level zero Current world and system of coordinates grants us and releases us from any standards, norms, dogms and allows us to judge reality only through own personal perception and consciousness. Therefore, massive question appears to be important. What can be considered art? What art deserves the status of a masterpiece? Contemporary art movements advocate and suggest that art can be anything that awakes emotions, touches people in any way, positive, negative, disturbs them psychologically. If given piece of art is not moving the audience, then it is not really an art piece. Further we explore this argument and critically assess through prism of different artists. Perception can be defined as our recognition and interpretation of sensory information. Perception also includes how we respond to that information. We can think of perception as a process where we absorb sensory information from our environment and use that information in order to interact. Perception allows us to take the sensory information in and make it into something meaningful. Igor Stravinsky’s cacophony is very emotional piece despite its unusual composition without distinct beginning and end. Alejandro Inarritu’s last project exhibited in Fodazione Prada is another emotional experience. Both artists are influencing the audience by reminding what is happening in a world behind person’s door, neighborhood, country and just personal comfort zone. This art is quite impactful. It can make somebody to look at the world with wide open eyes, forget for a moment about their daily worries and routine and perhaps think deeper and broader. The world of information in which we live now gives us many opportunities to get and find as much information as fast as possible, but there are two sides to the coin. In this fast world we lose quality and value of real living. Before artists could seriously fight for art, and after years not to talk to each other. Who argues today about art? What is there to argue about? Everything is clear, no emotions. In order to answer to all this questions we have to realise that informational flow is different now then what it was before and our perception changed significantly. Level zero is based on ambiguous subjects which are on the edge of art and creation. A subjective opinion on contemporary art.
orez level
Current world and system of coordinates grants us and releases us from any standards, norms, dogms and allows us to judge reality only through own personal perception and consciousness. Therefore, massive question appears to be important. What can be considered art? What art deserves the status of a masterpiece? Contemporary art movements advocate and suggest that art can be anything that awakes emotions, touches people in any way, positive, negative, disturbs them psychologically. If given piece of art is not moving the audience, then it is not really an art piece. Further we explore this argument and critically assess through prism of different artists. Perception can be defined as our recognition and interpretation of sensory information. Perception also includes how we respond to that information. We can think of perception as a process where we absorb sensory information from our environment and use that information in order to interact. Perception allows us to take the sensory information in and make it into something meaningful. Igor Stravinsky’s cacophony is very emotional piece despite its unusual composition without distinct beginning and end. Alejandro Inarritu’s last project exhibited in Fodazione Prada is another emotional experience. Both artists are influencing the audience by reminding what is happening in a world behind person’s door, neighborhood, country and just personal comfort zone. This art is quite impactful. It can make somebody to look at the world with wide open eyes, forget for a moment about their daily worries and routine and perhaps think deeper and broader. The world of information in which we live now gives us many opportunities to get and find as much information as fast as possible, but there are two sides to the coin. In this fast world we lose quality and value of real living. Before artists could seriously fight for art, and after years not to talk to each other. Who argues today about art? What is there to argue about? Everything is clear, no emotions. In order to answer to all this questions we have to realise that informational flow is different now then what it was before and our perception changed significantly. Level zero is based on ambiguous subjects which are on the edge of art and creation. A subjective opinion on contemporary art.
contents 1
ART AND THE NET
2
CODING
3
ARCHITECTURE
Salvatore Iaconesi
Aaron Koblin
U.V.A.
4
INTERACTION
5
PHYSICAL PROGRAMMING
6
ART AND SCIENCE
Chris Salter
Artist
Artist
1 Salvatore Iaconesi
Born in Livorno, Italy in April 1973. Founder of AOS (Art is Open Source), Salvatore Iaconesi is an interaction designer, robotics engineer, artist and hacker.
