Wednesday, June 27, 2012

(title unknown)

(title unknown):

“Untitled (flat tambourine logarythm manual, snare drum, hi hat and bottle top, floor tom / bottle top, Mikrofonspinne)”, 2012 by Michael Gumhold. Tripods, wood, canvas, springs, paint, parts of drum kit, cooking pot, lid, crown caps, mirror folie, wood, recordplayer, varnish, book, aluminium, recording studio tripod, screws, cucumber.

Woven Portico

Woven Portico:

London-based artist Nicolas Feldmeyer employs existing architecture to create new spaces through the integration of contrasting materials. His latest work is ‘Untitled (Woven Portico)’, a site-specific installation in which he has woven mesh between the columns of the portico of the central building at the University of College (UCL) in London. The strips of translucent material envelope the massive structure’s porch, enveloping the open space, offering a play of light and shadow from within.

All images © Nick Rochowski | Via: designboom

General Manifold by Spatial Ops

General Manifold by Spatial Ops:

General Manifold, 2012 by Spatial Ops_

"General Manifold is an immersive architectural environment installed in the abandoned Federal Screw Works factory complex in Chelsea, Michigan. This installation was the centerpiece of a collective exhibition organized by the architectural collaborative Spatial Ops and students from their Meta Friche research seminar at Taubman College of Architecture and Urban Planning.

General Manifold reacts to the derelict context of the former industrial site, providing a moment of surprise and punctuation to the event. A mysterious magenta void is carved from the perceived solid of the factory’s central work area, generating a space of geometric complexity, chromatic contrast, and optical distortion. A series of precise cuts in the truncated pyramids produces an effect of perspectival inversion, causing the visitor to question the depth, dimension, and scale of this aberrant environment." - Spatial Ops. See more;

"Inside General Manifold, the visitor encounters a 6-channel soundscape consisting of spatially localized and syncopated industrial sounds layered over readings of seminal ruin texts from the 18th and 19th centuries (John Ruskin, Viollet le Duc, Bernadin de St. Pierre, Denis Diderot)."

Monday, June 25, 2012

Fabrice Le Nezet

Fabrice Le Nezet:

Fabrice Le Nezet
Work from Measure.

“Fabrice Le Nezet made a great sculptural project called Measure, consisting in three different pieces which abstract iron structures are connected with blocks of concrete provoking some tension as Fabrice says; “I worked here on a physical representation of the idea of measure. The objective was to ‘materialize’ tension in a sense, to make the notions of weight, distance and angle palpable.”

“This work lies in the context of my search for purification around raw materials such as concrete and metal. This is why I played with simple shapes which catch light and transcend the volume structure.” – Fabrice Le Nezet.
via Triangulation Blog.

Sunday, June 3, 2012

Katharina Grosse

Katharina Grosse:

Katharina Grosse
Work from “They had Taken Things Along to Eat Togetherat Johann Konig.
Gallery Johann König, Berlin is currently presenting works by Katharina Grosse. Grosse transports painting as such into volume, thus confronting seemingly irreconcilable and incommunicable spatiotemporal modes. Katharina Grosse’s paintings find their way onto a variety of surfaces – onto the walls of exhibition halls, the facades of buildings, and the surfaces of living spaces, but equally onto heaped-up piles of earth, balloons and largescale polystyrene objects, as also onto canvas and paper. In the current exhibition ‘They had Taken Things Along to Eat Together’ she integrates into her painting, alongside the gallery and canvas surfaces, voluminous, laminated polystyrene objects, a sofa and a carpet.” – 


A levitating sound sculpture made of 300 wires – David Letellier’s Caten

A levitating sound sculpture made of 300 wires – David Letellier’s Caten:

Caten (2012) is the latest kinetic sound installation by David Letellier, Berlin-based sound artist, audio-visual performer and CAN regular. Site-specific to Chapelle du vieux St-Sauveur, a 12th century Gothic chapel in Caen (FR), Letellier sculpted a delicate veil of 300 thin wires, filling the historic site with a magical epiphany. Suspended from two ropes, each connected to slowly rotating arms at both ends, the ghostly structure comes alive, performing gentle, organic movements and a sacral real-time composition
Continue reading.... A levitating sound sculpture made of 300 wires – David Letellier’s Caten



Cycloïd-E is a sound/kinetic sculpture created by the brothers Andre and Michel Decosterd in 2009. The sculpture consists in five metallic tubes equipped with sound sources and with measuring instruments capable of making them resonate according to their rotations, creating an hypnotic dance. See more;

