Richard Maloy
Yellow Structure
site-specific installation Yellow Structure (2016) by Richard Maloy. Seen from a distance, Yellow Structure will appear to be a solid, golden, rock-like structure that is minimal in nature. Closer inspection by visitors, however, will reveal its degradable and humble construction from common industrial materials such as cardboard, paint and tape.
Los Carpinteros
ロス·テロス
ЛОС-КАРПИНТЕРОС
150 People
Interested in the intersection between art and society, the group merges architecture, design, and sculpture in unexpected and often humorous ways. They create installations and drawings which negotiate the space between the functional and the nonfunctional. The group’s elegant and mordantly humorous sculptures, drawings, and installations draw their inspiration from the physical world—particularly that of furniture. Their carefully crafted works use humor to exploit a visual syntax that sets up contradictions among object and function
as well as practicality and uselessness.
Roman Signer
РОМАНА ЗИГНЕРА
Fahrrad mit Farbe (Bicycle with Paint)
Né en 1938 en Suisse, Roman Signer est mondialement connu pour ses performances « explosives ». Depuis 1973, il conçoit une œuvre combinant sculpture, performance, photographie et documentation filmique. Fasciné par la puissance de la nature, il n’a de cesse de l’expérimenter à l’aide d’actions d’une grande force poétique, souvent à la limite du danger.
JURGEN BEY
יורגן ביי
ユルゲン·ベイ
Юрген Бей
Slow Car
Университетский городок, говорит Юрген Бей, – это то, как мир труда развивается, и, по его словам, Slow Car является частью серии переосмысленных инфраструктур, которые размышляют о том, как мы заставляем рабочие места работать. Его идеи пытаются предложить, как мы можем превратить общее в конкретное. Он сделал иллюстрации размером с стену, на которых огромные краны строят модульные небоскребы и сами встраиваются в здания. У их ног – машины, похожие на жуков, которые образуют личное пространство этого плана. Хотя идея медленного автомобиля имеет множество очевидных и практических последствий для безопасности дорожного движения, окружающей среды и т. Д., Наиболее интересным ее потенциалом является социальный: это машина, которая может преобразовать то, что Марк Оге назвал бы не местами современного мира, в места больше похожи на университетский городок. Подумайте об аэропорте. Это обширное здание, полностью построенное на случай непредвиденных обстоятельств и определяемое соображениями безопасности и пешеходной мобильности. Нет вообще никакого внешнего общественного пространства. Есть торговые центры, но нет общественных мест. Нет ничего особенного и никакой надежды на это. Но представьте себе парк движущихся комнат, мест, где вы можете сидеть, спать, хранить свой багаж и использовать их для перевозки в парк или церковь. Если бы все уголки этого места были в пределах досягаемости каждого пассажира, как это могло бы изменить характер этих обычных мест? Сколько еще времени можно там провести? Где бы был административный центр аэропорта и как бы он выглядел? Аэропорт – это воронка, через которую проходят навыки, знания и таланты любой международной отрасли. Представьте себе, если бы эти люди могли заехать в парк или, возможно, в огромную библиотеку, изобилующую крошечными персонализированными машинами, снуют, как рабочие в карьере. Этот проект представляет собой вспомогательную инфраструктуру мобильных комнат, которая может создавать общие пространства в обычных местах.
VINCENT MAUGER
Super Asymmetry
Vincent Mauger’s sculptures do not just stand on a site, they bring pressure into it. The relationship to the site is an intrinsic part of the artist’s work, he questions the space in order to reveal its breaking and equilibrium points. From the adequacy between the occupied space and the shown volume, resonances rise towards the spectators’ sensitivity. The spectator is caught by the play of the surfaces, the hollow and the solid, he experiences a stimulated landscape which scale oscillates between the infinitesimal and the colossal.
Helen Pashgian
Light Invisible 1
“I think of the columns as ‘presences’ in space—presences that do not reveal everything at once. One must move around to observe changes: coming and going, appearing and receding, visible and invisible—a phenomenon of constant movement. It touches on the mysterious, the place beyond which the eye cannot go.”
JULIUS VON BISMARCK
Egocentrisch Systeem
In een openbare tentoonstellingsruimte (Art Basel Unlimited) bracht von Bismarck een week door op een paraboloïdevormige schijf van cement, die met een snelheid van vijftien omwentelingen per minuut om zijn eigen as draaide. Hij sliep, at, las en praatte aan de telefoon terwijl hij op het perron was. De kijkers konden hem duidelijk zien, hoewel hij de buitenwereld alleen kon waarnemen als een wazige massa mensen, wier stemmen opgingen in een onverstaanbaar gemompel.
MARC ADAMUS
Curve Spectrum
JOJI KOJIMA
White Drop
جوجي كوجيما
丈二小岛
Designer Joji Rupert Kojima loves jewelry that has a macabre aesthetic. His pieces often use skeletons, bones, and other dark aspects of humanity to make jewelry. His work embraces vices, which makes the jewelry shocking at times but you can’t deny that they hold attention. more..
