Iannis Xenakis
ЯНИС КСЕНАКИС
ヤニス·クセナキス
Stratégie
per due Orchestre e due Direttori
Iannis Xenakis est né en 1922 (ou 1921), à Braïla (Roumanie), au sein d’une famille grecque. Il passe sa jeunesse à Athènes, où il achève des études d’ingénieur civil et s’engage d’abord contre l’occupation allemande, puis contre l’occupation britannique (guerre civile). En 1947, après une terrible blessure et une période de clandestinité, il fuit la Grèce et s’installe en France, où il travaille pendant douze ans avec Le Corbusier, en tant qu’ingénieur, puis en tant qu’architecte (Couvent de la Tourette, Pavillon Philips de l’Expo universelle de Bruxelles de 1958 – où fut donné le Poème électronique de Varèse – célèbre pour ses paraboloïdes hyperboliques). En musique, il suit l’enseignement d’Olivier Messiaen et, dans un premier temps, emprunte une voie bartókienne qui tente de combiner le ressourcement dans la musique populaire avec les conquêtes de l’avant-garde (les Anastenaria, 1953). Puis, il décide de rompre avec cette voie et d’emprunter le chemin de l’« abstraction » qui combine deux éléments : d’une part, des références à la physique et aux mathématiques ; d’autre part, un art de la plastique sonore.
Doug Aitken
Sonic Fountain II
An excavation filled with milky water, Sonic Fountain is surmounted by nine taps distributed in a grid which taste according to a precisely written score. In the water, microphones record the sound of drops of water – sound broadcast live in space, like a concert. In the artist’s words, Sonic Fountain “is a deliberately abstract work that bares architecture and reveals its rhythm, tempo and language”.
YANOBE KENJI
ヤノベケンジ
mythos
This exhibition place used to be an electric power plant. Yanobe will transform this abandoned building into the “future” place by creating a story and put it as an installation. In the “discharge” part, Yanobe set up a Tesla coil, which will generate an artificial thunderstorm and expressed as if the electric power plant revives.
KA FAI CHOY
المقاييس التزامنية
بدلاً من اتباع عملية التصميم الأكثر تقليدية التي تتميز بمنتج نهائي ملموس ، فإن عمل Choy Ka Fai (المعروف أيضًا باسم Ka5) هو جزء من مجال متزايد من ممارسة التصميم التخميني ، وهو استقصاء مثير للإمكانيات المستقبلية. بدأت سلسلته ، Prospectus for a Future Body ، عندما كان طالبًا في الكلية الملكية للفنون بلندن في عام 2011. طور Ka5 عددًا من العروض والعروض التوضيحية التي تستكشف إمكانات التكنولوجيا للتذكر ، وإعادة الإنشاء ، وحركة “التخزين”. عند ترجمة تلك “الذكريات” إلى الجسد عبر نبضات كهربائية سلكية ، تعيد Ka5 تعريف العلاقات التقليدية بين مصمم الرقصات والراقصة والجمهور في هذه العملية. قام بتقسيم تحقيقه إلى عدة مجالات: إنشاء “مكتبة للحركات” تم تصميمها وتشغيلها رقميًا ؛ فحص ذاكرة العضلات والبرمجة ؛ وتحليل إمكانيات تصميم الرقصات ورسم خرائط الحركة عند التحكم رقميًا بواسطة قوى خارجية للجسم.
YING GAO
no(where) now(here)
Fashion designer Ying Gao has fabricated a pair of dresses that writhe around and light up when someone stares at them.”We use an eye-tracking system so the dresses move when a spectator is staring,” Ying Gao told Dezeen. “[The system] can also turn off the lights, then the dresses illuminate.” The gaze-activated dresses are embedded with eye-tracking technology that responds to an observer’s gaze by activating tiny motors to move parts of the dresses in mesmerising patterns.