Salvatore Iaconesi is known for video games, artificial intelligence, expert systems dedicated to business and scientific research, and entertainment. He works with mobile ecoprograms, interactive architectures, cross-medial publications, and augmented reality.. He focuses on experiences and applications enabled by technologies, networks and new metaphors of interactions, across cultures and languages to help people communicate better worldwide. His artworks and performances have been featured worldwide at festivals and conferences. In collaboration with a wide range of institutions, enterprises and international research groups, Salvatore actively participates in global discussions and putting efforts focused on freedom and new forms of expression. Another important feature of Iaconesi’s art is concerned wit our planet’s future with regards to energy, environment, multicultural societies, gender mutation, sustainability and innovation for both society and business. Interesting personal life story of the artist that transformed into art has taken place when Salvatore Iaconesi wasdiagnosed with brain cancer, he refused to be a passive patient and leave his life to chance. That is why he hacked computer system in his hospital and took the files with his medical images.He posted them online and invited the global community to participate in the treatment. More than half a million people took part in the project - sometimes their help was in the medical council, and sometimes it was emotional support, works of art or music. Perhaps that has influenced some people to look at the cancer from different angle and be able to empathize the artist. When describing this particular point of his life, Iaconesi acknowledges is as a “continuous state of translation among many different languages, in which science meets emotion and conventional research meets traditional research”. He compares life to a medical data. Iakonesi shares , the moment you become a patient you also become an amount of information in a hospital system, you disappear
“Patient means the one who waits”says Salvatore. He shared his medical information publicly and freely and has attracted massive attention and feedback from people. Artist has conducted a significant research on how people reacted and advised him to deal with his illness. These feedbacks have granted him more options and opportunities to explore in this area. Iakonesi has made a revolution, turned upside down the the perception of being a patient. Patient was not waiting for mercy anymore but was taking aggressive measures to fight his disease.
“The most important thing of La Cura was to feel like a part of a really engaged and connected society whose wellness really depends on the wellness of all of its components. This global performance is my open-source cure for cancer. And from what I feel, it’s a cure for me, but for us all.”shares the artist. There were thousands of people who responded and actively participated in La Cura. And what is the most important each and every did it in its own way. Professionals in both traditional and alternative medicine, but also artists. Such as Patrick Lichty who 3D printed glioma of S. Iaconesy and now it is in an open access. Thus it can be understood that this project has touched people, but also called them to action.
Iakonesi has taken us into ambiguous land with his anticancer campaign and publicly opening the access to personal medical information. Can this all be considered an art performance or personal corageous struggle against disease. , Comparing him to Molly Soda, young American blogger, better saying internet personality.Can we consider bloggingan art? She is one of millions of teenagers who immersed their lives into a wide web access. However, her active online presence brought her glory and fame thus making her she Internet celebrity. Molly shot herself in the bedroom for days, sharing her adolescent mental flow to the outside world,. In case of Molly, time was on her side and nowadaysshe started to be associated as an artist thanks to the enormous number of collages, videos and GIF files that she publishesin her social networks Young artist receives invitations and offers from galleries to
exhibit her creations.i Moreover, Molly started experimenting with cloth fashion , and unsurprisinly was noticed and recognized also in fashion industry,rapidly she became a an important figure in the youth fashion show. In some point she represents the whole direction of the youth subculture, which focuses on personal presentation not only through the exciting
selfies , but also through representing art products which are created thanks to epoca of Internet and social network culture. It must be admitted that Molly being a popular teenager celebrity doesn’t leave anyone indifferent. She has either followers or haters. Both Iaconesi and Molly Soda constantly attain grand response in a society, both are sharing their personal information openly. While Molly shares her opinions, daily life routine, Salvatore Iaconesi is transmitting life and death questions to general public. We might only hope and aspire thatthere must be a bigger cause behind every project and there is a difference between Molly Soda and Iaconesi art. Salvatoreis transmitting life and death issues to general publuc thus hopefully evoking better understanding and evolution of inner selves
WEBSITE AND SOCIAL NETWORK
PARTICIPATIONS
http://la-cura.it/ http://www.artisopensource.net https://www.he-r.it/ http://digicult.it/news/art-is-open-source-anew-world-created-by-salvatore-iaconesiand-oriana-persico/
The Futures of Work, STARTS pavilion at NET FUTURES, Brussels BAOTAZ, Neuromed, Pozzilli Shaping Thoughts, Hacking Source, Firenze DOCU #02 Premiere, Hacking Source, Firenze BAOTAZ, XXI Triennale International Exhibition, Milano DOCU #01 Premiere, Florence Short Film Festival, Firenze DOCU #00 Premiere, Future is Back, ISIA Firenze Near Future Design Vol. 1, Fahrenheit 39, Ravenna The Real-Time Museum of the City, Universidade Metodista, Sao Paulo Yale World Eisenhower TED VivaCosenza Performance Lab, Italy
COLLABORATIONS Oriana Persico (Art is open source)
2004
INSTITUTIONS Co-founder at Art is open source President at HE-R Co-founder at Nefula
2004
AWARDS “Consequential Outcomes” Grant of the Eisenhower Fellowships. Digital campaign on nuclear energy for Greenpeace International. Green Communication and CSR
RELATED ARTISTS 2013 2012
Molly Soda
2017 2016 2016 2016 2016 2015 2015 2015 2014 2014 2013 2012 2012
2 Aaron Koblin
Born in Santa Monica, USA in January 1982 Founder of WITHIN Aaron Koblin is an artist, designer, programmer, and entrepreneur specializing in data and digital technologies.
