Category: arte digitale


STILL – Studies on Moving Images

Fondazione In Between Art Film is pleased to launch the first chapter of STILL – Studies on Moving Images, a research platform for specially commissioned texts investigating the field of artists’ moving images.

Through essays and conversations, the project explores works belonging to the Foundation’s collection and the practice of those artists whose works have been commissioned or supported.

The first manifestation of STILL – Studies on Moving Images is an online collection of texts that are released four times a year. Each release consists of four studies:

–”Double Exposure” features a conversation between an artist and an art writer
–”Cross-cutting” offers a ground-breaking theoretical essay
–”Close-Up” is an in-depth analysis of a selected work of art
–”First Look” examines a work that has been recently acquired by the Foundation.

At the end of each year, the four chapters will be collected in a book published by Mousse Publishing.

Thanks to the collaboration with international artists, writers, curators, and researchers, this project is conceived as an integral part of the mission of the Foundation in promoting the culture associated with moving images, with the desire to contribute to the literature and knowledge surrounding the work of artists whose vision enriches and inspires our work.

The 2021 edition of STILL – Studies on Moving Images will see contributions by:

Lucia Aspesi, Assistant Curator, Pirelli HangarBicocca, Milan
Erika Balsom, Reader in Film Studies, King’s College, London
Ferran Barenblit, Director, MACBA: Museu d’Art Contemporani de Barcelona
Richard Birkett, independent curator and writer
Zoe Butt, Artistic Director, the Factory Contemporary Arts Centre, Ho Chi Minh City
Barbara Casavecchia, writer and contributing editor, frieze; curator, The Current III, TBA21 Academy
Teresa Castro, Associate Professor in film studies, Université Sorbonne Nouvelle, Paris
Flavia Frigeri, Art historian and Chanel Curator for the Collection, National Portrait Gallery, London
Karen Irvine, Chief Curator and Deputy Director, Museum of Contemporary Photography at Columbia College, Chicago
Nora N. Khan, writer, professor at RISD in Digital + Media; editor and curator
Mason Leaver-Yap, Associate Curator, KW Institute for Contemporary Art, Berlin
Hammad Nasar, Senior Research Fellow, Paul Mellon Centre for Studies in British Art; co-curator, British Art Show 9 at the Southbank Centre
Bonaventure Soh Bejeng Ndikung, Founder and Artistic Director, SAVVY Contemporary, Berlin
Pavel Pyś, Curator of Visual Arts, Walker Art Center, Minneapolis
Valentine Umansky, Curator of International Art, Tate Modern, London
Yang Beichen, curator and scholar

With artists Yuri Ancarani, Hiwa K, Cyrill Lachauer, Clare Langan, Cristina Lucas,Diego Marcon, Shirin Neshat, Thao Nguyen Phan, Adrian Paci, Hetain Patel, Hito Steyerl, and Wang Tuo.

The first chapter of STILL features a conversation between artist and filmmaker Shirin Neshat and Valentine Umansky, an essay by Pavel Pyś that explores visual technologies and representation, an in-depth analysis of Cristina Lucas’ three-channel installation Unending Lightning (2015-ongoing) by Ferran Barenblit, and a text by Yang Beichen examining Wang Tuo’s video The Interrogation (2017).

Developed by the team of Fondazione In Between Art Film, STILL is conceived by Alessandro Rabottini, Artistic Director and edited with Bianca Stoppani, Editor, together with Leonardo Bigazzi and Paola Ugolini, Curators.

Coordination: Alessia Carlino, Project Manager

Design: Mousse Agency

Fondazione In Between Art Film
Fondazione In Between Art Film fosters dialogue between the different artistic languages of our time, mapping new borderlands between video, cinema, and performance.

Created at the initiative of its president Beatrice Bulgari, the foundation supports the work of artists and institutions that explore the field of the moving image through exhibitions, new productions, and international partnerships.

The Foundation carries on the work of the production company In Between Art Film, founded in 2012, which forged partnerships with major projects and institutions such as the 55th International Art Exhibition of La Biennale di Venezia, MAXXI in Rome, Tate Modern in London, Documenta 14, Manifesta 12, miart in Milan, Centre d’Art Contemporain in Geneva, Lo schermo dell’arte in Florence, Dhaka Art Summit, and Loop Barcelona.

STILL – Studies on Moving Images

Cover Image: Wang Tuo, The Interrogation, 2017. Single-channel HD video, 18:35 minutes. Courtesy of the artist and Fondazione In Between Art Film Collection




Yayoi Kusama Museum is delighted to announce its first major group exhibition, ZERO IS INFINITY, ZERO and Yayoi Kusama, featuring Kusama’s activity in Europe during the 1960s, introducing ZERO’s art practices and also exploring their relationship with Kusama.

