The New Psychology

61/6 altavoces
Tacit Group es un grupo de performance audiovisual que se ha formado en 2008 para crear un trabajo centrado en lo algorítmico y audiovisual. Su arte algorítmico se centra en el proceso más que en el resultado. Crean código matemático, sistemas que utilizan principios y reglas, e improvisan actuaciones en el escenario utilizando los sistemas. Durante la actuación, los sistemas se revelan visual y sonoramente, para que el público pueda escuchar con sus ojos, como la forma en que vemos “El Grito” de Edvard Munch (Noruega, 1863-1944). Las imágenes son parte integral del trabajo de Tacit Group como compositores y artistas de los medios. Esperan que al mostrar no solo la pieza terminada, sino el proceso de charlar o jugar que la genera, involucren a sus espectadores más intensamente y rompan la división convencional entre los artistas intérpretes o ejecutantes y los miembros de la audiencia. Ninguno de sus trabajos se completa nunca. Actualizan continuamente los sistemas subyacentes y se inspiran en su práctica de programación informática. Como artistas de nuestra era, Tacit Group descubre posibilidades artísticas en la tecnología.

阿尔瓦伯娜丁
Альва Бернадин
La sua è un’arte surrealista che si mantiene in bilico tra il grottesco e l’erotico; molti potrebbero considerarla repugnante. Spesso ha idee folli, molto più spesso ha idee fortemente e profondamente folli.

behind a little house

Haikoes

ТОНИ МАТЕЛЛИ
arrangement
Using an often hyperrealistic idiom, Matelli describes the more disquieting sides of human beings and human society. His sculptures straddle the boundary between uneasiness and humour: in a number of the works he turns innocence into absurdity, such as when animals or humans are maltreated by various weapons and devices. He was born 1971 in Chicago, IL and lives and works in New York, New York.

مارك جاكوبس
מארק ג’ייקובס
マークジェイコブス

罗杰·海恩斯
Atomised passenger aircraft engine

Fan Bing Bing
Now residing in New York, David has earned a reputation for his clean aesthetic, refined color palette and sophisticated approach to composition and is in high demand both from his A–list subjects and brands including Barneys, Burberry, Zegna, L’Oreal, Rimmel, Swarovski, Tommy Hilfiger, YSL Homme and Calvin Klein. He understands the beauty industry inside out, and has developed a rare gift for exploring the parameters of his art.

Ada
File Festival
Similar to Tinguely’s “Méta-Matics”, “ADA” is an artwork with a soul. It acts itself. At Tinguely’s it is sufficient to be an unawarely struggling mechanical being. He took it wryly: the machine produces nothing but its industrial self-destruction. Whereas “ADA”, by Karina Smigla-Bobinski, is a post-industrial “creature“, visitor-animated, creatively acting artist-sculpture, self-forming artwork, resembling a molecular hybrid, such as a one from nanobiotechnology. It develops the same rotating silicon-carbon-hybrids, midget tools, miniature machines able to generate simple structures. “ADA” is much larger, esthetically much more complex, an interactive art-making machine.

DESH
dance

Inflorescence #01

Untitled
Spanish artist Sergio Prego was born in San Sebastian in 1969. Prego works in many different fields of media including video, photography, performance art, installation, and sound. His work attempts to transform the relationship between space and time in order to distort the way we comprehend them.

Zoryas
Six formes reposent au centre d’un grand disque plat. L’une rappelle les morceaux de silice amorphe produits par l’impact de la foudre sur le sable, les autres semblent pareilles à des méduses, coraux ou algues qui peupleraient des fonds marins dont on ne sait rien. Chacune d’elle est emplie d’une matière-énergie de teinte et de structure à nulle autre égale. Les six formes sont toutes différentes mais elles appartiennent sans aucun doute à la même classe d’objet, la même catégorie de choses. Aux physiciens, elles rappellent les tubes utilisés par Heinrich Geissler pour expérimenter sur le comportement de certains gaz lorsqu’ils sont traversés par des courants électriques. A ceux qui fréquentent les boutiques des musées de sciences, elles rappellent les globes luminescents qui réagissent aux toucher. Aux explorateur des hautes latitudes, elles rappellent les aurores boréales. Elles sont à la fois tout cela et rien de cela.

