RUAIRI GLYNN
루아리 글린
Performative Ecologies
Each one of the four crude and very technically appearing devices is fitted with a punctually attached, luminous rod of fibreglass, which moves back and forth arrhythmically and freely. This installation’s poetry lies in the choreography of the little robots. They continuously try to gain the observers attention and impress him by waving their luminous tails. They recognise the reactions and movements of their human audience, learn from failure and share their experience with their robotic neighbours – a social structure of humans and machines.
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MAURIZIO CATTELAN
マウリツィオ·カテラン
Маурицио Каттелана
A perfect day
يتمتع ماوريتسيو كاتيلان بسمعة اكتسبها بصعوبة في تقديم إبداعاته الجامدة بشعور من الفكاهة والفكاهة. بدافع من الكراهية العميقة للشخصيات الموثوقة ، اعترف كاتيلان بأن فنه يركز على “الجوانب السخرية والعصية والطفولية لشخصيته”. (أ. بيليني ، “مقابلة مع موريزيو كاتيلان” ، نحت 24 ، رقم 7 ، سبتمبر 2005). غالبًا ما أدت هويته التي تبدو متمردة كنجم فني ومستفز إلى استكشاف الانتكاسات أو مواقع الفساد. A Perfect Day ، 1999 ، هو تتويج لتركيب لمدة يوم كامل ، حيث قام Cattelan بإلصاق معرضه ، Massimo de Carlo ، بجدار معرضه في ميلانو.
Alex Verhaest
Temps Mort / Idle Times
file festival
Alex Verhaest investiga contrastes, semelhanças e a simbiose/fusão entre homem, máquina, ator e computador. No momento, Alex está envolvido no projeto de um filme que relata a história de uma família envolvida em um antigo drama familiar. A história é distribuída por uma ampla gama de obras distintas, cada uma delas representando um certo momento.
PHILLIP TOLEDANO
فيليب توليدانو
菲利普托莱达诺
פיליפ טולדנו
フィリップ·トレダノ
Филипп Толедано
Phillip Toledano é um fotógrafo multicultural desde que nasceu em Londres de uma mãe franco-marroquina e de um pai americano. Segundo ele, as fotografias devem parecer frases inacabadas para deixar espaço para perguntas. Seu método geralmente consiste em uma mistura entre a fotografia e várias instalações preparadas. O trabalho de Phillip Toledano já apareceu em muitos títulos como Vanity Fair, The New York Times, New Yorker, Esquire, GQ, The World, etc.
TREDJE NATUR AND PK3
artificial islands
Isabella Münnich
Immersed Garden
Immersed Garden is in its true sense a sunken world. Floating bodiless in an underwater garden, natural sounds guide you through an immersive surrounding, somewhere between calming and irritating, natural and artificial. It is a playful exploration of the individual conception of safety and confusion and a personal approach to aesthetic references to habits of introspection and retreat in digital environments. It was created by fusing different digital processes like photogrammetry of selected natural places around Karlsruhe and field recordings in a local natural reserve. Underwater videos hybridize with 3D scans of trees and plants while invisible frogs are croaking and humming birds are buzzing by synthetic flowers. The artistic aim was to explore the personal perception of calming and irritating, playing with the concept of immaterialness and attentiveness. The artwork creates aesthetic references to philosophical and scientific theories of introspection and identity.
HARRISON AND FOUILHOUX
the Perisphere, New York’s World Fair, Queens 1939
JULIE BIRON
Do Not Disturb My Circles
JEFF TSE
Many photographers are driven by something singular in their imagery. It is the essence of how they see their work. Eventually it is how others will see their contribution as well. Jeff’s work is defined by the play of light and form. His goal is to translate those subliminal forms into imagery that is timelessly beautiful.
mourad merzouki
Vertikal
“Pour cette nouvelle création, je désire aborder un nouvel espace, celui de la verticalité. À travers un dispositif proposé par la compagnie Retouramont et Benjamin Lebreton, et accompagné d’une dizaine de danseurs au plateau je me confronterai à un environnement où le mouvement se joue de la gravité.”more…
Nino Cais
Le travail de Nino nous invite à reconsidérer les objets qui nous entourent, en y prêtant attention sous une perspective différente. Cependant, peu probable de nombreux artistes contemporains, Nino ne subvertit pas les objets trouvés pour faire un commentaire sur l’art lui-même, questionnant ce qui est ou ce qui n’est pas de l’art, n’a pas non plus l’intention de faire une critique de la société de consommation.
