Tuesday, May 29, 2012

‘Signal to Noise’ by LAb[au] – 512 mechanical split-flaps and the noise of data

‘Signal to Noise’ by LAb[au] – 512 mechanical split-flaps and the noise of data:

‘Signal To Noise’ is the latest installation by LAb[au], immersing the spectator in patterns of sonic motion produced by 512 recycled mechanical split-flaps

Continue reading.... ‘Signal to Noise’ by LAb[au] – 512 mechanical split-flaps and the noise of data

A Colour Field Point of No Return – Matthew Biederman’s Event Horizon

A Colour Field Point of No Return – Matthew Biederman’s Event Horizon:

Event Horizon

Several prominent currents run through the oeuvre of Montreal’s Matthew Biederman – data systems, politics, broadcast media, performance and the promotion of awareness of northern landscapes and cultures. Another interest that is evident across Biederman’s body of work is colour, a fascination that he demonstrates an almost painterly preoccupation with within several of the installations that he’s executed over the last decade. The latest such work is the ominously titled Event Horizon, an immersive, generative AV installation commissioned for the International Digital Arts Biennial (BIAN) in Montreal
Continue reading.... A Colour Field Point of No Return – Matthew Biederman’s Event Horizon

On Journalism #2 Typewriter by Julian Koschwitz

On Journalism #2 Typewriter by Julian Koschwitz:

Created by Julian Koschwitz, “On Journalism #2 Typewriter” installation writes generative stories about journalist killed worldwide between 1992 and today. The individual stories are typed on a continuos piece of paper,  connected through common fields of coverage, places and published work
Continue reading.... On Journalism #2 Typewriter by Julian Koschwitz

Tuesday, May 22, 2012

Enrico Boccioletti

Enrico Boccioletti:

Some great works from Enrico Boccioletti. The first project into the post and the image above is from the series called "Content aware" which consists in a collection of edited pictures downloaded from fashion blogs, where the subject is assimilated to the background using content-aware fill in photoshop. It is also an ongoin project at http://content-aware.tumblr.com. Content-aware fill is a feature introduced in photoshop CS5 which matches any selected area to its surrounding context, as like as the removed object never existed. The subject of the shot is not actually removed or deleted but only absorbed into the background, de facto equalizing both of them on a same level of relevance. Also, a ghost (an idea) is still visible in the picture, a reminder of the actual subject (a real person) that was there.
Every image comes with a name and an address as caption, a fake name generated generated by an algorithm according coherently to a set number of parameters. See more;

thanks for the tip Kim!

Paper Sculptures

Paper Sculptures:

Mark from ‘Present and Correct’ has crafted three beautiful paper sculptures in a jar. ‘Present and Correct’ is owned by two graphic designers. It is place for their own designs, things they love by other designers from around the world & vintage items which they discover around europe, and sometimes further afield. It’s a showcase for the things they have enjoyed since school. A long-term obsession with stationery, culminated in a constantly evolving store. Paper and office objects which are inspired by homework, the post office and school.

All images © Present and Correct | Via: Illusion

ECCOS by Andrew Norman Wilson

ECCOS by Andrew Norman Wilson:

A slowed-down video of Ecco the Dolphin gameplay is used to create an experimental philosophical space that focuses on the phenomena of waves, this space is called "Center for Wave Change" by Andrew Norman Wilson. He tells us more about ECCOS, a 6 hours meditation video which is part of the "Center for Wave Change", a proposal project for the ongoing Rhizome Commissions

"ECCOS is based on an .mp4 video file of the gamer “RickyC” beating the Sega Genesis game Ecco the Dolphin in just under 80 minutes. I have slowed down the original file to a duration of six hours, because six hours is the maximum duration for sequences with high audio data rates in Final Cut Pro. I have applied “echo” filters on both the audio and video tracks, and pushed all values within those filters to the maximum. Full length video coming to DVD/VHS soon. Soundtrack available on CD/Cassette soon." See more;

"ECCOS will become the source media for an experimental philosophical space I'm developing called the Center for Wave Change, in which overlapping aesthetic cues and general objectives are borrowed from both science centers and new age centers to focus on a shared interest: the phenomena of waves. Within the installation, light waves, sound waves, and water waves are manipulated as mediums for scientific display, relaxation, and aesthetic experience. These varied waves are reflected, diffused, refracted and diffracted by tools such as video projectors, projection screens, a video camera, mirrors, waterbeds, and more." - Andrew Norman Wilson.