Aaron Koblin is another curious artist having interesting background as Californian entrepreneur, holding diploma in Design and Media Arts.Koblin works in the fields of music, sound, light, words, codes and crowdsourcing. Aaron started working in Yahoo as a creative Coder and continued as a director of Data Arts Team in Google. In 2015 together with Chris Milk founded a platform for developing advanced technology - Within. “The 19th century culture was defined by the novel, the 20th century culture was defined by the cinema, and the culture of the 21st century will be defined by the interface.” This is a quote by Aaron Koblin as a definition of his vision. He believes that “data systems tell stories about our lives” and he’s in the business of building beautiful, poetic images that tell those stories.
Aaron Koblin collects significant data and information about people in internet to further create stunning visual images. His work explores how to reflect cultural trends through technology. His project done in collaboration with Chris Milk was based on the idea of creating something that could be created as a result of collaboration and cooperation of people.. Johny Cash was used as a perfect example of legendary icon that inspired people to collaborate to make art project. Project resulted in creation of the memorial and a virtual resurrection of Johnny Cash. It was a video animation made from series of images based on cross-cuts of archival footage of Johnny Cash. At eight frames per second people were allowed to draw a single frame that will go into a “dynamically changing music video”. People from all over the world took part in this amazing project. Fromall of the works drawn by fans each individual frame,carries and transmits very powerful feeling.. It is an ongoing project that anyone can join and continue further.
“And in a weird way, that’s what I actually like about Johnny Cash’s music as well. It’s the sum total of his life, all the things that had happened -- the bad things, the good things. You’re hearing a person’s life”said one of the collaborators. This can be considered a powerful response to art. On the website made for this project you
can actually click on a liked frame and open up an information panel where person is able to rate that frame, which helps it move up to the top. There is also an illustration
the way that it was drawn. In addition to that, there can be found information on the , the artist’s name, location, how long they spent drawing it. There is a possibility to choose preferable version of it. Such as pointillist version, the sketchy version, the abstract version or the realistic one. There is no doubt that it is an amazing social project, but can it be defined as art piece or is it just an amount of numbers sheared online.
Another programmer and meanwhile co-founder of Etsy - Jared S Tarbel. As well as A. Koblin (and many others) he is working in Processing, an open source for programming and developing. Written by Casey Reas and Ben Fry in 2001. It was created to shear programming bases, now it evolved into a professional tool for artists, students, researchers, designers or just anyone who is interested in programming, mostly used to create interactions and animations.
However we have to recognize that these two artists are using coding in different ways. Whereas A.Koblin’s Johny Cash project gives people opportunities for their creativity and possibility to interact, makes very real something that is important for each of them. J. Tarbel is basically transforming collected data into visual image based on algorithms. Being considered one of the most important and influencing visual artists worldwide he is an incredible coder. Logical question again reappears, what is behind his works of art? On a website he created people that can generate artand final screen-prints can be sold as art pieces. “I write computer programs to create graphic images. I believe all code is dead unless executing within the computer. For this reason I distribute the source code of my programs in modifiable form.” - says Jared on his website. Who are the real artists? Programmers that create codes or people using this codes?