“ZERO” indicated in a narrow sense the name of the group formed by Mack and Piene in 1958 in Düsseldorf, Germany, with Günther Uecker later joining in 1961. However, by publishing the magazine ZERO and holding many exhibitions, ZERO’s activity began to involve many active artists, groups and movements from various places in Europe: Yves Klein from France, Piero Manzoni and Enrico Castellani from Italy, and Henk Peeters and Jan Schoonhoven, founding members of Dutch avant-garde group Nul from the Netherlands. Like the resetting of the European continent separated under World War II, ZERO has been a powerful motivation for transnational collaboration between avant-garde artists.

At the time, Yayoi Kusama was based in New York and participated in many exhibitions along with other leading artists of Pop art and Minimalism. While she received high acclaim from the New York art world, she regularly presented her art across Europe, in particular at exhibitions led by ZERO, attracting attention in the European art scene in the 1960s. Kusama’s first invitation to the European exhibitions was for Monochrome Painting (Monochrome Malerei), curated by Udo Kultermann, and held at Morsbroich Museum, Leverkusen in 1960. After participating in this international exhibition, Kusama started correspondence with ZERO artists such as Peeters. Kusama’s pursuit of “Infinity” through her art finds various similarities with artistic expressions in the works of ZERO artists: in their experiments with new materials such as mirror, repetitions of single motifs, pursuit of monochrome and their orientations towards environment art and performance.

In this context, ZERO IS INFINITY explores the transnational developments in Kusama’s and ZERO’s activities during the 1960s, by showcasing their works and documentation materials. The group show displays a work from Infinity Nets, Kusama’s monochrome painting series, a series shown in Europe for the first time at the above-mentioned exhibition in 1960. The newest work in her Infinity Mirror Rooms series, Longing for Infinite Heaven, as well as a reproduction of Christian Megert’s Mirror Wall (Spiegelwand) installation are also presented. Other highlights of the exhibition include another Kusama installation, Narcissus Garden,which was first presented in the 33rd Venice Biennale in 1966 with financial support from Lucio Fontana, who also exhibits an artwork from his signature series Spatial Concept (Concetto Spaziale) at this show.Continue Reading..


Kate Crawford |Trevor Paglen: Training Humans

“Training Humans”, conceived by Kate Crawford, AI researcher and professor, and Trevor Paglen, artist and researcher, is the first major photography exhibition devoted to training images: the collections of photos used by scientists to train artificial intelligence (AI) systems in how to “see” and categorize the world.

In this exhibition, Crawford and Paglen reveal the evolution of training image sets from the 1960s to today. As stated by Trevor Paglen, “when we first started conceptualizing this exhibition over two years ago, we wanted to tell a story about the history of images used to ‘recognize’ humans in computer vision and AI systems. We weren’t interested in either the hyped, marketing version of AI nor the tales of dystopian robot futures.” Kate Crawford observed, “We wanted to engage with the materiality of AI, and to take those everyday images seriously as a part of a rapidly evolving machinic visual culture. That required us to open up the black boxes and look at how these ‘engines of seeing’ currently operate”.

“Training Humans Symposium” took place on Saturday 26 October at 2.30 pm, engaging with the exhibition. The event involved Prof. Stephanie Dick (University of Pennsylvania), Prof. Eden Medina (MIT), Prof. Jacob Gaboury (University of California, Berkeley), along with the project curators Kate Crawford and Trevor Paglen. Putting the ideas in the exhibit in conversation with their path-breaking work, the speakers examined questions such as: where are the boundaries between science, history, politics, prejudice and ideology in artificial intelligence? And who has the power to build and benefit from these systems?

“Training Humans” explores two fundamental issues in particular: how humans are represented, interpreted and codified through training datasets, and how technological systems harvest, label and use this material. As the classifications of humans by AI systems becomes more invasive and complex, their biases and politics become apparent. Within computer vision and AI systems, forms of measurement easily – but surreptitiously – turn into moral judgments.

Of import to Crawford and Paglen are classificatory taxonomies related to human affect and emotions. Based on the heavily criticized theories of psychologist Paul Ekman, who claimed that the breadth of the human feeling could be boiled down to six universal emotions, AI systems are now measuring people’s facial expressions to assess everything from mental health, whether someone should be hired, to whether a person is going to commit a crime. By looking at the images in this collection, and see how people’s personal photographs have been labeled, raises two essential questions: where are the boundaries between science, history, politics, prejudice and ideology in artificial intelligence? And who has the power to build and benefit from these systems?
As underlined by Crawford, “There is a stark power asymmetry at the heart of these tools. What we hope is that “Training Humans” gives us at least a moment to start to look back at these systems, and understand, in a more forensic way, how they see and categorize us.”