More information about the project here.

Ecco Diagram for the installation component of Center for Wave Change.

Danh Võ

Danh Võ:

Installation view, staircase 2nd to 3rd floor at Kunsthaus Bregenz, 2012
all images courtesy of DANH VÕ and Kunsthaus Bregenz
The other day I went to DANH VÕ solo exhibition in Bregenz, and for his first major institutional solo event in Austria, the Danish-Vietnamese artist once again refracts the biographical history of the  family’s emigration from Vietnam and an expression of political ideals.
When he was four, his family fled the chaos of the post-war years in a boat. They were hoping to reach the USA, but instead they were picked up in the Pacific by a Danish cargo vessel. In Denmark the family became Danish citizens and have lived here ever since. Nevertheless throughout his life, ’s father has nurtured a dream about the USA, American values, and US consumer goods.
Such objects were to become his material, readymades emblematic of Western middle- class aspirations and standards. His installation in the staircase of the Kunsthaus is particularly relevant: text and pictorial motifs have been applied in genuine gold leaf to opened-out recycling paper bags from the souvenir shop on Ellis Island-former seat of the US Immigration Authority – which together with Liberty Island, location of the Statue of Liberty, today serves as a memorial site for the approximatively 12 million people who migrated to the USA. Just as fairytales and legends of saints once tamed people with the prospect of heaven at the end of a humble, frugal life, so today consumer goods and status symbols often distract attention from the real social and political problems according to the artist.
Running on the three floors of the Kunsthaus, the exhibition includes photographic imagery by JOSEPH CARRIER, craft objects, flyers of past exhibitions and souvenirs which often focuses on the points where personal history, dreams, and desires are embedded in world history in general. A small regret, his last work WE THE PEOPLE (2011), a duplicate (original technique of hammered copper; original size and weight) of the Statue of Liberty, is not present in the exhibition.
➝ Vô Danh is currently on view at Kunsthaus Bregenz, Austria through June 24, 2012. Additionally a two-volume publication accompanies the exhibition as part of the catalog raisonné series published by the Kunsthaus Bregenz.

Neri Oxman

Neri Oxman:

E,X,Y,Z,S,S,T and Fatemaps are two impressive generative sculptures made by Neri Oxman in 2008.

"The physical features of natural tissues express the distribution and magnitude of the forces that have brought them about. These forces embody the complex relations between physical matter in its given environment and denote its multi-dimensional force field. The work explores the notion of material organization as it is informed by structural load and environmental conditions. Natural micro-structural 2-D tissues are visualized, analyzed and reconstructed into 3-D macro-scale prototypes by computing hypothetical physical responses." See more;

"An object-oriented finite element application is used to determine material behavior according to assigned properties and performance such as stress, strain, heat flow, stored energy and deformation due to applied loads and temperature differences. The interaction between the directional morphology of the specimen and the tensor direction produce physical effects that emphasize the tissue's spatial texture in different ways. The resulting model is six dimensional and includes 2-D information (X, Y), out of plane deformation (Y), elastic stress (S), strain (S) and temperature flux (T). The tissue is then reconstructed using a CNC mill and metal/steel and wood composites. Anisotropic in nature, grain directionality and layering are informed by the analysis resulting in laminated structural composites which respond to given ranges of energy and loading conditions. Beyond promoting a new sensibility to material formation, tissue engineering in construction scales may facilitate theemergence of new a new materialism in architecture and design."  

