HERMAN KOLGEN
INJECT
A HUMAN BODY IS INJECTED IN A CISTERN. OVER THE COURSE OF 45 MINUTES, THE PRESSURE OF THE LIQUID EXERTS UPON HIM MULTIPLE NEUROSENSORIAL TRANSFORMATIONS. FROM HIS EPIDERMAL FIBER TO HIS NERVOUS SYSTEM, HE REACTS TO INFLUXES OF VISCOSITY IN THIS LIQUID CHAMBER. HIS CORTEX, LACKING OXYGEN, GRADUALLY LOSES ALL NOTIONS OF THE REAL. LIKE A HUMAN GUINEA PIG: A MATTER-BODY WHOSE PSYCHOLOGICAL STATES ARE THE OBJECT OF KINETIK TABLEAUX, OF SINGULAR TEMPORAL SPACES.
PAVEL BOLO
Multiple Subjects
Mark Napier
Mark Napier has been creating artwork exclusively for the Web since 1995. He combines his training as a painter with his expertise as a software developer to create “art interfaces,” software that addresses issues of authority, ownership, and territory in the virtual world.
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smoke
“A symbol of the human desire to monumentalize ideas in physical form, the Empire State Building is a subject of Mark Napier’s artwork in the past four years. This icon of American hegemony is key to exploring shifting structures of power, specifically the transition from steel to software as the medium of power in our time.”Mark Napier
HISAJI HARA
原久路
Хисаджи Хара
A study of “The Victim”
YVES MARCHLAND AND ROMAIN MEFFRE
THE RUINS OF DETROIT
„Detroit, die Industriehauptstadt des 20. Jahrhunderts, hat die moderne Welt grundlegend geprägt. Die Logik, die die Stadt geschaffen hat, hat sie auch zerstört. Heutzutage sind die Ruinen der Stadt, anders als anderswo, keine isolierten Details in der städtischen Umgebung. Sie sind zu einem natürlichen Bestandteil der Landschaft geworden. Detroit präsentiert alle archetypischen Gebäude einer amerikanischen Stadt in einem Zustand der Mumifizierung. Seine prächtigen verfallenden Denkmäler sind nicht weniger als die Pyramiden von Ägypten, das Kolosseum von Rom oder die Akropolis in Athen Überreste des Untergangs eines großen Reiches. “ Yves Marchand & Romain Meffre
Milton Glaser
homage
Milton Glaser (June 26, 1929 – June 26, 2020)
R.I.P
“i love new york”
One of Glaser’s most recognizable works is his I Love New York logo. In the mid-1970s, New York City’s crime rate was up and the city was widely perceived to be dangerous and was on the verge of bankruptcy.In 1977, the city hired advertising agency Wells Rich Greene and Milton Glaser to design a logo to increase tourism and boost morale. It was Glaser who came up with the design while sitting in the back of a taxi cab on the way to the meeting.The logo consists of the capital “I” and a red heart, stacked on top of the letters “NY” in American Typewriter typeface, symbolizing New York. His inspiration for the logo was Robert Indiana’s LOVE design, with the four letters stacked on top of each other. “Glaser loved New York so much that he gave his work to the city for free, hoping it would become public property.
christopher bauder
skalar
SKALAR is a large-scale art installation that explores the complex impact of light and sound on human perception. Light artist Christopher Bauder and musician Kangding Ray give an audio-visual narration of radiant light vector drawings and multi-dimensional sound inside the pitch-dark industrial space of Kraftwerk Berlin. By combining a vast array of kinetic mirrors, perfectly synchronized moving lights and a sophisticated multi-channel sound system, SKALAR reflects on the fundamental nature and essence of basic human emotions.
RICHARD TUTTLE
Таттл, Ричард
理查德·塔特尔
리처드 터틀
ריצ’רד טאטל
リチャード・タトル
Village I
Sharon Eyal
Soul chain
“La pièce qui semble inspirée d’un numéro de music-hall ou de cabaret qu’elle pervertit aussitôt ne cherche pas l’élégance, ne tire pas vers la séduction aguicheuse et facile. Le geste est moins poli. Il déjoue les attentes et se moque des apparences. Le groupe transpire en permanence d’un irrépressible désir de résistance et de transgression, d’autant d’états, de sentiments intérieurs que Sharon Eyel et ses danseurs cherchent à extraire, à faire s’extirper et se libérer des corps qui exultent dans l’urgence.” Christophe Candoni
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Salt Womb
“Laut Programm bewegt sich die Ballett-Compagnie in „Salt Womb“ als Ganzes wie eine Maschine. Und wirklich: im 1. Bild dieses Stückes mit dem enigmatischen Titel stehen die Tänzer und Tänzerinnen des Basler Balletts in einem großen Halbkreis, der zu Ende gedacht wie ein Zylinder wirkt, in dessen Mitte sich ein riesiger Kolben auf und ab bewegt. Die Körper der Tänzer:innen, die sich breitbeinig stehend immer wieder auf und ab bewegen, wirken wie gefangen in einem nicht enden wollenden Kraftakt: die minutenlange, fast stoische Wiederholung einer einzigen Bewegung zu hämmernden Technobeats hat tatsächlich etwas Inhumanes… Nach und nach formieren sie sich zu einer pulsierenden Gruppe in Dauerbewegung, zu einem unheimlich wirkenden Superorganismus, aus dem sich einzelne Tänzer:innen in kurzen Solopassagen herauslösen, aber immer wieder vom Sog des Gruppenpulses aufgesogen werden.” Renate Killmann
DORA MAURER
Sept Rotations
Engineered Arts
AMECA
“Multiply the power of artificial Intelligence with an artificial body. Ameca is the physical presence that brings your code to life. The most advanced lifelike humanoid you can use to develop and show off your greatest machine learning interactions. This robot is the digital interface to the real world.” Engineered Arts
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“A U.K. robotics firm called Engineered Arts just debuted the first videos of its new humanoid robot, which is able to make hyper-realistic facial expressions. It’s a pretty stunning achievement in the world of robotics; it just also happens to be absolutely terrifying.
Named Ameca, the robot’s face features eyes, cheeks, a mouth, and forehead that contort and change shape to show off emotions ranging from awe to surprise to happiness. One of the new videos of Ameca shows it waking up and seemingly coming to grips with its own existence for the first time ever.” Neel V.Patel
Jaime Pitarch
Bad Manners
Il punto di partenza del mio lavoro risiede nella contraddizione tra la sfiducia che serbiamo nei confronti delle strutture sociali e il desiderio di farne parte. Rifletto su questa contraddizione osservando l’ordine che fa da supporto a qualsiasi forma di produzione, nel tentativo di trovare aspetti comuni tra il design, per esempio di una sedia, e il disegno di una strategia politica o economica. Credo infatti che le motivazioni che risiedono dietro queste forme di produzione non siano molto distanti.
