highlike

ANNE NGUYEN

自給自足
Autarcie(…。)は、前向きのダンスの動きと自由な余談を交互に繰り返す戦略ゲームで、ブレイクダンスとポップの2つのヒップホップダンスの専門分野が接触します。 50分間、4人のダンサーが、非常に異なるパフォーマンススペースとテクニックを使用して、必死の儀式を行います。舞台の正面は、4人の力強い個性が集結し、観客を対象とした戦士の踊りを考案するラリーポイントです。彼らはこの共通の調和のポイントを超えて空の空間に引き寄せられ、各ダンサーは領土、同盟、階層を追求してその空間に身を投じます。

IMOGEN CUNNINGHAM

ايموجين كننغهام
伊莫金·坎宁安
אימוג’ן קנינגהם
イモージェン·カニンガム

Will Van Dusen and Brenden Bjerke

T4T LAB
RADICAL RAUMPLAN
The real but withdrawn qualities of the raumplan of the Muller House can be understood as the unknown excess of the object. This is the space of the architectural project that exists beyond the limits of human cognition. Although this space is finite, it is vast and abundant. Any attempt to enter into this space must be somehow framed. As a metaphor, or a vehicle to frame the unknown excess, we take in part the idea of viewing, which is epistemologically important to the raumplan. Using this framework, our project attempts to go beyond our cognitive limitations and enter into the unknown space of the architectural project. From here, we can extract new spatial phenomena that can be notated into the known layer, to be understood by the architectural audience. For us, this means using a series of metaphors to frame our exploration of the unknown and attempt to extract new phenomena that engage the raumplan independent of its relationship to a human subject. This allows us to operate in a jective framework, allowing for an understanding of the object autonomously.

Glosopeda

Glosopeda
Barbara Lanzarote, Rachel Lamot, Kim Rosario
.

The Ontology that Never Was
Glosopeda herontdekt het verleden vanuit een neotoekomstig perspectief. The Ontology that Never Was herschept een archeologische context in zijn natuurlijke omgeving waarin wordt ingegrepen door digitale materialisatie, en doet denken aan de visie van Gavin Lucas op de materiële wereld als een archief van het proces van (de)materialisatie: de spanning tussen de krachten van het verzamelen van materialen en artefacten en de tegengestelde kracht van verspreiding. De ontologie van de objecten versus de verspreiding, uitwissing en verplaatsing van hun oorspronkelijke setting.

BART HESS

바트 헤스
巴特·赫斯
בארט הס
Барта Хесса
Heart to Mouth
Bart Hess, le dernier court métrage de l’artiste néerlandais, propose un échange passionnant de passion au ralenti pour l’amour. Selon Bart Hess, «il voulait créer une tension entre le corps et la matière – presque comme s’ils ne faisaient plus qu’un». Dans le court métrage ci-dessous, deux femmes se caressent la tête de ballon en latex pour exprimer l’amour l’une de l’autre. Les œuvres artistiques de Bart Hess ont été présentées lors de l’exposition «Dutch invertuals» lors de la semaine du design de Milan en 2009.

Richard Quinn

London Woman SS 2020
London born designer Richard Quinn established his eponymous label in 2016, upon graduating the Fashion MA at Central Saint Martins. Specialising in womenswear and textiles, his collections are bold and emotive creating a forward thinking unafraid vision. Richard creates garments with attention to innovative fabrications, focusing on his ability to combine unique handcrafted skill, with a refined high fashion sensibility.

ADAM PARKER SMITH

آدم سميث باركر
亚当·帕克·史密斯
아담 파커 스미스
Адам Смит Паркер
Umbrella Cloud

Timothy Lee

gookeyes
Timothy graduated, with high honors, from Wesleyan University, having majored in Neuroscience and Behavior, Studio Art (with a concentration in drawing), and Biology (Developmental). Originally intending on attending medical school after graduation in hopes of becoming a physician, Timothy quickly dropped this ambition upon realizing his true passions, which lay in art. However, the impression from years of scientific training is clearly visible in the way he approaches his artwork.

Pierre Paulin

بيير بولين
皮埃尔·保兰
פייר פאולין
ピエール・ポーリン
Пьер Паулин
Amphys Sofa

snarkitecture

the beach
the national building museum/washington D.C

The BEACH is contained within an enclosure and built out of construction materials such as scaffolding, wooden panels, and perforated mesh, all clad in stark white. Monochromatic beach chairs and umbrellas sprinkle the 50-foot wide “shoreline,” and the “ocean” culminates in a mirrored wall that creates a seemingly infinite reflected expanse.

Charlotte Gyllenhammar

Charlotte Gyllenhammar har konsekvent och med stor integritet etablerat sig som en av Sveriges främsta konstnärer. Sårbarhet och makt, identitet och perspektivförskjutningar är några teman som följt henne genom åren. I flera av hennes verk möter vi det utsatta och upproriska barnet, i förhållande till en hotfull omvärld.

maarten baas

team B
house-UP

“I have encouraged these young architects to think and work in a freer, more playful way. I have been coaching both teams and guiding the creative process, getting people to kick around archetypes and suchlike,” he said.

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
Changing Room

Anna Sokolova

ONE SHAPE, ONE SQUARE, ONE EXECUTION, ONE TRANCSENDENCE
ONE SHAPE, ONE SQUARE, ONE EXECUTION, ONE TRANSCENDENCE consolidates three quotations from the writings by the minimalist artist and philosopher Ad Reinhardt. The works in question are “Abstract Painting, Sixty by Sixty Inches Square”, “On Negation” and “There is just one painting”, a fragment of which has been taken as a work title. The text “On Negation” is turned into sound and used to cause the vibration of the black square plane that has the same dimensions as “Abstract Painting” by Ad Reinhardt.

LAURENT SEROUSSI

לורן סרוסי
insectes

Seroussi personifies the insects that crawl or fly around us by merging strong bodies, human faces, and the fine details of these segmented creatures. As the feminine faces glance over their shoulders or close their eyes with sleek and sensual expressions, Seroussi romanticizes the small creatures that we otherwise chase out of our lives and our homes.

ELMGREEN & DRAGSET

マイケル·エルムグリーンとドラッグセットのエントリ
МАЙКЛ ЭЛМГРИН И ИНГАР ДРАГСЕТ
Powerless Structures