Cimatics platform

Artists

admin — Tue, 14 Jun 2011 22:30:31 +0000

Cimatics Label works with the following artists:

Ryoichi Kurokawa

In a sense, Kurokawa is an artist who can be regarded as an exemplary trendsetter in his field, or as an aesthetic-defining trailblazer who is still pointing the way for others. The astonishing diversity of his explorations points to an amazing productivity that seems to flow without end. He is a genre-transcending artist who continues to confound and transform stereotyped notions concerning the illustration of electronic image expression. (Naut Humon) Read more

Quayola

Quayola is a visual artist based in London. His work simultaneously focuses on multiple forms exploring the space between video, audio, photography, installation, live performance and print. Quayola creates worlds where real substance, such as natural or architectural matter, constantly mutates into ephemeral objects, enabling the real and the artificial to coexist harmoniously. Integrating computer-generated material with recorded sources, he explores the ambiguity of realism in the digital realm. Read More

Mattia Casalegno

Mattia Casalegno is a multidsciplinary artist who often collaborates with musicians, designers, architects and neurologists to produce works that span architectural video-installations, interactive environments and live-media performances.
His aesthetics are driven by the research in the relationships between the fields of information (in-forms, to give form), biology (bio-logos, discourse on living) and ecology (in the Batesonian term), pointing on the centrality of code as tools and metaphor of his poetry. Read more

Telcosystems

In their audiovisual works, Telcosystems research the relation between the behavior of programmed numerical logic and the human perception of this behavior. They aim at an integration of human expression and programmed machine behavior.

This becomes manifest in the immersive audiovisual installations they make, in films, videos, soundtracks, prints and live performances. Read more

Max Hattler

“Max Hattler works on the thin line between a abstraction and figuration, being able sometimes to create powerful political statements while eschewing the traditional constraints of narrative, choosing a poetics of implication over the mere construction of a discourse. In that matter, it is interesting to see how he is also able to mix the strategies of artistic practice with the techniques one would associate with the entertainment industry, creating pieces that can work on a variety of (sometimes) conflicting frameworks, from the gallery white cube to the dark walls of a nightclub, performing live in a film festival or spreading his interventions through the web.” (Hilda Magazine)

Quayola Strata Series 2007-2011

admin — Tue, 24 May 2011 10:14:22 +0000

54th Venice Biennale 2011
Promoted by the Italian Pavilion, on the occasion of the 150th anniversary of Italy Unification

07 – 11 June 2011
private view: Tuesday 7th June, 18:00 – 21:30
Opening times: Monday to Friday 10-8pm; Saturday-Sunday 10-4pm

Italian Cultural Institute, London
Director – Carlo Presenti
39 Belgrave Square, London SW1X 8NX
Tel .020 7235 1461 www.icilondon.esteri.it
For more information please contact : 0207 235 1461

The exhibition of the Strata Series by Quayola at the Italian Cultural Institute in London, represents the contribution of the Institute to the Italian Pavilion at the 54th Venice Biennale 2011. Thanks to an idea of Vittorio Sgarbi, the Directors of Italian Cultural Institutes in the world were requested to propose one or more artists to exhibit in their premises during the Biennale for this special year of celebrations of the 150th anniversary of Italy Unification. The artists have been selected by a panel of experts chaired by Sgarbi. The exhibitions will be promoted by the Biennale through a catalogue and a video (music score by Maestro Ennio Morricone) screened in the Italian Pavilion. Carlo Presenti, is very proud of having chosen Quayola, whose work has aroused great enthusiasm within the panel of experts.

Strata is an ongoing project begun in 2007, compromising of a series of films, prints and site-specific, immersive installations. The term ‘Strata’ defines a geological formation constructed of multiple layers of rock; it refers specifically to the idea of relative time, whereby each layer is differentiated from the next through its definite characteristics, its porosity, its texture, its colour, composition. In short it defines a manner of identifying breaks within organic evolution, a visual metaphor for a history composed not so much as a linear process but as an accumulation of signifiers over time: what is known in geology as deep time. It is within the exploration of this ‘depth’ that the project ‘Strata’ takes form, toying with the construction and deconstruction of our solidified perception of classical art, architecture and iconography.
Operating within the landscape of classical aesthetics; the geometric perfection which lies behind the figuration of the Renaissance, the opulence of the Baroque, or the rigour and integrity of Gothic architecture, Strata strives to reach and unveil what lies beneath the figurative complexity of each icon and structure. It delves under the surface of the image, deconstructing it, reducing it to its essential co-ordinates, colours, geometries; stripping it of its symbolic function. Yet through this very process Strata also constructs; generating topographic maps, linear pathways and structures which pulsate, scatter, hang suspended diverging from the origin to the point of another origination; the production of a living abstract landscape. Through this metamorphic process, Strata not only aims at altering one’s perception of the iconic symbolism contained within the architectures but renews an interest in the calculative, generative and arithmetical qualities that lie dormant behind the details of a masterpiece.

