DOCSLIB.ORG

Audemars Piguet to Unveil Concluding Lounge Design by Sebastian Errazuriz and New Artworks by Quayola at Art Basel in Hong Kong 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Audemars Piguet to Unveil Concluding Lounge Design by Sebastian Errazuriz and New Artworks by Quayola at Art Basel in Hong Kong 2018 AUDEMARS PIGUET TO UNVEIL CONCLUDING LOUNGE DESIGN BY SEBASTIAN ERRAZURIZ AND NEW ARTWORKS BY QUAYOLA AT ART BASEL IN HONG KONG 2018 L: Sebastian Errazuriz, Foundations. Courtesy of Sebastian Errazuriz Studio and Audemars Piguet. R: Quayola, detail of Remains #C_021. Courtesy of the Artist and Audemars Piguet. Le Brassus, March 3rd 2018: Audemars Piguet is pleased to unveil the concluding design in a trilogy of lounge concepts by Chilean-born, New York-based artist and designer Sebastian Errazuriz, alongside new artworks by London-based, Italian visual artist Quayola, at Art Basel in Hong Kong. Errazuriz’s striking design will travel to all three Art Basel shows in 2018, a venue where Audemars Piguet has presented innovative concepts in the Collectors Lounge since 2013. Titled Foundations, Errazuriz’s immersive design for 2018 is based on iron ore, the natural resource at the heart of steel and one of the principal resources for watchmakers. The dynamic installation suspends hundreds of 3D-printed, scanned, and hand-moulded rocks moving in perfect synchrony and evoking the Vallée de Joux, home of Audemars Piguet in the Swiss Jura Mountains. This design evolves from the previous lounge concepts which were inspired by two other core natural materials native to the Vallée de Joux — ice (Ice Cycle, 2016) and wood (Second Nature, 2017). Similarly, Quayola’s new photographic series, titled Remains: Vallée de Joux, unifies the natural roots of Audemars Piguet with his own visual artistry. The work transports viewers to the landscape of the Vallée where Quayola’s visual images were crafted. Throughout 2018, Quayola’s artwork on the lounge will evolve, concluding in December at Art Basel in Miami Beach with the reveal of a new moving-image artwork: Promenade, a video diptych captured through drone technology and high-precision scanning. Quayola’s works use recent hi-tech innovations to help viewers see the natural world in alternative ways, while his techniques reflect the careful craftsmanship and precision of watchmaking. Audemars Piguet’s engagement with Errazuriz and Quayola illustrates the watchmaker’s commitment to nurturing long-term relationships with artists, as well as the Manufacture’s enduring dedication to supporting craft and creative innovation. Audemars Piguet is pleased to work once again with Sebastian Errazuriz who has been creating lounge concepts for Audemars Piguet since 2016, and with Quayola, who first collaborated with the Manufacture in 2012 for the exhibition commemorating the 40th Anniversary of the iconic Royal Oak watch. Artist and designer Sebastian Errazuriz said: “I have loved being able to create and collaborate on a three- part design with Audemars Piguet. The material elements at the core of the project— ice, water, and this year, iron ore— are all integral to their roots. Foundations has a multiplicity of meanings. The foundation is where everything begins, where the new time starts, and where energy and movement come alive. It’s also a reference to the founders of the Manufacture and the family legacy that is so beautifully kept alive today.” Visual artist Quayola said: “Remains: Vallée de Joux and Promenade represent the latest iteration of my ongoing focus on nature and the tradition of landscape painting. I’m interested in the differences between human perception and machine vision and I explore new aesthetics that go beyond our senses and the historic tradition of landscape painting. The result is a series of ultra-high definition digital images that give pause for us to rethink depictions of the landscape today, with admiration for the Vallée de Joux.” Olivier Audemars, Vice President of the Board of Directors, said: “It gives us great pleasure and pride to present works by Sebastian and Quayola once again, marking a continuity in Audemars Piguet’s relationship with two innovative artists whose concepts directly parallel the artisanal quality and craftsmanship at the heart of our heritage. Our partnership is a natural fit, given both artists’ many similarities with the tradition of watchmaking: creative innovation, technical mastery, skilful precision, and a dedication to creating beauty in their work.” Visuals & press release available under: https://audemarspiguet.picturepark.com/Go/5V3sZPWL