Tilman Küntzel
Falling Chandelier
L’installation audiovisuelle Fallen Chandelier est basée sur une sonification d’un système de contrôle provoquant le scintillement de quarante ampoules à l’intérieur d’un lustre tombé. Vingt starters interconnectés, similaires à ceux que l’on trouve couramment dans les tubes fluorescents, génèrent un rythme lumineux irrégulier. Cela se produit au moyen de bilames qui sont chauffés dans un tube et entrent ainsi en contact les uns avec les autres en séquence rapide. Ce processus est audible. Chaque démarreur génère son propre rythme, qui a un son différent selon la marque, la composition et le degré d’usure des démarreurs. « J’écoute d’abord beaucoup de starters avant de les utiliser pour une installation dans le sens de la composition. »
ALEX DRAGULESCU
spam architecture
MAI-THU PERRET
teapot
Bruce Nauman
Nature Morte
Nature Morte focuses on Nauman’s long relationship to his own studio, a variation on his four unique multi-projection videos, Mapping the Studio (2001). Three viewing stations, each consisting of an iPad linked to a wall-sized projection, provide an interactive exploration of the 3D studio space. Only now the artist is absent, and the participant becomes performer as he/she manipulates the large scale video projections on an iPad using touch control. The participant is free to navigate anywhere throughout the space, selecting broad vistas or individual objects. Using a hand-held 3D scanner, Nauman recorded hundreds of images that allow participants to select an object and locate close-up anything found there, and further reorient the image to see an object from above and below, and at times inside-out. The resulting mobility intensifies the experience of the viewer/performer. Presenting a static, but immersive re-creation of his studio space, Nauman’s pieces once again play at the tenuous lines between the body and space, perception and physical material.
MICHAEL JOHANSSON
Майкл Йоханссон
マイケル·ヨハンソン
現代のスウェーデン人アーティスト、マイケルヨハンソンによって作成されたこれらの「現実のテトリス」インスタレーションでは、他の人の不要なオブジェクトが整然と丹念にまとめられ、色が調整されたきちんとしたブロックになっています。ヨハンソンは、2人が同じ衣装を着てすれ違うなど、現実の偶然に触発されて、2007年から彫刻を制作し、狭い路地や奇妙な形の出入り口などの公共エリアに設置し、グループ展や個展で展示しています。世界中で。ヨハンソンはPINCHマガジンに語り、次のように述べています。私はまた、フリーマーケットに魅了されたことを覚えている限りです。そして特に、私が別のフリーマーケットですでに購入した役に立たないオブジェクトであることが多いものの、一見ユニークに見えるダブルスを見つけるために歩き回ることによる魅力。その特定のオブジェクトをすぐに購入しないと、チャンスが二度と戻ってこないかもしれないという知識には、魅力的なものがあります。フリーマーケットで物を選ぶように強制する同じルールも私のアートプラクティスの中心であると思います。興味深いアート体験を作成するには、非常に馴染みのあるものと非常にユニークなものを組み合わせる必要があります。」
AUDRA WOLOWIEC
Concrete Sound
Fritz Panzer
Фриц Панзер
In the 70s Fritz Panzer has started creating sculptures that were replicas of furniture and objects on a scale of one to one. His work offers an interesting experience that asks the viewer to rely on their own memory and recognition to complete the works, referring to outline drawings and to gestural drawings creating the volume of an object through his total silhouette. New spaces come into being, in which the artist makes an escalator, stepladder or desk grow out of the world and likewise into it, holding them poised between visibility and invisibility.