The exhibition will be accompanied by an illustrated publication in the Quaderni series, published by Fondazione Prada, including a conversation between Kate Crawford and Trevor Paglen on the complex topics addressed in their project.

English below

Continue Reading..


Musja. The Dark Side – Who is afraid of the Dark?

Christian Boltanski, Monica Bonvicini, Monster Chetwynd, Gino De Dominicis, Gianni Dessì, Flavio Favelli, Sheela Gowda, James Lee Byars, Robert Longo, Hermann Nitsch, Tony Oursler, Gregor Schneider, Chiharu Shiota

Curated by Danilo Eccher

Musja, the exhibition space in via dei Chiavari 7 in Rome presided over by Ovidio Jacorossi, becomes a private museum with the opening on October 9 of Who is afraid of the Dark?, the first exhibition within The Dark Side project, a three year programme curated by Danilo Eccher.

The vast art collection owned by Jacorossi, covering the period from the early 19th century Italian to the present, will be flanked by the most innovative contemporary trends in the international panorama in order to highlight the fundamental contribution of art to personal and collective growth. The new museum also sets out to become established as a focus for the development of civil society in Rome, and to carry forward cultural commitment, and dialogue with international public and private institutions and museums.

The complex thematic setting of The Dark Side project is organized into three exhibitions spread over three years, and dedicated to: “Fear of the Dark,” “Fear of Solitude,” and “Fear of Time.” The first event in the new exhibition programme—“Fear of the Dark”—brings together 13 of the most important international artists with large site-specific installations and large-scale artworks by established artists, such as Gregor Schneider, Robert Longo, Hermann Nitsch, Tony Oursler, Christian Boltanski, James Lee Byars as well as new protagonists on the contemporary art scene such as Monster Chetwynd, Sheela Gowda, and Chiharu Shiota. There is a substantial Italian component with works and installations by Gino De Dominicis, Gianni Dessì, Flavio Favelli, Monica Bonvicini. During the opening of the exhibition, and thereafter at monthly intervals, there will be a performance by “Differenziale Femminile,” a group of four actresses, in the rooms of the gallery.

The majority of the site-specific works will be produced especially for the exhibition, while others are loans from various institutions, galleries and some others are part of the Jacorossi collection. All of them were selected for their power to draw the viewer in and encourage reflection on the topic while, at the same time, introducing some essential aspects of current contemporary art research. Visitors will be able to analyse their own reactions to sensory and tactile experiences, theatrical and magical visions, rituals and settings, anxieties that take different and unexpected forms only to melt away.

The catalogue accompanying the exhibition, published by Silvana Editoriale, contains a wealth of images by all the participating artists as well as written contributions. In addition to Danilo Eccher’s contribution, there are also some intellectually complex views on the theme of the dark by theologian Gianfranco Ravasi, theoretical physicist Mario Rasetti, psychiatrist Eugenio Borgna and philosopher Federico Vercellone. Different points of view, cross-cutting approaches, intellectual fields that diverge, overlap and are interwoven, give the project much greater scope than a standard art exhibition.

In the course of the exhibition, Musja will also be holding a series of meetings on the theme, coordinated by Federico Vercellone, professor of Aesthetics in the Department of Philosophy at Turin University.

The Dark Side – Who is afraid of the Dark?
October 9, 2019–March 1, 2020

via dei Chiavari 7

Image artwork by Gino De Dominicis, Jacorossi collection


Manifesto. Julian Rosefeldt

L’architettura del Palazzo delle Esposizioni viene ridisegnata dall’installazione Manifesto di Julian Rosefeldt articolata in 13 grandi schermi con storie diverse che, di tanto in tanto, si accordano nella potenza di una voce corale.

L’opera, apparsa per la prima volta nel 2015, rende omaggio alla tradizione toccante e alla bellezza letteraria dei manifesti artistici del Novecento, mettendo allo stesso tempo in discussione il ruolo svolto dalla figura dell’artista nella società contemporanea. Per ciascuna delle 13 proiezioni, Rosefeldt ha creato un collage di testi attingendo ai manifesti di futuristi, dadaisti, Fluxus, suprematisti, situazionisti, Dogma 95 e di altri collettivi o movimenti o alle riflessioni individuali di artisti, danzatori e registi come Umberto Boccioni, Antonio Sant’Elia, Lucio Fontana, Claes Oldenburg, Yvonne Rainer, Kazimir Malevich, André Breton, Elaine Sturtevant, Sol LeWitt, Jim Jarmusch, Guy Debord, Adrian Piper, John Cage.

