VTOL
Until I die
This installation operates on unique batteries that generate electricity using my blood. The electric current produced by the batteries powers a small electronic algorithmic synth module. This module creates generative sound composition that plays via a small speaker. The blood used in the installation was stored up gradually over 18 months. The conservation included a number of manipulations to preserve the blood’s chemical composition, color, homogeneity and sterility to avoid bacterial contamination. The total amount of blood conserved was around 4.5 liters; it was then diluted to yield 7 liters, the amount required for the installation. The blood was diluted with distilled water and preservatives such as sodium citrate, antibiotics, antifungal agents, glucose, glycerol etc. The last portion of blood (200ml) was drawn from my arm during the performance presentation, shortly before the launch of the installation.
NEON
The living lantern
등불은 밝기, 초월 및 안내하는 빛의 보편적인 상징입니다. 다양한 문화권에서 그들은 사랑, 지혜 및 조명의 상징으로 간주됩니다. 등불은 새로운 날의 약속과 함께 어둠의 기간을 통해 영혼을 인도하는 내면의 빛을 상징합니다. 그들은 세상에서 우리의 길을 찾고 우리의 타고난 내면의 힘을 말하는 우리의 능력을 상기시킵니다. “The Living Lantern”은 키네틱/라이트 설치입니다. 그것은 핵심에서 빛을 필터링하기 위해 열리고 닫히는 역동적이고 바람에 반응하는 외부 멤브레인을 가지고 있습니다. 방문객들은 등불 교체를 관찰하는 시간을 보내도록 초대됩니다.
Olivier Ratsi – Antivj
Onion Skin
Principalement basé sur l’expérience de la réalité et les représentations de la perception de l’espace, Olivier Ratsi considère la réalité objective, le temps, l’espace et la matière comme des notions d’information intangibles.
Son travail consiste à concevoir des processus de discontinuité avec ces notions afin de pouvoir partager avec le spectateur un autre point de vue.
Par le biais de ce processus, Ratsi crée une cassure dans cette réalité objective, altérant notre perception du réel.
Toutefois cette cassure significative et perturbante est assez modérée afin de ne pas priver le spectateur de sa capacité subjective de reconstruction/reconstitution de la réalité, via son expérience et sa propre culture. Le processus de création basé sur la déconstruction des repères spatio-temporels et les dispositifs utilisant la technique de l’anamorphose, développée au cours de ses recherches, jouent principalement le rôle de déclencheurs d’émotions, qui n’ont pas seulement pour but de montrer ce que peuvent être les choses autrement, mais plutôt de questionner leurs références.
LA FURA DELS BAUS
Richard Wagner – Das Rheingold
Zu behaupten, dass der Theaterzauberer Richard Wagner zeitgenössische Filmtechniken vorweggenommen hat, ist wie zu behaupten, dass seine Musik Modernismus und Atonalität vorweggenommen hat: Es kann keinen endgültigen Beweis geben. Unbestreitbar bleibt, dass Wagner überzeugende Darsteller braucht: Sänger und Schauspieler, die auch unter schonungslosen Kamera-Nahaufnahmen überzeugen, und Dirigenten, die große, ungebrochene Spannweiten überzeugend gestalten können, ohne unangenehme Tempo- oder Stimmungsschwankungen.In den begleitenden „Bonus“ -Kommentaren besteht Mehta sehr darauf, dass dieser Ring von La Fura dels Baus inszeniert wird, einem Straßentheater- / Pantomimen-Kollektiv, das er bewundert.
