Florence To
NOQTURNL V1
Noqturnl is an audiovisual meditation exploring collective dreamstate. The audience is invited to spend the night in the 4DSOUND system. A group of listeners are immersed in a spatial experience while they flit around the threshold between waking state and dream. Slow, pulse driven musical constructs, vast landscapes of sound and visual patterns develop over hours as the listeners drifts in and out of sleep, blurring the boundaries between dream environment and physical space: in doing so, allowing conscious access to the vivid, intuitive imagery and sensation within the borders of dream experience.
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.
KATHARINA FRITSCH
Катарина Фрич
卡塔琳娜弗里奇
קתרינה פריטש
カタリーナフリッチュ
Katharina Fritschは、1993年に米国のDia Center for theArtsで初めて個展を開催しました。 そこで彼女はラッテンケーニッヒ（ラット王）をデビューさせました。彼女の作品は、高さ12フィートの黒い齧歯動物が円を描くように外側を向き、見る人の上にそびえ立ち、尻尾が巨大な結び目で結ばれています。 すべてのフリッチの作品と同様に、ラッテンケーニッヒは同時に魅惑的で不安を感じさせます。 彼女はしばしば、スケールと色の繰り返しと操作を通じて、クォーティディアンオブジェクトや普通に見える人物を新しくて奇妙なものに変えます。 彼女の彫刻は、時間のかかるプロセスの結果です。作品は通常、手で成形され、石膏で鋳造され、再加工されてから、ポリエステルで再び鋳造されます。
URS FISCHER
Урс Фишер
nomadic art tent
The nomadic sculpture that Urs Fischer created for Station to Station is something of a steamy interior dreamscape, a glittery, shimmering vision that hypnotizes with lights and textures that both welcome and disorient. In the center of the piece is a plush Hasten’s bed on which viewers lie surrounded on all sides by mirrors and cloud-like smoke. A disco ball rotates above. Is this a place for disco naps? Or is it a glamorous fantasy of decadence and visual riches? Spend some time, look at yourself in the many reflective surfaces, and feel the bedding against your skin and decide for yourself. Dreamy as it is, this space is grounded in the real world and governed by the laws of physics. This place seems like a fantasy, but it is entirely real. As one critic noted of an earlier Fischer work:In a world increasingly defined by virtual realities and digital imaging, is the creative mastery of hand manufacture merely a quaint artistic throwback — nostalgia for a lost cultural past? Is this sculpture a memorial? Given today’s ubiquitous special effects wizardry, shouldn’t art clasp technology to its bosom? There’s nothing virtual about the softness of the bed, nothing digital about the gleam of those lights or the mist surrounding you. Take off your shoes. Climb inside. This is real life.
GUDA KOSTER
Wandering Mind
Guda Koster è un’artista e fotografo olandese che crea sculture viventi, installazioni montate su più paralleli che poi fotografa. Coi tessuti utilizzati in queste opere, l’artista vuole sottolineare i significati che i nostri abiti trasmettono. Andando oltre alla sua funzione, l’abito divulga un messaggio: “Nella nostra vita quotidiana, comunichiamo identità e posizione sociale principalmente attraverso i nostri vestiti. L’abbigliamento può essere visto come una forma di arte visiva che esprime il modo in cui vediamo noi stessi e il nostro rapporto con il mondo che ci circonda. “
BARRY X BALL
БАРРИ Х БОЛЛ
ИСПОЛЬЗУЯ ИСТОРИЧЕСКИЕ ТРАДИЦИИ СКУЛЬПТУРНОГО ПОРТРЕТА, BARRY X BALL , КОТОРЫЙ РАБОТАЕТ В ИНОМ ТОЛКОВАНИИ КЛАССИЧЕСКОЙ СКУЛЬПТУРЫ БОЛЬШЕ 30 ЛЕТ, СОЗДАЛ СОВЕРШЕННО НОВОЕ НАПРАВЛЕНИЕ В ИСКУССТВЕ СКУЛЬПТУРЫ. В СВОИХ РАБОТАХ ОН СЛЕДУЕТ СТАРОЙ ТРАДИЦИИ ФИГУРАТИВНОЙ КАМЕННОЙ СКУЛЬПТУРЫ С ПОМОЩЬЮ НЕТРАДИЦИОННЫХ КАМНЕЙ И МЕТОДОВ ЦИФРОВОЙ ТЕХНОЛОГИИ.