E,X,Y,Z,S,S,T, 2008 

Sculpture,  Museum of Science, Boston 
Photos: Mikey Siegel

Voice Array by Rafael Lozano-Hemmer

Voice Array by Rafael Lozano-Hemmer:

As a participant speaks into an intercom, their voice is automatically translated into flashes of light and then this unique blinking pattern is stored as a loop in the first light of the array. Each new recording pushes all previous recordings one position down and gradually one can hear the cumulative sound of the 288 previous recordings. The voice that was pushed out of the array can then be heard by itself. See more;

Subsculpture 13 intercom, 576 white LED lights, holosonic speaker, custom-made hardware and software display dimensions variable. Commissioned by the Museum of Contemporary Art, Sydney.

Thursday, May 10, 2012



Tornadoes have this unpredictability and destructive force combined with a colossal beauty that appears to move gracefully disregarding everything in its path. They have always fascinated photographer Ryan Hopkinson and watching programs like ‘Storm Chasers’ got him thinking about ways of taking weather elements out of context and bringing them within a controlled environment and ultimately into his own work. He wanted to create these artificial tornadoes for real so Hopkinson collaborated with Lightning + Kinglyface. It was at first a game of trial and error, delicately balancing the right artificial environment with the correct amount of rising smoke. Any slight wind changes in the studio or on the surface would knock the vortex and stop it from forming. In total they managed to create twenty tornadoes, each around 4ft in height all with their own personalities and weight. The delicate nature of their creations was a big juxtaposition in many ways between natures own, but being able to create one and see it up close, regardless of its size and power was mesmerising for Ryan Hopkinson.

All images © Ryan Hopkinson

Reverse of Volume

Reverse of Volume:

Yasuaki Onishi completed an artistic commission at Rice Gallery for their creative space. The suspended fabricated mountainscape is formed from two materials; plastic sheeting and black colored hot-glue. Onishi shaped the floating sculpture within the gallery space by first draping the expansive plastic piece over stacked cardboard boxes, then removing the piled components following the white sheet having been attached to the ceiling by the quick-drying adhesive. This creative process or method is known to Yasuaki Onishi as ‘casting the invisible’ and aids in his artistic meditation on the reality of negative space.

All images © Nash Baker | Via: My Modern Met

Monday, May 7, 2012

Rebecca Ward

Rebecca Ward:

Rebecca Ward
Work from her oeuvre.
“Ward’s site-specific works are intricate and thoughtfully planned geometric installations applied to an interior in a way that comments on the site’s architecture. Ward’s signature medium is tape — be it electrical tape, duct tape or masking tape. Through this medium she explores the unique structures of the sites in which her installations are situated. Ward’s installation embraces all aspects of the gallery space, utilizing the intimate nooks between columns and walls that might otherwise go unnoticed. She has taken the most basic art element, the humble line, and lifted it into three dimensions. She allows a framework of lines to move intently through the gallery, making sharp angles to continue purposely along their path. The gallery columns are now clothed with bright red and yellow stripes, transforming both line and space.
The walls and floors of a room act as a multi-dimensional canvas to display the lines of my installation. Similarly, paintings hold the same architectural qualities as walls and floors. The edges of a canvas act as architecture much as a column or support beam does in a room. -–artist Rebecca Ward
Ward created a colorful gallery that is immediately playful with its circuslike stripes and dizzying grids. Further consideration reveals a deliberate plan and underlying structure to the works. The linear compositions are a picture of control and tension. Weight, stickiness and span are all carefully considered. Even slack loops suspended from the ceiling exude tension, their exposed adhesive threatening to bond with anything given the chance. Process oriented, Ward’s fascination with her materials shows through her unapologetic display of their inherent qualities. She lets tape be sticky, canvas be wrinkly.
Careful execution coupled with chaos, the works are still an exercise in chance. A beautiful contradiction to all this tension and stickiness is the works’ impermanence. Ward’s site-specific artworks are designed to be temporary. Working in this manner allows Ward to remain unattached, to let go of a perceived preciousness of artwork.
When you’re trying to make something that lasts forever, is archival, and is marketable, that’s a lot to handle. If that pressure was taken off all artwork, can you imagine what we would make? –artist Rebecca Ward” – CAM