Tallieu Art Office

HACK-À-DEUX

BOZAR
Brussels (B)

During a two days symposium taking place at Bozar, we invite you to focus on the future of Artificial Intelligence and its impact on our living environment, cities, communities, and culture – a future in which AI will become “our nearest neighbour”. Curated by Jurij Krpan and Pau Waelder, this event will bring together researchers, entrepreneurs, creatives and artists, who will share their expertise on AI in Europe, addressing topics such as AI and creativity in the arts, and the future of living with AI.

Over the two days of the conference, we will host in parallel, and for the first time at Bozar, a hackathon entitled “Hack-à-deux”, on the theme Living with AI, our nearest neighbour. The hackathon is a creative marathon, in which two artists will be paired with three researchers, scientists, engineers or curators to answer a specific challenge dealing with the future of our life with AI in no more than 48 hours. The results of the hackathon will be presented to the public at the end of the symposium during the last panel. 
“Hack-à-deux” with  Dries Depoorter, Laura Colmenares Guerra, Alex Verhaest, Bohdana Kohorod, Kristjan Jansen and Guillem Alenyà.

Full programme & tickets for Day 1 
https://www.bozar.be/en/calendar/future-living-day-1
Full programme & tickets for Day 2 
https://www.bozar.be/en/calendar/future-living-day-2

Not able to come to Brussels on 19 + 20 Oct.’21?
We will be live-streaming the symposium via Zoom.
Please register in advance to obtain the Zoom-link. 
Registration for the live-streaming of Day 1: 
https://bit.ly/TFOL-Zoom-Day1
Registration for the live-streaming of Day 2: 
https://bit.ly/TFOL-Zoom-Day2

​​​​Find out more about the Future of Living and start interacting with the AI.
https://www.thefutureofliving.eu/

The Journey

MMAM
Winona, Minnesota (USA)

David Bowen blends science, art, and data gathered from nature to create kinetic and robotic sculptures, made from natural and manufactured materials. Two large installations of kinetic sculptures will be exhibited at MMAM, based on collected sea floor and wave data Bowen recorded during a journey aboard the Schmitt Ocean Institute research vessel Falkor, which sailed from Portland, OR to Honolulu, HI in 2019. Bowen is an associate professor of Sculpture and Physical Computing at the University of Minnesota, Duluth.

https://www.dwbowen.com/
https://www.mmam.org/david-bowen

Lagunas & Rios Trilogy

Scopitone 2021
Stereolux, Nantes (FR)

Lagunas is a fictional & interactive installation, a triptych between memory, death, and water. Prehistoric landscapes are the scenario for the chronicles of a drowning man, disclosing the rarity of water on Planet Earth.

Lagunas is dark, still, and somber. Silent landscapes, dying fish, the water of a thick dark lake, seaweed and mud cover the depths. Below the surface, a man drowns. From the abyss, archaic rocks are attracted by magnetic forces. Drilling machines emerge, turning between the cliffs, intercepting the stones in levitation and destroying the rocks, which fall back into the water. The abandoned body of the man, receives the impacts of the stones, wakes up, strives to save his life, and loses consciousness...

The drilling machines embody the hydraulic fracturing techniques used to extract fossils fuels from the shale rock of the Earth. The water contamination process consequence of the hydraulic rupture is visualized from close-up animations to larger-scale images where the fracking fluid travels through the pipelines reaching the groundwater. High-pressure impulsions cause the nearby shale rock to crack, creating fissures where fuels flow into the surface of the Earth, while rests of toxic fluids contaminate the water of the subsoil of the Earth.

Three water valves are used in Lagunas as interactive devices. When the water valves are rotated, image and sound are activated. Further than interacting with image and sound events, the level/amount of interaction of the participants is continuously analyzed. An interactive scenario adapts to the behavior of the spectators, allowing variations and deviations on the fictional order. The water tabs are used all along the experience as triggers & controllers for the interactive scenario of the installation.

The lakes and mountain landscapes have been shoot in Colombia, in the «Chingaza Natural National Park», a natural reserve located in the Eastern Cordillera of the Andes, in the northeast of Bogotá. The underwater images were filmed in a lake in the Netherlands, using a high-speed cinema camera (Phantom-Flex) and shoot at 300fps. The landscapes & underwater images are composited with 3D (CGI) generated images.

