Matt Taylor
Motion Graphics Designs
He is working on abstract art, motion graphics, and computer based arts using Cinema 4D and Houdini.
SEAN MCGINNIS
Шон МакГиннис
肖恩·麦金尼斯
The Webmaster
Des brins de couleur, tantôt rougeoyants tantôt fluorescents, s’entrelacent pour former d’étranges toiles. Ces sculptures sont installées à l’intérieur ou en extérieur, et changent selon l’angle de vue du spectateur. Elles interrogent le lieu qu’elles occupent tout autant que notre rapport à l’espace.
Cod.Act
振り子の合唱団
CYCLOID-E
This piece, which comprises a series of tubular pieces arranged horizontally and activated by a motor, generates a particular sound through its movement, which is unexpectedly harmonic. The artists have taken their interest in the mechanisms that generate wave motions as a starting point to create this sculpture: five metal tubes joined together feature sound sources and sensors that allow them to emit different sounds based on their rotations.
The sculpture runs through a series of rhythmic movements, like a dance, creating, in the words of the artists themselves, “a unique kinetic and polyphonic work, in the likeness of the “Cosmic Ballet” to which the physicist Johannes Kepler refers to in his “Music of the Spheres” in 1619.” This work is part of the reflection on the possible interactions between sound and movement developed by the artists since 1999, using electronic devices and inspired by the aesthetics of industrial machinery.
kazumasa nagai
ueno zoo
Au cours de sa longue vie créative, le graphiste japonais a dessiné un grand nombre d’affiches: 475 d’entre elles ont été présentées dans une grande rétrospective de Nagai en 2014, et selon lui, ce n’est que la moitié environ de toutes les œuvres qu’il a créées.
Et étonnamment, la plupart des affiches des années 1960 et 70 ont même l’air moderne et pertinentes.
Florent Aziosmanoff and Jean-Claude Heudin
living joconde
l’IIM
Nir Arieli
“Dancers are performers, the process of creating a still image gives them a similar satisfaction to the one they get when the lights come up on stage […] The camera functions as the audience. They are eager to actively contribute to the success of the work. I’m often working with them in a very abstract way of directing, and they are able to translate my words into physical states.”
GUNILLA KLINGBERG
グニラベルククリング
György Ligeti
Lux Aeterna
The text (in Latin) is from the Roman Catholic Requiem Mass: Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine; et lux perpetua luceat eis, which means “May everlasting light shine upon them, O Lord, with thy saints in eternity, for thou art merciful. Grant them eternal rest, O Lord, and may everlasting light shine upon them.”
Iris Van Herpen
Roots of rebirth
During such rarefied times, the designer explores a symbiosis of high technology and the artisanal craftsmanship of couture, through a collection that references the intricacy of fungi and the entanglement of life that breathes beneath our feet. Through ‘Roots of Rebirth’, Van Herpen notions towards the miraculous lacery of interconnectedness from the natural ‘wood wide web,’ weaving a dialogue between the terrestrial and the underworld. ‘Roots of Rebirth’ extends its own branch, an invitation to a sequence of 21 looks inspired by roots and spores. During the show, the models seem to magnetise a living lace of spores with each stride, the entanglement of each garment resembles roots of regeneration.
ERNESTO KLAR
Эрнесто Клар
Convergenze parallele
Convergenze parallele is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in realtime by a custom software system. The installation reacts to air movements in the exhibition space, allowing the viewer to see and hear the amplified movement of dust particles. “Convergenze parallele” explores the poetic potential of revealing and transforming the imperceptible. The custom software uses a video camera to capture the activity of dust articles passing through the beam of light. It then analyzes the video signal to track the location of individual dust particles, and reveals each particle’s trajectory in the image-processed projection. The physical particles draw traces of their otherwise invisible motion on the digital screen. At random intervals, the software artificially saturates the system by briefly activating the fan-a cloud of dust fills the beam of light and creates dense and stunning patterns of particle trajectories and sound.
JORIS LAARMAN
Йорис Лаарман
MARTIN HESSELMEIER AND ANDREAS MUXEL
Il peso della luce
La luce, come la interpretiamo abitualmente, è un elemento senza massa e gravità. Per “il peso della luce” un motore fisico simula le forze cinetiche di un oggetto in movimento. Questa massa è proiettata su una struttura a forma di onda nello spazio virtuale. L’oggetto in movimento è rappresentato come una particella di luce nello spazio fisico. La gravità, la massa, la densità e l’attrito influenzano la velocità e l’accelerazione di queste particelle di luce. Poiché il movimento delle particelle si basa su una simulazione, non deve aderire alle realtà fisiche che conosciamo dalla vita di tutti i giorni. Pertanto l’installazione va oltre il comportamento previsto. La materia della luce attraversa così una reinterpretazione della nostra realtà conosciuta.
Birch Cooper and Brenna Murphy
MSHR is a collaborative project by New York-based artists Birch Cooper and Brenna Murphy. The duo produces sculptural synthesizers, ritualistic installations and performances that use light and audio feedback to generate sensory experiences. MSHR emerged in 2011 from the five-person art collective Oregon Painting Society.
JUNG-YEON MIN
Јунг-Јеон Мин
郑妍敏
4 minutes
JUNG-YEON MIN KOMMT AUS SÜDKOREA, ABER JETZT LEBT UND ARBEITET SIE IN PARIS. SIE HAT VIEL ERFINDLICHE UND IHRE SUPER IMAGINATIVEN ARBEITEN, WIE SIE DROGENINDUZIERT WERDEN KÖNNTEN. MENSCHEN SIND IN IHREN TRÄUMEN, IN EINER SURREALEN WELT. Es gibt eine Mischung aus Realistischem und Außerordentlichem. DAS MIKRO UND DAS MAKRO, DIE WELT, DIE WIR KENNEN UND DIE VIRTUELLE. ES GIBT KEINE ZEIT.
SS12 Studio Rashid
HyperveloCity
HyperveloCITY is a fast forward connected cultural organism that grows on top of the subway stations in downtown Los Angeles. The movement time line of the users (pedestrians, students, cars and train) is used as the operational strategies of the buildings framework. Velocities and rhythms are used to generate a new perception of space. The distance of the institutions would generate a wider field of influence in a dense cityscape. The main three volumes are an urban art museum, educational institution and a new convention centre, all separated one kilometer from each other. The various components of HyperveloCITY are connected by way of a the underground train system. The project is structured to emphasize the use and efficiencies of the public transport system and create not-so-often-seen public spaces and realms in densest part of downtown Los Angeles.