Join the #APxArt #AudemarsPiguet & #ArtBasel discussions @AudemarsPiguet. Follow us on: Facebook: http://www.facebook.com/audemarspiguet Google+: http://plus.google.com/+audemarspiguet Instagram: http://www.instagram.com/audemarspiguet http://www.instagram.com/AudemarsPiguetSavoirFaire LinkedIn: http://www.linkedin.com/company/audemars-piguet Twitter: http://www.twitter.com/AudemarsPiguet Weibo: http://e.weibo.com/audemarspiguetchina Youku: http://i.youku.com/aptvofficial YouTube: http://www.youtube.com/c/audemarspiguet Notes to Editors Audemars Piguet Audemars Piguet is the oldest fine watchmaking manufacturer still in the hands of its founding families (Audemars and Piguet). Since 1875, the company has written some of the finest chapters in the history of Haute Horlogerie, including a number of world firsts. In the Vallée de Joux, at the heart of the Swiss Jura, numerous masterpieces are created in limited series embodying a remarkable degree of horological perfection, including daring sporty models, classic and traditional timepieces, splendid ladies’ jewellery-watches, as well as one-of-a-kind creations. www.audemarspiguet.com Audemars Piguet and Art Audemars Piguet has always sought to integrate creative vision with superb artistry and technical mastery. Pursuing its commitment to ingenuity, innovation, and a spirit of independence, in 2013, Audemars Piguet formed a partnership with Art Basel, supporting the world’s premier contemporary art shows in Hong Kong, Basel and Miami Beach. Since, Audemars Piguet has presented innovative concepts at all three Art Basel shows, inviting artists to creatively interpret Audemars Piguet’s heritage and origins. At the crux of this involvement is the Audemars Piguet Art Commission. The Commission, first announced in May 2014, draws inspiration from the craftsmanship and technical excellence inherent to Audemars Piguet’s legacy of watchmaking. Every year, an artist-curator duo is selected to realise a new artwork which explores complexity and precision, while enlisting contemporary creative practice, complex mechanics, technology, and science. By inviting artists to push the limits of technical virtuosity and scientific ingenuity, the Audemars Piguet Art Commission forges a link between the traditions of Haute Horlogerie and art. Recipients are given carte blanche to realize each artistic commission. Audemars Piguet provides full financial support for each commission and access to specialised expertise required to realise the artwork. The first Commission, unveiled to coincide with Art Basel in Basel 2015, was created by Swiss artist and composer Robin Meier, and curated by Marc-Olivier Wahler. Synchronicity explored the underlying mathematical rules of self- organization among seemingly unrelated components: fireflies, computers, crickets, sounds and electromagnetic pendulums. In 2016, Audemars Piguet announced Sun Xun as the second artist for the Audemars Piguet Art Commission. Considered one of China’s rising young talents, Sun Xun unveiled a large-scale immersive bamboo installation and 3D film titled Reconstruction of the Universe, comprised of tens of thousands of hand-carved woodblocks, on the oceanfront at Art Basel in Miami Beach 2016. The following year, Los Angeles-based, multidisciplinary artist Lars Jan was selected for the third Audemars Piguet Art Commission. His large-scale Slow- Moving Luminaries installation, curated by Kathleen Forde, was also realised on the oceanfront at Art Basel in Miami Beach 2017 and explored topics of oscillations, including time, memory and the climate. Audemars Piguet will be announcing the fourth Art Commission during Art Basel in Hong Kong 2018. Parallel to the Commission, Audemars Piguet supports annual projects whereby artists create works that offer their own, highly personal interpretation of the company’s cultural and geographical origins. Of a smaller scale when compared to the Commission, these projects testify to the deep and fertile dialogue between two areas of creative endeavor—contemporary artists and watch makers. These projects are emblematic of the company’s most deeply held values. In 2013, Audemars Piguet commissioned the first of these projects: new photographic works by British photographer Dan Holdsworth. It also worked with Galerie Perrotin on Curiosity, a pop- up installation by French art duo Kolkoz for Art Basel in Miami Beach 2013. At Art Basel’s 2014 show in Hong Kong, Audemars Piguet unveiled a new panoramic film specially created by Austrian videographer Kurt Hentschläger. For Art Basel’s 2014 show in Miami Beach, Audemars Piguet helped to create an international sensation by partnering with the Peabody Essex Museum to co-present Theo Jansen’s Strandbeest, animal-like kinetic sculptures which harnessed wind power to walk along the seashore in Miami Beach. In 2015, Audemars Piguet presented an eco-wall of living mosses combined with a sound installation named Wild Constellations by Geneva based artist Alexandre Joly. In 2016, the brand presented its new exhibition at the Yuz Museum in Shanghai, which displayed original video-works by Chinese artist Cheng Ran. Starting in 2016, Sebastian Errazuriz’s dynamic lounge designs have complemented Audemars Piguet’s presentation in the lounge
