HAUS-RUCKER-CO
하우스-루커-코
是由豪斯拉克科
“Climate Capsules: Means of Surviving Disaster”
In view of the advancing climate change, the exhibition “Climate Capsules: Means of Surviving Disaster” at the Museum für Kunst und Gewerbe Hamburg poses the question: “How do we want to live in the future?” and draws attention to the socio-political consequences of coexistence under new climatic conditions. In view of the fact that the politicians are hesitant to enforce strict measures for climate protection and the citizens very sluggish about changing their habits, the change appears inevitable. The world community is accordingly confronted with the challenge of investigating various possible means of adapting to the climate change. This exhibition is the first to bring together historical and current climate-related models, concepts, strategies, experiments and utopias from the areas of design, art, architecture and urban development – pursuing not the aim of stopping the climate change, but envisioning means of surviving after disaster has struck. More than twenty-five mobile, temporary and urban capsules intended to make human life possible independently of the surrounding climatic conditions will be on view – from floating cities and body capsules to concepts for fertilizing sea water or injecting the stratosphere with sulphur. A symposium, film programme, readings, performances and workshops will revolve around the interplay between design processes and political factors such as migration, border politics and resource conflicts, and investigate the consequences for social and cultural partitioning and exclusion.
Philipp Schaerer
ФИЛИПП ШЕЕРЕР
Digital Bildbau No 02
The series of images with the title “Bildbauten“ deals with the effect and the claim to credibility of images of architecture that appear to be photographs. Frontal views of fictional architectures serve as an example. By means of their exaggerated and orchestrated way of representation, they model themselves on the object- like appearance and the formal language of contemporary architecture in a rather ironic way.
FUJIKASA SATOKO
FLOW
Fujikasa ha affermato che il suo obiettivo è esprimere la forza vitale della natura – la vitalità del cambiamento costante – nel suo lavoro. Le sue fonti di ispirazione variano ampiamente: mostre di pittura barocca europea che ha visto da bambina, video della Serpentine Dance di Loie Fuller e fotografie dell’Antelope Canyon in Arizona. Il Portland Art Museum è orgoglioso di ospitare Flow # 1, una delle prime opere più ambiziose di Fujikasa.
FARBRAUSCH
rove (Demoscene)
Farbrausch, also farb-rausch, is a German demo group that has been very well known in the Demoscene since the release of their intro fr-08: .the .product in December 2000. Their demo fr-025: the.popular.demo, which was published at Breakpoint 2003, has gained notoriety far beyond the borders of the scene, both The.Popular.Demo and debris. are two of the most popular demos according to the comparative index Pouët. The works of farbrausch have won numerous prizes in the Demoscene: The.Popular.Demo won the “Public Choice Award” of the Scene.org awards in 2003 Scene.org awards of 2003, category “Public Choice Award”., .Debris 2007 the award for best director. Scene.org awards of the year 2007, category Director.Farbrausch gives all publications a “product code” in the format “fr-0 #”. The numbers are not related to the date of publication, but rather, according to the members of farbrausch, indicate the order in which work on the project began. Productions that are not meant to be taken seriously are also given a “minus” in their name. 2004 the sub-department of farbrausch .theprodukkt released a 96kB small first-person shooter called .kkrieger, as well as the early version of a tool for creating demos called.
WADE KAVANAUGH + STEPHEN B. NGUYEN
Drawn from the Olympics
MARC FORNES & THEVERYMANY
The Orb
The Orb is a nimble architecture of experience and light. Against the grand staging of the new Charleston East building—an architecture of lightness in its own right—this pavilion performs as a complementary structure: one developed from the computational protocols and spirit of play that guide the work that happens on the premises. This system of many parts in ultra-thin aluminum will perform as an icon and a point of engagement for both Google employees and the Mountain View public.
MICHAEL BEITZ
迈克尔·贝茨
Mientras miro a través de las impresionantes esculturas surrealistas de Michael Beitz, no puedo evitar pensar en un hechizo que salió mal. Desde paredes que realmente tienen orejas hasta mesas torcidas y árboles destrozados, cada pieza parece un intento fallido de hechizo en el Colegio Hogwarts de Magia y Hechicería. Michael Beitz, que vive en la ciudad de Nueva York, tiene una imaginación salvaje y un talento para apoyarla. Al empujar los límites de las esculturas tradicionales, su trabajo realmente pertenece al mundo moderno, donde la conmoción y la admiración se enorgullecen de casi todo y más.
