JESSICA JACKSON HUTCHINS
love seat couple
Hector Dionicio Mendoza
Nube/Cloud
NANCY HOLT
Sun Tunnel
Sun Tunnels consists of four massive concrete tunnels, each eighteen feet long and nine feet in diameter, laid out in the desert in an open X configuration. On the solstices, the tunnels frame the sun as it passes the horizon at sunrise and sunset. In the top of each tunnel, Holt drilled small holes to form the constellations of Draco, Perseus, Columba, and Capricorn. These holes, and the tunnels themselves, act as frames or lenses through which the visitor can view the surrounding sky and landscape of the Great Basin Desert.
NIXI KILLICK
Future-Tive Nature
Progressive magnetism between the present and radically expansive possible futures, collaborative cognition with technology to extend imagination and construct new adjacent universes of creative pastiche both practical and psychological. Leveraging technology in the cultivation of empowered articulation within creative expression. The Future-tive Nature collection is concerned with material compilations. Looking at intimate junctions between technology and artisanal based practices to create intricately layered surfaces.
Peter Flemming
Canoe
The work here in Dawson is like an old vehicle in which I’ve put a new engine. Entitled Canoe, it consists of an approximately 20 foot long trough of water, that resembles some kind of boat. This provides a means for a gunwales tracking mechanism to slowly, endlessly paddle its way back and forth. It was first constructed in 2001 in a studio beside Halifax harbour. It draws visual inspiration from the bridges and water vessels of this port. Conceptually, it grew from an interest in technological obsolescence: how things (like canoes) make shifts from utility to leisure.
It has experienced several major rebuilds since 2001. Most of them have been practical, but for Dawson I’ve opted for an experimental configuration that changes significantly the nature of the work. Previously, Canoe has only ever been shown indoors. Normally in runs on rechargeable batteries, with a continuous, smooth motion. In Dawson, it is shown outdoors, alongside the Yukon river, showing up in an absurd way the paleness of its artificial river. Here, the primary source of power is sunlight.
Making use of the long northern day, solar panels receive light, storing energy in an array of super-capacitor cells. At this time, Canoe remains still. A custom circuit monitors the amount of charge, and when a predetermined trigger point is reached, it is dumped into Canoe’s electric motor in a burst, allowing it to make a few strokes. Then Canoe rests, while the charging cycle begins again. Motion is intermittent, entirely dependent on the amount and intensity of sunlight. It ranges from near standstill in overcast conditions to perhaps 1 or 2 strokes every minute in full light. The technical term for this type of circuit is a relaxation oscillator. I like this term because, if you remove it from its technical context, it points back to ideas about leisure and utility.
William Kentridge
Sculpture bicycle wheel
Using film, drawing, sculpture, animation, and performance, he transmutes sobering political events into powerful poetic allegories. In a now-signature technique, Kentridge photographs his charcoal drawings and paper collages over time, recording scenes as they evolve. Working without a script or storyboard, he plots out each animated film, preserving every addition and erasure.
STUDIO NENDO
alice climbing wall
Myriam Bleau and LaTurbo Avedon
EEUWIG ZIJN VRIENDELIJK
LaTurbo Avedon brengt de muziek van Myriam Bleau in een audiovisuele performance op meerdere platforms. Eternity Be Kind legt de gecodificeerde ruimtes van de uitvoering bloot en hints naar een andere toekomst voor persoonlijke en muzikale representatie. Varend tussen hyperpop, mythische symboliek en barokke hints, stellen de kunstenaars een gelaagde ervaring voor van collectieve mise en abyme.
video
So Kanno
Asemic Languages
Characters are a means of visual communication and recording a language. Civilizations throughout the world have created various characters, which convey their culture and history. This project focuses purely on the form of the characters rather than their meaning. The characters have been learned by artificial intelligence (AI) not for their meaning but for their shape and patterns. AI has created and drawn lines that look like characters but do not have any meaning. By learning handwriting with one writer in each language, artificial intelligence collected information on the shapes of each character system, as well the idiosyncrasies of each writer, of a AI, to possess a plotter.
patrizio di renzo
باتريسيو دي رينزو
ПАТРИЦИО ДИ РЕНЦО
Pure Poison
From photographs to cinema, black and white to colors, true to false, the approach of Patrizio Di Renzo is eclectic and subtle. Patrizio is very meticulous to the shape and the staging of his subject, maybe the specific touch of the fashion photographer. Patrizio expresses his taste for representing his mysterious path, which is often explored by numerous artists. Patrizio Di Renzo might create his photographs as he explored the ways of his own secret world. He wishes to keep away from realism, from details of ordinary life, to take us to an imaginary world, sometimes fantastic. It seems that his creativity leads him to new horizons. His creations cannot by defined in a particular current.