The Strata artworks are the result of studies and explorations of the original masterpieces themselves, delving beneath their figurative appearance and looking at the very rules behind the composition, colour schemes and proportions of each. It is a precise process aimed at creating new contemporary images based on universal rules of beauty and perfection. Documenting the improbable collisions between classical figuration and contemporary abstraction, the Strata Series aims at creating an harmonious dialogue between worlds that may appear very distant from one another, but in fact share so much in common.

www.quayola.com

Download Press Release
http://www.quayola.com/PDF/quayola_biennale2011.pdf

Download Strata Series Info:
http://www.quayola.com/PDF/strata_series.pdf

One of a Thousand Ways to Defeat Entropy

admin — Thu, 19 May 2011 10:31:43 +0000

At Arsenal Novissimo, Venice, Italy
Presented artists:
Alexander Ponomarev (Moscow)
Adrian Ghenie (London/Berlin)
Hans op de Beek (Brussels)
Ryoichi Kurokawa (Osaka/Berlin)

This volume accompanies an Official Collateral Project by four international contemporary artists, each represented by a newly commissioned site-specific work engaging with the theme of entropy. Alexander Ponomarev’s previous career as a seaman left an indelible mark on his creative practice, which is dominated by epic aquatic installations. At the Arsenale Novissimo, Tesa 89, he débuts his monumental installation titled Formula. Nearby, an immersive audio-visual piece by the Japanese multimedia practitioner Ryoichi Kurokawa fuses natural and digital forms to spectacular effect, raising the issue of global energy interactions. Romanian painter Adrian Ghenie – known for his dramatic, expressive, painterly panels – undertakes his largest work yet for the exhibition, while the Belgian artist Hans Op de Beeck continues his acclaimed Location series – creating an immersive ‘total installation’ reflecting upon on domestic architecture. This volume also contains image surveys of the artists’ previous works.

A fully illustrated catalogue will be edited with texts by renowned art critics and academics, including Alfred Pacquement (Dir. Pompidou Centre), Dr Sarah Wilson (Courtauld Institute, London), Dr John Bowlt (University of Southern Carolina), Prof Andrei Tolstoy (Pres. AICA Russia) and others. As with all Official Collateral Projects, this exhibition will also feature in the main Biennale catalogue.

More info about catalogue at Hatje Cantz Verlag

Ryoichi Kurokawa at Multi-Media Theatre, Hong Kong

admin — Wed, 09 Mar 2011 00:57:46 +0000

18 March 2011 (Thu-Fri) 8pm

Multi-Media Theatre, HKICC Lee Shau Kee School of Creativity , Hong Kong

Flux, is the state of everything at every moment.
Images are our memories of the reality, yet audiovisual synthesis.
A concert, also a journey for exceptional experience of digital sound and light.

Rheo by Ryoichi Kurokawa (Japan)

Ryoichi Kurokawa tends to eliminate the boundaries of our physical perception  where the essence lurks in the transition,  as in the law of life, nature and beauty  where “everything is evanescent.”
Three dimensional pixel sculptures are the result of Ryoichi Kurokawa’s audiovisual synthesis. Kurokawa destructs and reconstructs architectonic and organic abstractions with precision, coercing a complete surrendering of the senses. Minimal, yet chaotic conflux of visual and auditory perception merges into an experience of memory and ambiguity where virtual and actual images are no longer distinguishable. Kurokawa uses what he calls “audiovisual organ” to compose spatial-time sculptures out of digitally generated material, formed from analogue field recordings. Abstract sound and imageries are precisely synchronized and juxtaposed, asserting a form of glitch minimalism re-assembled into complex and highly rhythmic audio-visual landscapes.

