ARTECHOUSE, a technology-focused art exhibition platform conceived in 2015 by Sandro Kereselidze and Tati Pastukhova, has been presenting digitally inspired art in Washington D.C. and Miami. Now they’re coming to New York, “a clear next step for [their] mission,” with an inaugural exhibition by Refik Anadol. The Istanbul-born, Los Angeles-based Anadol is known for his light and projection installations that often have an architectural component, such as the recent animation projected on the facade of the Frank Gehry-designed Walt Disney Concert Hall. For ARTECHOUSE in New York (also Anadol’s first large exhibition in New York), he’ll be presenting Machine Hallucination. The installation will create what he calls “architectural hallucinations” that are derived from millions of images processed by artificial intelligence and machine learning algorithms. “With Refik, it’s been a collaborative process for over a year and a half, bringing a new commission, Machine Hallucination to life,” explained Kereselidze and Pastukhova. “We have worked closely with Refik to develop the concept for this exciting new work, thinking carefully about how to most effectively utilize and explore our Chelsea Market space.” ARTECHOUSE is especially suited to visualizing Refik’s “data universe” with a floor-to-ceiling, room-wrapping 16K laser projector that the creators claim features “the largest seamless megapixel count in the world,” along with 32-channel sound from L-ISA. The more than 3 million photos, representing numerous architectural styles and movements, will be made to expose (or generate) latent connections between these representations of architectural history, generating “hallucinations” that challenge our notions of space and how we experience it—and providing insight into how machines might experience space themselves. It makes us consider what happens when architecture becomes information. Of the work, Anadol said, “By employing machine intelligence to help narrate the hybrid relationship between architecture and our perception of time and space, Machine Hallucination offers the audience a glimpse into the future of architecture itself.” Machine Hallucination will inhabit the new 6,000-square-foot ARTECHOUSE space in Chelsea Market, located in an over-century-old former boiler room which features exposed brick walls and a refurbished terracotta ceiling, which according to its creators, “supplies each artist with a unique canvas and the ability to drive narratives connecting the old and new.” ARTECHOUSE will be opening to the public early next month.
Posts tagged with "Digital Projections":
Marcel Breuer’s dark and boxy Central Atlanta Library will literally light up this fall with projected images chronicling the city’s hip-hop and experimental music scene. Curbed Atlanta reported that URBANSCREEN, an artist collective from Germany, will design a light show on the Brutalist building’s hulking facade beginning October 5. The 250,000-square-foot concrete public library is situated at the corner of Forsyth and Williams Streets and is currently undergoing a controversial $50 million renovation by local firm Cooper Carry. URBANSCREEN’s “Superposition” installation will bring temporary color and motion to the exterior as part of the Goethe-Institut’s “Lightart Meets German Architecture” project. In partnership with the organization, the artists will illuminate two other iconic German-American pieces of architecture outside of Atlanta: the Athenaeum in Indianapolis and the German ambassador’s residence in Washington, D.C. Not only is the project a celebration of these enduring buildings, but it is also a chance to reflect on the history of German architecture in the U.S. and what that means to the countries’ relationship today, according to URBANSCREEN. For Atlanta, digital art, dance, and music will be integrated within the project “to unite several universal languages that transcend geographical definitions,” says a press release cited by Curbed. In an interview with the Goethe-Institut, the URBANSCREEN team described their inspiration for the projection on the Atlanta library. “We first had an entirely different idea, but then changed our minds completely when we arrived on site,” said Majo Ussat. “Now we are presenting a highly graphical projection in collaboration with local youth groups who will dance hip-hop—a kind of 'Bauhaus meets hip-hop.'" The team will install four projectors around the library, some in a nearby building and on the roof of a gallery, since the surrounding block is too tight to set them up efficiently. Per Curbed Atlanta, the event will also include a street festival replete with food and beer trucks. The revamp of the Central Library, as well as the light show, signals a rededication to the historic architecture scene of Atlanta. Back in 2016, the city was considering demolishing the building, but local and national preservationists came to the rescue. Cooper Cary’s retrofit will transform 50,000 square feet of the library into private, leasable space in an attempt to enhance its program. On August 24, the site was unanimously voted to the National Register of Historic Places as well as the Georgia Register of Historic Places by the Georgia National Register Review Board.
Tokyo-based collective teamLab is set to open its DIGITAL ART MUSEUM in Tokyo on June 21, 2018. With the support of developer MORI Building, the museum will be the first in the world to exclusively feature digital exhibitions. teamLab told Quartz that their new museum addresses what they perceive to be a lack of spaces dedicated just to digital art, and that their museum will allow “visitors to melt into the art and become part of it.” The sprawling 110,000-square-foot museum possesses a maze-like floor plan centered on five spaces. With the aid of nearly 1,000 computers and projectors, along with real time coding, the installations react and respond to visitors, creating a series of shifting and immersive three-dimensional spaces. In total, these spaces will hold approximately 50 alterable works. According to teamLab, the museum’s principal exhibition, Borderless, breaks from curatorial conventions by possessing “no borders with other works,” with the capacity “to leave the installation rooms and move down corridors, communicate with other works, and sometimes fuse with them.” Installations within Borderless, such as Flower Forest and Terraced Rice Field, are designed to encourage visitor exploration across the expansive setting, through spaces of windswept flowers and beneath fabricated lily pads. As their own microcosms, the spaces possess illuminated shelters and hidden alcoves. Within the museum, a significant portion of the exhibitions will focus on creative spaces for children that hone their sense of spatial awareness through the navigation of a multi-sensory environment. Athletics Forest is composed of slopes, peaks and valleys connected by a series of landscape swings, hanging bars and bouncing surfaces. The entire area is illuminated by three-dimensional projections that migrate across the undulating landscape. Located at the center of Athletics Forest is Inverted Globe, a townscape with roads, homes and vegetation that defy gravity by clinging to the steep slopes of the landscape. Since the museum’s installations are digital, they can be continually adapted by teamLab to add new features, such as seasonal changes or entirely new landscapes. Established in 2001, teamLab is known for their bold public installations and interactive exhibitions that invite participation.
