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GRAZIELE LAUTENSCHLAEGER AND RITA WU

De novo, Ercilia
File Festival
Nous prenons le processus de création comme un acte d’investigation. De l’invention de la structure physique, en passant par la collecte et l’analyse des sons utilisés, à la programmation du design d’interaction, il était très courant pour nous de nous demander: qu’est-ce qui émerge de la matière poétique de la ville, quand on la vit?
Et sur la base de l’attention portée au processus, nous avons constaté que, d’une part, les articulations abstraites telles que les pensées, les réflexions et les idées créatives étaient formalisées grâce à l’utilisation de divers matériaux et outils de l’univers numérique; de l’autre, l’expérimentation de cette diversité d’éléments a nourri et reformaté le monde des idées. C’est dans ce modus operandi, dans le transit entre le concret et l’abstrait, dans le flux du va-et-vient, que «De Novo, Ercília» a acquis sa première forme, une forme qui ne devient pas pérenne, qui devient autonome dans le temps, avec chaque nouvelle interaction.

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FUJIKO NAKAYA

霧の彫刻
1970年、中谷は、芸術技術実験グループ（E.A.T）から、大阪万国博覧会のペプシパビリオンの作品を制作するよう依頼されたときに、最初の霧の彫刻を作成しました。建物を囲む白い霧の作品を制作するにあたり、中谷は霧を彫刻媒体として使用した最初の芸術家になりました。 E.A.Tは、アーティストとエンジニアの間の協力関係を促進することに専念している組織です。中谷はアメリカ人エンジニアのトーマス・ミーと協力して、大阪委員会の霧を作成しました。この技法は、その後の霧の彫刻のために、わずかな節度を残して使用し続けています。中谷は、映画やビデオにも携わっていますが、彼女です。彼女が最もよく知られている霧の使用。ナカヤは、純水霧を使用して、インスタレーション、パフォーマンス、ステージセット、環境公園のデザインを作成し、他のアーティストやパフォーマー、振付家、作曲家と協力することがよくあります。中谷の霧への関心は、私たちの視覚との関係から発展してきました。濃い霧の中で、私たちは方向感覚を失い、見えないことに不満を感じます。このように、中谷の彫刻は私たちの他の感覚を活性化し、私たちの失明を補います。

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steven meisel

Стивен Майзель
ستيفن ميزل
史蒂芬迈泽尔
스티븐 마이젤
סטיבן מייזל
スティーヴン・マイゼル
Floating
Steven Meisel nació en Nueva York en 1954 y estudió en la Parsons School of Design. Prolífero e innovador, Meisel ha influenciado tendencias en el mundo de la moda durante más de 20 años, con campañas de publicidad para Prada, Dolce & Gabbana, Valentino y Versace… entre otras marcas.

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RAFAEL LOZANO-HEMMER

Bilateraler Zeitschneider
Ein biometrisches Verfolgungssystem findet die Symmetrieachse von Mitgliedern der Öffentlichkeit und teilt ein Live-Kamerabild in zwei Schichten auf. Mit jedem neuen Teilnehmer werden Zeitscheiben aufgezeichnet und beiseite geschoben. Wenn niemand die Arbeit betrachtet, werden die Schnitte geschlossen und wieder zusammengefügt, wodurch eine Prozession vergangener Aufnahmen entsteht.

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Teamlab

Moss Garden of Resonating Microcosms
TeamLab essaie de mettre à jour le concept de couleur. Ovoid change avec 61 couleurs, un nouveau concept de couleur nommé “couleur de lumière solidifiée”. On dit que les bryophytes sont les premières créatures terrestres à apparaître dans un monde de roches et de sable, où il n’y a pas encore de créatures sur terre. Avec l’émergence des mousses et des ptérophytes et la formation des forêts, divers animaux sont devenus capables de vivre sur terre. Les organismes meurent lorsque leur corps manque d’eau car l’eau à l’intérieur des cellules est essentielle. D’autre part, les plantes de mousse ont une résistance à la déshydratation en raison de la propriété particulière du changement d’eau, dans laquelle la teneur en eau dans les cellules fluctue en raison des changements d’humidité ambiante, ne meurent pas longtemps à l’état sec, et si l’eau est étant donné, ils peuvent exercer les activités de la vie. Étant donné que la mousse modifie l’eau, sa couleur et sa forme changent considérablement selon que l’air est sec ou humide, par exemple lorsqu’il pleut ou qu’il s’agit de brume. Les tardigrades qui vivent entre les mousses deviennent également dormants, un état de dormance non métabolique, et arrêtent leur activité lorsque l’environnement devient sec, mais lorsque de l’eau est donnée, ils récupèrent et commencent leur activité.

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Michelangelo Pistoletto

مايكل أنجلو بيستوليتو
米开朗基罗皮斯特莱托
מיכלאנג’לו פיסטולטו
ミケランジェロピストレット
МИКЕЛАНДЖЕЛО ПИСТОЛЕТТО
Wollen La mela reintegrata

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Tobias Stretch

Weird Fishes
Radiohead

Tobias Stretch made this beautiful and mesmerising stop motion animation for Radiohead’s track ‘Weird Fishes’. Tobias’ natural light stop motion technique conjures a phantasmagorical and intimate world. Grotesque yet endearing puppets traversing the hinterlands in some bizarre pilgrimage. Tactile and beautiful.