Ogni stazione presenta una diversa situazione incentrata, ad eccezione del prologo, su undici diversi personaggi femminili e su uno maschile: un senzatetto, una broker, l’operaia di un impianto di incenerimento dei rifiuti, una CEO, una punk, una scienziata, l’oratrice a un funerale, una burattinaia, la madre di una famiglia conservatrice, una coreografa, una giornalista televisiva e un’insegnante, tutte figure interpretate dall’attrice australiana Cate Blanchett. È lei a infondere nuova linfa drammatica alle parole dei manifesti che risuonano in contesti inaspettati.Nel suo complesso, l’opera si presenta come un “manifesto dei manifesti”, che l’artista definisce una sorta di call to action contemporanea, nella quale il significato politico è verificato alla luce di una componente performativa. Frutto, in molti casi, di una rabbia o di una vitalità giovanili, i manifesti del Novecento non solo esprimono il desiderio dei loro autori di cambiare il mondo attraverso l’arte, ma si fanno interpreti della voce di un’intera generazione. Esplorando la potenza e l’urgenza di queste affermazioni – espresse con passione e convinzione dagli artisti di epoche diverse – Manifesto si chiede se le parole e sentimenti in esse contenute, abbiano retto la prova del tempo.

Hanno ancora un significato universale? E come sono cambiate le dinamiche tra politica, arte e vita vissuta?

Manifesto è un’opera, scritta, diretta e prodotta da Julian Rosefeldt. È stata commissionata dall’ACMI – Australian Centre for the Moving Image di Melbourne, l’Art Gallery of New South Wales di Sydney, dalla Nationalgalerie – Staatliche Museen zu Berlin e dallo Sprengel Museum di Hanover; co-prodotta da Burger Collection Hong Kong e Ruhrtriennale e realizzata grazie al generoso sostegno di Medienboard Berlin-Brandenburg e in cooperazione con Bayerischer Rundfunk.

Manifesto. Julian Rosefeldt
fino al 21 aprile 2019

Palazzo delle Esposizioni
Roma,Via Nazionale 194

Immagine in evidenza: video still frame from Manifesto@Palazzo Esposizioni, 2019_ph. amaliadilanno



“Il potere creativo della mente si sveglia vivace mentre forma il finito dall’indefinito”
Goethe – Howards Ehrengedächtnis

