KEITH ARNATT
Self Burial with Mirror
Alisa Baremboym
Syphon Solutions
Alisa Baremboym is an American artist based in New York who draws her source from domesticity and the handling of objects that are affiliated to this environment. Blurring the line between photography and other mediums such as sculpture and painting, she creates hybrid objects that investigate, appropriate, and extend critical aspects of materiality, process, abstraction, and pictorial ideas.
Eliška Sky
WOMANEROES
“Eliška Sky’s tribe of ‘womaneroes’ stand bold and bright, their bodies and heads adorned in vibrant shapes, colours, and textures. Beneath the wigs and paint are women of all ages, shapes and ethnicities, photographed with a large-format camera to capture every detail, rough or smooth, with the intention for the images to eventually be printed and exhibited life-size. “It started as visual play, but transformed into a series that challenges depictions of women’s bodies,” explains the London-based Czech photographer. “In light of my own experience of working in the fashion industry, I felt the need to portray the body in new ways and forms, with an element of playfulness and humour in opposition to western media advertising”.” Marigold Warner
ZHANG YIMOU
Ciel Électrique
Une gigantesque installation ELECTRIC SKY composée de 640 lumières LED Winch XS et Sphere 17 a été créée par KINETIC LIGHTS pour une performance scénique épique en 2047 Apologue dirigée par ZHANG Yimou et produite par L!VE Kingway au National Center for the Performing Arts de Pékin. ZHANG Yimou brise la forme des pièces de théâtre traditionnelles, combinant les arts folkloriques chinois avec la technologie internationale, et créant ainsi une « performance conceptuelle » unique. Les arts populaires chinois ont été présentés avec différentes technologies de pointe, déclenchant une nouvelle vitalité. Notamment, 20 équipes et individus de sept pays se sont réunis dans cette performance.
Daniel Widrig and Guan Lee
Ecoire Chair
Daniel Widrig and Guan Lee at University College’s London Material Architecture Lab was made from coconut fibre and starch. Its twisting, symmetrical form gives the impression of coconuts being ensconced inside.
Roberto Pugliese
Equilibrium Variant
This work has the purpose of exploring the occurrence of the Larsen effect (also known as feedback) through the use of mobile devices in a three-dimensional space. The distinctive screech of the Larsen effect typically occurs when a microphone catches the sound emitted by a speaker. It engages when the microphone is located too close to the speaker, and gets in the way of its frequency. The microphone amplifies and reproduces the speaker’s frequency with an ever-increasing width, virtually unlimited, in practice stopped by the amplifier’s clip. On a ground support, two mechanical arms are located. At the end of one arm there is a microphone, and on the end of the other there is a speaker. A software, created with this specific purpose, manages the position of the arms in a dynamic way, and provides that the distance between the microphone and the speaker never causes the amplifier to clip. This way, the system tends to reach an equilibrium that is physically impossible to attain. The struggle to balance creates an acoustic and visual dimension that is never the same: the frequency of feedback and the movements of the mechanical arms are always different and change in real time.
joan jonas
Джоан Джонас
جوان جوناس
조안 조나스
ジョーン・ジョナス
Joan Jonas, believing that sculpture and painting were exhausted mediums, became known for her pioneering work in performance and video art. Jonas, who studied sculpture and art history, was deeply influenced by the work of Trisha Brown, with whom she studied dance, as well as John Cage and Claes Oldenburg, particular in their exploration of non-linear narrative structure and form. Jonas’s own work has frequently engaged and questioned portrayals of female identity in theatric and self-reflexive ways, using ritual-like gestures, masks, mirrors, and costumes.
David Rabinowitch
“6 Sided Plane in 5 Masses and 3 Scales with 2 Free Regions
The drawings also clarify the schema underlying the locations of the bored holes in the sculptures. Situated along lines linking vertices at the perimeter of the forms, they recall constellation maps or, as with 8 Sided Plane in 7 Masses and 2 Scales with Free Region (1975/2018), the plans of Romanesque cathedrals. Here, again, the relationship is inverted. The black shapes representing the solid stone columns in the plans echo the shafts of air bored through the steel. The term “Romanesque” appears frequently in Rabinowitch’s titles. Though absent here, the conglomeration of shapes visible in Romanesque church plans, like those of Cluny in France, bear an affinity with the additive sensibility evident in Rabinowitch’s structures. Donald Kuspit has focused attention on the artist’s interest in Northwest Coast traditions, especially the totem pole. Like the totem pole, Rabinowitch’s works manifest a “disrupted continuum,” a whole built out of distinct parts. For me, the presence of the drawings in this exhibition subtly undermined that assertion. The lines along which the bored holes are situated form a network that passes over all (or at least most) of the components in each work, in effect linking them. Though no longer visible in the steel versions, the connective links act as a reminder of this second related principle of organization. Some may see it as a complication, a discrepancy, or be disappointed by the realization, but I think it helps demystify these “new” early sculptures. At the same time, the proximity of the studies by no means diminished the deep-rooted and intriguing complexity of Rabinowitch’s sculptural work.”John Gayer
Gonzalo Cueto
Kit Básico
FILE FESTIVAL
The strategy is basically to oppose the residual imaginary, a series of light signals, wherein the video plays at being a future that reality look, using sunlight and smoke signals as a flexible margin of the latter where we will be in. There is a performance based on first calculating an escape, rejecting to be installed in the final place in our economic diaspora.
ASIF KHAN
MegaFacces
Valentin Spiess di iart, spiega come funziona il sistema. «Dietro il telone ci sono più di 10mila cilindri telescopici estensibili, sormontati da una sfera con il LED colorato. Quando la persona da ritrarre entra nel gabbiotto per il selfie, vengono scattate 5 immagini che un computer assembla in un rendering 3D. Una volta terminato il disegno, le informazioni vengono inviate al sistema che regola il posizionamento dei cilindri telescopici che si mettono nella posizione giusta per far apparire il viso prescelto». Il sistema è stato costruito in modo da poter essere riutilizzato. Come una specie di Mount Rushmore mobile e per tutti.
Christoph Sensen
Кристофа Сенсена
dead man float
CAVEman 3-D Virtual Patient Is a Holodeck For the Human Body
The virtual-reality rig at the University of Calgary visualizes aspirin’s journey through the body in 3-D. First stop: the stomach and intestines [red], where the drug is absorbed. Next up is the bloodstream [light green] and finally the kidneys [dark green], which flush by-products into the urine
In this image, three stereoscopic projectors mounted on the floor and one on the ceiling display a computer-animated body. Looking through the goggles, researchers can watch its bloodstream turn from white to red as aspirin travels through it. Sensen hopes to develop computer simulations that will model the progression of diseases like Alzheimer’s and diabetes and help scientists quite literally look for cures. Updated to reflect what’s happening inside a real patient, the technology could also help doctors diagnose and treat cancer. “You could stand inside your patient,” Sensen says, “and see how big the tumor is, how to treat it, and what the outcome will be.”
LUCYANDBART
露西·麦克雷和巴特·赫斯
Люси Мак Рае и Барт Хесс
Imagine human bodies and faces physically altered with a shocking but artistic realism. Globules of foam, asymmetric spines… fascinating and repugnant simultaneously, the pictures become even more disturbing because they don’t hint at the emotional state of the subject. Each transformed human looks blankly back at you, neither horrified or surprised or excited about their change of form, but merely present and allowing it to be shown to you.