Load more

Recommended publications
  • DIGITAL ART and FEMINISM: a SURREAL RELATIONSHIP Anne Swartz
    DIGITAL ART AND FEMINISM: A SURREAL RELATIONSHIP Anne Swartz 10 DIGITAL ART AND FEMINISM: A SURREAL RELATIONSHIP Anne Swartz Many of the images in this exhibition reveal similar interests, themes, and aesthetics to those seen in feminist Art.1 The artists— (PLOLD)RUVWUHXWHU-HQQLIHU+DOO&ODXGLD+DUW<DHO.DQDUHN-HDQHWWH/RXLH5DQX0XNKHUMHH0DU\%DWHV1HXEDXHU0DULH Sivak, Camille Utterback, Adrianne Wortzel, and Janet Zweig—rely on technology as a tool to explore geopolitics, geological phenomenon, obsolete media, data streams and sets, illusion, shifting identities, phantasmagorias, eroticism, bodies, landscapes, geography, and memory. They are not afraid to confront assumptions or propaganda, even challenging conventions and traditions. They show us diverse, alternate domains and generate narratives of augmented worlds. Common to their artworks is the surreal, employed innovatively and underscored by the radical politics of feminism to change society in order to advance it. It is a kind of new romanticism where the real is meshed with fantasy so that the boundaries between the two dissolve. These artists have created pieces that require the viewer’s time; scanning and experiencing the entirety of their respective works over time transports one to their wild and imagined realms. It is easy to lose one’s bearings with these works because they rely upon mysterious disorientation to the viewer’s prosaic and commonplace experiences. It is a situation that is wholly based on the personal, which has been one of the cornerstone themes of feminist art. Digital art has an inherent feminist issues to it. Artist Mary Bates Neubauer termed the “new macho challenge for this generation RIZRPHQ>LV@GLJLWDOWHFKQRORJ\>EHFDXVH@WKH¿HOGLVVWLOOGRPLQDWHGE\PHQ´2 Utilizing technology to make art is, interestingly enough, one of the aspects of the programming world’s fascination with digital art.3 For the artists in this exhibition, digital technologies are ways to express content that is gender related.
    [Show full text]
  • BEAP Stillness 2007.Pdf
    THE 3RD BIENNALE OF ELECTRONIC ARTS PERTH PERTH, WESTERN AUSTralia 10 – 23 SEPTEMBER 2007 For the 3rd Biennale of Electronic Arts Perth, works by over sixty artists are presented across three ‘showcase’ and four ‘satellite’ exhibitions. This catalogue is a record of the exhibitions and the participating artists. 4 THEMATIC ESSAY Humans have a right to stillness: Stillness as being Stillness as inertia Stillness as simplicity Stillness Stillness as smallness CONTEMPLATION AND PATTERN RECOGNITION Dr Paul Thomas Founder and former Director of Stillness as culture The Biennale of Electronic Arts Perth Stillness as contemplation Stillness as deception Stillness as perception The theme for BEAP 2007 has been chosen and contextualised around receives and transmits. Paul Virilio, in discussing the contemporary nature of concepts of Stillness. The irony of a festival of electronic arts being modern traffic, states that ‘we oppose from the beginning the caricature of themed Stillness initially jars our preconceptions and clichés regarding global society being hatched for us by big multinational corporations throwing the technological possibilities of the future. With the development of themselves at a breakneck pace on the information superhighways.’ (Virilio 1995) emergent and convergent technologies, we are heading towards a Today the artists’ antennae face the maelstrom of contemporary data traffic, point in time where the concepts of what constitutes stillness will overloaded with the speed and density of the information superhighway. need to be confronted. The Haussmannism2 of cyberspace is constructing ever-efficient flows of BEAP has drawn together significant works that will be exposed to the ubiquitous data that present a concept of immersion.