L’arte è la finestra introspettiva sulla nostra interiorità.
Da questa immagine visiva e mentale nasce l’idea della mostra che inaugura sabato 23 febbraio alla Galleria Emmeotto a Palazzo Taverna.
Una finestra da cui ognuno di noi può e deve guardare per perdersi e ritrovarsi, per comprendere non il significato a tutti i costi, ma per conoscere ed entrare in sinergia con una sensibilità altra, per compiere un percorso a ritroso fino all’essenza di un’opera d’arte, mezzo che amplifica il sentire nostro e degli artisti, i quali restituiscono alla realtà più di quello che prendono da essa. Una finestra come luogo di frontiera e, allo stesso tempo, di contatto e fusione tra verità e immaginazione, tra passato e futuro, tra mente e corpo, dove le dinamiche emozionali personali esplorano e cercano un riscontro nella rappresentazione, in un continuo movimento interno che non si ferma mai. Il raccontarsi degli artisti è il viaggio emotivo tra ricerca interiore ed evoluzione materica, all’interno del sé, il percorso di nascita, scoperta, crescita, decomposizione e ri-creazione sotto altre forme, una palingenesi che scrive e riscrive un diario personale, elemento dopo elemento, pagina dopo pagina e si arricchisce di esperienze come una pièce teatrale si infittisce di dialoghi.
Ogni artista in mostra vive il processo creativo in maniera totalizzante, una sorta di catarsi necessaria, che scopre e rivela, con la singolarità del modus operandi, una prospettiva differente, che ci permette di guardare al di là dell’apparenza e di instaurare quell’empatia dalle molteplici sfaccettature che solo la nostra interiorità può generare, ancora di più se ci troviamo ad interagire con gli stimoli dettati da diverse espressioni e linguaggi.
Renzo Bellanca, attraverso una selezione di opere della serie Satellite Map, realizzate con tecnica mista su carta e tela nel 2018, ci accompagna in un percorso stratigrafico tra mappe e paesaggi, ma senza corrispondenze precise. Il sovrapporsi di elementi fisici, interiori e mentali diventa un tragitto di contaminazione tra presente e memoria, in una dimensione astratta e macrocosmica, ma nonostante questo, riconoscibile e intima, che va a occupare gli spazi tra la realtà e l’inconscio, l’immaginazione e il pensiero razionale. Il trattamento e l’interpretazione del colore diventano la bussola del cammino che si dispiega tra confini, limiti, insenature e isole fuori e dentro di noi. Una carta geografica che, ogni volta, si arricchisce di nuovi segni e simboli.
Micaela Lattanzio parte da un’indagine fotografica, rielabora l’immagine da lei realizzata e la rende elemento “pittorico”. Da un minuzioso e attento lavoro che si basa sulla ripetizione del multiplo circolare, arriva alla creazione di un insieme, una nuova prospettiva composta da architetture complesse che avvolgono lo spettatore in suggestioni emotive. Che siano elementi presenti in Natura, come l’inedito dittico Nucleo (2018) o corpi, in essi è proposta una visione introspettiva, uno scenario surreale “fragmentato”, un mosaico che crea una terza dimensione materica e narrativa che va oltre l’estetica e fa riflettere sull’essenza e sull’esplorazione dell’uomo e del suo sentire le forme naturali da cui trae benessere psicofisico .
Nei lavori inediti realizzati per la mostra da Barbara Salvucci, il segno ripetuto e continuo della produzione precedente si fa più intenso, fitto, totale. Il tratto mandalico, in un gioco continuo di pieni e di vuoti, da una meditata e controllata concentrazione dà vita ad una forte irrazionalità emozionale come in un sogno o in una visione onirica, dove tutto sembra ignoto, ma riconoscibile. Il movimento coinvolge, inevitabilmente, chi guarda, a volte in vortici astratti, altre in ondulazioni mantriche fino a spostarlo in uno spazio fisico e interno differente, in particolar modo quando la luce viene meno e l’opera al buio diventa altro al di fuori di sé e di noi, e tutto cambia, la percezione, la vibrazione del corpo e della cognizione.
Bankeri utilizza come medium la carta e la tecnica del collage, in binomio con un’abile capacità di mixare le scelte cromatiche, ed è in questo processo di rigenerazione materica che avviene la trasformazione del messaggio personale. La spontanea meticolosità del gesto artistico ripetuto esalta la potenza visiva. Lo smembramento e il riassemblaggio di un’immagine precedente, un pensiero, un’idea o uno stato d’animo ci permettono di librare in un’inedita cosmogonia di stelle. Seppur la trattazione dello spazio sembra dirompere in maniera casuale e caotica, in realtà, tutto è dettato da una continuità, da una regia dalla voce distinta che va oltre la bidimensionalità della tela, in equilibrio perfetto tra inquietudine e la sensazione inebriante che stia per succedere qualcosa di inaspettato, soprattutto dopo che le opere sono state al buio, senza la luce diretta, e assorbono un’energia diversa che rivela una nuova lettura.
L’apice dell’interazione, nel percorso espositivo della mostra, avviene con lo Star Gate di Penelope, nome d’arte di Chiara Cocchi, una “finestra” di stelle che mette in comunicazione la Natura, la mente, il corpo, ma anche scienza, filosofia e sociologia. Realizzata con vetri, specchi e LED, la sua opera, crea un passaggio verso un’altra dimensione. Partendo da una rappresentazione scientifica dell’Universo, in questo caso una mappa stellare, supportata da un’accurata ricerca non solo tecnico-estetica, ma anche culturale, si arriva ad una comunicazione artistica intensa ed emozionale. Le sue esperienze e storie sono interiorizzate e raccontate attraverso lo spazio-tempo della sua sensibilità in uno scambio continuo tra macro e microcosmo, ed ognuno di noi può affacciarsi al “portale”, infinito” come lo definisce l’artista e guardar(si)e dentro.

NeI processo di creazione, il trasporto interiore plasma la materia, trattata dagli artisti con una sapienza manuale rintracciabile distintamente nelle opere realizzate. Tutti ne affrontano la scomposizione per poi darle nuova vita e significato e dialogano con il nostro sguardo più intimo. Il racconto metaforico scopre l’invisibile per trovare, mediante il gesto, una nuova scala diatonica tra sentimenti e pensieri, realtà e rappresentazione, andata e ritorno. Ed ecco che, dalla finestra introspettiva si diffonde un vortice di affinità elettive che si instaura tra noi, gli artisti, le opere, le vite…quello che vediamo, quello che sentiamo.

Bankeri | Renzo Bellanca
Penelope Chiara Cocchi
Micaela Lattanzio | Barbara Salvucci
A cura di Valentina Luzi

Palazzo Taverna – Via di Monte Giordano, 36 – 00186 Roma
Opening Sabato 23 Febbraio 2019 ore 18.30
25 Febbraio – 31 Maggio 2019


Ryoichi Kurokawa. Al-jabr (algebra)

FONDAZIONE MODENA ARTI VISIVE è lieta di presentare al-jabr (algebra), prima mostra personale in un’istituzione Italiana dell’artista giapponese Ryoichi Kurokawa, che inaugura venerdì 14 settembre 2018 alle ore 18 alla Galleria Civica di Modena, nella sede di Palazzo Santa Margherita, in occasione del festivalfilosofia 2018 dedicato quest’anno al tema della Verità. A cura di NODE – festival internazionale di musica elettronica e live media che si svolgerà a Modena dal 14 al 17 novembre 2018, l’esposizione raccoglie alcune tra le produzioni recenti più significative di Kurokawa, in un percorso multisensoriale caratterizzato da imponenti opere audiovisive, installazioni, sculture e stampe digitali.