Solstice to Solstice by Nerve (Steve Hui) + npool (Jamsen Law)

Seasons of distinct rhythms,  seasons also with volatile forms,  sounds, scents, tastes and sensations.  Seasons as a cycle, yet there is never the same spring.  Transformation is the evidence of passing time,  but time is invisible. We only discover it at the moment being  reminded by the changes of our surroundings.
Nerve digitally synthesized environmental sound as the four seasons, and modulate the representational sound into music as the three intervals in between. npool turns the theatre into a site for visualizing networks of co-beings, and rejoice with the sound as one. While prompting associations and reconnecting memories of seasons, they also lead audience to another perspective of the reality. This is a journey traveling through the layers of invisibles.
Collaboration between sound and visuals, never aimed at describing the same scenery, nor it was generated from one by another. Only by summoning them up, the whole landscape can finally be seen.

Artists

Ryoichi Kurokawa

Born in 1978 in Osaka, Japan.

Kurokawa is an audiovisual artist, and his work takes on multiple forms: projections, recordings, installation and live performance. In recent years, his works are shown at international festivals and museums including Tate Modern [UK], Transmediale [DE], Shanghai eArts [CN], and Sonar Festival [ES]. In 2010, he was awarded the Golden Nica at Prix Ars Electronica in the Digital Musics & Sound Art category. Produced by Cimatics Agency.

Nerve (Steve Hui)

Nerve is an alias of Steve Hui for presenting music. Graduated from the Hong Kong Academy for Performing Arts with a Master Degree in Composition and Electronic Music, he is a member of experimental electronic music group VSOP. His creative work has been presented at various festivals including: Hong Kong Arts Festival, New Vision Arts Festival and Creative Cities (Hong Kong in London). His first orchestral work Re-Autumn was commissioned by the Hong Kong Sinfonietta. In 2010, he was commissioned by Zuni Icosahedron to compose his first opera The Memory Palace of Matteo Ricci.

npool (Jamsen Law)

npool.net has been a tag following the name of Jamsen for more than a decade. Born and grow up in Hong Kong, Jamsen’s artistic interests and explorations span from video to theatre and installation arts. Jamsen’s screen-based media artworks have been widely exhibited in Asia, Europe and Americas. In recent years, he has started curating media arts related exhibitions, artist-in-residence and collaborative projects. Jamsen is now teaching at the Chinese University of Hong Kong, City University of Hong Kong and Hong Kong University of Science and Technology

Ryoichi Kurokawa at EXIT Festival, Paris

admin — Tue, 08 Mar 2011 21:45:47 +0000

EXPOSITION PARANOIA festival EXIT 2011

VERNISSAGE JEUDI 10 MARS A 18H30

JEUDI 10 AU DIMANCHE 20 MARS

29 INSTALLATIONS INTERACTIVES, PLATES-FORMES EDUCATIVES AU CARREFOUR DES ARTS DE LA SCIENCES ET DES TECHNOLOGIES

«PARANOÏA» propose une série d’oeuvres plastiques, vidéos, sculptures, interfaces visuelles et sonores. En croisant recherche scientifique et création artistique contemporaine, certaines oeuvres ont développé une vision «paranoïaque» du monde contemporain qui fait à la fois écho à son évolution mais également à la société imaginée par les «Cyber-Punk» dont William Gibson est le précurseur. Une vision futuriste imaginaire, drôle et effrayante.

Festival EXIT website

Exit 2011 : Expo Paranoïa + Spectacles (Teaser !)

Creteil Maison des Arts
Adresse:
Place Salvador Alliende
Créteil 94000, France
http://www.maccreteil.com

ICAS Radio live from Berlin’s Club Transmediale

admin — Tue, 08 Feb 2011 21:26:29 +0000

CYNETART curator Thomas Dumke will be guest during the radio programme “Zeit-Ton” at friday, 4th of february 2011.

For more than ten years the Berlin based festival Club Transmediale has been an indicator for developments in the field of electronic music and club culture. Of course the festival is an international meeting point for musicians, artists, producers and journalists. In 2008 Club Transmediale co-founded an international network of festivals, among others together with the ORF musikprotokoll im steirischen herbst. The network is called ECAS, European Cities of Advances Sound, and has also been enlarged by now to the worldwide association International Cities of Advanced Sound ICAS.

Nine of the European festivals have gained EU-sponsorship for the time-span 2010 to 2015 for realizing the special project “ECAS – Networking Tomorrow’s Art For An Unknown Future”. During the first phase called “Festival as Lab” all festivals turn into laboratories, opening up social spaces for experimenting with art and music, thereby reflecting the early days of club culture. And again Club Transmediale sets the first step. So tonight we join this festival for a three-hours broadcast for listening into live-music at three different venues in Berlin. Susanna Niedermayr and Christian Scheib, ORF radio journalists and curators of the network-partner festival musikprotokoll, will lead through the night together with one of the three artistic directors of the festival Club Transmediale, Oliver Baurhenn. Several other curators and partners of the network “European Cities of European Sound” will join in. On the radio one might listen to this program in the program Ö1, Friday, February 4th, 11pm, via oe1.orf.at, and in Berlin also via reboot.fm.

