Nathalie Miebach
Changing Waters
BILLY KIDD
比利·基德
Collectif Scale
Hula Hoop
Depuis nos débuts, nous avons toujours conçu et imaginé des installation émettrices de lumière, que cela soit en utilisant la vidéo ou les leds. Avec Hula hoop, qui est une installation issue de la même technologie que Flux, nous voulons proposer notre premier objet non lumineux en utilisant un seul médium : le mouvement. C’est en multipliant un objet simple, un anneau, tournant sur lui même que nous proposons une oeuvre dynamique.
ANNETT ZINSMEISTER
container Projekt
“Die Auseinandersetzung mit Utopien und dem Identitätsgehalt von Architektur, Raum und Alltagsgegenständen, sowie die Untersuchung von Wahrnehmungsprozessen, sozialer Interaktion, Kommunikation und die Transformation urbaner Raumsituationen sowie die Form, kulturelle Prägung und Konstitution von Raum und Lebenswelt sind zentrale Themen, die Annett Zinsmeister in ihren künstlerischen Arbeiten neu verhandelt: in Raum – Installationen, konzeptuellen und gebauten Räumen, in Fotografien, Zeichnungen, Collagen, im Film sowie in theoretischen Abhandlungen. Kultur- und medientheoretische Ansätze sind Teil ihrer konzeptuell geprägten künstlerischen Praxis, die ohne erklärende Erläuterungen eine große Wirkungsmacht entfaltet. Zinsmeisters Werke wurden mit Preisen ausgezeichnet und sind in internationalen Gruppen- und Einzelausstellungen zu sehen. Sie sind in öffentlichen und privaten Sammlungen vertreten und international in Magazinen, Fachzeitschriften, Katalogen, Fachbüchern publiziert. Ihre Installationen fordern unsere Wahrnehmung heraus, entlarven alltägliche Gewohnheiten und legen den Antagonismus utopischer Ansätze und unserer sozialen und gebauten Umwelt offen. Annett Zinsmeisters Arbeit eröffnet neue Perspektiven und ungeahnte Potentiale hinsichtlich unwirtlicher, verlassener Orte und initiieren Prozesse urbaner Interventionen und Transformationen. Mit ihrer Überzeugung und ihrem Glauben an interdisziplinaere Kommunikation und Interaktion, führt sie in zahlreichen Veranstaltungskonzeptionen Vertreter unterschiedlichster Disziplinen in einen lebendigen und zukunftsweisenden Dialog.”
nelson leirner
Nelson Leirner (S.Paulo-1932) é pintor, desenhista, cenógrafo, professor da Faculdade de Belas Artes do Rio de Janeiro e realizador de happenings. Em 1966 funda e integra o Grupo Rex ao lado de vários artistas hoje consagrados. Em 1967 é premiado na IX Bienal de Tóquio. Tornou-se hoje um dos mais expressivos representantes do espírito vanguardista dos anos 1960, tanto no Brasil, quanto no mundo. Sua ideia central é popularizar o objeto de arte e introduzir a participação do público. Além disso, uma de suas características são as críticas irônicas ao sistema de arte,
MASS Studies
Expo2010 Korea
CAROLINE MOIRET
Wearable Sculpture
CLAUDIO PARMIGGIANI
Клаудио Пармиджани
KAZUHIKO HACHIYA
Inter Dis-Communication Machine
Equipments which exchange views between two persons. You can only see through the other person’s eyes when you wear these machines, which forcibly put you in the other’s place. These were made to obscure the border between identities of two persons
BILL PECHET
co-designer Chris Pekar of Lightworks and Lumenpulse
Emptyful Sculpture
Michele Spanghero
Ad lib
The sound sculpture Ad lib. combines a medical machine for automatic pulmonary ventilation with a few organ pipes that play a musical chord to the constant rhythm of the mechanical breath, creating an artificial organ that is metaphorically a mechanical requiem that sounds incessantly. The title of the work Ad lib., an abbreviation of the Latin expression “ad libitum”, is a musical caption that gives the performer discretion of interpretation, allowing for instance to repeat “at will” certain bars of the score. The sculpture aims to refer to the situation in which people, who suffer from critical health conditions, see their survival tied to a breathing machine and, therefore, to the discretion of those who are taking care of them.
KONRAD SMOLEŃSKI
Everything Was Forever, Until It Was No More
Konrad Smoleński represents Poland at the Venice Art Biennale 2013. His monumental installation in the Polish Pavilion in the Biennale’s Giardini is titled Everything Was Forever, Until It Was No More. The work is a continuation of the previous explorations of Konrad Smoleński, who focuses his interest on sound. Two church bells that have been cast especially for this exhibition are at the center of the installation. Two walls of loudspeakers and other elements complete the work. In regular intervals, the traditional bronze bells, full-range speakers and other sonorous objects play a symphony. The create both a visual and aural experience, where the delaying and modifying of the initial sound of the bell is important. The exhibition Konrad Smoleński: Everything Was Forever, Until It Was No More is curated by Daniel Muzyczuk and Agnieszka Pindera.
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DOMINIK STRZELEC
FREESTYLE WANDERING MACHINE
Driven by its immediate surrounding, little by little, the machine deposits material while sensing and moving within its territory. Traces left by its passing alter the landscape it operates within, step by step. Instant decisions solidify, aggregate and therefore shift or constrain its possible future trajectories.
Joana Vasconcelos
جوانا فاسكونسيلوس
琼娜巴斯孔塞洛斯
ג’ואנה אסקונסלוס
ジョアナ·ヴァスコンセロス
ДЖОАНА ВАСКОНСЕЛОС
red independent heart
STARTING OUT FROM INGENIOUS OPERATIONS OF DISPLACEMENT, A REMINISCENCE OF THE READY-MADE AND THE GRAMMARS OF NOUVEAU RÉALISME AND POP, THE ARTIST OFFERS US A COMPLICIT VISION, BUT ONE WHICH IS AT THE SAME TIME CRITICAL OF CONTEMPORARY SOCIETY AND THE SEVERAL FEATURES WHICH SERVE THE ENUNCIATIONS OF COLLECTIVE IDENTITY, ESPECIALLY THOSE THAT CONCERN THE STATUS OF WOMEN, CLASS DISTINCTION OR NATIONAL IDENTITY.
Charles Sowers
Wave wall
A wall of 122 wind-activated pendulums are each magnetically coupled with its neighbors so that the whole wall moves as a slowly undulating surface similar to a large piece of fabric rippling in the wind. In winds greater than 15 knots, the wall’s coherent wave-like movement becomes more chaotic as the pendulums break their mutual magnetic coupling. The pendulums can also be manually activated.
Anne-Sarah Le Meur & Jean-Jacques Birgé
Omni-Vermille
Omni-Vermille is based on computer-generated real-time 3D images. The programmed code allows light spots to oscillate against a dark background. The colors sometimes move dynamically, sometimes calmly across the projection surface; sometimes they evoke plasticity, sometimes depth. This continuous metamorphosis endows the contents of the images with a sensual, even lively quality. The metamorphosis designed by algorithms opens up a new time-based morphology of colors and forms for painting. The play of colors is accompanied by a stereophonic sound composition by Jean-Jacques Birgé (*1952, France). The sounds follow the shapes of the colors, only to stand out again the next moment: the combination of sound and image results entirely from the laws of random simultaneity.