Mary Katrantzou
S_S 17
Dan Flavin
ダンフラビンはアメリカ人アーティストであり、ミニマリズムのパイオニアでした。 彼の照らされた彫刻は、空間と光の厳密な形式的および概念的な調査を提供し、アーティストは商業用の蛍光灯を異なる幾何学的構成に配置しました。 「アートは仕事よりアートの方がいいと思う」と彼はかつて言った。 「私はいつもこれを維持してきました。 私は手を汚さないことが重要です。 私が本能的に怠惰だからではありません。 それは宣言です。芸術は考えられています。」
Isaac Chong Wai
WORKS ON PAPER III: The Shape of Missing Violence
Each of the participants is required to hold a knife and stay still. They stand in front of a wall within a “frame” which is made of black adhesive tape in rectangle shape. When the performance starts, the artist adjusts their postures and, later, uses the same black adhesive tape to “fill” everything within the frame. Afterwards, the wall and the bodies of the participants are covered with black tapes, while their heads and the knives are still visible; then, their heads are covered with black tape and, finally, the knives are covered as well. Once participants realize that their body is completely covered, they can move slightly, expanding the tapes from “inside” (not destroying them) and come out from the tapes. They leave the knife, which is stuck on the wall, behind the tapes. In the end, the shapes of the leaving traces of their bodies are shown while the knives are invisible.
FILE SÃO PAULO 2025: SYNTHETIKA – Frederik De Wilde
Hunter and Dog
Frederik De Wilde
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Installations
Electronic Language International Festival
Hunter and Dog – Belgium
Genetic and evolutionary algorithms reinterpret an existing artwork. De Wilde uses digital scans and custom genetic and evolutionary algorithms as a deconstruction technique to reinterpret and update the nineteenth-century work Hunter and Dog from sculptor John Gibson R. A. (1790–1866).
Frederik De Wilde’s Hunter and Dog interrogates the intersections of human evolution, genetic engineering, and the hybridization of technology and biology. De Wilde reinterprets the historical sculpture through the lens of post-evolutionary theory, engaging with contemporary debates on CRISPR, synthetic biology, and the implications of human-directed genetic modification. CRISPR, the revolutionary gene-editing technology, has introduced an unprecedented rupture in the trajectory of evolution. No longer constrained by the slow mechanisms of natural selection, humans now possess the ability to intervene directly in their own genetic blueprint, marking a shift toward a post-Darwinian paradigm. This technological power, however, is not neutral; it emerges from a historical lineage of scientific inquiry deeply entangled with colonialism. The history of genetic manipulation is inseparable from colonial bioprospecting, eugenics, and exploitative medical experimentation on marginalized populations. Colonial regimes treated bodies—both human and non-human—as sites of intervention, control, and optimization, a logic that persists in contemporary biotechnological frameworks. Post-colonial discourse reveals how genetic engineering risks perpetuating these legacies, reinforcing power asymmetries between those who wield biotechnological control and those subjected to its consequences. CRISPR, while offering the promise of eradicating disease and expanding human potential, also raises ethical concerns about genetic stratification, bio-capitalism, and the commodification of life itself. De Wilde’s work visualizes these tensions, making visible the processes of cell division and morphogenesis—the very biological mechanisms now subject to human intervention. Hunter and Dog does not merely depict the transformation of a neoclassical form but speculates on the future of the human body as a site of engineered evolution. From a decolonial perspective, the artwork questions who has the authority to edit life and to what ends. It challenges the techno-utopian narratives that frame genetic modification as an inevitable progress while obscuring its social, ethical, and ecological implications. By hybridizing art, science, and technology, Hunter and Dog compels us to confront the uncertainties of a CRISPR-driven future: Will genetic editing reinforce existing inequalities, or can it be decolonized and democratized? How do we navigate this post-natural frontier without losing the human—and more-than-human—dimensions of our existence? De Wilde’s work invites us into this speculative space, where the hunter, the dog, and the algorithm coalesce into a vision of a world where biology is no longer destiny, but a site of contested agency.
Where are we going from here?
BIO
Frederik De Wilde fuses art, science, and tech. Known for his Blackest-Black works that inspired Kapoor’s Vantablack, he has shown at Venice Biennale, BOZAR, MAAT, Pompidou, and ZKM, winning awards like Ars Electronica.