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CSILLA KLENYÁNSZKI

X marks the spot
THE ENIGMATIC PHOTOGRAPHS OF HUNGARIAN ARTIST CSILLA KLEYÁNSZKI -BORN IN 1986- STIMULATE US TO OBSERVE EVERYDAY REALITY IN A NEW WAY.

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ANDREI TARKOVSKY

أندريه تاركوفسكي
塔可夫斯基
アンドレイ·タルコフスキー
Андрей Тарковский
nostalghia
From the opening images of Nostalghia (1983), Andrei Tarkovsky presents the two disparate worlds-the spare, monochromatic landscape of the Russian countryside and the lush, idyllic meadows of rural Italy-that collided within the soul of Russian author, Andrei Gortchakov (Oleg Yankovsky). Gortchakov has travelled to Italy on an extended research expedition to retrace the emigrant journey of an acclaimed eighteenth century Russian composer named Pavel Sosnovsky who, despite achieving international recognition away from his homeland, eschewed fame and returned to the humble life of a feudal serf, only to sink further into despair and commit suicide. Gortchakov, accompanied by his translator, Eugenia (Domiziana Giordano), has travelled to the hills of Tuscany to see Piero della Francesca’s Madonna of Childbirth, but upon arriving, becomes disinterested in the attraction, and forgoes the church visit. Left alone at the foothills as Eugenia ventures alone, Gortchakov quotes a resigned passage that reflects his own feelings of inertia: “I’m tired of these sickeningly beautiful sights. I want nothing more just for myself. That’s enough.”
cinema full

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JOSHUA KIRSCH

约书亚·基尔希
Джошуа Кирш
An amazing interactive light sculpture entitled Concentricity 96 by the New Jersey artist Joshua Kirsch. “Concentricity is an interactive light sculpture series. Each of the three works presents an illuminated white handle which the viewer is invited to move in any direction. Reed switches located within the sculpture’s circuitry sense the movements of a magnet contained in the handle and translate that information into LED light. For Concentricity 96, omnidirectional movement of the center handle is facilitated by twelve hinged pantagraph-type mechanisms. 96 red/white LED arrays as well as LED-lit acrylic circuit boards respond to the viewer’s movements.

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Thomas Bayrle

Telefon Portrait
Thomas Bayrle (*1937) has been invited to Museum Ludwig’s main gallery to install an overview of his works from the last 40 years that all explore a particular artistic strategy: the loop or looping. While a loop is a kind of ring, the activity of looping refers to the continual repetition of the one and the same motif, whether in Rap music or by constantly running through the same sequence when writing a computer programme. Just such a game between difference and repetition has developed in Thomas Bayrle’s graphic oeuvre

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Melanie Bonajo

梅拉妮·柏娜桥
Nocturnal Gardening
Photographs of painted people, tinted by sunlight flooding in through colorful tissue paper, are interspersed with delicate ferns and towering bamboo sticks. A lithium drone within the gallery’s white walls is broken up by Night Soil – Fake Paradise, an experimental documentary film by Melanie Bonajo in which women from Brooklyn candidly discussion their deeply personal experiences with ayahuasca. Some of the revelations are blissful and mystic while others turn completely horrifying, melting the psyche down into utterly submissive goo — Bonajo’s way of reminding us of the immeasurable power of psychedelic substances.

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Dominique Rey

“Working in a number of media, the subject matters I explore focus on individuals and groups of people on the periphery of dominant culture and I enter their contexts to work from a position of inclusion that approaches, as closely as possible, the residing dynamics of social and psychological forces.”

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Raven Kwok

Rule 110
Rule 110은 Max Cooper가 프로듀싱한 노래를 위해 내가 감독하고 프로그래밍한 코드 기반 생성 뮤직 비디오입니다. 전체 비디오는 규칙 110을 기반으로 하는 기본 셀룰러 오토마톤의 점진적인 진화를 보여주는 하나의 연속 샷이며 프로세싱을 사용하여 프로그래밍 및 생성됩니다.

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FONG QI WEI

퐁 치 웨이

‘Time is a Dimension’

The beauty of photography, in its essence, is conveyed by capturing a moment in time and freezing it out of its context. Singapore-based photographer Fong Qi Wei, however, uses photography to show the passage of time. In his time lapse series called ‘Time is a Dimension’, Fong doesn’t use a typical long exposure trick. He captures the passing time by layering different photos of the same spot with clear edge lines of each frame. Each collage is digitally cut and created from pictures Fong takes within 2 to to 4 hours. Fong usually works at sunrise or sunset, as the light and color palettes are most varied at those times.
“The basic structure of a landscape is present in every piece. But each panel or concentric layer shows a different slice of time, which is related to the adjacent panel/layer. The transition from daytime to night is gradual and noticeable in every piece, but would not be something you expect to see in a still image. Similarly, our experience of a scene is more than a snapshot,” explains Fong.

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GOLAN LEVIN

골란 레빈
ГОЛАН ЛЕВИН
Eyecode
Eyecode (Golan Levin, 2007) is an interactive installation whose display is wholly constructed from its own history of being viewed. By means of a hidden camera, the system records and replays brief video clips of its viewers’ eyes. Each clip is articulated by the duration between two of the viewer’s blinks. The unnerving result is a typographic tapestry of recursive observation.

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