NEMO OBSERVATORIUM 02002 - Styrofoam particles are blown around in a big transparent cylinder by five strong fans. Visitors can take place one by one on the armchair in the middle of the whirlpool, in the eye of the storm, where it is calm and safe. Spectacular at first sight, this installation turns out to mesmerise as a kind of meditation machine, challenging the visitor to stay centred and find peace in a fast changing environment. After a while the space seems to expand and one's sense of time deludes.

Schedule
2-3 October: 10h00-12h30 / 13h30-18h00
4-5 October: 10h00-12h30 / 13h30-18h00 / 20h00-24h00

Lawrence Malstaf
Prisma Festival Aveiro

The exhibition The Presence of Absence will occupy the entire exhibition space of the Frankfurter Kunstverein, covering 1,000 square meters. Thematically, the exhibition revolves around humanity’s timeless engagement with the idea of transience and its forms of representation in art. The title refers to matter as a presence where traces of the living are inscribed. Vital energy is powerful yet fleeting. It leaves a mark, a trace that, captured in matter, can endure over time.

The exhibition will juxtapose exhibits spatially, presenting the abstract idea of a “presence of the absent” from both artistic and scientific perspectives within an expanded conceptual space. The curatorial narrative will venture as far as the astrophysical phenomenon of the black hole. Thoughts on the expanse and time, and the infinity of the universe lie beyond our human imagination, yet simultaneously raise the question of who we are. Our planet hovers somewhere between immensity and eternity. And for a fleeting moment, our own lives open a window.

The self experiences the wonder of reality through the senses of our bodies. These consist of the elements of exploded stars in the cosmos: the nitrogen in our DNA, the calcium in our bones, the iron in our blood, or the carbon in our cells. In fleeting moments, we connect with eternity and give traces of being a material form. Art is one way to do that.

Curated by Franziska Nori, with scientific support from Anita Lavorano and Laura Perrone

SHRINK 01995 - Two large, transparent plastic sheets and a device that gradually sucks the air out from between them leave the body vacuum-packed and vertically suspended. The transparent tube inserted between the two surfaces allows the person inside the installation to regulate the flow of air. As a result of the increasing pressure between the plastic sheets, the surface of the packed body gradually freezes into multiple micro-folds. For the duration of the performance the person inside moves slowly and changes positions, which vary from an almost embryonic position to one resembling a crucified body.

Lawrence Malstaf
Frankfurter Kunstverein

1 drop 1 thousand years

Forcefulness and daring: with Martin Messier, the sensation that we are in front of something imposing and totally new is constant. His installations, transformed into a large instrument with which Messier develops his concerts, integrate technological processes that require the physicality and energy of the moment to activate, making him one of the most exciting contemporary artists that can be witnessed live. He arrives with 1 drop 1000 years, an installation/performance in which lighting, sound and presence generate a powerful immersive flow inspired by the alteration and balance of current climatic phenomena.

2 October 2024 - ARGENTINA, BUENOS AIRES, MUTEK AR
5 October 2024 - CHILE, SANTIAGO, MUTEK CL
9 October 2024 - COLOMBIA, BOGOTA, Festival No Convencional
18 October 2024 - MEXICO, MUTEK MX

With the death of Finnish composer Kaija Saariaho the music world lost one of the great figureheads of her generation. Threnody - as the name suggests - is about this farewell. It originally started as a tribute to Saariaho who was also for Annelies Van Parys an important example as a leading lady composer. The piece thus inscribes itself is in a long tradition of Déplorations like the very famous “Nymphes des bois” (Déploration sur la mort d’Ockeghem) by Josquin Desprez. Van Parys used several quotes from his Déploration that on some instances in the piece is shimmering through like a distant and fragile echo of the past. While writing the piece, she got confronted with another, much closer loss, which reflects in the echo of the quote “vous avez perdu votre bon père”.
Next to Threnody of Van Parys, there is music of Saariaho, Venegas and Jacobs.