ALVA BERNADINE
阿尔瓦伯娜丁
Альва Бернадин
Twisted Legs
[…] Normally, I get an idea for a picture and if I can’t think of a good reason not, I take it. I can’t censor my own stuff. That doesn’t bother me much, … you bring your own experiences to a picture. Sometimes I am surprised at the way they’re interpreted, but every opinion is as valid as mine because I haven’t usually formed an opinion before I’ve taken the shot.[…]
Tabor Robak
Blossom
l’artiste explore une réalité numérique secondaire, rendue dans ce qu’il appelle une «esthétique de tutoriel Photoshop» ou une «esthétique d’économiseur d’écran de bureau». Ses environnements méticuleusement produits et filmés sont bricolés à partir de sources à la fois échantillonnées et modélisées à la main. Les œuvres sont appropriatives, tant dans leur objet que dans leur esthétique, en utilisant des éléments achetés puis édités pour ses besoins.
Studio Bigert & Bergström
Solar Egg
The egg is made out of stainless golden mirror sheeting, its multifaceted form breaking up the surroundings that it reflects into a multiplicity of different mirror images. Landscape, mine, town, sky, sun and snow are here combined into a fragmented image that can evoke associations with the complexity spanned by today’s discussion about climate and sustainable community development.more…
NAM JUNE PAIK
백남준
白南準
Нам Джун Пайк
نام جون بايك
נאם ג’ון פייק
Piano Piece
FILE SÃO PAULO 2025: SYNTHETIKA – Kenji Kojima
Begins with Chaos
Kenji Kojima
FILE SÃO PAULO 2025: SYNTHETIKA – Art and Technology – Video Art
Electronic Language International Festival
Begins with Chaos — Lascaux – United States
The environment is filled with chaotic information. Sensory organs build the world by extracting only certain elements from this chaos—such as visual and auditory data—acting like filters. It is as if the world is constructed using the “key” of a specific sense, decoding a hidden code. All information is recorded in binary form. The artist transforms this binary data into new formats, turning it into artworks. To do so, a one-time-use key was used to encrypt and decrypt the colors within the image data.
BIO
Kenji Kojima was born in Japan and moved to New York in 1980, during the rapid rise of personal computers. He began creating digital art, exploring the connections between perception, cognition, technology, music, and visual art. His works have been exhibited in New York City and at media art festivals around the world.
studio Loop.pH
OSMO
Cette grosse structure gonflable permet au public de voir le ciel étoilé dont ils sont privés le reste du temps. Un jeu de lasers et de matière réfléchissante permet de recréer l’ambiance d’une nuit étoilée un soir d’été à la montagne.
Ryoichi Kurokawa
ad/ab Atom
Kurokawa then analyses, filters and distorts this data into an artistic rendering of an atomic space in which the laws of quantum mechanics would theoretically be visible. “The term ‘ad’ in the title means ‘to/toward’ etymologically as a prefix in words of Latin origin and ‘ab’ means ‘away from'”. he explains. “It is recombinant of neologism ‘adatom/abatom’ which means ‘to atom/from atom’, where the laws governing nature blur“.
Isabel Nolan
A fixture for a solar storm
The startling objects of Isabel Nolan’s art take wildly unpredictable forms, — but they are at the same time the fully consistent outcomes of a singular, searching artistic sensibility. Nolan’s works evolve out of almost scholarly processes of investigation — intensive enquiries into cosmological and botanical phenomena, perhaps, or analytical scrutiny of literary and historical texts. These contrasting means of representing reality (and of comprehending its infinitely various components) provide divergent points of departure for Nolan as she attempts to somehow account for the enduring strangeness of the world, even in its most intimately familiar forms.
CLIVE VAN HEERDEN AND JACK MAMA
Skin Sucka
A project conceived with Clive van Heerden, Jack Mama (Philips Design Probes) and Bart Hess, Skinsucka explores a vision of our nano technology future whereby bio technology and robotics come together to question our attitudes of a synthetic future. Skinsucka reveals a future where microbal robots live in our shared spaces and autonomously they will undertake menial tasks such as cleaning our homes by eating the dirt. ‘Skinsuckas’ clean the skin, removing the vestiges of make up and providing the remedies to combat the excesses of the night before They swarm over the body extruding metabolized household dirt, dressing the body in a daily ritual of real time, customized manufacture – yesterday’s discarded clothing ready for recycling.” Clive and Jack’s work has consistently brought very diverse skills together in new innovation processes. In the late 1990’s they took designers and other creative skills into Philips Research labs in the Redhill, London and New York and created a specialist studio in London to develop the skills, materials and technologies for a host of Wearable Electronic business propositions in the areas of electronic apparel, conductive textiles, physical gaming, medical monitoring and entertainment.
