FIONA BANNER
فيونا بانر
菲奥娜横幅
피오나 배너
פיונה באנר
フィオナ・バナー
Фиона Баннер
DOUGLAS GORDON
دوغلاس غوردون
道格拉斯·戈登
דאגלס גורדון
ダグラス·ゴードン
더글러스 고든
Дуглас Гордон
MADELEINE BOSCHAN
Phasma
Refik Anadol
Machine Memoirs
Es una exploración de estructuras celestes a través de la mente de una máquina. Esta instalación inmersiva tiene como objetivo combinar exploraciones pasadas y soñar con lo que puede existir más allá de nuestro alcance. Usando inteligencia artificial para narrar lo “desconocido” y una red neuronal generativa entrenada en imágenes de la Tierra, la Luna, Marte y la Galaxia, tomadas de observaciones de la ISS, Chandra, Kepler, Voyager y Hubble, esta instalación imagina un universo alternativo, quizás aportando más textura a nuestra propia tela.
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Is an exploration of celestial structures through the mind of a machine. This immersive installation aims to combine past explorations and dream of what may exist just beyond our reach. Using machine intelligence to narrate the “unknown,” and a generative neural network trained on images of the Earth, Moon, Mars and the Galaxy, taken from ISS, Chandra, Kepler, Voyager, and Hubble observations, this installation imagines an alternate universe, perhaps providing further texture to the fabric of our own.
Daan Roosegaarde
Intimacy Dress
INTIMACY is a high-tech fashion project exploring the relation between intimacy and technology. Its high-tech garments entitled ‘Intimacy White’ and ‘Intimacy Black’ are made out of opaque smart e-foils that become increasingly transparent based on close and personal encounters with people. Social interactions determine the garmentsʼ level of transparency, creating a sensual play of disclosure.
Vanessa Colareta
Exodo
YIN XIUZHEN
Инь Сючжэн
尹秀珍
collective subconscious
KOEN DEMUYNCK
Коэн Демюйнк
JACQUES LESEC & CHRIS MARTIN
INDUSTRIAL CREEPER
On the site we envision a antagonistic dialogue between the seemingly biologic units and its abiotic architectural foundation. The units find a home intertwined amongst the predictable regularity of the steel configuration remeniscent of a deteriorating and outdated technological era whose remnants can be found scattered across downtown Los Angeles. These old industrial artifacts, derived from sheer function, act as an all too familiar platform by which the occupant interacts with this new synthetic ecological system. Throughout the site, we see the units stretched and twisted in an extraodinary demonstration of elasticity. In this way, the building lingers in a constant state of mediation between the past and the future; succombing to the complex configuration of the aggressive industrial creeper.
Manuel Jiménez Garcia and Gilles Retsin Nagami Design and Vicente Soler
Voxel Chair
Progettata da Manuel Jimenez Garcia e Gilles Retsin dello studio londinese di architettura madMdesign, VoxelChair V1.0 è una sedia/poltrona stampata in 3D che riprende le forme delle celebri sedie Phantom di Verner Panton. Nel video che pubblichiamo oggi è possibile osservare le fasi di produzione della VoxelChair, che, a differenza delle tradizionali sedute in materiali polimerici, non necessita di un costoso stampo, essendo stampata, linea per linea, da un braccio robotico. Per realizzare il prototipo della sedia è stato usato un software programmato ad hoc.
Oliver Laric
Hunter and Dog
Oliver Laric is an internet-based artist, born in 1981, in Innsbruck, Austria. Laric’s web-based artistic practice or net art is characterised by the manipulation and reinterpretation of existing cultural images. His work blurs boundaries between the authentic and the inauthentic, the original and its subsequent reflections and reconfigurations.He has participated in many group exhibitions as well as in numerous solo exhibition worldwide. He currently lives and works in Berlin.
Ian Cheng
“Entropy Wrangler,” Ian Cheng’s 2013 exhibition at Off Vendome in Dusseldorf, was an excellent introduction to the logic behind this artist’s practice. The centerpiece was a large projection in the gallery’s basement described as “a live computer simulation that changes and evolves, forever.” Like all of Cheng’s simulations, it was programmed with motion capture techniques that register the physical movements of performers that are then translated onto digital bodies. These bodies coexist as individual entities subject to the laws and dynamics of a causal, virtual world: avatars of people and common objects, like hammers and basketball players, rendered in basic three-dimensional form and caught in the zero gravity of the digital screen
FRANZ FALCKENHAUS
Франц Фалкенхаус
Golan Levin
Ghost Pole Propagator II
Ghost Pole Propagator captures and replays the ‘skeletons‘ of passersby in its environment, creating a layered and dynamic tapestry that reflects the history and activity of a locale. Presenting a universal communication of presence, attitude and gesture, the stick-figures this artwork generates are compact and expressive means of representing the human form. The format of the work is variable; in some presentations, the project serves as a kind of ‘interpretive monitoring station’ for nearby pedestrian traffic.
LAMBERTO TEOTINO
L’ultimo Dio
Lamberto Teotino ir dzimis Romā, un 2002. gadā absolvēja Venēcijas Mākslas akadēmiju. Viņš ir specializējies vizuālajā mākslā un viņa darbi pārsvarā balstās uz attēlu pētīšanu. Pēta valodas attīstību padziļināšanos, lai to pielāgotu jauniem tehniskajiem instrumentiem. Pēc Teotino uzskatiem, objekta pētīšana piedāvā konceptuālu iznākumu, kura vienā pusē atrodas vēsturiskās un psiholoģiskās īpatnības, bet otrā pusē – zinātne.
LYGIA CLARK
리 지아 클락
ليغيا كلارك
Лигия Кларк
ROBERT WILSON
بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
VOOM PORTRAITS
ISABELLA ROSSELLINI
…Robert Wilson does not portray only famous personalities, such as Isabella Rossellini, Brad Pitt, or Caroline von Monaco, but also unknown people and animals who have until now escaped artistic representation, such as a street dancer or a frog. In precisely these stagings, Wilson’s complex visual and sound languages reach their climax, namely, a celebration of empathy: anonymous people become divas, neutral beings achieve cult status. Wilson’s video portraits thus have a cognitive function. Within the history of portrait painting and photographic portraits, especially staged photography, his staged portraits present not only a pinnacle of accomplishment, but also, first and foremost, a climax that is groundbreaking.
ROBERT WILSON, WILLIAM BURROUGHS AND TOM WAITS
The Black Rider
The Black Rider is in twelve parts and a prologue. I had the idea that there would be indoor and outdoor scenes, man-made and natural environments, and that the scenes would alternate. I made a prologue to introduce the company. It begins with a black box standing up. The devil and the entire company come out of the box until they all stand in a line in front of the stage, as in a circus where all artists are introduced at the beginning. Then the devil sings a song: “Come on along with the Black Rider, we’ll have a gay old time. Take off your skin and dance around in your bones. I’ll drink your blood like wine. Come on along with the Black Rider, we’ll have a gay old time…” Anyways, the audience gets a certain idea what the piece is going to be like. Then the characters disappear and the black box gets bigger and bigger, until the whole stage is engulfed in this black spot. The first scene takes place in the interior of a room, with an old family portrait on the back wall – played by an actor.