CHO NEULHAE AND JAEBEOM JEONG
Swingers
Francis Alÿs
Tornado
“Over the last decade Alÿs made recurrent trips to the highlands south of Mexico City to chase, video camera in hand, the dusty whirls whipped up by the wind in the burnt fields at the end of the dry season. Rumor has it that the genesis of this project was, in fact, a comic quid pro quo: Alÿs overheard a conversation where friends were talking about Don Quixote fighting windmills (in Spanish, molinos de viento), but he understood instead tornadoes (remolinos de viento). As in Cervantes work, Alÿs’s intent to penetrate the peaceful zone in the epicenter of the tornado illustrates a condition where ‘the vanity of the action is paired with the absolute necessity.” Félix Blume
IEF SPINCEMAILLE
Clignotement inversé
Imaginez que votre tête soit capturée dans un appareil photo. Il fait complètement noir. Ce n’est que lorsque l’obturateur s’ouvre et se ferme que vous voyez le monde en un éclair. L’obturateur se déplace si vite que rien n’a le temps de bouger. Tout ce sur quoi vous pointez votre regard devient comme une photographie. Un souvenir. Quelque chose qui a été, mais qui n’est plus. Vous voyez les gens comme des personnages figés, des rues entières comme des moments intacts. La vie comme une sorte de spectacle. «Reverse Blinking» crée cette expérience. C’est un casque complètement fermé avec deux volets devant les yeux. Ils sont contrôlables par l’utilisateur. Le clignotement inversé fonctionne sur piles et peut être utilisé librement à l’intérieur ou à l’extérieur du musée. Il est préférable de l’utiliser là où il y a beaucoup de mouvement et de monde. «Reverse Blinking» fait partie d’une série d’œuvres d’art, à travers laquelle l’artiste essaie d’ajouter des effets vidéo et photographiques à notre façon naturelle de voir.
REJANE CANTONI & LEONARDO CRESCENTI
Tunnel
“Tunnel” è una scultura cinetica, immersiva e interattiva, composta da 92 portici disordinati a seconda della posizione e della massa corporea dell’interattore. Molti utenti possono entrare e interagire contemporaneamente con la macchina. Gli interattori agiscono sulla macchina in base alla loro posizione e al loro peso. Un esempio di interazione è: entri nel “Tunnel” e ti trovi vicino a una delle pareti laterali. In questo caso, la posizione relativa e la forza gravitazionale del tuo corpo provocano variazioni dell’altezza del suolo. Il terreno è inclinato fino a 5 °, i relativi portali ruotano gradualmente nella direzione e nell’angolo corrispondenti, che propaga movimenti ondulatori per tutta l’installazione. All’osservatore esterno, il movimento interno o il tuo spostamento rispetto all’installazione produce effetti ottici cinetici.
exonemo
Body Paint
series
Каждая работа в этой портретной серии изображает человека, обнаженного, бритого и полностью окрашенного в один оттенок цвета, который отображается на ЖК-дисплее, который полностью окрашен в тот же цвет, за исключением человека на экране. Когда эти границы стерты, фон и передний план представляют собой человеческое тело и тело электронного дисплея, каждое из которых покрыто краской одного цвета, можно сказать, что предметом становится чувство двусмысленности и путаницы, и возникает вопрос о том, действительно ли изображенный человек является человеком или представлением.
Помимо этих формальных аспектов, эта работа также касается вопросов «существования» в медиа. Человеческое имеет достаточно хорошо изученный горизонт долголетия, но горизонт долголетия для данных, красок и искусства остается открытым для обсуждения. Множественные временные шкалы боди-арта, фигуративной живописи и медиа-арта взаимодействуют друг с другом, поскольку работа ищет общую основу, касающуюся настоящего и самого существования.
Raquel Meyers
RAIN PART I – THE OWL – KYBDslöjd
“We live in a time where hardware and software become obsolete even before we have learned how to use them. KYBDslöjd is a brutalist storytelling about technology and keystrokes using Commodore 64 computer, Teletext System, and typewriters. These technologies are not souvenirs from the past. They are hard-won knowledge.”more…
Franck Scurti
More is less
Franck Scurti réinterprète un tableau de Paul Gauguin , le Christ Jaune (1889), sous la forme d’une installation qui ressemble à une chapelle.
« More is Less », dont le titre prend le contrepied de la thèse de l’architecte moderniste et minimaliste Mies van der Rohe —Less is more—, revendique le glissement de sens, des valeurs. L’artiste n’en fait pas une œuvre à charge, mais une critique de notre société.
