STEPHEN SHAHEEN
Стивена Шахина
스티븐 샤힌
斯蒂芬·沙欣
ستيفن شاهين
eve
Stephen Shaheen is a Brooklyn-based artist whose work explores the porous borders between art, design and architecture. His work spans both manual and digital processes, and employs materials as diverse as repurposed found objects, marble, and recycled denim fiber.
james turrell
جيمس توريل
詹姆斯·特瑞尔
ג’יימס טורל
ジェームズ·タレル
설치작품 제임스 터렐
ДЖЕЙМСА ТАРРЕЛЛА
Skyspace
Manipulating light as a sculptor would mold clay, James Turrell creates works that amplify perception. Unlike pictorial art that replicates visual experience through mimetic illusion, Turrell’s light works—one cannot call these shimmering events ”objects“ or ”images“—give form to perception more…
Yuri Pardi
Monument collection
Pardi a présenté sa collection de monuments lors du défilé de UEL dimanche, dans le cadre de la Graduate Fashion Week organisée dans la brasserie Old Truman à Londres. Ses vêtements de laine gris sont destinés à étendre des parties du corps pour créer des formes angulaires minimales. Les volumes rigides qui dépassent à l’arrière de chaque tenue sont créés par des feuilles de mousse glissées dans des poches situées sous le vêtement.
LARISSA HAILY
Aguado
Argentinian Larissa Haily Aguado is collaging in the digital age. Still assembling manually from found materials, the trained artist and designer creates enchanting compositions through the the mixing of various motifs, fused with surrealism and an unmistakable humorous quality that makes you stop and think. These dreamlike collages mix inanimate objects, nature, fashion and animals, with other seemingly random elements. However, they may not be so random.
Doug Rosman
Self-contained II
A neural network, trained to see the world as variations of the artist’s body, enacts a process of algorithmic interpretation that contends with a body as a subject of multiplicity. After training on over 30,000 images of the artist, this neural network synthesizes surreal humanoid figures unconstrained by physics, biology and time; figures that are simultaneously one and many. The choice of costumes and the movements performed by the artist to generate the training images were specifically formulated to optimize the legibility of the artist within this computational system. self-contained explores the algorithmic shaping of our bodies, attempting to answer the question: how does one represent themselves in a data set? Building on the first iteration of the series, the synthetic figures in self-contained II proliferate to the point of literally exploding. Through the arc of self-contained II, this body that grows, multiples, and dissolves never ceases to be more than a single body.
ABSALON
cellule No. 5
Absalon’s best known works, the Cellules, rewrite Cezanne’s “treat nature as the cylinder, the sphere and the cone” to read “treat architecture as the cell, the bunker and the turret.” Not that the Cellules are straightforwardly architecture: they equally evoke Minimalist sculpture, Matt Mullican’s maquettes, Kurt Schwitters’ Merzbauen and the Concrete sculptures of George Vantongerloo. But the model that the Cellules most overtly evoke is the monastic cell. The Cellules were fabricated in wood, cardboard and plaster, and painted entirely white; their average proportions are roughly those of a caravan, and the catalogue informs us that there is always an area in which one can stand up. Their interiors are fitted–fitted rather than furnished–with unobtrusive minimal representations of desks, seats, beds, etc.
ELIZABETH MCALPINE
’98m
Le travail d’Elizabeth McAlpine est souvent lié à la question du temps et à l’expérience du regard. Dans « The Height of the Campanile », l’artiste a calculé la durée de son film en fonction de la hauteur de son sujet, le Campanile, de sorte qu’au final la longueur de la pellicule soit équivalente à celle de la tour. De même, le temps nécessaire pour visionner le film et le rythme du travelling effectué par la caméra correspondent. Ainsi, tandis que nombre des oeuvres de McAlpine sont basées sur le montage, la répétition et la fragmentation, « 98m » se présente comme un simple plan-séquence.
L’image, au grain apparent, est projetée au mur à la taille d’une carte postale, pendant que le film forme une boucle au sein d’une structure en verre pensée par l’artiste. La taille de la projection rappelle que Venise est devenue une destination touristique incontournable. L’utilisation du Super 8 est une évocation de la pratique amateur – précédant l’invention de la vidéo, du touriste fixant le souvenir de ses vacances pour le projeter une fois rentré à la maison. Si ce support procure à l’oeuvre un caractère daté, la boucle continue et hypnotique formée par la pellicule suggère au contraire une certaine intemporalité, semblable à celle que peut ressentir le touriste qui découvre San Marco.
Beeple
Human One
This is the story of the first human born in the metaverse. Human One is the first dynamically changing hybrid digital/ physical artwork. The artwork is an ongoing journey that will continue to evolve over the course of the artist’s life.
PINI LEIBOVICH
Happy Material Chair
Kilian Martin
Internal Departure
a short skate film by Brett Novak
art work: Kay Walkowiak
Kilian first diѕсоvеrеd the art of freestyling whilе watching Powell Pеrаltа Bаn ѕurfing vidеоѕ. Hе thеn rеаlizеd that by adopting this style оf skateboarding he would be able tо not only utilizе his gymnastics abilities but more importantly, еxраnd his оutlеt of creativity.
