digital sculptures
Motion sculptures for CCTV Documentary Channel is a digital metaphor of phenomenal blinks and moments that life consists of. A visual performance of organic and vital substance, animated using data of actors movements. Dents visualize four different themes. Motion sculpture of steel reflects old Chinese adage that true power is mastering yourself. Youthful energy of dancers evolve into beautiful organic sculpture.
オラファー·エリアソン
اولافور الياسون
奥拉维尔·埃利亚松
אולאפור אליאסון
Олафур Элиассон
Polyphonic House
Olafur Eliasson (1967 Copenhagen) ganador del premio Joan Miró instalaciones a gran escala esculturas, fotografías y fotograbados que retan a la percepción del espectador y a las leyes de la física , experiencias poéticas y sensoriales.
ロス·テロス
Лос-Карпинтерос
Mesa de Ping Pong
„Ping Pong” – eine (ungewöhnlicherweise?) blaue Tischtennisplatte, auf die ein Gewirr von dünnen weißen Plastikrohren montiert wurde. Für den geübteren Kunstbetrachter ist dies als Ballbewegungsdarstellung offensichtlich – für Kinder dagegen ist der Gedanke, die flüchtige Bewegung, einen zurückgelegten Weg auf diese Weise mit Material darzustellen, nicht so naheliegend. Mit den folgenden Vorübungen wollte ich ihnen den Zugang erleichtern.
Trophy StandsTrophäenhalter
spitting leaders
Accessories for Wearing Emotions
Head Accessory of Tears
I have heard somewhere that it is not yet fully understood why people shed tears.
We shed tears when feeling sad, moved, sometimes happy.
I do even when feeling angry.
We cannot control our emotions.
They sometimes cannot be stopped from overflowing to the outside even before we internally register them although they should exist within and surely derive from the inside of us.
It is as if they do not even pass through our brain – As if it is an involuntary action,
like in sports, where the body moves before we tell it to.
However, what would happen when we trace the process in reverse?
I tried to make it work from the outside in.
(Like, we sometimes pretend to be okay with an unwilling smile.)
I want to see what would happen on the inside of us if we “wear” emotions on the outside.
Hazuki Katagai
Parcours
D\Vision.0
Aquí, se valió de un proceso de descomposición y separación de los muebles, en diferentes niveles. Tomando como base el trumeau, rediseñó su contorno para transformarlo en un objeto inesperado, sorprendente, sin perder su forma original.
Julius Horsthuis
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Installations
Electronic Language International Festival
Fractalicius – Netherlands
Exploring the mysterious connection between mathematics and art, Julius Horsthuis delves into the mesmerizing realm of fractal geometry. His animations reveal surreal landscapes generated by mathematical equations, inviting viewers to contemplate infinite worlds born from invisible patterns. These works reflect the harmony between numerical abstraction and visual beauty, transforming logic into poetic expression.
BIO
Julius Horsthuis is a digital artist known for his hypnotic fractal animations that blend abstract complexity with cinematic beauty. With 15 years of experience in the Dutch film and entertainment industry as a visual effects supervisor, he transitioned into fractal animation and became a pioneer of a distinct visual language that has captivated audiences worldwide.
Erosion (Staircase)
Be Boy Be Girl
FILE FESTIVAL
涂鸦研究实验室
גרפיטי מעבדת מחקר
グラフィティリサーチラボ
L.A.S.E.R
FILE FESTIVAL
Devil’s Flower Mantis
“Ten years ago I decided to change my field of research to one that is more in tune with my naturalist’s interests. Neurobiology is the study of cells of the nervous system and the organization of these cells into functional circuits that process information and mediate behavior. Insects, having a relatively simple and hence easier to study, nervous system, are commonly used as models, the premise being that on the most basic level of relatively simple neuronal networks we have a lot in common. It was my extracurricular expertise in invertebrate anatomy and macro photography that made the transition possible.”
Майк Хьюсон
Homage To The Lost Spaces (Government Life Building Studio Series)
Ο Αυστραλός καλλιτέχνης και πολιτικός μηχανικός Mike Hewson, που ζει και εργάζεται στο Port Hedland της δυτικής Αυστραλίας, θέλησε να αποτίσει φόρο τιμής σε ένα από τα παλιότερα κτίρια της Νέας Ζηλανδιας, το οποίο καταστράφηκε άσχημα από τους σεισμούς του Φεβρουαρίου 2012.
GeoCosmos II during earthquake
The Geo-Cosmos does more than allow visitors to see the ever-changing face of our world; it has screened a variety of content, creating visuals of events happening on the Earth’s surface, so visitors can experience the “world of today.” Together with researchers and creators from Japan and overseas, we have also explored the possibilities of expression by making the best use of this spherical display’s special characteristics .
Lucy Mcrae
HEAVY DUTY LOVE
A cautionary narrative in an uncomfortable, complex debate on the scientific acceleration directing our evolutionary path —from gene-edited babies to CRISPR to AI — Heavy Duty Love is a mental health prop existent as a tactile mechanical structure, asking, “As we head toward a life designed from scratch, will we seek new types of intimacy?”. Realised as a speculative domestic device compensating for a lack of human touch in early life, Heavy Duty Love sandwiches the body between layers of soft, dampening materials normally used in contemporary camping or construction.
Broken Flower
Liquid Nitrogen
Throughout his career, Shireman has maintained a connection with flowers in decay; in other still lifes, he has cataloged the wilting of tulips and mums. This series, unlike those previous, is brutal and instantaneous. Where his other flowers underwent a slow, gradual death, these broken flowers are quickly frozen and violently ruptured. The process captured here is not a natural one but one that necessitates the use of a manmade element.
Алекс Стоддард
亚历克斯斯托达德
宫岛达男
Connect with Everything
Since 1987, Tatsuo Miyajima has been constructing installations using LED digital counting devices. His works combine a performative aspect with architectonic structures, sometimes taking the shape of geometric patterns or organic shapes as well as encompassing vertical and horizontal surfaces. The LED devices count progressively from 1 to 9 or backwards – Miyajima never employs 0 – establishing a rhythm as definitive as repetition itself and the inexorable passing of time.