"We started experimenting with the pendulum, which is at the basis of mechanical oscillating circuits. Because of its constant period, it represents in a way the harmony in the exchanges between kinetical and potential energies. A pendulum only consists in a mass at the end of an arm. To increase the diversity of the movement and obtain an object with more visual and sound attractiveness, we linked number of pendulums with each other so that they would move in the same plane. In order to cancel the effect of gravity, the end of this chain was fixed to a vertical axis, with the chain moving in a horizontal plane. The arm segments of the arm were slightly staggered to allow them to superimpose each other while rotating so that the chain may cover the complete surface of a circle. Since gravity has no longer an effect on the movement, a central engine gives impulsions, which produce the global movement. As a consequence, we obtain a system that does no longer move in a determined fashion, but in a chaotic, unforeseeable way. Its behaviour is fascinating because of the constant variations of the trajectory of its arm and the constant changes in speed. Slow motions of the arm can transform itself in a rapid rotation of one of the segments. These variations come in part from the random impulsions given by the engine, but mostly from quick transfer of kinetic energy between the different segments of the arm, transfer due to the rigidity of the segments in this aggregate of masses, each carried away by its inertia. In order to conveniently associate the perception of sound and movement of the object, each segment is equipped with a loudspeaker. Each of them emits a sound directly related to its speed and its position, but also in relation to the state of unfolding of the whole structure and finally directly related to the density of the fluctuations. Since this structure has a diameter of about ten meters and important speeds of displacements, additional sound effects are generated, such as resonances, beats, Doppler effects … 

The music - The articulated arm of cycloïd produces music. The quicker its movements, the louder, enriched and brilliant the spectral tone becomes. The music expresses the mood of the machine, for example with an orchestral scream. Each part of the arm is an instrument which produces its own sounds depending on its activity. These tones come from orchestral instruments like the piano, cello, violin, clarinet, and various percussions. The tones are in perpetual evolution. The interpolation of their spectres produces all sorts of hybrid resonances. From these spatial movements an evaluative harmony is born, a kind of topology of tones which integrates the idea of tone trajectory." - Andre and Michel Decosterd

"Structure and measuring device - The technical realisation of the structure is complex. The random dynamic of the structure generates a number of forces with a wide variety of amplitudes and directions, which are very difficult to calculate. Centrifuge forces exerted on the arm during a rapid extension of the system generate shocks followed by oscillations which, given the importance of the mass of the structure, can enter into resonance and compromise the fluidity of the movements. The articulations must have a great rigidity to withheld eventual shocks. The choice of material for the arm was dictated not only by factors of static and dynamic resistance but also by the material’s vibratory characteristics since the segments play a role as sound interface. The structure was constructed using high resistance aluminium and all the joints were welded. The rotation axes are made of steel and are held in roller bearings with conical rollers. The interior of the tubes is partially covered with polyurethane foam for an optimal management of resonances. The interior of the axes is equipped with incremental encoders and gyrating connectors connected to the central computer. A hydraulic pump with radial pistons operates the sculpture."

Humming, Fast and Slow by Rainer Kohlberger

Humming, Fast and Slow by Rainer Kohlberger:

I would like to see some video where I could appreciate how these great digital surfaces move. I like the variety of textures and forms Rainer Kohlberger has created for one of his latest works called Humming, Fast and Slow. It consists in a panoramic projection presenting some glitchy compositions, monochromatic moire effects, colored blurs.. Humming, Fast and Slow was exhibited at sound:frame 2012. Festival which describes; "Rainer Kohlberger’s projection shows algorithmically generated abstract imagery, which challenges the viewer’s gaze, to thereby provide a high level of immersion. Due to blurring and wavering surfaces, the artist makes it impossible to focus the eye on one motif. One’s own perceptual field is irritated. The projected areas and patterns evolve in constant modulation. Humming, Fast and Slow is subtle in its details and at the same time energetic and puristic in its spatial experience. Rainer Kohlberger presents a fusion of abstraction and the digital, creating individual visual aesthetics. The constant drift of forms is associated with the nuanced movements in his sound – an interlude between the audio and the digital-graphics emerges." See more;

Ryoji Ikeda

Ryoji Ikeda:

Ryoji Ikeda
Work from his exhibition at the Hamburger Bahnhof
“Japanese composer and visual artist Ryoji Ikeda has conceived an exhibition for the Hamburger Bahnhof that, for the first time, compositionally unites the two symmetrical halls on the upper level of the museum’s east and west wings. The exhibition’s title db (short for decibel) refers to this symmetry while simultaneously indicating the complementary relationship between the two exhibition spaces. Ikeda has designed the white room and the black room as counterparts, not only physically (brightness, color), but also conceptually and perceptually. The project is a composition in which time and space are shaped through minimal use of sound, light and visual elements. The exhibition db is the artist’s first solo exhibition in Germany.” - Hamburger Bahnhof