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L'arcobaleno artificiale di Gabriel Dawe è un'opera d'arte senza precedenti

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Gabriel Dawe è un artista di origini messicane che è specializzato in tecnica mista. La sua ultima installazione è chiamata Plexus no.

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RedBall Project | Traveling public art by Kurt Perschke

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RedBall is a traveling public art piece by American artist Kurt Perschke. Considered "the world's longest-running street art work" the piece has been to over 25 cities globally and moves through a city with a new site each day of the performance.

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Title

2005

Artist

Date

2005

Media category

Installation

Materials used

polystyrene, nylon, polymer paint, electric fans, air movement

Dimensions

overall display dimensions variable

Signature & date

Not signed. Not dated.

Credit

Contemporary Collection Benefactors 2006

Location

Not on display

Accession number

316.2006

Copyright

© Nike Savvas Reproduction requests

Artist information

Nike Savvas
Works in the collection

2

Share

The room installation 'Atomic: full of love, full of wonder' is comprised of a shimmering haze of vibrating coloured balls, suggesting the very atoms that are the fundamental structural units of all things. This mesmerising work has an extraordinary optical effect as the 1000s of suspended balls oscillate gently within a breeze created by large fans within the gallery space. It suggests a vastly expanded op art work from the 1960s, a form of late modernist abstraction in which the appearance of movement was achieved through carefully calibrated designs in paint on canvas or in sculptural and light works with components that moved or gave the appearance of moving. Also known as kinetic art, opticality - eyesight and its manipulation - became the subject of the work itself.

Savvas was inspired in creating this work by the Australia landscape. More specifically, it was from remembering what was distinctive about the Australian landscape while living in grey, overcast, colourless London. Savvas recalled the red earth, shimmering heat haze, and bright blue skies of the outback and this was the inspiration for the colour groupings in this work which transforms the gallery exhibition space into a horizon line of coloured particles. This installation also suggests an utterly outsized version of the scientific models used in the classroom to teach molecular structures. The title 'Atomic: full of love, full of wonder' recalls the optimism of the utopian future that Atomic energy seemed to offer in the post-war period. The fact that it generated the fear that the world may be destroyed and was one of the fundamental causes of cold war anxiety seems to be far away from this gently moving immersive field of colour which provokes pleasure and wonder.

Shown in 3 exhibitions

Nike Savvas, Atomic: full of love, full of wonder, Australian Centre for Contemporary Art, South Bank, 28 May 2005-24 Jul 2005

Adventures with form in space: the 4th Balnaves Foundation Sculpture Project, Art Gallery of New South Wales, Sydney, 09 Aug 2006-17 Sep 2006

Spacemakers and roomshakers: installations from the collection, Art Gallery of New South Wales, Sydney, 14 Jul 2018-21 Oct 2018

Referenced in 3 publications

Juliana Engberg, Atomic: full of love, full of wonder, 2005, (colour illus.).

Rachel Kent, Nike Savvas: full of love, full of wonder, 'Colour magic: the art of Nike Savvas', pg. 9-57, London, 2012, cover (colour illus. detail), 49, 58-59 (colour illus.), 60-61 (colour illus. detail), 62-63 (colour illus. detail), 64-65 (colour illus. detail), 66-67 (colour illus. detail), 68-69 (colour illus. detail), 70-71 (colour illus. detail), 72-73 (colour illus. detail), 86, 122 (colour illus. detail), 123, 146, 158 (colour illus. detail), back cover (colour illus. detail).

Daniel Palmer., Adventures with form in space: the 4th Balnaves Foundation Sculpture Project, 'Nike Savvas', Sydney, 2006, (colour illus.).

Other works by Nike Savvas
See more works

Title

2005

Artist

Date

2005

Media category

Installation

Materials used

polystyrene, nylon, polymer paint, electric fans, air movement

Dimensions

overall display dimensions variable

Signature & date

Not signed. Not dated.

Credit

Contemporary Collection Benefactors 2006

Location

Not on display

Accession number

316.2006

Copyright

© Nike Savvas Reproduction requests

Artist information

Nike Savvas
Works in the collection

2

Share

The room installation 'Atomic: full of love, full of wonder' is comprised of a shimmering haze of vibrating coloured balls, suggesting the very atoms that are the fundamental structural units of all things. This mesmerising work has an extraordinary optical effect as the 1000s of suspended balls oscillate gently within a breeze created by large fans within the gallery space. It suggests a vastly expanded op art work from the 1960s, a form of late modernist abstraction in which the appearance of movement was achieved through carefully calibrated designs in paint on canvas or in sculptural and light works with components that moved or gave the appearance of moving. Also known as kinetic art, opticality - eyesight and its manipulation - became the subject of the work itself.