I.C.A.S. KITCHEN › Tue 1.2. – Sat 5.2.2011 › Paloma Bar, Skalitzer Straße 134, 10999 Berlin-Kreuzberg, Germany
For CTM.11, the I.C.A.S. (International Cities of Advanced Sound) Network, co-founded by CTM in 2007, presents itself with a programme of performances, DJ-sets, actions and wild ideas at Paloma Bar, which functions as the social hub of the network. The Paloma will be the festival’s figurative kitchen – the place where every one meets. the fridge has cold beer and that is always too small and jammed with people passing on gossip, knowledge and ignorance. Each day features one of the network’s festivals.

For CTM.11, the I.C.A.S. (International Cities of Advanced Sound) Network, co-founded by CTM in 2007, presents itself with a programme of performances, DJ-sets, actions and wild ideas at Paloma Bar, which functions as the social hub of the network. The Paloma will be the festival’s figurative kitchen – the place where every one meets. the fridge has cold beer and that is always too small and jammed with people passing on gossip, knowledge and ignorance. Each day features one of the network’s festivals.

VECTOR by Boris & Brecht Debackere

admin — Thu, 27 Jan 2011 11:14:44 +0000

First screening on 26 January 2010 at iMal, Brussels.

A vector (Latin: carrier) is a mathematical element of a vector space. In geometry and physics, vectors represent as much direction as displacement, velocity, acceleration and power.

Media

VECTOR is a film that derives from a generative computer application. The production aims to explore the intrinsic qualities of the digital media and to utilize them in the creative process. The digital media do not represent, they generate. They are more software than hardware, and by nature quite different from any other medium that we know, in short: transforming and growing systems.

The modular qualities of the software enable emergent processes, feedback and (re-)generating processes to unfold into dynamic elements. The “virtual tool” plays an active role in the creative process of the film-production. By handling those digital technologies with dynamic processes, can arise new and alternative production methods, different from those in the representational media.

The focus of production of VECTOR is to develop a computer application to represent the concept of pure movement. Film is movement. The movement of the subject, the movement of the camera, the movement of the film through the projector. All these movements create tension, dynamism, and also determine the experience of the film. Translated into mathematics, the movement is represented by a vector, the core of this project.

Genre

The starting point of VECTOR is the action movie as a genre preferring the spectacular and sensational audiovisual experience to the psychological conflict and reflection. This genre was deliberately chosen because, like no other, it explores the many features of movement and uses them as its central theme. Action sequences are based on stylistic conventions such as slow and fast motion, continuous motion, unrealistic lighting, staccato editing, speed… In VECTOR, these conventions are analyzed and applied within an abstract world free from a narrative context but with the purpose of generating a similar audiovisual experience. Therefore, special attention is paid to the specific form and style elements that emphasize the movement and are crucial in the experience of motion.

VECTOR has an affinity with the tradition of Absolute Movie where the formal and structural characteristics of film are used to produce a purely cinematic effect. Our method is also closely related to the formalist and structuralist tradition that assumes that the cinematic codes and conventions are meaningful. The formalistic nature of cinema can do more than tell stories, it reveals a different mindset. The “language of the medium” is the basis on which the “story” is subordinate to the form. Experiencing a structuralist film is like watching a chain of dominoes: once the first stone falls, one pays attention rather to the outcome of the overall organization of the stones than to one individual element.

Form

VECTOR wants to make visible the internal movement of the film by reinforcing the conical projection beam and joining it to the laser beam. This creates a dynamic friction between the flat screen and reality. The laser patterns that are projected as meta-layers in the space and on the screen lift the two-dimensional images out from the projection plane and bring them into the three-dimensional space of the movie theather. This unveils and makes visible the underlying system of movement and deformation. In that case, the film experience has no longer its transparent quality that allows the viewer to see through the media; but, paradoxically enough, becomes immersive thanks to the real-time visualization of itself. The game between the laser light and the video projection, both having their specific qualities, sticks out the flat screen and places the viewer into the film frame. This total experience both gives an insight into the underlying mechanisms of the film and provides an immersive and fascinating experience.

Vector is produced by Cimatics with the support of VAF.

Project made during Boris & Brecht Debackere’s residence at iMAL, Brussels.