WEBSITE AND SOCIAL NETWORK
PARTICIPATIONS
http://www.thejohnnycashproject.com/ http://www.aaronkoblin.com/ http://digicult.it/digimag/issue-054/ aaron-koblin-aesthetic-evolution-of-datavisualization/ https://vimeo.com/aaronkoblin
Tribeca Film Festival SIGGRAPH TED Sundance OFFF Ars Electronica The Japan Media Arts Festival Todays Art Festival
COLLABORATIONS Chris Milk (WITHIN) 2014 Janet Echelman (Unnumbered sparks) 2014 Ben Tricklebank (Light echoes) 2013 Vincent Morisset (Just a reflektor) 2013 Dan Goods & Nik Hafermaas (ecloud) 2010 Daniel Massey (Bicycle Built for Two 2009 Thousand) Takashi Kawashima (10,000 Cents) 2008 James Frost (House of Cards) 2008 Scott Hessels and Gabriel Dunne at 2005 UCLA (Flight Patterns)
INSTITUTIONS Museum of Modern Art, New York Victoria & Albert Museum, London Centre Pompidou, Paris Within 2015 Data Arts Team at Google 2008-15 Creative Coder at Yahoo 2006-08
AWARDS Smithsonian Cooper-Hewitt National Design Award for Interaction Design Primetime Emmy Award for Outstanding Interactive Program CLIO Award for Interactive National Science Foundation’s award for science visualization
RELATED ARTISTS 2014 2014 2011 2006
Jared Tarbell
2017 2013 2011 2011 2009 2008 2007
3 U.V.A.
U.V.A. (United Visual Artists) is a London-based art practice founded in 2003 by Matthew Clark (ECD), Chris Bird (executive production director) and Ash Nehru (technology director), that combines a wide range of disciplines to create emotionally engaging work.
.United Visual Artists are known for their installations and performances, with the use of light, sound and architectural installations. Projects made in their offices in the industrial area of Southwark in London are later interactively “transferred” to any place, making them real and enabling the audience to touch, feel and become a part of them.“ This is one of our main tasks - to make the installations accessible, tangible and at the same time empirical, based on real time.” Many of their works offer viewers not only to admire the creative ideas of the authors, but also to participate in their implementation. Experimenting with light and using various practices and 3D technologies United Visual Artists create optically integral and dynamic visual objects existing in real time and creating the effect of full presence, even ephemeral.
First of all, United Visual Artists projects are aimed to create a powerful social interaction between space, the viewer and the action itself, whose goal is to make audience to become a part of the performance. The installation 440hz made for ‘On the Origin of Art’ at MONA starts with a dense surrounding sound - “a noise field which is random in its behaviour”. Each individual is designing character of the instrument by a unique combination of movements. Sounds are responding to every action of a participant such as fast, large gestures or more controlled and delicate, they are increasing or decreasing according to the user. “Light is structured to establish a visual language, which creates a form of abstract music notation. Combining the character of the sound with the form of the body in order to amplify the participants’ awareness of both their self and influence on the surrounding environment.”-desribed by artists.
Thus participants can have a moment of concentration on existing presence, contemporary world of fast change. “Characteristic of UVA’s output, meticulous planning and engineering simulates the idea of a natural order at work beyond our own bodily limits, creating a brief respite from reality.”
This is an example of how surrounding environment can change mood, especially when it is effecting more then one sense.
Indeed, it required movement from the viewer to create the work of art. This is how any person can feel involved in a process of creation. There are some other performance and installation artist and art groups. One of them is Studio Roosegaard founded by Daan Roosegaarde. A lab where team
of designers and engineers creates landscapes of the future for a better world. Their design is based on two core elements Beauty and Clean. Every project they made has a sustainable research behind. A Smoke Free Project is zero waste design to provide a local solution of clean air in public spaces. The 7-meter tall Smog Free Tower uses patented positive ionisation technology to produce smog free air in public spaces. An environment-friendly technology, cleans 30.000 m3 per hour and uses very little green electricity. Both artist groups make a change in a perception of reality by creation of ephemeral spaces. Studio Roosegaard
make a change by showing to people what the reality is. Creative thinking of this two groups that may seem different at the beginning have something in common. Both of them take a human being as a central themefor their creations. One from mental and emotional point of view and another one from a health and living perspective. Creative thinking is an approach that nowadays is used almost in all fields and in 10 years expected to be a must for any start up. That is bring out an idea that being an artist doesn’t mean being creative, otherwise every persone in the world can be an artist or or perhaps why don’t we consider that each individual has an artistic side of his own.