Марселя ван дер Влагта
マルセル·ファン·デル·フルーフト
“I Like…”

鲁道夫斯廷格尔
Palazzo Grassi

Distrito de Vestuário
Bart Hess criou a instalação para explorar maneiras pelas quais os humanos podem aumentar e estender as formas de seus corpos, criando uma espécie de prótese que é única a cada vez. Para criar a roupa, os indivíduos são amarrados a uma armadura robótica e depois baixados para uma piscina de água e cera. À medida que a cera se move na água, ela começa a endurecer, ligando-se ao corpo. A pessoa é então retirada da água, envolta em um casulo de cera que pode ser cortada ou quebrada.

弗兰克厂
フランクプラント
Франк завод
Something for Everyone
via highlike submit

أنطونيو مورا
安东尼奥·莫拉
アントニオモラ
Антонио Мора

Peter Van Der Ham and George Manak
Clapping Music’s most fun “preview” is undoubtedly that of the talented George Manak and Peter van der Ham who used a scene from Point Blank with Lee Marvin and Angie Dickinson.
Clapping Music

Rasper
Rasping Music is an audiovisual installation in appreciation of the ignored aural/visual phenomena surrounding our daily lives. It involves new mechatronic instruments that employ some everyday objects of the urban life, shifting the medium in which they normally exist, and formalizing them through patterns of a rhythmic grid. In these instruments, DC motors and actuators are detached from the realm in which they are tools to help run our machines––where their noise is merely the aural artifact of the urban technology––, and turned into amedium for sound/music. In contrast to their everyday location, i.e., hidden inside black boxes of our machines, their bodily existence is fully exposed, flaunting the physicality of their noise. This physicality is further highlighted in arrays of white light, which––unlike the florescent lights of our offices––are not there to help us see things, but to be seen themselves.

INFORMATION FICTION PUBLICITÉ (IFP)
De temps à autre
Le MAC/VAL donne à son tour un éclairage inédit sur IFP, en parfaite association avec les artistes, Jean-François Brun et Dominique Pasqualini et en misant sur une très forte documentation. Si l’exposition ne présente pas de nouvelles pièces – et pour cause, les activités de l’agence cessent en 1994 –, elle associe volontairement les deux protagonistes à son élaboration même, avec la volonté de réactiver, réactualiser, voire même «amplifier» certaines œuvres emblématiques comme les images de ciels nuageux, les bâches, les caissons lumineux ou autres plots, en plaçant le visiteur au centre du processus.

“Untitled”

舞妓武田
武田麻衣子
מאיקו טאקדה
마이코 다케다
مايكو تاكيدا
ATMOSPHERIC REENTRY
Maiko Takeda’s creations seem like a surreal creatures from fantastic dream world. The headpieces of her latest creation, ‘Atmospheric Reentry’, are excitingly different, delicate and futuristic. The Tokyo born graduate of Central Saint Martins and the Royal College of Art, seeks to ‘create surreal, subtle dramas around the person wearing a piece and the people near them’.

Google Portrait

Love Disorder
​Love Disorder is a one-room interactive environment, in which a video character talks to visitors and responds emotionally to their movements in the space. When you enter, you see a twelve-foot-high face on a video screen at the far end of the room. The face says: “I’ve been waiting for you” – or one of several other greetings. He’ll continue talking to you if you don’t move, but the emotional tone of what he says will change as you step closer to the screen – or turn away. This manipulative character uses a gamut of emotional ploys to stimulate your movement within the space. He knows if you’re coming or going, and the range of his response is varied and complex enough that most people find themselves interacting, as if directly addressed.
video

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
Distance
An immense circuit, conceived as a graphic composition, is extended across a forest of fine metal pillars. Arabesques, spirals and nodal interconnections support a track for a hundred or so white balls, razing the ground or very high up in the air. An infrared sensor detecting the arrival of each visitor triggers the propulsion of a ball, which then journeys through the vast visual and sonic landscape. The installation draws on different sources evoking a primitive industrial imaginary, such as the machines of Fritz Lang’s Metropolis and Tinguely’s assemblages, and the fairground universe of roller coasters and pinballs.

