highlike

RICHARD JACKSON

ريتشارد جاكسون
理查德·杰克逊
РИЧАРД ДЖЕКСОН
リチャード·ジャクソン
five glass heads

SEAN MCGINNIS

Шон МакГиннис
肖恩·麦金尼斯
The Webmaster
Des brins de couleur, tantôt rougeoyants tantôt fluorescents, s’entrelacent pour former d’étranges toiles. Ces sculptures sont installées à l’intérieur ou en extérieur, et changent selon l’angle de vue du spectateur. Elles interrogent le lieu qu’elles occupent tout autant que notre rapport à l’espace.

Cod.Act

振り子の合唱団
CYCLOID-E

This piece, which comprises a series of tubular pieces arranged horizontally and activated by a motor, generates a particular sound through its movement, which is unexpectedly harmonic. The artists have taken their interest in the mechanisms that generate wave motions as a starting point to create this sculpture: five metal tubes joined together feature sound sources and sensors that allow them to emit different sounds based on their rotations.
The sculpture runs through a series of rhythmic movements, like a dance, creating, in the words of the artists themselves, “a unique kinetic and polyphonic work, in the likeness of the “Cosmic Ballet” to which the physicist Johannes Kepler refers to in his “Music of the Spheres” in 1619.” This work is part of the reflection on the possible interactions between sound and movement developed by the artists since 1999, using electronic devices and inspired by the aesthetics of industrial machinery.

kazumasa nagai

ueno zoo
Au cours de sa longue vie créative, le graphiste japonais a dessiné un grand nombre d’affiches: 475 d’entre elles ont été présentées dans une grande rétrospective de Nagai en 2014, et selon lui, ce n’est que la moitié environ de toutes les œuvres qu’il a créées.
Et étonnamment, la plupart des affiches des années 1960 et 70 ont même l’air moderne et pertinentes.

Nir Arieli

“Dancers are performers, the process of creating a still image gives them a similar satisfaction to the one they get when the lights come up on stage […] The camera functions as the audience. They are eager to actively contribute to the success of the work. I’m often working with them in a very abstract way of directing, and they are able to translate my words into physical states.”

György Ligeti

Lux Aeterna
The text (in Latin) is from the Roman Catholic Requiem Mass: Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine; et lux perpetua luceat eis, which means “May everlasting light shine upon them, O Lord, with thy saints in eternity, for thou art merciful. Grant them eternal rest, O Lord, and may everlasting light shine upon them.”

Iris Van Herpen

Roots of rebirth
During such rarefied times, the designer explores a symbiosis of high technology and the artisanal craftsmanship of couture, through a collection that references the intricacy of fungi and the entanglement of life that breathes beneath our feet. Through ‘Roots of Rebirth’, Van Herpen notions towards the miraculous lacery of interconnectedness from the natural ‘wood wide web,’ weaving a dialogue between the terrestrial and the underworld. ‘Roots of Rebirth’ extends its own branch, an invitation to a sequence of 21 looks inspired by roots and spores. During the show, the models seem to magnetise a living lace of spores with each stride, the entanglement of each garment resembles roots of regeneration.

ERNESTO KLAR

Эрнесто Клар
Convergenze parallele

Convergenze parallele is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in realtime by a custom software system. The installation reacts to air movements in the exhibition space, allowing the viewer to see and hear the amplified movement of dust particles. “Convergenze parallele” explores the poetic potential of revealing and transforming the imperceptible. The custom software uses a video camera to capture the activity of dust articles passing through the beam of light. It then analyzes the video signal to track the location of individual dust particles, and reveals each particle’s trajectory in the image-processed projection. The physical particles draw traces of their otherwise invisible motion on the digital screen. At random intervals, the software artificially saturates the system by briefly activating the fan-a cloud of dust fills the beam of light and creates dense and stunning patterns of particle trajectories and sound.

