The passage of time affects everybody but rarely do we reflect on what this means. Japanese artist Nobuhiro Nakanishi created a collection of images taken over a period of time on subjects ranging from the natural world to mundane everyday events. These images are printed onto transparent film which are then arranged next to each other on their sides so that viewers can see through them. This creates a poetic effect of events unfolding in front of your eyes, albeit with spaces in between, inviting viewers to fill in the gaps with their imagination. An inspiringly beautiful and contemplative work of art.
A 2.0 museum experience in honor of Wassily Kandinsky and other contemporary artists who find inspiration in the abstract art of Kandinsky.
Olafur Eliasson’s art is driven by his interests in perception, movement, embodied experience, and feelings of self. Eliasson strives to make the concerns of art relevant to society at large. Art, for him, is a crucial means for turning thinking into doing in the world.
Eliasson’s diverse works – in sculpture, painting, photography, film, and installations – have been exhibited widely throughout the world. Not limited to the confines of the museum and gallery, his practice engages the broader public sphere through architectural projects and interventions in civic space.
Saraceno’s multidisciplinary artistic practice takes inspiration from a variety of sources ranging from architecture and space exploration to science fiction and geometries found in the biological sciences. Among these subjects, Saraceno has long included arachnology as a tool for the investigation of alternative constructions, forming the basis for recent exhibitions.
Like Droplets along the Strands of a Spider’s Web. For Saraceno, spider webs spark inquiry into possible modes to redefine relationships between humans and nature, proposing utopian conditions for sustainable societies. Entering into Saraceno’s installation on the ground floor of Tanya Bonakdar Gallery, perception is reoriented in a darkened environment dotted with glowing sculptures articulated in silvery spider silk. Formed of complex interwoven geometries suspended in air, each piece appears as a unique galaxy floating within an expansive, infinite landscape.
Small bubbles (cells) continue to form on the surface of a gently lapsing liquid. They accumulate to form an autonomous structure comprised of foam. Each bubble cannot escape the cycle of birth and destruction, which is not unlike the way our cells operate as they metabolize and circulate.
The re-activation of an industrial warehouse as part of Adelaide’s burgeoning arts scene has resulted in this dynamic installation, a three-dimensional drawing. Leanne Amodeo reports.
Sam Songailo intended to invest his installation with a sense of reflection and calm, and he succeeds. But any suggestion Zen Garden is solely concerned with nature and meditation is inaccurate. There’s an inherent grittiness in Songailo’s line work; it acts as a reminder that this space is actually anything but a Zen garden.
Created by TeamLab in Japan, where people can walk into the water and the movement of the koi is influenced by the presence of people in the water and also other koi. When the fish collide with people they turn into flowers and scatter. The trajectory of the koi is determined by the presence of people and these trajectories trace lines on the surface of the water.
The work is rendered in real time by a computer program, it is neither a pre-recorded animation nor on loop. The interaction between the viewer and the installation causes continuous change in the artwork. Previous visual states can never be replicated, and will never reoccur.
Stephen Knapp has been making work that is transformed by light for over thirty years, producing vibrant light installations he refers to as paintings. These large-scale works utilize minimal tools, harnessing simply light and dichroic glass to throw a multitude of colors against the walls and room.
The installations are not sketched out beforehand or programmed by computer, but rather created during the installation process as Knapp moves intuitively to choreograph his intricate light patterns.
David McLeod is a multi disciplinary Illustrator and Artist. Originally from Australia, he now lives and works in New York City. With a process driven and exploratory approach to his work, he creates textural CGI illustration, bespoke typography and 3D lettering.
David also shows off his experimental work via his @david_mcleod Instagram channel which I highly recommend you follow.
The Pygmalion multimedia performance was created by Sila Sveta for the second round of America's Got Talent TV show and premiered on NBC Channel on July 29, 2016.
Media artist Akinori Goto designed this fun 3d-printed zoetrope that when lit from the side reveals dancing or walking people. The piece was just on view at the Spiral Independent Creators Festival where it won both the Runner-up Grand Prix and the Audience Award. Video above from Tokyo Art Beat. (via Prosthetic Knowledge)
Losing Myself is the Irish entry to the Biennale Architettura 2016. The project is a a puzzling projection that simulates what it’s like to live with dementia and shows the contrast between the architect's intention for a building and its subsequent inhabitation.
"The title of our project, ‘Losing Myself’ is drawn from the principle that architects have a responsibility in our designs to imagine the experiences of others. We have tried to develop a process of drawing through which we can imaginatively inhabit the minds of people with dementia, whose view of the world is not immediately clear to us. The drawing presents the fragmented and overlapping perceptions of people with dementia, rather than a representation of the building as a static architectural object. The installation imagines the ways in which dementia might affect an individual’s ability to synthesise and navigate their environment, based upon our observations and our conversations with experts and people with personal experience of the condition."
"Flex" is an interactive light installation – inspired by Nature and it is an artistic interpretation of flexibility & movement. It portrays innovation, strength, dynamism and the theme – Super Natural.
"Flex" is part of Nike's celebration of Shanghai initiative – Nike X158 flagship store.
The metaphor of the idea comes from a simple floating line and form that reflect a study of deformation, flow and morphing sequences. The lighting system is concealed under the structure and programmed to perform a dynamic and intuitive lighting responds according to the body movements of the viewers within the installation.
SUPER NATURE is a Shanghai based multi-discipline design company who takes on challenges through experimentations in new media and physical computing. Their definition of good design is 'Creating moments of engagement'.
Everything we see is viewed through a series of transparencies, beginning with the lens of the eye. For David Spriggs, transparency, whether optical or metaphorical, is the key to understanding the intricate relationship between vision and power. In his newest exhibition, ‘Transparency Report’, Spriggs uses transparency both as the subject and as the medium for his art.
Pleid is a design studio founded by Juanma Mota, a Madrid based Art and Motion Director. His focus is on creating enhanced visuals to be enjoyed by people, with the aim of reaching stunning results and having fun creating them.
Gregory Thielker uses painting and drawing to investigate the conception of site through observation and memory. His hyper-realistic work connects to specific places and calls into question the way recognition and narrative can often sway understanding and perception. He employs graphic materials, such as oil paint and graphite, which are often married with conceptual methods to bring the artist’s role into relief.
Elise is an artist engaged with the shape and form of objects in space. Her sculptures are a giddying mix of surface, mass and volume, situated precariously on the verge of physical impossibility. Pushing materials to the edge of realism, she interrogates notions of materiality, duration and process in an era of digital artifice.