조쉬 아담스키
ДЖОШ АДАМСКИ
City life

تشيهارو شيوتا
千春盐田
צ’ילהארו יוטה
치하루 시오타
塩田千春
Тихару Сиота

La Religieuse
Christian Vanderborght
في نص ديدرو ، تم إرسال سوزان سيمونين ، وهي نذل ، إلى الدير للتكفير عن خطيئة والدتها. إنها تأمل في أن تجبر ابنتها على قيادة الحياة المنعزلة لراهبة ، ستحصل على الراحة الأبدية التي فقدتها في ارتكاب خطأ مع عشيقها.
في الحقيقة ، تُعاقب سوزان بشرط ليست مسؤولة عنه: نذلها. إنها ليست محبوسة في دير فحسب ، بل هي قبل كل شيء محبوسة في هويتها ومصيرها. ربما يكون أسوأ جزء: أن تكون محبوسًا في داخلك.

Symbiotic Machine

Psychometrics
Late capitalist networked culture is obsessed with improving performance. TED speakers are cult idols, sharing their commandments for success and productivity. On social networks our friends become brands, and brands become our friends. Self-help books are interchangeable with business philosophies. In the conference room – and the weekend supplements – we learn how to shape ourselves, how to be consistent, how to operate. Reduce entropy. Maximise consistency. Become an industry of one. You are an engine. One day you’ll fly away.

As it were
As it were, Sang Jijia’s first creation for GöteborgsOperans Danskompani, is about communication – about the joy of getting through to someone else, but also about everything that gets lost or is misunderstood. As humans, we share the same space but are detached from one another. We know what we want to say, but intentions can become confused.

Fly high

マウリツィオ·カテラン
Маурицио Каттелана

我的作品可以分为不同的类别。 一是我的早期工作，实际上是关于做某事的不可能。 这种威胁仍然影响着我的许多行为和工作。 我想这真的是关于不安全，关于失败。 我们在这里可以有一章称为“故障”。 对于Cattelan而言，艺术界是分析师的沙发。 自从1980年代后期开始从事艺术家职业以来，他自由地制定了自己的弱点，赋予了他们物理上的形式和独特的叙述方式。 卡特兰没有直接自传，而是根据自己的情感和心理经历进行了早期创作。 但是，他的目标不是唤起特定的事件或个人，而是召唤精神或情绪状态。 虽然作品与他并不直接相关，但他将自己当作一个角色，他的脆弱性和苦恼唤起了观者的同情心。

조용한 앙상블

MOSS
Depuis le début de la pandémie, la pollution de l’air a diminué dans de nombreuses régions du monde. Nous assistons à un moment sans précédent en termes de réduction des émissions industrielles et de l’empreinte carbone. Moss est une sculpture sonore cinétique alimentée par des données sur la qualité de l’air générées par l’indice mondial de la qualité de l’air. La sculpture vivante est conçue pour analyser l’air de nos villes et réinterpréter les données avec des modes de respiration et des paysages sonores en évolution. De Berlin à Bombay, Moscou et Pékin. Le public peut expérimenter en temps réel la qualité de l’air du monde transformée en une installation sonore cinétique. Le projet contribue à la recherche mondiale et incite les citoyens à participer au débat sur la qualité de l’air et la démocratie sur terre. Moss vise à créer un engagement civil en apprenant de la sagesse de la nature et du service de la technologie.

Girl With Umbrella

Урс Фишер

БЕН СЭНДЛЕР
بن ساندلر
벤 샌들러

РЭЙЧЕЛ ФАЙНШТЕЙН
راشيل فينشتاين
레이첼 파인 스타 인
satyrs

Nascida em Port Defiance, Arizona, em 971, Rachel Pinestein estudou religião, filosofia e estúdio de arte na Columbia University e estudou na Scowagon School of Painting and Sculpture. Pinestein, que pintou pinturas a óleo sobre vidro ou fez esculturas usando gesso e madeira, é conhecido por suas esculturas barrocas e inspiradas em contos de fadas.

Volavola