File Festival

FRANCESCA WOODMAN

فرانشيسكا وودمان
弗朗西斯樵夫
פרנצ’סקה וודמן
フランチェスカウッドマン
프란체스카 우드맨
Франческа Вудман

Atelier van Lieshout

Cow of the Future

Joep van Lieshout(1963,Ravenstein)在鹿特丹生活和工作。 从80年代开始,他就开始生产聚酯纤维制品,这种材料在后来的几年中成为他的商标。 1995年,他创立了Atelier Van Lieshout工作室,这打破了个人艺术天才的神话。 Van Lieshout工作室已获得国际认可,其作品占据了艺术,建筑和设计之间的中间地带。

MARTIN HESSELMEIER AND ANDREAS MUXEL

Il peso della luce
La luce, come la interpretiamo abitualmente, è un elemento senza massa e gravità. Per “il peso della luce” un motore fisico simula le forze cinetiche di un oggetto in movimento. Questa massa è proiettata su una struttura a forma di onda nello spazio virtuale. L’oggetto in movimento è rappresentato come una particella di luce nello spazio fisico. La gravità, la massa, la densità e l’attrito influenzano la velocità e l’accelerazione di queste particelle di luce. Poiché il movimento delle particelle si basa su una simulazione, non deve aderire alle realtà fisiche che conosciamo dalla vita di tutti i giorni. Pertanto l’installazione va oltre il comportamento previsto. La materia della luce attraversa così una reinterpretazione della nostra realtà conosciuta.

MVRDV

Aston Martin Resort Disguised as a Giant Mountain of Lush Green

JULIA FULLERTON-BATTEN

Юлия Фуллертон-Баттен
جوليا فولرتون-باتن
朱莉娅富勒顿巴滕
ג’וליה פולרטון-באטן
ジュリア·フラートン·バッテン
줄리아 풀러 턴 – 판자

JUNG-YEON MIN

Јунг-Јеон Мин
郑妍敏
4 minutes

JUNG-YEON MIN KOMMT AUS SÜDKOREA, ABER JETZT LEBT UND ARBEITET SIE IN PARIS. SIE HAT VIEL ERFINDLICHE UND IHRE SUPER IMAGINATIVEN ARBEITEN, WIE SIE DROGENINDUZIERT WERDEN KÖNNTEN. MENSCHEN SIND IN IHREN TRÄUMEN, IN EINER SURREALEN WELT. Es gibt eine Mischung aus Realistischem und Außerordentlichem. DAS MIKRO UND DAS MAKRO, DIE WELT, DIE WIR KENNEN UND DIE VIRTUELLE. ES GIBT KEINE ZEIT.

SS12 Studio Rashid

HyperveloCity

HyperveloCITY is a fast forward connected cultural organism that grows on top of the subway stations in downtown Los Angeles. The movement time line of the users (pedestrians, students, cars and train) is used as the operational strategies of the buildings framework. Velocities and rhythms are used to generate a new perception of space. The distance of the institutions would generate a wider field of influence in a dense cityscape. The main three volumes are an urban art museum, educational institution and a new convention centre, all separated one kilometer from each other. The various components of HyperveloCITY are connected by way of a the underground train system. The project is structured to emphasize the use and efficiencies of the public transport system and create not-so-often-seen public spaces and realms in densest part of downtown Los Angeles.

daniel libeskind

دانيال ليبسكيند
丹尼尔·里伯斯金
דניאל ליבסקינד
ダニエル·リベスキンド
ДАНИЭЛЬ ЛИБЕСКИНД
vanke pavilion

TIM WALKER

تيم ووكر
蒂姆·沃克
טים ווקר
ティム·ウォーカー
팀 워커
cess tilda swinton

Wang Jianwei

汪建伟
Time Temple 1
王建伟的作品探讨了艺术与社会现实之间的联系。 他极富创造力的艺术品精心地考虑了时间和空间:从艺术品的创作可以是连续的排练这一观念出发,将戏剧,视觉艺术和电影联系在一起。 王建伟:时间殿是艺术家在北美的首次个展。 该展览包括装置,绘画,电影和现场影院制作。

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