    [Show full text]
  • 25 Years of Ars Electronica
    Literature: Winners in the film section – Computer Animation – Visual Effects Literature: Literature : Literature: Literature (2) : Literature: Literature (2) : Blick, Stimme und (k)ein Körper – Der Einsatz 1987: John Lasseter, Mario Canali, Rolf Herken Cyber Society – Mythos und Realität der Maschinen, Medien, Performances – Theater an Future cinema !! / Jeffrey Shaw, Peter Weibel Ed. Gary Hill / Selected Works Soundcultures – Über elektronische und digitale Kunst als Sendung – Von der Telegrafie zum der elektronischen Medien im Theater und in 1988: John Lasseter, Peter Weibel, Mario Canali and Honorary Mentions (right) Informationsgesellschaft / Achim Bühl der Schnittstelle zu digitalen Welten / Kunst und Video / Bettina Gruber, Maria Vedder Intermedialität – Das System Peter Greenaway Musik / Ed. Marcus S. Kleiner, A. Szepanski 25 years of ars electronica Internet / Dieter Daniels VideoKunst / Gerda Lampalzer interaktiven Installationen / Mona Sarkis Tausend Welten – Die Auflösung der Gesellschaft Martina Leeker (Ed.) Yvonne Spielmann Resonanzen – Aspekte der Klangkunst / 1989: Joan Staveley, Amkraut & Girard, Simon Wachsmuth, Zdzislaw Pokutycki, Flavia Alman, Mario Canali, Interferenzen IV (on radio art) Liveness / Philip Auslander im digitalen Zeitalter / Uwe Jean Heuser Perform or else – from discipline to performance Videokunst in Deutschland 1963 – 1982 Arquitecturanimación / F. Massad, A.G. Yeste Ed. Bernd Schulz John Lasseter, Peter Conn, Eihachiro Nakamae, Edward Zajec, Franc Curk, Jasdan Joerges, Xavier Nicolas, TRANSIT #2
    [Show full text]
  • Nycemf 2021 Program Book
    NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ VIRTUAL ONLINE FESTIVAL __ www.nycemf.org CONTENTS DIRECTOR’S WELCOME 3 STEERING COMMITTEE 3 REVIEWING 6 PAPERS 7 WORKSHOPS 9 CONCERTS 10 INSTALLATIONS 51 BIOGRAPHIES 53 DIRECTOR’S NYCEMF 2021 WELCOME STEERING COMMITTEE Welcome to NYCEMF 2021. After a year of having Ioannis Andriotis, composer and audio engineer. virtually all live music in New York City and elsewhere https://www.andriotismusic.com/ completely shut down due to the coronavirus pandemic, we decided that we still wanted to provide an outlet to all Angelo Bello, composer. https://angelobello.net the composers who have continued to write music during this time. That is why we decided to plan another virtual Nathan Bowen, composer, Professor at Moorpark electroacoustic music festival for this year. Last year, College (http://nb23.com/blog/) after having planned a live festival, we had to cancel it and put on everything virtually; this year, we planned to George Brunner, composer, Director of Music go virtual from the start. We hope to be able to resume Technology, Brooklyn College C.U.N.Y. our live concerts in 2022. Daniel Fine, composer, New York City The limitations of a virtual festival meant that we could plan only to do events that could be done through the Travis Garrison, composer, Music Technology faculty at internet. Only stereo music could be played, and only the University of Central Missouri online installations could work. Paper sessions and (http://www.travisgarrison.com) workshops could be done through applications like zoom. We hope to be able to do all of these things in Doug Geers, composer, Professor of Music at Brooklyn person next year, and to resume concerts in full surround College sound.