Paris-based digital projection artist Miguel Chevalier turned the University of Cambridge’s 16th century King’s College Chapel into an intellectual hypnosis chamber during the recent Dear World… Yours, Cambridge charity event. As each speaker presented, Chevalier illustrated their points with projected lights designed specifically to the chapel’s interior. For example, when hearing of Stephen Hawking’s research on black holes, the chapel became a sea of constellations. Professor Hawking told the invited audience, "When I arrived in Cambridge I was lucky. I was lucky to meet the brilliant minds that broadened my horizons. I was lucky to be given the space to think, and I chose to think about space." Chevalier is the first artist invited to make a spectacle in the 500 year old Perpendicular Gothic chapel. And his projections accompanied speeches of renowned professors and alumni. According to Chevalier, the Cambridge project "imagines a number of different graphic universes, which are generated in real time and use their own ‘digital’ language to illustrate and interpret a wide variety of subjects including academic excellence, health, Africa, biology, neurosciences, physics, and biotechnologies." Previously, Chevalier created displays for the 1992 Olympic Games in Barcelona and Paris' Grand Palais.
3D projection technology fleetingly brings back the Bamiyan Buddha that was destroyed by the Taliban
The hollow in the sandstone cliffs of Bamiyan, central Afghanistan, still harks back to the looming Bamiyan Buddha statues that once emerged from the cliff-face, before they were destroyed by the Taliban in 2001. A Chinese couple has created 3D projection technology to holographically recreate the destroyed statues which, standing at 180 feet and 120 feet respectively, lorded over the Bamiyan valley for 1500 years. https://twitter.com/alibomaye/status/607259092265148416/photo/1 Representing the classic style of Gandhara art, the monuments withstood the armies of Genghis Khan and the introduction of Islam to the region, as well as multiple artillery rounds by the Taliban, which eventually deferred to explosives when their firing failed to make a dent. “These idols have been the gods of infidels,” Taliban leader Mullah Muhammad Omar reportedly declared in marking the statues for destruction. In 2005, Japanese artist Hiro Yamagata proposed a laser show system to recreate the Buddhas, but the project was never implemented. On display for two days in June, the holograms were cast from projectors mounted on scaffolding, the work of a Chinese couple who are traveling the world to film a documentary. Moved by the legacy of the statues and their destruction, they decided to add Bamiyan to their itinerary and provide the projection as a gift from the people of China to the Afghan people.
Takeshi Murata: Melter 2 Contemporary Art Museum of St. Louis 3750 Washington Road, Saint Louis, MO Through April 27 New York–based artist Takeshi Murata will be transforming the facade of the Contemporary Art Museum of St. Louis through the installation of Melter 2. Created in 2003, the playful piece of video is being enlarged from its original form in order to fit the museum’s 62-by-18-foot metal facade. Melter 2 is reflective of the vibrant and psychedelic animations that have formed a major component of Murata’s practice. Its colorful floral forms that seem to melt and fuse over the course of the video will be visible once night falls through April 27. The work is the second in the museum’s ongoing series of expansive video-art installations, Street Views.
Digital artist Jennifer Steinkamp’s first installation in a series at St. Louis’ Contemporary Art Museum is up and running, transforming the museum’s facade into a projection screen for large-scale video art. Steinkamp’s installation, Orbit, features trees, vines, and other plants whipped up by turbulent wind. AN brought you images from the work back in October, but take a look at the newest video of the project below.
Jennifer Steinkamp: Street Views Contemporary Art Museum St. Louis 3750 Washington Blvd, St. Louis, MO Through December 23 The Contemporary Art Museum of St. Louis has inaugurated Street Views, an exhibition featuring a series of works by digital installation media artist Jennifer Steinkamp. As part of the 10th anniversary of CAM’s building, the museum will be turned inside out, as its exterior will be transformed into a gallery with large-scale video art being projected onto its facade. Through the use of powerful projectors and intricate computer algorithms, Steinkamp will transform the museum’s metallic and concrete structure into a dynamic garden capturing a mesmerizing natural environment. Her utilization of video and new media enables the viewer to explore different ideas about architecture, design, motion, and interpretation. The use of vernacular imagery conveys the power of nature and enables visitors to perceive the building through a different lens, thus providing them with a new synaesthetic experience. This innovative outdoor moving image series strikes a balance between the natural landscape and computer-generated imagery. By transforming CAM’s building into a compelling projection screen, Steinkamp brings digital media into the mainstream of contemporary art.