The Ríos Trilogy is an installation project based on the Amazon Rainforest territory1, understood from a local and global perspective. The project explores the relationship between language and the construction and definitions of territory (from the western perspective). The trilogy proposes a lecture of Amazonia based on observation and analysis of metadata - hashtags from social media2, combined with actual geo-reference data related to socio-environmental threats the territory undergoes.
Ríos explores visual representations, speculative cartographies that rise from the process of hybridisation of Amazonia related data.

Ríos - CHAPTER I: Rivers // Amazonia Geo-linguistics is an experimental research tool that allows mapping information related to the Amazons Rainforest on social media (currently only Twitter). We designed a tool to facilitate analysis and visualisation of semantics used in Twitter in an attempt to comprehend how western societies relate to the complex situation of the Amazons basin. The study wishes to introduce possible perspectives that spotlight the behaviour and conditioning of human societies that use social media and its semantic structures to communicate.

With a humble and empirical approach, we grasp the immense mass of data emerging from Twitter, the hashtags, hashtags co-occurrences and the information contained in the messages where the hashtags are included. This information is continuously archived on a database. We run algorithms on the database to generate statistical data.

The results of this analysis are applied to the geo-referenced marks where socio-environmental threads have been identified, performing experimental interventions on the actual topographic data of the Amazonian territory.

Ríos - CHAPTER II:  RÍOS // sculpture series proposes a series of speculative cartographies that rise from a digital process of hybridisation of Amazonia related data. The cartographical work produced in Ríos results in a series of nineteen sculptures. Each sculpture is based on topographic data from a territory delimited by the hydrological sub-basins forming the extensive Amazonian basin and the major tributary rivers nourishing the Amazons River:

Japurá-Caquetá / Iça-Putumayo + Napo + Nanay / Marañon + Huallaga / Javari + Jutaí / Ucayali / Juruá / Purus + Tefé / Madre de Díos + Beni / Mamoré + Guaporé / Madeira + Aripuanã / Juruena + São Manoel + Abacaxis + Tapajós / Iriri + Xingu / Araguaia / Tocantins / Mearim / Trombetas + Jari / Branco / Negro / Amazon floodplain

Exhibition SCOPITONE 2021
Mini Conférences SCOPITONE 2021

Holle Haven - Première

O. Festival, Rotterdam (NL)
Atelier Van Lieshout

Dutch première
O. Festival, Rotterdam (NL)
28 & 29 August 2021

Several times a day
Atelier Van Lieshout, Rotterdam (NL)

Belgian première
1 September 2021
20:00
De Studio, Antwerpen (BE)

INSPIRATUM
2 September 2021
20:00
Axel Vervoordt, Wijnegem (BE)

TICKETS
O. Festival
De Studio

CONVERSATIONS 02012

ZHI Art Museum
Chengdu (ROC)

CONVERSATIONS 02012 by Lawrence Malstaf is included in the group exhibition 'YI' at ZHI Art Museum in Chengdu.

A couple of vibrating chairs are slowly moving and turning randomly through the space. They seem to search and reject each other with soft humming sounds. When a visitor passes by or sits down, the chairs hesitate and then carefully try out different patterns. The patterns are not designed; it is a self-organising system where new compositions and new behaviour arises spontaneously through the duration of the installation.

ZHI Art Museum

ISOS / INTERCAL

La Comédie de Reims
Reims (F)

Civilized life, you know, is based on a huge number of illusions in which we all collaborate willingly.The trouble is we forget after a while that they are illusions and we are deeply shocked when reality is torn down around us. (J.G. Ballard)

Kris Verdonck makes in ISOS reference to the world and characters depicted in the apocalyptic science-fiction novels by James Graham Ballard (GB, 1930-2009). Ballard portrays in his Magic Realistic stories and autobiographical works, intelligent and visionary descriptions of a future world which increasingly resembles our contemporary neoliberal society. ISOS consists of 3D videos shown in nine view-boxes where virtual sculptures perform in the strained socio-political situation that is called suburbia. The audio-visual installation acts as a short film edited in the viewer's imagination.

Kris Verdonck explores in his work the boundaries between visual arts and theatre, installation and performance, dance and architecture. Verdonck's artistic practice deals with the confusion of human kind in an estranged world, due to technological development. Man and machine are set in a post-apocalyptic world where the tension between living species and dead matter creates an atmosphere of Unheimlichkeitor eeriness. One of the leitmotivs through Verdonck's oeuvre is the ‘current state of the world’ - with its environmental problems, ecological disasters and wars.