    [Show full text]
  • Kurt Hentschläger
    Kurt Hentschläger Selected Exhibitions and Performances 2013 Solo CLUSTER installation, The Office, Nicosia, Cyprus ZEE, HIVE, Wood Street Galleries, Pittsburgh, USA MODEL5, POL (as Granular Synthesis), Wood Street Galleries, Pittsburgh, USA Group ZEE, “I look to you and and I see nothing”, Sharjah Art Foundation, Sharjah, United Arab Emirates ZEE, Beam in Thine Own Eye, MONA – Museum of New and Old Art, Hobart, Tasmania ZEE, Nemo Festival, Le Centquatre, Paris, France CLUSTER installation, There is a Body on Screen, Luxun Museum, Shenyang, China SECTOR 2c, Accumulations, SherinNajjar Gallery, Berlin, Germany Performance FEED, Malta Festival, Poznan, Poland FEED, Göteborgs Dans & Teater Festival, Goethenburg, Sweden Online SECTOR 2c, Accumulations, www.blinkvideo.de CLUSTER & NATURE04, Ikono On Air Festival, www./ikono.org 2012 Solo CORE, Ironbridge Gorge Museum (Commission, Cultural Program of the UK Olympic Games & London 2012 Festival) MATTER, Site-specific commission, SATosphère Dome, Société des Arts Technologiques (SAT) Montreal Canada Performance CLUSTER, Experimental Media and Performing Arts Center (EMPAC), commissioned residency Rensselaer Polytechnic Institute (RPI) Troy, NY, USA 2011 Group CLUSTER, Simulationists, School of the Art Institute, Chicago, IL, USA ZEE, Matter-Light, Béthune, France ZEE, And, Foundation for Art and Creative Technology (Fact), Liverpool, England HIVE, Madde-Isik, Borusan Muzik Evi, Istanbul,Turkey VIEW, Public Art Installation Tom Bradley International Terminal, Los Angeles Airport, Los Angeles,
    [Show full text]
  • Kurt Hentschläger CV Born Linz, Austria. Currently Lives and Works in Chicago. 1980-1982: Studies Architecture at the Universit
    Kurt Hentschläger CV Born Linz, Austria. Currently lives and works in Chicago. 1980-1982: Studies Architecture at the University of Vienna 1982-1985: Studies Visual Media Design at the University of Applied Arts, Vienna 1984-1989: Machines sculptures, Experimental Film & Video, 2D computer animation 1989-1992: Cofounder of “Pyramedia”, Viennese Art Collective. Experimental Media. 1993-2003: “Granular-Synthesis” - Performances and Installations, collaboration with Ulf Langheinrich 2003- Immersive Installations-, Performances & Public Projects Selected presentations Solo shows - Kurt Hentschläger 2009 SCAPE, PA Academy of Fine Arts Museum, Philadelphia ZEE, FuturePerfect, New York 2008 ZEE / RANGE, Wood Street Galleries, Pittsburgh Solo shows - Kurt Hentschläger as part of the collaborative duo “Granular-Synthesis” 2009 "GRANULAR-SYNTHESIS Retrospective", STRP & MU-Gallery, Eindhoven 2004 FORM & MODELL 5, ACMI (Australian Center for the Moving Image), Melbourne 2003 LUX, Lia Rumma Gallery, Milano 2000 FELD, Wood Street Galleries, Pittsburgh NOISEGATE, National Museum for Photo Film and TV, Bradford NOISEGATE, Creative Time Inc / In the Anchorage, New York 1999 NOISEGATE, Kunstverein, Hannover NOISEGATE, Musée d'Art Contemporain, Montreal 1998 NOISEGATE, MAK, Wien NOISEGATE, Marstall, Munich NOISEGATE, Transpennine, Hull NOISEGATE, Stedelijk Museum / De Ijsbreker, Amsterdam 1995 MODELL 5.2, MAK - Museum of Applied Arts, Vienna Group shows - Kurt Hentschläger 2011 ZEE, “And” Fact, Liverpool HIVE, “Madde-Isik”, Borusan, Istanbul ZEE, “Matter-Light”,
    [Show full text]
  • Rapport Annuel 2012-2013