WEBSITE AND SOCIAL NETWORK
PARTICIPATIONS
https://uva.co.uk/ https://vimeo.com/uva http://www.designindaba.com/profiles/ united-visual-artists-uva
Burberry catwalk show Day for Night festival, Houston Seoul Museum of Art (SeMA) On the Origin of Art, MONA Design of the Year, London Manchester International Festival
COLLABORATIONS Bernie Krause (Seoul Museum) Mark Changizi (On the Origin of Art) Ryan Hopkinson (Nowness) Benjamin Millepied Massive Attack Jay Z The Chemical Brothers
2018 2017 2017 2015-16 2009 2009 2007
INSTITUTIONS Paddington Central, London Royal Academy of Art, London Opera North Leeds, London South Bank Centre, London Wellcome Collection, London Victoria & Albert Museum, London The Barbican Curve Gallery
2017 2009 2009 2008 2008 2006
AWARDS Creative Review Annual Prix Arts Electronica London Design Museum “Design of the Year” Yellow Pencil at the D&AD awards
RELATED ARTISTS 2011 2010 2008,10 2007
Studio Roosegaarde
2018 2018 2018 2017 2010
4 Chris Salter
Born in USA in 1967. Chris Salter explores the borders between the senses, art, design and new technologies through large-scale installations as well as books, critical writings and lectures on the international scene.
.Christopher Salter is an artist, Associate Professor for Design + Computation Arts at Concordia University in Montreal and a researcher with the Hexagram Institute for Research-Creation in Media Arts. Living in both Monreal and Berlin he studied economics and philosophy and completed a Ph.D. in the areas of theatre and computer-generated sound at Stanford University. His work is based on scientific research about sensations and interaction. He is using sensor based tools and innovative technologies to challenge a sensorial experience. To create a comprehensive experience of sensation so called “cross modal perception” C.Salter modulates spaces to explore all audio, visual, tactile, olfactive senses and human boundaries.
Llinx is an immersive installation which was aimed to bring focus of participants to their senses and to achieve that C.Salter made them lose their vision. “Four visitors at a time wear specially designed garments. These wearables are outfitted with various sensing and actuating devices that enable visitors to interface with the performance space. Donning the clothing and visors that blur and distort their sense of sight, the audience enters into a darkened space. At first, they barely see or feel anything, hearing only a metallic, incessant sound in the distance. As the approximately twenty minute event progresses, one starts to feel small and barely noticeable pressure on the skin; touch that seems to move around the body, from the arms to the legs, around the torso and back. Increasingly, the natural continuum between sound and vibration, vision and feeling becomes increasingly blurred as the environment itself appears and vanishes, building in sonic and haptic intensity until it stretches our body’s boundaries beyond the realm of everyday sensory experience.”
Bringing person into a new situation never experienced before and letting him/hersee things differently. Thingsthat may look obvious for us in everyday life actually can make you discover something different if you analyse them. It can open new perspectives in one’s vision even if at that moment you don’t have a possibility
to see anything. Something that was already established because of personal background and previous experiences can be altered and changed. The question
is whether the artist really changes your vision or after all that experience you remain indifferent and leave with the same preconceived opinions as when you entered the exhibition. “Nothing is as invisible as the obvious.” said Richard Farson, an American behaviour psychologist.
“He continuously illuminates the beauty and drama of human identity.” the viewer remains just a spectator when visiting his exhibitions. So what is a more influential aspect of artthat stimulates people to respond? Deep aesthetical satisfaction from a visual performance or a ability to use your senses in a non-trivial way? After all the question remains does art rase your curiosity or is it just an entertainment. Would it evolve something in your mind? What is more important for contemporary art to entertain and allow them to escape their usual lives or should it touch individuals profoundly and bring certainimpact on person’s consciousness. Is it a long lasting impression or just a shocking aftertaste that fades away very fast, like a hype?
While Chris Salter focuses more on people to actively interact with the spaces by Princemio are creating appealing and spellbinding scenes for the viewers through choreography with professional dancers, light, sound and digital techniques. Christian “Mio” Loclair is a media artist and choreographer from Berlin, Germany. He explores the harmony of human bodies, movement and nature combining it with digital aesthetics and modern trends.
