hyungjoong kim
Data.Nature.Anagenesis_2
I am working for audio-visual arts, performance, media installation, computational visual design and sound. Probably this is why I am considered to be a media artist whatever but in fact, I judge myself as a media addict. By using the materials, I love to make creations with a concept of ‘(beauty+despair)/2’ of our future, which has no boundaries between nature, technology and human being.
regine schumann
Регина Шуман – художник-минималист, работающий со световым искусством, изначально вдохновленный живописью цветового поля и такими художниками, как Марк Ротко, Дональд Джадд и Дэн Флавин. Ящики и инсталляции Шуман изготовлены из специально изготовленных для нее акриловых цветных пластин. Ее работа – это больше, чем просто бетонное искусство. Цветные светлые комнаты Шумана, задуманные как эмоциональные пространства, вызывают сильные чувства чего-то потустороннего. Ее минималистичный подход влияет на все, от ее выбора материалов до того, как она играет с формой и цветом.
SANTIAGO ALMADA
Ladybower Reservoir
QUBIT AI: SurrealismToday.com
The Legend of Ogie
FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
SurrealismToday.com – The Legend of Ogie – United States
What worlds exist beyond Einstein’s speed limit? Inspired by Eric Weinstein’s theory of Geometric Unity, the work explores the idea that space-time is like a melody playing over an eight-dimensional universe. Abstract and metamorphic forms transition from organic forms to parastatic patterns, creating a dance of visuals and sounds that merge into an immersive experience of fractal unfolding.
Bio
SurrealismToday.com is an artist collective and educational platform dedicated to the proliferation of surreal and visionary ontologies in contemporary art. The group began as an esoteric cargo cult dedicated to discovering the beautiful, the fantastic, and the transcendent in the pseudo-philosophical landscape of the art world. His methods include searching for gems in the digital world and infusing mystical enchantments into generative diffusion models.
George Balanchine
The Nutcracker
Waltz of the Flowers
New York City Ballet
“You don’t think of choreographers as mathematicians — yet group dances involve arithmetic and geometry. Nobody mastered those aspects of the art more brilliantly than George Balanchine.
See what he does with the “Waltz of the Flowers” in “The Nutcracker,” as in this short detail:As it begins, 14 women, arrayed in four rows, face front. The two demi-soloists start: They dance from our right to left, with two turning jumps at the end of the phrase. Then a row of four women behind them take up the same phrase — but now the first two women repeat the phrase in the opposite direction, from left to right.It’s like seeing screens sliding in opposite directions. Then the next row takes it up; then the next; suspense and excitement build. It’s an accumulating canon — not spread out across the stage but at close quarters”. Alastair Macaulay
Richard Vijgen
Hertzian Landscapes
Hertzian Landscapes (2019) is a live visualization of the radio spectrum. Unlike visible light, waves in the radio spectrum cannot be perceived by us directly yet this space is teeming with human activity. Hertzian Landscapes employs a digital receiver to scan large swaths of radio spectrum in near real-time and visualizes thousands of signals into a panoramic electromagnetic landscape. Users can zoom in to specific frequencies by positioning themselves in front of the panorama as if controlling a radio tuner with their body, giving them a sense of walking through the spectrum.
ANTTI LOVAG
Palais Bulles
Bulles was commissioned by a wealthy French businessman, a great admirer of the Hungarian architect. In this first time, the “bubbles house” was used as a beach house, a family holiday in front of the blue of the Mediterranean. The second owner of Palais Bulles was the famous French fashion designer Pierre Cardin. From 1991, Cardin spent his holidays there and organized extraordinary parties. Palais Bulles represented, for the fashion designer, the female body. Everything, he said, from floor to ceiling, from external to internal space, has spherical shapes. The entire space is invaded by the sensuality of round shapes.
Claire Malrieux
Climat General College des Bernardins
Se référant à l’« Hypothèse Gaïa » de James Lovelock, Malrieux transforme la figure de Gaïa en une machine climatique autonome qui affiche un espace dynamique et organique, construit selon des flux de données empruntés aux principaux modèles climatiques prédictifs. A travers différents scénarios programmatiques, l’artiste met en évidence l’influence de l’homme sur son environnement, un environnement en perpétuelle mutation dont la fin ne peut être programmée. Car si l’entrée dans l’anthropocène marque la fin d’une Terre en extension, elle marque surtout le début d’autre chose : une situation différente dans le temps et dans l’espace. Un espace où le décor est en mouvance et dans lequel l’histoire humaine s’adapte et évolue.
L’usage simultané du dessin et des algorithmes permet de visualiser des interactions et des causes à effets habituellement invisibles, de les décoder et d’en interroger les enjeux.
ingo gunther
exosphere
The Exosphere has a diameter of 12 m (39’4″), weighs 4.5 tons, and relates to the Earth at a scale of 1:1,000,000. Its blue LED display indicates the geographic location of Wolfsburg, local temperature and time (supplied by the Atomic clock). It is positioned where Wolfsburg would be on this globe, assuming that the bottom of the globe is North and the vertical red display represents the position of the international dateline.