    société des arts technologiques rapport annuel 2012-2013 Rapport d’activités pour la période du 1er avril 2012 au 31 mars 2013 Assemblée générale 24 septembre, 2013 table des matières historique et vision 3 MISSION 5 création 6 recherche 15 formation 20 diffusion 25 communication 40 Administration 45 perspectives 2013-2014 48 Annexe 1 — visiteurs 2012-2013 50 historique et vision Depuis sa fondation, en 1996, la Le succès de telles entreprises est Bourgeoys et la Commission Scolaire Société des arts technologiques [SAT] celui d’un réseau transsectoriel De Montréal (CSDM). contribue au développement d’une qui s’élargit et s’interconnecte, culture numérique par la diffusion notamment par les initiatives de Dès 2003, la SAT investit la place des œuvres en art numérique et par la SAT. Ainsi, grâce aux résultats de la Paix, qui jouxte ses locaux, la réflexion sur des enjeux que pose du programme de recherches en initiant une programmation l’appropriation des technologies PropulseART et le lancement de la estivale ouverte à des collaborations par la société. À cet effet, la SAT est suite logicielle en « open source », nouvelles auprès des organismes et reconnue internationalement pour dévoilés lors d’une conférence tenue festivals d’ici. son apport au développement de en divers points du Québec en mai Située au centre-ville de Montréal, la discipline et ce, depuis l’édition 2009, la SAT a pu présenter, dans face au Monument-National sur montréalaise du Symposium le cadre de l’Olympiade culturelle le boulevard Saint-Laurent, la SAT international des arts électroniques 2010 des Jeux Olympiques de est installée au cœur du Quartier (ISEA95), dirigée par les fondateurs Vancouver, Jamming the Network, une des spectacles, un quadrilatère de la SAT.
    [Show full text]
  • Bio – Kurt Hentschläger
    Bio – Kurt Hentschläger New York based Austrian artist Kurt Hentschläger creates immersive, audiovisual installations and performances. Between 1992 and 2003 he worked collaboratively within the artist duo "Granular-Synthesis". Hentschläger’s works have characteristically been visceral and immersive, as in ZEE and FEED, with extreme perceptual effects, composed from light, sound and fog. These works physiologically affect the viewer's experience. His real-time generated CLUSTER series builds on the uncanny, by portraying 3D representations of humanoid creatures that can only exist in dynamic flux, seeming to swirl and flow like the wind, apparently unhinged from the screen. His most recent body of cinematic work including MEASURE and ORT is tracing the concept- and appropriation of nature in the Anthropocene. Most recently, in 2017, he premiered SOL, an immersive audiovisual installation in total darkness at Halle Berghain, Berlin and ORT, a public project, a 360 projection onto Oscar Niemeyer’s "Le Volcan" building in the center of Le Havre, France. Selected presentations include the Venice Biennial, the Venice Theater Biennial, Stedelijk Museum Amsterdam, PS1 New York, FuturePerfekt New York, MAC - Musée d'Art Contemporain Montreal, MAK – Museum of Applied Arts Vienna, National Art, ZKM – Center for Art and Media, Karlsruhe, Museum of China Beijing, National Museum for Contemporary Art Seoul, ICC Tokyo, Arte Alameda Mexico City, MONA – Museum of Old and New Art, Hobart, Tasmania, Sharjah Art, UAE and the Power Station of Art, Shanghai. From 2013-2018 he taught as a full time Visiting Artist at the School of the Art Institute of Chicago. .