WEBSITE AND SOCIAL NETWORK
PARTICIPATIONS
http://www.chrissalter.com/ https://vida.fundaciontelefonica.com/ en/2014/01/07/exploring-the-performativeinterview-with-chris-salter/ http://digicult.it/news/a-conversation-withchris-salter-on-displace-2-0/
Theater an de Spui, Todays Art, Netherlands Fira Tàrrega, Tàrrega, Spain STRP Biennial 2017 Eindhoven, Netherlands John Curtin Gallery, Perth, Australia LABoral Centro de Arte y Creación Industrial Gijón, Spain Premiere Hexagram Concordia Centre for Research-Creation in Media Arts and Technologies. Ars Electronica Corderie dell’Arsenale 11th Annual Architecture Exhibition, Venice Festival EXIT, Maison des Arts Creteil, Creteil, Paris Place des Arts, Cinquieme Salle, Montreal Tesla - Transmediale 2007, Berlin Muffathalle, digital.crossover, Munich Villette Numerique 2002 Parc de La Villette, Paris
COLLABORATIONS Andrew Pickering (Alien Agency) 2015 TeZ & Omar Faleh (Llinx) 2014 Peter Sellars (Entangled book) 2010 William Forsythe (Ballett Frankfurt) 1995-98
INSTITUTIONS Second Life (virtual) + Pearson International Airport, Terminal 1, Toronto, Ontario Sponge
2007 1997-03
AWARDS Honorary Mention at VIDA 14.0.
RELATED ARTISTS 2014
w
2017 2017 2017 2017 2015 2012 2012 2009 2008 2008 2007 2007 2002 2002
5 Theo Jansen
Born in Gaaga, Netherlands in March 1948. Theo Jansen is a Dutch kinetic sculptor who builds walking mechanisms that he calls a new form of life.
Theo Jansen is a dutch artist who lives near the North Sea in Netherlands. He began with applied physics at Delft University of Technology but seven years after left his studies for the sake of the artist’s profession. One of his first projects - home UFO almost caused panic in the city and a year later he invented an amazing drawing machine. In 1990, Theo Jansen found the balance between physics and art and that is when he started working on series of “Beach Beasts” (Strandbeest) project. From the interviews it is clear that S.Iaconesi is the same kind of persone he was seventy years ago. He can still play with yellow tubes from his chiledhood, it is just that the size of toys has changed. Since Netherlands is located lower then a sealevel S.Iaconesi was worried that rising sea levels might re-flood Holland and reduce its size to what it had been in a medieval times. To solve this problem he decided to build big animals that would “toss sand in the air so that it would land on and augment the seaside dunes”. Strandbeasts can not only move independently, but also respond to the environment, survive and evolve. “Representatives of the new animal population” are able to recognize the water and soil type, bend around obstacles, and when the storm approaches, “snuggle” to the ground. “I want these animals to live in the herds on the beaches someday and become completely autonomous,”- says Theo Jansen. Each of the beach beasts is constructed from a variety of plastic tubes, bottles, wooden bars, polyethylene and scotch, has an original name and only its unique character. The number of tubes and the length of each tube determines the genetic “code” of each “animal”, dictating how it will move and interact with the environment. More even than the Strandbeests, the possibilities he saw for the tubes changed his life, he says.
move the legs. The Chorda Epoch (1991-93) was exceptional for Animaris Currens Vulgaris, the first animal that could stand and walk. T. Jansen created algorythm for leg design that could let creatures to stand and walk.It was a foot that pivoted at the ankle and a double-jointed leg that allowed the foot to stay on the ground as long as possible. Later were addeted
Creation of the animals is devided in “geological eras”. The Gluton Period (1990-91) started when the first tube-andtape creation could only lie on its back and
“nerve cells” - plastic bottles for pressurized storage, which detect when animal gets in a shllow water and directional cells, which count steps and tell when to back up if it
gets too close to the sea. Working on this project for the whole life, this animals became a part of him. “The real ideas, as evolution shows, come about by chance. Reality is very creative. Maybe that is why the Strandbeests appear to be alive, and charm us. The Strandbeests themselves have let me make them.”
