MICHAEL TAYLOR
Light Trace B&W Versions
YIN XIUZHEN
Инь Сючжэн
尹秀珍
Portable City Hangzhou suitcase
RAQUEL PAIEWONSKY
Guardarropia sensory insulation
siempre me ha interesado mucho como el cuerpo es un recipiente que contiene, a veces de manera misteriosa y sutil y otras veces de manera contundente, las vivencias que experimentamos a través de la vida.more…26
TOMÁS SARACENO
In der Umlaufbahn
Auf dem Territorium der Kunstsammlung Nordrhein-Westfalen in Deutschland ist eine riesige Installation “In Orbit” mit einer Höhe von über zwanzig Metern gewachsen. Präsentiert von Tomás Saraceno, berühmt für seine faszinierenden utopischen Projekte, ist es als eine Reihe von Netzwerken konzipiert, die durchquert werden können. Die Struktur von drei Ebenen ähnelt Wolken und nur die Wagemutigsten können hoch zur Glaskuppel klettern. Die Installation “In Orbit” ist das größte aller Werke des Künstlers, und es dauerte drei Jahre enger Zusammenarbeit mit Ingenieuren, Architekten und Arachnologen, um sie zu entwerfen. Bau mit einer Fläche von 2.500 qm. Meter wiegen nur 3.000 Kilogramm und lösen die Grenzen zwischen Kunst und Wissenschaft auf.
MEMO AKTEN
Body Paint
File Festival
The interaction is simple, movement creates paint. Hidden in the simplicity are layers of subtle details. Different aspects of the motion: size, speed, acceleration, curvature, all have an effect on the outcome: strokes, splashes, drips, spirals; and is left up to the users to play and discover. The installation is designed to work with any number of people and is scalable to cover small or large areas. While the installation is suitable for a single user, when multiple users are present a new dynamic emerges. A user-to-user interaction is born when the audience starts playing with each other via the installation, throwing virtual paint on each other, trying to complete or destroy each other’s paintings.
ANDREW HIERONYMI
Digits
File Festival
“Digits” is a single player wall projection installation game using a multi-touch tablet (iPad) as a controller. The game consists of moving a puppet using a set of dials.
The player can manipulate the dials on the tablet by performing a rotational gesture with the finger, which will rotate the joints of the puppet on the wall projection. Multiple dials can be rotated at the same time.
If the player lifts his fingers from the touch screen, the joints and limbs of the puppet will gradually fade and loosen his articulations. Because the puppet is subject to gravity, the player has to time the joint rotations in order to coordinate the movements of the puppet.
MATTHEW MONAHAN
ماثيو موناهان
마태 복음 모나한
マシュー・モナハン
ALEXANDER KHOKHLOV
الكسندر خوخلوف
亚历山大·霍赫洛夫
アレクサンダーホフロフ
Александр Хохлов
El fotógrafo y artista ruso, Alexander Khokhlov en colaboración con un gran artista de maquillaje Valerya Kutsan crearon un proyecto llamado Weird Beauty, en el que con su creatividad, ha impresionado a más de uno a la hora de realizar retratos en blanco y negro.
HONG CHUN ZHANG
张春红
hair
HANNA SCHWARZ
Rehearsal
Vanessa Colareta
Exodo
Max Cooper
Morphosis
Morphosis uses artificial neural networks to create morphing images of scale. The system explores how natural structures from the most tiny to the most huge, share aesthetic properties, as recognized by the trained network, and recreated in continuous flowing sequence via these connections. It’s a study of the seemingly infinite nature of space and natural physical structure, which can loop back on itself to give endless visual exploration and variation.
Pedro Veneroso
file festival 2019
‘Tempo: cor’(Time:color) consists of an immersive installation that seeks to modify our experience of time by converting hours into color. A set of chromatic clocks, each set to a different GMT time zone, projects, in a semicircle, the current time in their mathematical and chromatic representations. The conversion between these two forms of time representation is based on an algorithm composed of sinusoidal functions that modulates the RGB colors as a function of the current time, gradually modifying the intensities of blue, green and red throughout the day: at midday yellow predominates, while at four in the afternoon the hour is red; midnight is blue, six o’clock in the morning is green. Side by side, the colors projected by the clocks merge, creating an immersive experience of a continuous and circular time, between the different time zones, that crosses the entire chromatic spectrum. This installation is part of a series of works in which I investigate the relationships between human notations and codes and our experience of space-time, seeking to change the ways we understand it; in this case, visitors immerse themselves in a spatial experience of time that provokes the questioning of notations and perceptions that we usually consider axiomatic. Changing the way we represent time will change our way of experiencing it?