    [Show full text]
  • Kurt Hentschläger
    KURT HENTSCHLÄGER Sélection de présentations depuis 2003 2021 SUB iMAL - Art Center for Digital Cultures & Technology, Bruxelles 2020 EXIT OASIS UNEASE Sensory Orders (commissaires : Chris Salter et Erik Adigard), Laznia Art Center for Contemporary Art, Gdansk MEASURE The Tree of Life (commissaire : Claudia Hart), Bitforms Gallery, New York (US) – en ligne ORT Web Biennial 2020 – Apeiron (commissaire : Ipek Yeginsü) – en ligne SOL Espai 88, Llum Barcelona 2020 2019 EKO EMPAC, RPI Troy SUB Mana Contemporary, Jersey City FEED.X Elektra Festival international d'art numérique, Usine C, Montréal FEED.X Eurokontext Festival, Slovak National Theatre, Bratislava SOL internationales.figuren.theater.festival, Burgbergkeller, Erlangen 2018 ZEE Oval Office (commissaire : Tobias Staab), Schauspielhaus Bochum SOL Musikprotokoll ORF, Steirischer Herbst, Dom im Berg, Graz MEASURE Der süsse Brei (co-commissaire : Isabelle Meiffert), E.I.C.H.E., Hermann Scheer Centre, Eberswalde FEED.X Halle G im MuseumsQuartier, Wiener Festwochen 2017 SOL OK im OÖ Kulturquartier, Linz (jusqu'en avril 2018) ORT Création audiovisuelle sur toute la façade du Volcan d'Oscar Niemeyer Commande du Volcan – Scène nationale, Le Havre FEED 2 MELT! Festival, Gräfenhainichen ZEE Body Media II (commissaires : Gong Yan, Richard Castelli), Power Station of Art, Shanghai MEASURE Overture - New Acquisitions from the Borusan Contemporary Art Collection, Istanbul SOL Halle am Berghain, CTM Festival, Berlin 2016 CLUSTER Real-Fake (commissaires : Rachel Clarke, Claudia Hart, and Pat Reynolds),
    [Show full text]
  • +Download Bibliography
    KURT HENTSCHLÄGER BIBLIOGRAPHY BOOKS (Selected) Castelli, Richard: Matière-Lumière Matter-light, Regional Capital of Culture, Béthune: Epidemic, 2011, (34-41); ISBN 978-2-9538822-0-9 Dieter Daniels and Sandra Naumann; with Jan Thoben, eds.: See This Sound: Audiovisuology Essays 2: Histories and Theories of Audiovisual Media and Art. Verlag der Buchhandlung Walther König, Köln 2011; ISBN 978-3-86560-687-7 Moulon, Dominique: Art Contemporain Nouveaux Médias. Nouvelles éditions Scala, Paris 2011 Schmidt, Gunnar: Weiche Displays: Projektionen auf Rauch, Wolken und Nebel. Verlag Klaus Wagenbach, Berlin 2011 (121-126); ISBN 978-3-8031-5180-3 Reas, Casey, McWilliams, Chandler: Form+Code in Design, Art, and Architecture, Princeton Architectural Press, New York 2010 (49-50); ISBN 1568989377, ISBN 978-1-56898-937-2 (G.S.) Salter, Chris. Entangled: Technology and the Transformation of Performance, Mass.: MIT Press, Cambridge 2010, (165-166, 174-175); ISBN 978-0-262-19588-1 (G.S.) Spielmann, Yvonne: Hybridkultur, Suhrkamp, Berlin 2010 (154-158, 162, 168, 187) 2010; ISBN 978-3-518-29572-4 (G.S.) Cosima Rainer; Manuela Ammer; Lentos Kunstmuseum Linz et al: See This Sound: Versprechungen Von Bild Und Ton / Promises in Sound and Vision: Verlag der Buchhandlung Walther König, Köln; New York, NY 2010; distribution outside of Europe, Distributed Art Publishers (164); ISBN 978-3-86560-683-9 (G.S.) Shanken, Edward A.: Art and Electronic Media (Themes & Movements), Phaidon, London 2010 (281); ISBN 978-0-7148-4782-5 (G.S.) Elavia, Firoza, ed.: Cinematic Folds: The Furling And Unfurling Of Images. Pleasure Dome, Toronto 2009 (121-123, 133-137); ISBN 978-0-9682115-4-0 (G.S.) Stocker, Gerfried/Schöpf, Christine, ed.s with Stubbs, Mike: INFOWAR, GRANULAR SYNTHESIS, Vienna 1998 (252-257) (G.S.) Richard, Birgit: Motion Control - Ein elektronischer Bildersturm?, in: Bolz, Norbert (ed.), Riskante Bilder, Munich 1996 (117-128) (G.S.) Seeber, Ursula: Interview with Hentschläger/Langheinrich, in: Medien.