As Theo Jacobsen Zimoun has an ability to use cheaper materials to transform them into art pieces. 2030 cardboard boxes is one of his projects where he reuses boxes and applys to them motors to creat a smooth vibration. Does that evoke any emotions or is it a
This great invention can one day change peoples minds and as Theo Jacobsen sees the world of engineering differently every person could bring his own, individual approach to what he does. Once seen, they are remembered.
phenomena of whatever an artist his art career can be enterpreted as quastionable in terms of its perpouse. Was it genuing piece of art or was it an object created to be called art. Origins of Kinetic art come form a period of Dadaist and Constractivist movements that emerged in the 1910s. “Kinetic art - art that depends on movement for its effects.” Answering Marcel Duchamp’s, one of the main Dadaist artist’s question: “Can one make works of art which are not ‘of art’?”
Another artist working in a field of kinetic art is Zimoun. He os self-taught artist mostly known for his sound installstion sculptures. Using industrial materials like cardbiard boxes, old furniture, plastic bags he connects them with a mechanical element that brings them to life.
WEBSITE AND SOCIAL NETWORK
PARTICIPATIONS
http://www.strandbeest.com/ https://www.ted.com/talks/theo_jansen_ creates_new_creatures https://www.newyorker.com/ magazine/2011/09/05/the-march-of-thestrandbeests https://www.nytimes.com/2014/11/30/ magazine/theo-jansens-lumberinglife-forms-arrive-in-america. html?ref=magazine&_r=0 http://digicult.it/news/trondheimmatchmaking-2/
Exhibition, Okinawa Exhibition Prefectural Art Museum, Mie Exhibition Laboratorio Arte Alameda, Mexico Espacio Fundacion Telefonica, Peru Museum Prinsenhof Delft, Delft Exploratorium San Francisco Chicago Cultural Center Exhibition Verbeke Foundation, Belgium EespacioFundacion Telefonica, Madrid IDFA, Amsterdam Tokyo Tamagawa Ennichi Le bord des mondes, Paris TED, Monterey, CA, USA; Academy of Sciences, New York
COLLABORATIONS
A Boy’s Dream, Cinta Forger & Walther Grotenhuis (documentary) Strandbeesten, Alexander Schlichter (documentary)
2015 2003
INSTITUTIONS
AWARDS Award Barnet and Annalee Newman Foundation Opline Prize, Bordeaux Witteveen+Bos Prize Delftse Momenten Prize Max Reneman Prize Sandberg Prize (to encourage early-career artists)
RELATED ARTISTS 2016 2015 2003 1999 1996 1994
Zimoun
2017 2017 2017 2017 2017 2016 2016 2016 2016 2015 2015 2015 2007
6 Carsten Nicolai
Born in Karl-marx-stadt, Germany in September 1965 Carsten Nicolai is a german artist and musician based in Berlin. Known as Alva Noto he works intensively in the transitional area between music, art and science.
Carsten Nicolai is a german artist with an architectural background studied landscape design from 1985 to 1990 in Dresden and in 1992 he cofounded the Voxxx.Culture and Communication Center in Chemnitz (Voxxx.Kultur und Kommunikationszentrum). Nicolai has been the subject of more than fifty international solo exhibitions since 1987. His intence work is focused on the transition between music, art and science. His intriguing works combine mathematic patterns such as grids and codes, as well as error, random and self-organising structures. Using his architectural past he is building his works with the intangible material. With the sound he defines spaces, makes walls and draws lines.
The artist’s thesis that we all have a permanent distorted perception of reality ia translated in a project called Reflektor Distortion. Instalation concived as a rotating, water-filled basin and is inspired by the shape of a parabolic mirror that ‚rotates‘ water via centrifugal force. It consists of three elements - mirror (water), reflexion (stripes of light) and distortion (sound waves). The work is a living element. The water surface is constantly distorted via speaker by resonating low sound frequencies. “The function of the mirror is hereby eminent: The mirror surface is the medium that reveals reality as distorted reflection.“ A deep thought is represented throught a subtle metaphor in a very minimal way. Where minimal doesn’t mean simplified but concentrated on a main value. To understand this project, without knowing what it was ment to be and what is its value behind, you have to feel it. Open yourself from incredulity and skepticism and find a meaning from your own perseption of the work. What is the main reason for people t
to go to the museums or exhibitions. Are they doing it becaise it is trendy or maybe they are trying to find something in this artworks, something that they don’t even realize. As this artpiece ment to convey to the viewer our perception is distorted according to the background we had or the environment that is surrounding us. Which
leads to a conclusion that every person has his own art aas well as each piece of art has its own viewer.
