TACITA DEAN
Turbine Hall
The Turbine Hall of Tate Modern is plunged into deep black gloom. At its east end, like the stained glass window of a cathedral, is a giant vertical screen. It is framed at the edges with sprocket holes, so we feel we are looking at a vast reel of film. In the centre, an ever-changing series of images: a snail on a wind-wobbled leaf, the powerful spume of a fountain, a chimney loosing trails of vapour. Sometimes the image is of the back wall of the Turbine Hall itself, but with its gridded form coloured in red, yellow and blue so it resembles a Mondrian. Or with a giant egg apparently floating from ceiling to floor.
Torre Mayado
CELULOMA
NAO TAMURA
lexus межсоединение
В природе есть силы, неподвластные человечеству. Мы узнали, насколько мы уязвимы перед лицом таких сил. Однако мы также узнали, как важно принимать природу и учиться жить в гармонии с ней. Взаимосвязанные и взаимозависимые, в природе существует постоянный компромисс. Жизнь не отдыхает. Наше коллективное движение, реакция природы на наши движения важны для хрупкого равновесия нашей планеты. Когда мы едины с природой, мы максимально сильны. Наше совместное движение дает нам жизнь. Наше движение вперед создает новое поколение идей. Жизнь всегда удивительнее в движении.
Eliane Radigue
Islas resonantes
c’est un des apanages de la musique minimaliste basée sur des sons longuement tenus, lorsqu’elle est conçue de manière adéquate et irriguée par une réelle inspiration, que d’être susceptible de plonger l’auditeur dans un état second, une sorte de rêve éveillé qui décuple paradoxalement l’acuité de son écoute et lui permet de percevoir les détails les plus infimes et les nuances les plus subtiles de ce qui lui est donné à entendre. c’est à une aventure de ce type que nous convie éliane radigue avec « l’île re-sonante », jusqu’à des confins poétiques qui n’appartiennent qu’à son univers musical.
si cette pièce a été composée pour être écoutée d’une traite et qu’aucun effet de rupture n’y est brutalement marqué, elle offre cependant la particularité d’être constituée d’une succession de séquences qui crée une sorte d’architecture impalpable aux proportions harmonieusement établies. c’est bien d’une oeuvre musicale au sens que l’on donne habituellement à ce terme en occident qu’il s’agit, et non d’un simple environnement sonore à caractère plus ou moins expérimental.
ANNETT ZINSMEISTER
Virtual Interior MR
In her work Annett Zinsmeister focuses on the intersection of art, architecture, and media studies. She creates large-scale installations, conceptual and built spaces, photography, drawings, films and collages dealing with architecture.
Simon Blackmore
Weather Guitar
Garland Fielder is a Houston based artist that received his MFA from the University of North Texas in 2005. He has exhibited regionally, nationally and internationally. His work is primarily focused on the interpretive components of visual art, bringing into question the act of “reading” a painting or object. Fielder is also a frequent contributor to Art Lies, ArtsHouston and Glasstire.
JOHN BUTLER
Le Paradoxe de Xerox
La mode interrogative à l’ère des devoirs super intelligents. Le « paradoxe de Xerox » est l’effet inverse de la technologie. Craignant un avenir sans papier, une enquête de Xerox Parc a conduit, entre autres, à l’IUG (Graphical User Interface) qui, à son tour, a entraîné une augmentation substantielle de la production de matériel imprimé.
SpY
ORB
The shape of the piece alludes to the ‘pi’ number concealed in the geometry of the Pyramids, found when dividing the perimeter of a Pyramid by twice its height. The sphere is an invisible part of the resulting geometry, since a sphere with a radius as high as the Pyramid would have a circumference very close in length to the Pyramid’s perimeter. The surface of the artwork captures the Pyramids, the sky, the surroundings and the viewers in a multiple fragmented reflection. It references the role of the circular mirror in historical Egyptian symbolism, where it was linked to the sun and conveyed notions of creation and rebirth.
Ian Cheng
BOB
Cheng’s work explores mutation, the history of human consciousness and our capacity as a species to relate to change. Drawing on principles of video game design, improvisation and cognitive science, Cheng develops live simulations – virtual ecosystems of infinite duration, populated with agents who are programmed with behavioural drives but left to self-evolve without authorial intent, following the unforgiving causality found in nature.
Photo: Andrea Rossetti
Crystal Wagner
Arboretum
FILE SAO PAULO 2022
FILE SAO PAULO 2022- SUPERCREATIVITY
FILE Electronic Language International Festival
July – August
Wednesday to Sunday, 10 A. M. – 8 P.M.