Originario di Osaka ma residente a Berlino, Kurokawa descrive i suoi lavori come sculture “time-based”, ovvero un’arte fondata sullo scorrimento temporale, dove suono e immagine si uniscono in un legame indivisibile. Il suo linguaggio audiovisivo alterna complessità e semplicità combinandole in una sintesi affascinante. Sinfonie di suoni che, in combinazione con paesaggi digitali generati al computer, cambiano il modo in cui lo spettatore percepisce il reale.

Tema chiave della mostra è il concetto di unione, a cui si rimanda il titolo al-jabr, termine arabo da cui deriva la parola “algebra”, che indica appunto la ricomposizione delle parti di un insieme. Le opere in mostra presentano concetti e metodologie quali la decostruzione e la conseguente ricostruzione di elementi naturali (elementum, lttrans, renature), la riconciliazione di strutture divise (oscillating continuum), la rielaborazione di leggi e dati scientifici (ad/ab Atom, unfold.alt, unfold.mod). Tali metolologie ricordano una versione moderna e tecnologicamente avanzata della tecnica del kintsugi, ideata alla fine del XV secolo da ceramisti giapponesi per riparare tazze e vasi: le linee di rottura dei manufatti vengono saldate ed evidenziate dalla polvere d’oro, per rendere la fragilità il loro punto di forza. Il kintsugi non è solo un concetto artistico ma ha profonde radici nell’estetica del wabi-sabi, la visione del mondo tipica della cultura giapponese fondata sull’accettazione della transitorietà delle cose che echeggia anche nella poetica di Kurokawa.

Ne costituisce un esempio la serie elementum (2018): fiori essiccati e pressati che hanno perso la loro bellezza originale sono riassemblati dall’artista e arricchiti da un intervento su vetro creato attraverso un processo di elaborazione digitale dell’immagine che sembra collegare i vari frammenti e dare al fiore nuova vita valorizzandone il processo di decadenza. In maniera analoga le grafiche astratte della serie lttrans (2018), e le sculture appartenenti alla serie renature::bc-class (2015) possono essere percepite come immagini di fiori e insetti ma, avvicinandosi gradualmente, si rivelano un insieme di filamenti e particelle: si tratta quindi di una rappresentazione digitale del vero in cui viene reso visibile il processo di ricostruzione, esattamente come avviene nel Kintsugi.

Kurokawa considera l’osservazione della natura un’analisi scientifica, e negli anni l’interesse per questo tema lo ha portato a coinvolgere sempre più spesso membri di istituti di ricerca nel processo creativo, come nel caso dell’installazione audiovisiva unfold.alt (2016): posta in apertura del percorso espositivo, trae ispirazione dalle ultime scoperte nel campo dell’astrofisica e cerca di tradurre i fenomeni che caratterizzano la formazione e l’evoluzione di stelle e galassie. Per realizzarla, Kurokawa si è avvalso della collaborazione di Vincent Minier, astrofisico dell’Istituto di ricerca sulle leggi fondamentali dell’Universo che fa parte della Fundamental Research Division del CEA-Irfu, Paris-Saclay di Parigi.

In ad/ab Atom (2017) cambia l’ottica dello strumento: dal telescopio si passa al microscopio elettronico a scansione utilizzato per le ricerche sulle nanotecnologie. Realizzata durante una residenza presso l’INL, il Laboratorio internazionale di nanotecnologia iberica di Braga (Portogallo), l’opera è composta da sette schermi ad alta definizione posizionati in maniera elicoidale. Attraverso fenomeni audiovisivi generati dall’elaborazione di materiali quantistici, Kurokawa crea un viaggio nella scala nanoscopica in cui è possibile osservare l’estrema deformazione e astrazione del mondo atomico. Analogamente, la scultura audiovisiva oscillating continuum (2013) unisce l’infinitamente grande dell’universo e l’infinitamente piccolo,  nel tentativo di rappresentare la costante ricerca di equilibrio intrinseca in ogni forza e materia presente nel nostro universo.

Quella di Ryoichi Kurokawa è un’arte che mira dunque a rendere accessibile al pubblico livelli di osservazione del vero altrimenti impossibili da decifrare, suggerendo affascinanti parallelismi con il mondo interiore.Continue Reading..