ISOS
La Comédie de Reims

RIOS // CAQUETÁ - JAPURÁ & JURUÁ in 'Code is Law'

CENTRE WALLONIE BRUXELLES
Paris (F)

Ríos is a series of sculptures based on the topography of the Amazon Basin; they explore the relationship between language, specifically in social media, and the construction of territory in visual, symbolic and conceptual terms. The project introduces a reading of the Amazons basin’s topography based on observation and analysis of metadata - hashtags from social media, in combination with geo-referenced information related to socio-environmental issues associated with the basin’s territory.

Ríos proposes a series of speculative cartographies that rise from a digital process of hybridisation of Amazonia related data. The cartographical work produced in Ríos materializes as a series of thirteen sculptures. Each sculpture is based on topographic data from a territory delimited by the principal subbasins conforming the extensive Amazonian basin and by the main tributary rivers feeding the Amazons River: Tocantins, Xingu, Tapajós, Madeira, Purus, Ucayali, Marañón, Napo, Putumayo -Içá, Caquetá -Japurá, Juruá, Negro, Trombetas.

Research
On-line application
Artworks
Code is Law

Tele-Present Wind at PRECTXE Festival

B39 Space
Seoul (ROK)

tele-present wind consists of a series of 126 x/y tilting mechanical devices connected to thin dried plant stalks installed in a gallery and a dried plant stalk connected to an accelerometer installed outdoors. When the wind blows it causes the stalk outside to sway. The accelerometer detects this movement transmitting the motion to the grouping of devices in the gallery. Therefore the stalks in the gallery space move in real-time and in unison based on the movement of the wind outside.

The sensor is installed in an outdoor location adjacent to the Visualization and Digital Imaging Lab at the University of Minnesota. Thus the individual components of the installation moved in unison as they mimick the direction and intensity of the wind halfway around the world. As it monitored and collected real-time data from this remote and distant location, the system relayed a physical representation of the dynamic and fluid environmental conditions.

David Bowen
PRECTXE Festival
B39 Space

EXIT - IN - BRASS - MASS #2 at SPRING Festival

SPRING in Autumn
Utrecht (NL)

IN, MASS#2, BRASS: CANCELLED

EXIT is the title of a research project that Kris Verdonck carried out together with dancer and choreographer Alix Eynaudi.
The basis of this project is a question: in a traditional theatre set-up, using all the media at the theatre’s disposal (lighting, sound, movement, language, images, stage design, etc.), what influence can we have on the sensory perceptions of an audience? To what extent are artists capable of manipulating the spectator’s consciousness (and subconscious) using these theatrical means?

In IN (2003) a performer remains motionless  in a display window filled with water. The distortion to the performers' senses caused by the environment causes a state of trance. The sounds of breathing and movement are amplified by microphones. 

BRASS is a ghost orchestra. The three sousaphones play themselves, and appear to be floating. The machines, automated instruments, are the source of the music in a place where man and the gods are no longer around. These sousaphones were developed by Decap, specialists in the creation of automated musical instruments. They ‘play’ passages based on a theme from the Japanese anime film Ghost in the Shell and works by Erik Satie. Their rotating movements create a slow-motion Doppler effect, whereby sounds sometimes come together and then move apart again. In BRASS, Kris Verdonck continues his research into theatre without performers. Given the increasing technologisation of society and the destruction resulting from war and climate change, the possibility of a world without people has never been so likely. The sound nevertheless has human features: breathing, blowing, ‘practising’ and warming up. The instruments are suspended in a dark room, in a perpetuum mobile – their material gleams, but the body they normally rest on is no longer there.

MASS #2 by Kris Verdonck is a poetic, moving landscape. A graphite-grey mass flows slowly as if it was water. The matter appears light and yet heavy at the same time. And, as if tectonic plates are interacting, the spectator sees mountains and valleys created before his eyes, only to dissolve in the next instant. A living landscape, geology in a time-lapse. 

Kris Verdonck
SPRING in Autumn

Shrink at BOZAR Open Air

BOZAR
Place Baron Horta, Brussels (B)

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.

Performances at 19:00 & 20:30

BOZAR Open Air
Lawrence Malstaf