Field of Globes is a permanent installation of ninety World Processor globes. These spheres are readymade acrylic globes altered by the artist to visualize data on a variety of topics. This data comes from myriad sources, including the United Nations, the Organization for Economic Cooperation and Development, and other organizations.
George Vantongerloo
“Vantongerloo, who ascribes to the abstract language of form after 1917, applies himself to Abstract Art in order to get control of rules by which he develops an interest in geometrical relationships and algebraic formulas. In addition to his artistic practice, Vantongerloo also writes theoretical work about his research. Primarily after the publication of his pamphlet L’Art et son Avenir in 1924, he creates new impulses for geometric abstraction with his writings. In this way, for example, he subjects three neo-plastic works of Piet Mondriaan (1872 – 1944) to an analysis in the French publication Vouloir. In this way he opens up the way for his own ‘mathematical’ abstraction.” Sergio Servellón
ROBERT XAVIER BURDEN
Star Wars
Stelarc
Re-Wired / Re-Mixed: Event for Dismembered Body
“Re-Wired / Re-Mixed: Event for Dismembered Body” was a five-day, six-hour a day internet enabled performance, that explores the physiological and aesthetic experience of a fragmented, distributed, de-synchronized, distracted and involuntary body – wired and under surveillance. The artist wears a HUD (head up display) that enables him to see with the “eyes” of someone in London, whilst hearing with the “ears” of someone in New York. The body is also augmented by an 8 degrees-of-freedom exoskeleton so that anyone anywhere can generate involuntary movement of his right arm, using an online interface. The artist becomes optically and acoustically de-synchronized and performs partly involuntarily.
Kensuke Koike
Surface
STUDIO DANIEL CANOGAR
Fulguraciones
Fulgurations es una instalación generativa compuesta por una serie de pantallas LED que muestran un contenido en constante mutación. Responde a un algoritmo diseñado por Studio Daniel Canogar, inspirado en la actividad celular y otros tipos de comportamiento colectivo y patrones de la naturaleza. El código que rige estas imágenes utiliza el principio computacional de los autómatas celulares, desarrollado por el matemático John von Neumann. La lógica de este sistema funciona a través de la influencia de unidades vecinas, lo que provoca un comportamiento colectivo en la cadena con un alto valor estético.
GILBERTO ESPARZA
Nomadic Plants
Vegetation and microorganisms live in symbiosis inside the body of the Nomadic Plants robot. Whenever its bacteria require nourishment, the self-sufficient robot will move towards a contaminated river and ‘drink’ water from it. Through a process of microbial fuel cell, the elements contained in the water are decomposed and turned into energy that can feed the brain circuits of the robot. The surplus is then used to create life, enabling plants to complete their own life cycle. As Gilberto wrote in our email conversation, “The nomadic plant is a portray of our own species. It also deals with the alienated transformation of this new hybrid species that fights for its survival in a deteriorated environment.”
VTOL
ADAD
This installation is a mechanism that serves as a kind of interface between planetary processes and an audience. It consists of 12 transparent piezocrystals, grown especially for the project, and 12 motorized hammers that strike them. The installation is connected to the internet. Its core algorithm is controlled by data from a meteorological site which shows lightning strikes in real time (on average, 10~200 lightning flashes occur on the planet every minute). Each time the installation receives information about a lightning strike, a hammer strikes one of the crystals, resulting in a small electrical discharge produced by the crystal under mechanical stress. Each of these charges activates a powerful lamp and sound effects.
LEO CAILLARD
Digital Art Museum of the Future
VERENA FRIEDRICH
El largo ahora
Una pompa de jabón generalmente permanece estable solo por unos momentos: es una esfera perfectamente formada con una superficie iridiscente que refleja su entorno. Como uno de los símbolos clásicos de la vanitas, la pompa de jabón representa tradicionalmente la fugacidad del momento y la fragilidad de la vida. THE LONG NOW aborda la pompa de jabón desde una perspectiva contemporánea, con referencia a sus propiedades químicas y físicas, así como a los recientes avances científicos y tecnológicos. THE LONG NOW tiene como objetivo extender la vida útil de una pompa de jabón, o incluso preservarla para siempre. Usando una fórmula mejorada, una máquina genera una burbuja, la envía a una cámara con una atmósfera controlada y la mantiene en suspensión el mayor tiempo posible. El proyecto se presenta bajo la forma de un montaje experimental en el que la pompa de jabón recién creada oscila permanentemente entre la fragilidad y la estabilidad.
DAVID LACHAPELLE
Дэвид Лашапель
ديفيد لاشابيل
大卫·拉切贝尔
デビッドラシャペル
MICHAEL TAYLOR
Light Trace B&W Versions
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.