Olafur Eliasson: In real life

This summer, Olafur Eliasson (b. 1967) will return to Tate Modern following his world-renowned Turbine Hall installation The weather project in 2003, for an unmissable exhibition of his career to date. Marking the most comprehensive solo presentation of Eliasson’s work, and his first major survey in the UK, Olafur Eliasson: In real life will offer a timely opportunity to experience the immersive world of this endlessly inquisitive artist.

Olafur Eliasson consistently seeks to make his art relevant to society, engaging the public in memorable ways both inside and outside the gallery. Driven by his interests in perception, movement, and the interaction of people and their environments, he creates artworks which offer experiences that can be shared by visitors of all ages. Tate Modern will bring together over 30 works spanning the last three decades – from celebrated early installations like Beauty 1993, to new paintings and sculptures. For the first time, the exhibition will also examine Eliasson’s wider collaborations in fields as diverse as sustainability, migration, education and architecture, allowing viewers to explore how these projects extend his artistic practice. Each installation, or group of works, will encompass a key theme explored within Eliasson’s career. This will include his early investigations into space, motion and natural phenomena – as explored in Moss wall 1994, featuring lichen native to Eliasson’s homeland Iceland – to extensive experiments with light, colour, geometry, perception and participation that characterise his work today – such as Stardust particle 2016. Other installations like Your spiral view 2002 and Your uncertain shadow (black and white) 2010 incorporate reflections and shadows to play with the way we navigate or perceive the world. Together they reflect the artist’s core principle of ‘seeing yourself sensing’. As the works reveal the mechanisms behind their own making, we are invited to consider the physical and psychological processes that contribute to how we experience them. The exhibition will culminate with a space exploring Eliasson’s deep engagement with social and environmental issues. This includes projects such as Little Sun, first launched at Tate Modern in 2012, which provides solar-powered lamps and chargers to communities without access to electricity; Green Light – An Artistic Workshop, hosted by various institutions around the world, in which asylum seekers and refugees, together with members of the public, construct Green light lamps and take part in an accompanying educational programme; and Ice Watch, an installation, recently experienced by visitors to Tate Modern and passers-by, featuring glacial ice from Greenland which aims to inspire public action against climate change. Eliasson’s wide-ranging architectural projects will be explored here, including the recently completed Fjordenhus in Denmark. Viewers will also get behind-the-scenes insight into how Studio Olafur Eliasson works day to day and will be able to engage in collaborative making activities. Not confined to the gallery walls, Eliasson’s work will extend onto the terrace outside Tate Modern, while further installations such as Room for one colour 1997 will animate the concourse outside the galleries. For the duration of the exhibition Studio Olafur Eliasson will also collaborate with Tate Eats on a special menu for Tate Modern’s Terrace Bar. This will be based on organic, vegetarian and ethically sourced produce that is central to the Studio’s own kitchen in Berlin, where studio members eat family-style meals together every day.Continue Reading..


Rafael Lozano-Hemmer. Pulse

In the Hirshhorn’s largest interactive technology exhibition to date, three major installations from Rafael Lozano-Hemmer’s Pulse series come together for the artist’s DC debut. A Mexican Canadian artist known for straddling the line between art, technology, and design, Lozano-Hemmer fills the Museum’s entire Second Level with immersive environments that use heart-rate sensors to create kinetic and audiovisual experiences from visitors’ own biometric data. Over the course of six months, Pulse will animate the vital signs of hundreds of thousands of participants.

With Lozano-Hemmer’s trademark sensitivities to audience engagement and architectural scale, each installation captures biometric signatures and visualizes them as repetitive sequences of flashing lights, panning soundscapes, rippling waves, and animated fingerprints. These intimate “portraits,” or “snapshots,” of electrical activity are then added to a live archive of prior recordings to create an environment of syncopated rhythms. At a time when biometry is increasingly used for identification and control, this data constitutes a new way of representing both anonymity and community.
The exhibition begins with Pulse Index (2010), which is presented at its largest scale to date. The work records participants’ fingerprints at the same time as it detects their heart rates, displaying data from the last 10,000 users on a scaled grid of massive projections. The second work, Pulse Tank (2008), which premiered at Prospect.1, New Orleans Biennial, has been updated and expanded for this new exhibition. Sensors turn your pulse into ripples on illuminated water tanks, creating ever-changing patterns that are reflected on the gallery walls.
Pulse Room (2006) rounds out the exhibition, featuring hundreds of clear, incandescent light bulbs hanging from the ceiling in even rows, pulsing with the heartbeats of past visitors. You can add your heartbeat to the installation by touching a sensor, which transmits your pulse to the first bulb. Additional heartbeats continue to register on the first bulb, advancing earlier recordings ahead one bulb at a time. The sound of the collected heartbeats join the light display to amplify the physical impact of the installation.
Three short documentaries of Pulse works are also on view, showing the breadth of the series through video footage of various other biometric public-art interventions in Abu Dhabi, Toronto, Hobart, New York, and Urdaibai, Spain (2007–2015).
Curated by Stéphane Aquin, Chief Curator with curatorial assistance from Betsy Johnson, Assistant Curator.
In conjunction with the Hirshhorn exhibition, the Mexican Cultural Institute of the Embassy of Mexico in Washington, D.C. presents the Washington debut of Lozano-Hemmer’s 2011 work, “Voice Array,” on loan from the Hirshhorn’s collection, a gift of the Heather and Tony Podesta Collection in 2014. On view from Oct. 31 through Jan. 31, 2019, the interactive work records participants’ voices and converts them into flashing lights that come together to visually and aurally depict the cumulative contributions of the last 288 visitors. This is the newest project from Hirshhorn in the City, the Museum’s initiative to bring international contemporary art beyond the museum walls and into Washington’s public spaces to connect artists and curators with the city’s creative communities.Continue Reading..