Co-production November Music
As part of Sounds Now

Annelies Van Parys
Festival 20.21
Tickets

wilderness
Thirteen disposable plastic shopping bags playfully dance in the gallery space articulated by wave data collected on a voyage across the Pacific Ocean.
Data for this installation was collected as artist at sea resident aboard the Schmidt Ocean Institute Research Vessel Falkor as it transited from Astoria, Oregon to Honolulu, Hawaii, July 2019. While in the middle of the enormous ocean, at times, it felt this place was completely untouched by human activities. This delusion was destroyed by the occasional piece of human made debris floating in this vast wilderness. Using an on-board accelerometer, every movement of the ship caused by wave action was collected during the entire journey. The Z movement data is directly mapped to the movements of the bags floating in the gallery space creating the effect that the bags are suspended in waves of the Pacific.

the journey 
the journey is an installation that uses multi-beam sonar seafloor data collected during a transit on the Pacific Ocean July of 2019. During this journey aboard Research Vessel Falkor, an approximately 10 mile wide swath of seafloor was scanned using a sophisticated onboard multi-beam sonar depth sensor. The data gathered from the entire journey is converted to an 3D model surfaces of the seafloor underneath the vessel as it transited the Pacific Ocean. For the installation, a portion of these 3D models will be carved into individual sections of clear acrylic and set end to end recreating an approximately 27-foot installation in the gallery space. An RGB led strip will be installed in the bottom of the acrylic sections and programed to illuminate a section of the journey chasing across the gallery space. This will recreate a sense of movement illustrating the vessels journey across the Pacific Ocean as it scanned the seafloor.

HYPER NATURE

tele-present wind (Mars version) 2024 is a collaboration between David Bowen and the NASA Jet Propulsion Laboratory. This installation consists of a series of 126 x/y tilting mechanical devices connected to thin dried plant stalks installed like a field of grass in a gallery. The mechanisms will tilt, move and sway based on data collected from the wind sensor on the Perseverance Mars rover.

Dr. José A Rodríguez-Manfredi the lead scientist on the wind sensors on Perseverance assisted in collecting the wind data for the project. That data will be mapped to the movement of the mechanisms. Thus, the individual components of the installation here on earth will move in unison as they mimic the direction and intensity of the wind from another planet. As it monitors data from this remote and distant location, the system will relay a physical representation of the dynamic and fluid environmental conditions on Mars.

NASA Jet Propulsion Laboratory
PST ART
New York Times

Phantom Vision uses the latest advances in science and technology to provide insights into brainwave patterns, dreams visualized by artificial intelligence, nature's hidden communication networks, and layers of our reality that go beyond the limits of everyday perception through the works, interactive installations and ever-changing projections of more than 35 international and Hungarian artists.

"If we can capture the rippling of a lake, can we also capture howling wind and billowing fog using digital art? David Bowen’s sculptures capture a fleeting moment in the ever-changing pulse of water waves, freezing it in space and time. Using a CNC router, the artist transforms the dynamic, fluid movement of water into a static, three-dimensional form, paradoxically capturing the constant flux of nature. The works encourage the viewer to reflect on the futility of artistic efforts to capture the essence of ephemeral natural phenomena and transform them into an artistic experience by digitally capturing a single moment of infinite wave motion. The intricate, minute details and undulating surface of the sculpture serve as a tangible imprint of the power of water and the complexity of wave motion, juxtaposing the ephemeral with the permanent. The precise geographical coordinates in the title refer to Lake Superior in North America and associate these frozen waves with a specific location, further emphasizing the tension between the universal nature of water movement and the singularity of a single moment in time and space. The sculptures exemplify the artist’s broader artistic practice, which offers unique perspectives on the relationship between nature, technology and human perception." Barnabás Bencsik

46°41'58.365" lat. -91°59'49.0128" long. @ 30m refers to the source location where the water surface data was collected for this series. An autonomous aerial vehicle hovering 30 meters above Lake Superior captured still images of the water’s surface. 
For this series of five, the vehicle was deployed to the same location on different days and in different weather conditions. The collected images were converted into three-dimensional models using open source software.
The models were then carved with a CNC router into a series of clear acrylic cylinders. This process captured the dynamic movements of the waves and ripples from a specific time and location and suspended this ever-changing water pattern into a static transparent form. 

Light Art Museum Budapest