Aleksandr Sokurov
ألكسندر سوكوروف
亚历山大·索科洛夫
Александр Сокуров
Russian Ark
“Alexander Sokurov’s desire to film The Russian Arch in one continuous take required extraordinary technical solutions. Since it is physically impossible to shoot more than twelve minutes of conventional film, we had to shoot on video. However, it was only the relatively recent arrival of 24p high definition compact cameras that offered the visual quality and the ability to make this film for theaters, including transferring the digital image to a 35mm negative.With the help of German specialists a complex portable platform was designed to meet the demands of the scenario which included precise architectural plans, highlighting the distance of 1300 meters covered by the course of the action. It was decided that the only way to move the camera would be to use a steadycam, although we could not be sure until after the final image that such a long steadycam shot would be possible, given the physical performance. extreme demanded from the German cinematographer, Tilman Büttner. After months of rehearsals, the 867 actors and extras, the three “live” orchestras all had to know their position and precise roles “. It’s just amazing.
cinema full
Robert Therrien
No Title (Stacked Plates)
MICHAEL FOX
Bubbles
Bubbles is an adaptable spatial pneumatic installation at an urban scale. The installation consists of large pneumatic volumes that inflate and deflate in reaction to the visitors coming to the site. If unoccupied the volume of the site is slowly filled by the spatially distributed sacks creating a translucent bubble translucent infill. As the occupants enter and move through the installation, they bump the bubbles ranging from 6′ to 8′ in diameter that fill the lower layer of the space. More activity opens up the space more making it navigable. Sensors in the bubbles cause a fan in the manifold to transfer air to the bubble.
Adrien M / Claire B
Hakanaï
«Хаканаи» – это сольное хореографическое представление, которое разворачивается через серию движущихся образов. В японском языке Hakanaï означает то, что временно и хрупко, мимолетно и преходяще, и в данном случае нечто промежуточное между мечтами и реальностью. Хотя этот термин широко ассоциируется с природой, в настоящее время этот термин часто используется для выявления нематериального аспекта человеческого состояния и его ненадежности. Он включает в себя два элемента: относящийся к человеку, а также связанный со сновидениями. Эти символические отношения являются основой танцевальной композиции, в которой танцор оживляет пространство где-то между границами воображения и реальности посредством взаимодействия с образами, с которыми она сталкивается. Изображения представляют собой сценическую анимацию, которая движется по физическим схемам в соответствии с ритмом живых звуков, которым они следуют. Результатом перформанса стало открытие для аудитории цифровой инсталляции.
Joris Strijbos
DARK ECOLOGY
IsoScope
IsoScope is a kinetic audiovisual outdoor installation, a sensorial experience in which the audience wanders through rotating lights and an ever-changing sonic cloud. This new work by Dutch artist Joris Strijbos consists of multiple robotic wind objects interacting with each other and with their surroundings. Strijbos aimed at creating a human-constructed phenomenon, an abstract entity which, like most natural phenomena, can only be experienced in certain weather conditions. IsoScope can be seen as a proposition for a new kind of machinic and artificial lifeform. IsoScope was commissioned by Sonic Acts for the second Dark Ecology Journey (2015) and realised in collaboration with Jeroen Molenaar, Daan Johan and Erfan Abdi.
MIKE HEWSON
Майк Хьюсон
Homage To The Lost Spaces (Government Life Building Studio Series)
Ο Αυστραλός καλλιτέχνης και πολιτικός μηχανικός Mike Hewson, που ζει και εργάζεται στο Port Hedland της δυτικής Αυστραλίας, θέλησε να αποτίσει φόρο τιμής σε ένα από τα παλιότερα κτίρια της Νέας Ζηλανδιας, το οποίο καταστράφηκε άσχημα από τους σεισμούς του Φεβρουαρίου 2012.
DUANE MICHALS
Dr. Heisenberg Magic Mirror of Uncertainty
hito steyerl
Robots today
32ª Bienal de São Paulo
Hito Steyerl was born in Munich in 1966. She studied in Tokyo, Munich, and Vienna before she moved to Berlin, where she lives and works today. As a filmmaker, visual artist, and author in the field of essayist documentary video, Steyerl is a frequent lecturer, has published influencial writings, and participated in numerous international exhibitions and biennials. She exhibited at documenta 12 in 2007 and in the German Pavilion at the Venice Biennale 2015.
ELIN STRAND RUIN
knitting house
MARK RYDEN
马克·瑞登
Марк Райден
マーク・ライデン