Iannis Xenakis
Oresteia Opera
Scored for soloists, mixed chorus, children’s chorus and chamber ensemble, Iannis Xenakis’ music for Oresteia has been cited as “ruggedly dissonant” since its 1987 première in Sicily. A wooden-planked stage is empty save three platforms, one each for the chamber players and percussion, another for a drummer on a separate perch. On a high screen to start, a loop video shows an almost-naked woman stretched out face down in a bathtub who is being hosed down uninterruptedly with water. No forewarning, and the clip changes to a thick forest, a small girl being physically abused by an adult man. While the same video images reappear at the end of the opera, but it’s nebulous soft-edged shapes –mood landscapes as it were – that are the usual backdrop for the 90-minute piece.
MARIANNE FAITHFULL
THERE IS A GHOST
BOB WILSON
Os retratos em vídeo tomaram forma em 2007, após mais de dois anos de trabalho de Wilson com a VOOM HD Networks […] Eles são repetidos em rotação contínua para não ter um começo e um fim, criando uma obra de arte em quadros. O resultado final no monitor é semelhante ao de uma fotografia. Os “retratos”, que duram de 30 segundos a 20 minutos, parecem imóveis, mas os personagens realmente realizam pequenas ações – um movimento simples, um piscar de olhos, um toque no pé – que ampliam o potencial narrativo do retrato tradicional, aproximando-o da história cinematográfica, sem perder a aura de fixidez icônica que caracteriza o retrato pictórico de todos os tempos.
DOYLE PARTNERS
anamorphic projection
Artist Stephen Doyle of Doyle Partners (of paper sculpture fame) just completed this excellent anamorphic projection for the New York Times magazine using blue tape. The project involved taping the various words of traits being taught at KIPP Infinity middle school in Manhattan, of which “grit” is one. The photo is great and I also enjoyed the making-of video showing just how it’s done.
Thomas Zipp
POLYMORPHOUS ORATORY
Thomas Zipp (geboren in Heppenheim, 1966) gehört zu den bedeutendsten deutschen Künstlern der Gegenwart. Ausgebildet als Maler fasst er seine Einzelwerke, bestehend aus Gemälden, Skulpturen, Grafiken und installativen Arbeiten, immer zu einem Gesamtkonzept zusammen, das die Räume des Ausstellungsortes vollends einbezieht. Durch diese Arbeitsweise verleiht Zipp seinen Ausstellungskonzepten eine einzigartige, unwiederholbare Existenz.
Zipps Werke sind geprägt von einer intensiven Auseinandersetzung mit Geschichte, Wissenschaft und Religion, mit Politik und Gesellschaft sowie mit Kunstgeschichte und Philosophie. Hierbei spielen für ihn die Einordnung des Selbst in die Gesellschaft, der Antagonismus im Sinne sich polar gegenüberstehender Widersprüche sowie die Folgen aus historischen, wissenschaftlichen und religiösen Errungenschaften und Ereignissen eine zentrale Rolle.
SUPERFLEX
Eins Zwei Drei Schaukeln!
Eins Zwei Drei Schaukeln! fordert die Apathie der Gesellschaft gegenüber den politischen, ökologischen und wirtschaftlichen Krisen unserer Zeit heraus. Die Installation wird in drei Zuständen erlebt: Apathie, Produktion und Bewegung. Der Zustand der Apathie gefährdet ein großes Pendel, das an einem 20 Meter langen Kabel von der Decke abgehängt ist und in einem von der britischen Währung inspirierten Farbschema über einem 770 Quadratmeter großen Teppich schwingt. Am anderen Ende der Halle befindet sich der Produktionsstand, eine Fabrikstation, in der Schaukelsitze vor der Verteilung und Verwendung zusammengebaut, gestempelt und gelagert werden. Aus dem Produktionszustand hervorgegangen, lädt eine orangefarbene Linie aus miteinander verbundenen dreisitzigen Schaukeln die Bewegungen der Benutzer ein und umrahmt sie.
