente arte e sociedade e construindo seus trabalhos de forma inusitada e muitas vezes com humor.
PATRICK TIGHE
Out af Memory
Hans Hemmert
Yellow sculpture
GOLAN LEVIN AND ZACHARY LIEBERMAN
Reface [Portrait Sequencer]
Reface [Portrait Sequencer] by Golan Levin and Zachary Lieberman (2007) is a surreal video mash-up that composes endless combinations of its visitors’ faces. Based on the Victorian “Exquisite Corpse” parlor game, the Reface installation records and dynamically remixes brief video slices of its viewers’ mouths, eyes and brows. Reface uses face-tracking techniques to allow automatic alignment and segmentation of its participants’ faces. As a result, visitors to the project can move around freely in front of the display without worrying about lining up their face for the system’s camera. The video clips recorded by the project are “edited” by the participants’ own eye blinks. Blinking also triggers the display to advance to the next set of face combinations. Through interactions with an image wholly constructed from its own history of being viewed, Reface makes possible a new form of inventive play with one’s own appearance and identity. The resulting kinetic portraiture blends the personalities and genetic traits of its visitors to create a “generative group portrait” of the people in the project’s locale.
HO-YEOL RYU
GANA ART
Gianfranco Piazzini
The Guide
“Creo que tengo una producción mas o menos variada pero que tiene como eje el paso del tiempo sobre la carne, la modificación sobre el cuerpo humano, y la tecnología también, aunque de manera poco mas implícita. Me gusta encontrar maneras nuevas de ver lo mismo de siempre, que pensándolo bien nunca es lo mismo”.
JANNE PARVIAINEN
Private Sunshine
Light Painter Janne Parviainen, also known as JANNEPAINT, is a full time artist who has been snapping photographs for over fifteen years. Like many light painters his discovery of the medium was an accident. In early 2007, Janne was out at night capturing long exposure photographs and accidentally bumped his camera, when he looked at his photograph the street lights had left streaks that appeared to be writing in the image; from that point on Janne was a Light Painter.
HAUS-RUCKER-CO
하우스-루커-코
是由豪斯拉克科
