Video artist Marco Brambilla shares his densely hypnotic and kaleidoscopic 3D film RPM, commissioned by Ferrari in celebration of their latest auto masterpiece, the 458 Spider, and premiering at Art Basel Miami tonight. Assembling footage shot on location over several months at the Italian Formula One Grand Prix in Monza with imagery from the Scuderia Ferrari archives and the artist’s own recordings, RPM is a visceral, cubist representation of a Formula One driver’s state of mind during a race. “I wanted to make a portrait of speed,” says Brambilla, a life-long F1 fan. “Something as subjective as can be, that explores the connection of man and machine and tests the limits of human endurance.” Featuring Möbius strip racetracks, wind-gritted teeth and a howling soundtrack of throttling engines, RPM accelerates in complexity with every turn of the circuit. “[The film is] always accelerating,” says the artist, “just building, no payoff, no win.” The New York-based Brambilla, who created the digital tableau vivant for Kanye West’s “Power” and the 3D videos Evolution and Civilization, wanted to push the limits of his own aesthetic vocabulary with this project. “This one is a little bit different in that we used 3D as an editing tool,” he says. “As the piece speeds up, the multi-planing—the foreground, mid-ground and background objects—all cycle through each other to create an acceleration in 3D space.”
Tuesday, November 29, 2011
Wednesday, November 9, 2011
Monday, November 7, 2011
Two scientist are looking for city lights on other worlds as a way of discovering aliens reported by Art Daily http://www.artdaily.org/index.asp?int_sec=2&int_new=51609
David Lynch x Dom Pérignon on Nowness.com.
Filmmaker Gavin Elder’s Hyperreal Portrait of the Iconic Director's Champagne MomentGranted rare and uninhibited access to the creative process, Gavin Elder’s short captures auteur David Lynch at work shooting premier cuvée brand Dom Pérignon's new campaign. Only the second living artist, after Karl Lagerfeld, to have shot a campaign for the luxury champagne house, Lynch made a pilgrimage to the revered Abbey of Hautvillers to take inspiration from the place where Dom Pierre Pérignon first combined wines to craft perfect blends—or "cuvees"—in the 17th century. After decamping to an L.A. studio, Lynch embarked upon an experimental shoot illuminating the iconic label's crest and silhouetted bottle with showers of welding sparks, phosphorescent flames and lasers. Elder's document of the resultant shoot is an audio-visual collage juxtaposing the screen icon's voice with his own abstracted imagery. “David is somebody who is all about the pursuit of originality and experimentation, and that is what we wanted to get across in our film,” he says. “Lynch has such an interest in how sound marries with image; through that I feel we really accessed his approach.”
Sunday, November 6, 2011
We are grateful to Kira Coser for sending us this link to the Art of NASA.
Thursday, November 3, 2011
While legal and cultural scholars have labeled the third part of the 20th century–with its particular attention to testimony–as the "era of the witness," the emergence of forensics in legal forums and popular entertainment signifies a new attention to the communicative capacity, agency, and power of things. Today's legal and political decisions are often based upon the capacity to display and read DNA samples, 3D laser scans, nanotechnology, and the enhanced vision of electromagnetic microscopes and satellite surveillance. The aesthetic dimension of forensics includes its means of presentation, the theatrics of its delivery, the forms of image and gesture. The forensic aesthetics of the present carries with it grave political and ethical implications, spreading its impact across socioeconomic, environmental, scientific, and cultural domains.
The lectures and roundtable discussions by the participating artists, scholars and curators investigate these issues in a series of forums organized around a number of disputed objects.
Presented by the Vera List Center for Art and Politics at The New School and co-sponsored and co-organized with Cabinet Magazine, The Forensic Architecture ERC Project at The Centre for Research Architecture, Goldsmiths, University of London, and The Human Rights Project at Bard College, on occasion of the Vera List Center's 2011-2013 focus theme "Thingness."
Friday, November 4, 2011, 6:00–8:00 p.m.
"Grave diggers" have, since the middle of the 1980s, been unearthing bones and turning burial sites into an epistemic resource from which the details of war crimes can be reconstructed and brought into the pale of the law. The practice of forensic teams, including archaeologists, anthropologists, pathologists, radiologists, dental experts, bio-data technicians, DNA specialists and statisticians of all sorts, mark a shift in emphasis from the living to the dead, from memory and trauma to empirical science, and from subjects to objects in accounting for atrocities.
Organized as forum for people and things, the presentations are set in a theatrical arena arranged around a number of disputed objects. Introductions by Thomas Keenan and Eyal Weizman.
Roundtable I: Forensic Architecture
Buildings are both sensors and agents; they materialize political and economical forces, and also the events that befall them. Buildings undergo constant formal transformations in response to forces and some of these processes can be reconstructed through structural calculations, blast analyses, and the determination of the failure points of structures, details, and forms.
Nikolaus Hirsch, Städelschule, Frankfurt a.M., Germany, moderator
Lunch Break 1:00–2:00 p.m.
Roundtable II: Constructed Evidence: The Thing Makes Its Forum
What if the object is not a "witness" but an entity constructed for the express purpose of creating or activating the forum? Such an object might map the diffused networks of informal or illegal labor, or be called upon to narrate historical events in the absence of evidentiary materials.
Susan Schuppli, Goldsmiths, University of London, moderator
Roundtable III: Animism
Whenever the passive/active nexus between object and subject, humans and the non-human is disturbed or even reversed–as in the coming-to-life of seemingly dead matter, the becoming autonomous of inert things–we inevitably step into the territory of animism: that non-modern worldview that conceives of things as animated and possessing agency. With regards to Forensic Aesthetics, the historical discourse of animism provides a foil for a reflection on the boundaries at stake.
Anselm Franke, moderator