    [Show full text]
  • Ballet Preljocaj & Granular Synthesis
    GRANULAR!SYNTHESIS are audiovisual media artists, that strive to fuse video and sound into one medium where video is sound and vice versa. As an important part of this undertaking they develop real time video software and customized computer configurations, enabling them play video as a musical instrument. With their often symphonic performances and space within space installations GRANULAR!SYNTHESIS create electronic emotion machines, that surround, immerse their audience, overwhelm the human sensory apparatus by massive use of subsonic and penetrating light frequencies, what literally touch the visitors. Kurt Hentschläger (1960) lives in Chicago and New York (USA). Ulf Langheinrich (1960) lives in Dresden (Germany) They have been working together as GRANULAR!SYNTHESIS since 1991. 1991 - 1998 In the chain of a basic audio/video recording, any single frame (containing the sonic information as well as its visual representation) is a media grain available for unlimited copying into new patterns, with the aim of composing artificial assemblies and media structures. If the content of a grain is a sample/scan of real moment it would be prominent and made aware to the viewer in its re-manipulation and displacement. It is this time-based intervention which creates the drama. Time becomes a territory. defined by duration and designed through structures, using cloned fragments within, and so forming a grid, a web, a tissue. The ability to control and manipulate time allows the elements to lose their history and with repeated fragmentation and repetition become mechanical, reasonless and meaningless. Although the public's reception and perception of the work focus on the mirror of the projection and dwell in the drama of the newly stringed images, our other concern is the potential of the machine: Its fundamental capacity to create unlimited variations and to generate structures which seem independent of causal orders.
    [Show full text]
  • Habil Fertig
    Konzeptionelle Kunstentwicklung – Strategien, Entwürfe und Realisierung Vorwort Die vorliegende Schrift versucht meine Konzeptions- und Realisierungsarbeit bei unterschiedlichen Kunstinitiativen in den letzten zwanzig Jahren in Oberösterreich darzustellen und sie innerhalb des internationalen Kunstdiskurses zu verorten. Zentrale Abschnitte sind drei Kunsteinrichtungen gewidmet, an deren Entstehen und Entwicklung ich in entscheidender Position über lange Jahre beteiligt war: Kulturvereinigung/KünstlerInnengruppe Stadtwerkstatt O.K-Centrum für Gegenwartskunst Festival der Regionen Planungen von anderen Initiativen, wie Architekturforum Oberösterreich, ars electronica oder Europäischer Kulturmonat Linz 1998, bei denen ich temporär konzeptionell mitgearbeitet habe, werden an passender Stelle eingeflochten. Alle von mir beschriebenen Projekte wurden selbstverständlich in Kooperation und Diskurs mit KollegInnen konzipiert und aufgebaut. Am schwierigsten ist ein personelles Festmachen von Leistungen und Aufgaben bei der Stadtwerkstatt, da bei dieser eine kollektive Vorgangsweise in allen Bereichen stets Programm war. Doch auch beim OK und dem Festival der Regionen ist eine eindeutige Zuordnung zum Teil schwer möglich. Deshalb bitte ich im vorhinein alle KollegInnen um Nachsicht, wenn sie an bestimmten Stellen nicht in der ihnen zukommenden Weise genannt werden. Abschliessend möchte ich Gerhard Dirmoser, Herbert Lachmayer, Gertrude Plöchl, Georg Ritter, Christa Schneebauer und Martin Sturm für inhaltliche Diskussionen in den letzten Jahrzehnten
    [Show full text]