YING GAO
Living pod
file festival
Light, shape variations and mimicry meet in Living Pod. In front of the false twin pieces, the user can slowly set garment A in motion using a light source. Garment B then imitates piece A in an exaggerated and unbalanced fashion, changing structure through miniature electric motors activated by light sensors that are sown through the garment. Using flat-pattern cutting techniques, Ying Gao was able to give the process fluidity and flexibility. In addition to the mechanical movements of the garments, Living Pods underlines two fundamental aspects of today’s fashion system: confrontation and imitation. The garment plays a mediating role between man and his environment. By using light, Living Pod is similar to project Walking City, which uses air to make the pieces look like they are breathing.
SASHA KURMAZ
САША КУРМАЗ
Sasha Kurmaz é uma jovem artista multidisciplinar de Kiev, na Ucrânia. A artista mostra interesse principalmente no corpo humano e da vida privada, que ela retrata com absolutamente nenhum medo. O objetivo de Sasha é explorar a linha de estado do nu, entre o amor e sentimentos fortes. Nessa série fotográfica, a artista seleciona vários episódios de sua vida, objetos e eventos que lhe são importantes, transferindo sentimentos e senso de realidade.
TAKAHIRO MATSUO
تاكاهيرو ماتسو
松尾高弘
타카히로 마츠오
Такахиро Мацуо
Phantasm
file festival
To explore a fantasy world experienced sometime and somewhere in our memory. Phantasm is an interactive installation in which participants light up in a small dreamlike world in space. As you take hold of a glowing sphere that releases a pale light, the area lights up in pale blue light, and white butterflies appear from nowhere as a soft piano melody flows. Butterflies fly slowly and gloriously, gathering toward the sphere, and chase you as you move the sphere. The sphere is the key to the real world and fantasy. Participants can experience the nostalgia of playing with butterflies by moving around or holding the sphere in the air. Beautiful white butterflies draw wing strokes in the air as if they are symbols of a fantasy world; they delicately lead you into their world. If you cover the sphere with your hands to shut out the light, the butterflies gradually disappear, leaving silence and lingering light, bringing you back to reality. You will find yourself perplexed as if it were a fleeting dream. Technical statement of “Phantasm” LEDs are used as the light source for the sphere which is the interface, so that the sphere glows in uniformity and allows the interaction of participants hiding the light or releasing the light with their hands. Light, color tone, and the position of the sphere are monitored with a sensor camera placed on the ceiling, and by connecting with real time CG, the butterfly movements (appearance, disappearance, gathering, and chasing) become possible.
KRZYSZTOF WODICZKO
Dis-Armor Project
Dis-Armor is the newest in a series of psychocultural prosthetic equipment designed to meet the communicative need of the alienated, traumatized, and silenced residents of today’s cities. It connects contemporary research in two fields: wearable communi- cation technology and prosthetics. In doing so, it counters the dichotomy of the present explosion in communication technology and rampant cultural miscommunication. Dis-Armor offers an opportunity for indirect, mediated communication by allowing its users to speak through their backs. LCD screens, worn on the back, display live images of the wearer’s eyes transmitted from cameras installed in the helmet covering the face. A speaker positioned below the LCD screens amplifies the user’s voice. Attached to the helmet is a rearview mirror, alternatively, a rearview video camera, monitor, microphone, and headphone. These permit the user to see the face and hear the words of the spectator/interlocutor standing behind. Wireless video equipment installed in the helmet further allows two users to work in tandem, showing each other the other’s eyes and broadcasting to each the other’s voice.
MERCE CUNNINGHAM
简宁汉
מרס קנינגהם
マース·カニングハム
머시 디스 커닝햄
dance
Мерс Каннингем
Paul Kaiser
Shelley Eshkar
Dancer Matthieu Chayrigues
Compagnie Centre National de Danse Contemporaine-Angers.
Photo: Charlotte Audureau.
BIPED
“Ever the experimentalist, Cunningham collaborated with digital artists Paul Kaiser and Shelley Eshkar using motion capture technology to create BIPED. As the name suggests it’s in its most basic sense an exploration of the biped, the ambulatory two-legged body.
Eshkar and Kaiser place a scrim in front of the dancers on which they project a moving décor of lines and patterns.” Lisa Traiger
TIMM ULRICHS
ТИММ УЛЬРИХС
UVA
Principles of Motion
For Principles of Motion, UVA uses a rotating LED disc to create an abstract rotating and shifting kinematic landscape that plays with the viewer’s perception of movement and reflects the phenomenon of persistence of vision (sparkler’s trail effect / pov display). By varying the luminosity of the LED, the kinetic landscape moves and gives the viewer a sense of space and time. While observing the abstract rotating patterns and rhythms, the optic nerve of the recipient replicates the effect of an afterimage on the eye.
So Kanno
Lasermice
“Lasermice” is a swarm robotic installation that consists of 60 small robots, which inspired by synchronous behavior from insects like fireflies. Normally network of swarm is invisible, But in this case those robots creates visible network via laser light – photodetector communication. As a result, they generates rythme that continuously changing. The generated rhythm is made audible by solenoid which strikes floor. Combination of visible network and audible rhythm are deployed spatially.