“It’s an increadible exciting moment, when you realise that we humans try more and more to enable machines to think, but at the same time, we humans try to become more and more mechanic.” People are always in conflict so as Carsten Nicolai’s works are. His instalations are in movement in a unstable neverending moment of cretion. In his opinion when you lose control on what is happening is a moment when project comes to live, to a moment of excitment.
On the other hand Louis-Philippe Demers a media artist. His main areas of work are entertainment robotics and interaction design. Works of Louis-Philippe Demers brings the focus not only on a perception of a participant but also on a perception of the machine in front. The Blind Robot is a piece of technology that has two robotic arms equipped with mechanical fingertips. It is a simulation of how a blind person would see another person’s face. By gently touching the face it scans features and reproduces what he seen on a screen behind.It was also a research project of how people react in a situation like that. At first sight looking so different these two artist have one major element in common. Both of them invent in order to see, research or influence perception of people. Not mentioning that both are using science and innovative technologies. So is there any line between invention and art or maybe art is a component of all the other disciplines.
Does art has to be a new creation, or can any creation be considered art?!
WEBSITE AND SOCIAL NETWORK
PARTICIPATIONS
http://www.carstennicolai.de/ https://www.pacegallery.com/ exhibitions/11188/carsten-nicolai-pionier http://noton.info/ https://soundcloud.com/noton-info/sets/n43-mika-vainio-ryoji-ikeda https://artreview.com/features/ara_ springsummer_2014_feature_carsten_ nicolai/ http://digicult.it/?s=carsten+nicolai
Echigo tsumari triennial, Japan 2012 Cos store, Berlin 2012 Pace Gallery, New York 2010 Audio installation in the Piazza del 2009 Plebiscito, Naples 4th digital art festival, Taipei 2009 Sónar Music Festival 2009,-04 Club Transmediale, Berlin 2009,-08 BBmix Festival 2008 2nd Moskow biennale, Moskow 2007 Singapore biennal, Singapore 2006 6th int. biennale Santa fe/new 2006 mexico 2006 Netmage, Bologna 2006 Centre Pompidou, Paris 2006 Tate modern, London 2006 Frieze art fair, London 2003 Lovebytes Digital Festival, 2003 Sheffield 2001 Echigo tsumari triennial Opening performance for «010101: Art In Technological Times» at the 2001 SFMOMA 2001,-03 Istanbul biennial, Istanbul 2000 49th and 50th venice biennale 1999 Guggenheim museum, New York Liverpool biennial, UK
COLLABORATIONS Alejandro González Iñárritu 2015 Blixa Bargeld (ANBB) 2010 Zeitkratzer 2008 Frank Bretschneider and Olaf 2007 Bender (Signal) Ryuichi Sakamoto 2002-11 Ryoji Ikeda and Mika Vainio (Cyclo) 2001-11 Marko Peljhan (polar instalation) 2001 Thomas Knak (Opto) 2001-04
INSTITUTIONS Pasquart kunsthaus centre d’art, Biel Simons center for geometry and physics, New York Museum haus konstruktiv, Zurich National museum of modern and contemporary art, Seoul De arte assoziazione, Venice Mori art museum, Tokyo Neue nationalgalerie, Berlin Witte de with, Rotterdam ...
2017 2016 2015 2014 2013 2009 2005,94 2001
AWARDS
17th Japan Media Arts festival, grand prize Giga-hertz-award, zkm karlsruhe Villa massimo, Rome Zurich prize, Zurich Villa aurora, Los angeles Prize Ars Electronica, Golden Nica, Linz, (polar installation) F6-philip Morris,Graphic Prize, Dresden Prize Ars Electronica, Golden nica, Linz, (20’ to 2000 project)
RELATED ARTISTS 2014 2012 2007 2003 2001 2000 2000
Louis-Philippe Demers
Veronika Urtaeva Phenomenology of Contemporary Art