Space and Time. Stories from the Neuchâtel Observatory
HKB MA Design Entrepreneurship – Exhibition Project
Musée du quai Branly – Jacques Chirac
How is a collection dedicated to non-European cultures and arts formed? What roadmap should a national museum at the crossroads of fine arts, ethnology and modern art follow? We take a look behind the scenes of an institution through twenty years of acquisitions
The Public Domain Review is dedicated to the exploration of curious and compelling works from the history of art, literature, and ideas – focusing on works now fallen into the public domain, the vast commons of out-of-copyright material that everyone is free to enjoy, share, and build upon without restrictions.
By Gérard Berry, writer and professor, at TimeWorld 2019, the International congress on Time.
By Antoine Compagnon, writer and literary critic, at TimeWorld 2019, the International congress on Time.
The Japanese artist Ryoji Ikeda presents his works on huge screens. He is inspired by data collected from all areas of life and science.
Ryoji Ikeda | Link article and movie | Kunstmuseum Wolfsburg
Ryoji Ikeda (b. in Gifu, Japan in 1966; lives and works in Paris and
Kyōto) is one of the world’s leading sound and media artists. His often
large-format light and sound installations have caused numerous
international sensations (e.g. 2018 Centre Pompidou, Paris; 2018 Eye
Filmmuseum, Amsterdam; 2015 ZKM Karlsruhe; 2014/15 Minsheng Art Museum,
Shanghai).
Ikeda’s works reflect the progressive digitalization of
our society and allow viewers to visually and acoustically experience
digital universes. With the exhibition, the Kunstmuseum Wolfsburg is
presenting—for the first time together—two new large-scale projections,
which will be installed site-specifically in the museum space: data-verse 1 and data-verse 2.
With his works, Ryoji Ikeda strives to “capture the world down to the smallest detail” (R. I. 2008). His light and sound installations thus have their origins in mathematics, physics, and biology, as well as in musicology and philosophy. Ikeda succeeds in making the abstract volumes of data and computing power we deal with every day comprehensible. He lets viewers immerse themselves in digital universes, which oscillate between the smallest measurable units, i.e. bits and bytes, and cosmic dimensions—they give the impression as if, with the data streams, one were on a journey through space.
Alongside installation works, Ikeda has been working on projects through live performances, books and CD’s such as +/- (1996), 0°C (1998), matrix (2000), dataplex (2005), test pattern (2008), supercodex (2013), and music for percussion (2018) which pioneered a new minimal world of electronic music through his razor-sharp techniques and aesthetics.
On the one hand, the surrounding architecture is decisive for his installations and is taken into account in the set-up of the works. On the other hand, visitors to the exhibition are invited to move about in the space in order to reevaluate their own perception and sound out the relationship between space and time. The pulsating sounds underlying the installations range in their spectrum from barely audible sine tones to dull, physically perceptible bass sounds. The latest 4K projection technology contributes to transforming the exhibition into a fascinating total synesthetic experience.
The production of data-verse 1 and data-verse 2 was commissioned by Audemars Piguet. Curator: Andreas Beitin
www.robertpludra.com
Public evening lecture in the HKB
I really like the very simple approach of this designer. With few means, he creates very beautiful and practical objects.