Centro Cultural FIESP
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Creativity is not limited to the arts. It also takes place in all disciplines of Culture. Thus, in the aesthetic sense, it ceases to be creativity and becomes Supercreativity: the sum of all creative engines that permeate and connect to our culture.
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A criatividade não se limita às artes. Também ocorre em todas as disciplinas da Cultura. Assim, no sentido estético, deixa de ser criatividade e passa a ser Supercriatividade: a soma de todos os motores criativos que permeiam e se conectam à nossa cultura.
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Kreativität ist nicht auf die Kunst beschränkt. Sie findet auch in allen Disziplinen der Kultur statt. Somit hört es im ästhetischen Sinne auf, Kreativität zu sein, und wird zur Superkreativität: die Summe aller kreativen Motoren, die unsere Kultur durchdringen und mit ihr verbinden.
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創意不僅限於藝術。 它也發生在所有文化學科中。 因此，在美學意義上，它不再是創造力，而是成為超級創造力：滲透並連接到我們文化的所有創造性引擎的總和。
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創造性は芸術に限定されません。 また、文化のすべての分野で行われます。 したがって、美的意味では、それは創造性ではなくなり、超創造性になります。これは、私たちの文化に浸透し、つながるすべての創造的なエンジンの合計です。
Terry Adkins
Harvest Montgomery
DUMBTYPE
LOVERS
Computer-controlled, five-channel video/sound installation with five video projectors, eight-channel sound system, and slide projectors […] As an image, a pair of lovers often suggests a castle of exclusion. With the sexual liberation of the last few decades, the word now has more to do with physical coupling than with the sublimity of “true love.” AIDS has added a new dimension of wariness to this pairing. The life-size dancers in Lovers are drained of life. Projected onto the black walls of a square room, the naked figures have a spectral quality. Their movements are simple and repetitive. Back and forth, they walk and run with animal grace. Their actions become familiar over time, so that it is a surprise when two of the translucent bodies come together in a virtual embrace. These ostensible lovers–more overlapping than touching–are not physically entwined.
TOM PHILLIPS
Wittgensteins dilemma
Sabrina Ratté
Waterfall
Sabrina Ratté est une artiste vidéo établie à Montréal. Son travail est caractérisé par la création d’environnements virtuels générés par des signaux électroniques. L’électricité, comme matériel brute, est sculptée, manipulée et altérée numériquement pour renaître en une architecture vibrante et lumineuse. Ses oeuvres se situent à la limite de la science-fiction, à mi-chemin entre l’abstraction et le figuratif, l’utopie et la dystopie, l’architecture et le paysage. Elle travaille avec les divers aspects de la vidéo, tels que l’installation, le GIF animé, l’impression et la performance live.
TADAO CERN
TADAO CERN IS A PHOTOGRAPHER AND ARTIST BASED IN VILNIUS, LITHUANIA. HE GRADUATED IN ARCHITECTURE, BUT IN SPRING OF 2010 HE DECIDED TO TRY SOMETHING NEW AND HE FOUND HIMSELF IN THE WORLD OF PHOTOGRAPHY. THESE IMAGES ARE DIGITAL RECREATIONS ICONIC PAINTINGS USING PHOTOGRAPHY AND DIGITAL RETOUCHING.
YVES MARCHAND & ROMAIN MEFFRE
Ruins of capitalism
Autrefois une métropole florissante, au cœur du monde industrialisé, Détroit était un exemple de la manière de réaliser le rêve américain. Aujourd’hui, la magnificence qui caractérisait autrefois cette ville demeure sous la forme de ses bâtiments abandonnés. Au cours des cinq dernières années, un projet a été en vigueur pour préserver et immortaliser les bâtiments comme preuve de la magnificence de son passé.
Alexis Christodoulou
From a lifelong fascination of digital worlds and 3D graphics from playing video games a boy, Alexis became frustrated with the lack of modern aesthetics represented therein. The images he creates are a simple extension of this desire to see fantastic spaces come to life that echo a more modern and clean aesthetic.
MEDIATED MATTER
MEDIATED MATTER – Silk Pavilion II
Bloom è un’installazione interattiva che reagisce al movimento e ai gesti del pubblico. Utilizzando un’interattività laser touch, il pubblico genera fiori digitali in fiore che creano una composizione sonora che cambia in base all’azione dell’utente. Costruita secondo un approccio parametrico di architettura sonora e visiva, l’installazione si presenta come un sistema con un elevato processo di creazione casuale. In questo senso, ogni interazione è unica e inimitabile. Il pubblico comunica direttamente al mondo digitale usando il movimento delle mani creando luci e immagini astratte. Questo esplora la pratica del movimento umano per facilitare l’espressione e la comunicazione del movimento e per progettare e sviluppare nuovi paradigmi per l’interazione con i computer attraverso il movimento.