Ryoji Ikeda

The exhibition Ryoji Ikeda, on show at ers an insightful perspective on the radical work of Japanese audiovisual artist Ryoji Ikeda. The selection ranges from sculptural pieces such as data.scan (2009) and grid.system (nº1-A)(2012) to newly adapted versions of large-scale projections like the radar [3 WUXGA version A] (2012-2018) and data.tron [3 SXGA + version] (2009-2018), and includes two new audiovisual installations made specially by Ikeda for Eye.

Sound artist, electronic composer and visual artist Ryoji Ikeda (born in Gifu in 1966) started in electronic music and now ranks as one of the pioneering artists who approach the fundamental elements of sound and image in a mathematical, physical and aesthetic manner. Ikeda’s career as an audiovisual artist transformed when he joined the multidisciplinary artist collective “dumb type” from Kyoto, which radically renewed theatre in the 1990s. By then, Ikeda had already defined the alphabet of his sonic language in the two fundamental elements of sound: the sine wave and white noise. Inspired by his experience with dumb type, Ikeda broadened his scope of work to encompass both sound and image. He applied a comparable reductionist approach in identifying the pixel as the elementary component of the image.

In his series “datamatics,” featuring data.tron [3 SXGA + version] (2009-2018) and data.scan(2009), both on show in the exhibition, Ikeda investigates how we can perceive and experience vast flows of data that go beyond our comprehension. Each pixel is determined by strict mathematical rules that are applied to the data sets that form the source material. The resulting works are not so much about the abstract data level but about representations of reality that we can generate with data. They are an ode to the scientific imagination and the enthralling exploration of uncharted worlds and aspects of reality that we can now access thanks to science. During his stay at CERN and Ars Electronica Futurelab in 2014-2015, Ikeda explored the world of particle physics and further refined his notion of (big) data. He examined dynamic data but defined his source material exclusively as static data: absolute facts, constant truths such as DNA code, galactic coordinates, or proteins, as in his spellbindingly immersive floor projection data.gram [n ° 1] (2018), which he developed specially for Eye. Here Ikeda also explores his interest in the micro-scale: identifying and isolating the smallest particle, the alphabet of all material. Also on show in the exhibition is 4’33” (2010), Ikeda’s celluloid homage to the iconic work of the American experimental composer John Cage. A framed and sliced strip of blank 16 mm film: the piece forms a conceptual introduction to Ikeda’s ongoing study of the contrast between the continuous and the discrete or discontinuous. In data.tron [3 SXGA + version], Ikeda explores his fascination for the concept of infinity and fundamental mathematical and philosophical questions. Is reality continuous or not? Is it continuous but can we do nothing but apply the modern scientific method of reducing it to elementary particles in order to understand it? The exhibition culminates with the second new piece specially made for the Eye exhibition: point of no return, which represents nothing but a black hole. A black circle is bordered by a clear white light. Shining from the other side is an extremely powerful lamp whose colour temperature approaches that of the sun on the projection screen. According to the general theory of relativity, a black hole in the universe swallows everything. Nothing can escape from it—no material, no information, not even light. There is no way back. In Ikeda’s own words: “This technically simple work is my most metaphysical to date.”

The exhibition is accompanied by films, talks and events in the cinemas at Eye.

On November 23, Ryoji Ikeda will perform a live audiovisual concert at Eye entitled datamatics [version 2.0]. In collaboration with Amsterdam Art Weekend and IDFA.

Ryoji Ikeda
Until December 2, 2018

EYE Filmmuseum
IJpromenade 1
1031 KT Amsterdam
The Netherlands

Image: Ryoji Ikeda photo by Ryuichi Maruo