Savvas was inspired in creating this work by the Australia landscape. More specifically, it was from remembering what was distinctive about the Australian landscape while living in grey, overcast, colourless London. Savvas recalled the red earth, shimmering heat haze, and bright blue skies of the outback and this was the inspiration for the colour groupings in this work which transforms the gallery exhibition space into a horizon line of coloured particles. This installation also suggests an utterly outsized version of the scientific models used in the classroom to teach molecular structures. The title 'Atomic: full of love, full of wonder' recalls the optimism of the utopian future that Atomic energy seemed to offer in the post-war period. The fact that it generated the fear that the world may be destroyed and was one of the fundamental causes of cold war anxiety seems to be far away from this gently moving immersive field of colour which provokes pleasure and wonder.

Shown in 3 exhibitions

Nike Savvas, Atomic: full of love, full of wonder, Australian Centre for Contemporary Art, South Bank, 28 May 2005-24 Jul 2005

Adventures with form in space: the 4th Balnaves Foundation Sculpture Project, Art Gallery of New South Wales, Sydney, 09 Aug 2006-17 Sep 2006

Spacemakers and roomshakers: installations from the collection, Art Gallery of New South Wales, Sydney, 14 Jul 2018-21 Oct 2018

Referenced in 3 publications

Juliana Engberg, Atomic: full of love, full of wonder, 2005, (colour illus.).

Rachel Kent, Nike Savvas: full of love, full of wonder, 'Colour magic: the art of Nike Savvas', pg. 9-57, London, 2012, cover (colour illus. detail), 49, 58-59 (colour illus.), 60-61 (colour illus. detail), 62-63 (colour illus. detail), 64-65 (colour illus. detail), 66-67 (colour illus. detail), 68-69 (colour illus. detail), 70-71 (colour illus. detail), 72-73 (colour illus. detail), 86, 122 (colour illus. detail), 123, 146, 158 (colour illus. detail), back cover (colour illus. detail).

Daniel Palmer., Adventures with form in space: the 4th Balnaves Foundation Sculpture Project, 'Nike Savvas', Sydney, 2006, (colour illus.).

Other works by Nike Savvas
See more works

Nike Savvas Rally 2.2014

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Atomic: full of love, full of wonder, 2005 by Nike Savvas

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The room installation 'Atomic: full of love, full of wonder' is comprised of a shimmering haze of vibrating coloured balls, suggesting the very atoms that are the fundamental structural units of all things. This mesmerising work has an extraordinary optical ...

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Life * Fondation Beyeler * Studio Olafur Eliasson

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The Deep Dark

2015, Caitlind r.c. Brown & Wayne Garrett, wood, LEDs, speakers, electronics.

Gates: 32" x 82" Path: 600 ft
INSTRUCTIONS:
Step forward, through the illuminated passageway into the woods.

Be alone.

Walk slowly - there are real dangers here.

Do not return. This path moves only one direction.

all the darkness was suddenly dark in contrast with something else that wasn't darkness, namely light.

~ Italo Calvino, Cosmicomics

The Deep Dark is the first in a series of site-specific light installations intended to illuminate the interspaces between our sacred (and natural) environments and cultural constructs of darkness. Drawing from interviews with participants from various residencies, faculty, and staff at The Banff Centre, the project asks: why do we fear the dark? Is darkness a presence or an absence? What separates real fear from imaginary fear? By unearthing commonalities between interviewed participants, a loose narrative emerges, illuminating a collective insight into the nature of our human relationship with the deep dark.

Meditative, iconic, and evocative, The Deep Dark invites each viewer to participate in a 600 ft solo night hike through the forest surrounding The Banff Centre, alone in communion with the woods, voices in the foliage, and their own thoughts. Utilizing domestic imagery (doorways) as a literal entry point, the installation imposes artificial light into the wild darkness - light by which the darkness grows darker and disillusions the night.

Many Thanks to all 15 interview participants, The Banff Centre staff that facilitated this project, Heather & Ivan Morison, our peers, and our families.

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The Deep Dark 2015, Caitlind r.c. Brown & Wayne Garrett, wood, LEDs, speakers, electronics. Gates: 32" x 82" Path: 600 ft INSTRUCTIONS: Step forward, through the illuminated passageway into the woods. Be alone. Walk slowly - there are real dangers here. Do not return. This path moves only one direction.

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The Luminosity exhibition (viewable in Lexington from March - April 2014) featured ourselves four light artists/teams: Rune Guneriussen (Norway), Jen Lewin (Boulder, Colorado), Valerie Fuchs (Louisville, Kentucky), and ourselves. According to the LAL's website, "the site specific sculpture, installation, photography and media of Luminosity will support active engagement opportunities and collaborative community partnerships through its construction, installation and ability to educate and inspire both children and adults."

Rune Guneriussen's work will be familiar to anyone who frequents art + design blogs. Immaculate arrangements domestic lamps illuminate various landscapes, uniting natural and manufactured worlds. While the installations themselves are beautiful, their transience, reliance on environment, and a secretive process makes them very site specific. As part of Luminosity, Rune exhibited a series of large photographs of his work - only furthering our desire to see him in action! You can see more of his work here.

Jen Lewin is a light/interactive artist based in Boulder, Colorado. With an emphasis on play, community interaction, and uber-technologies, Jen's work is attractive, colourful, and brilliantly crafted. A week after meeting Jen in Lexington, we had the pleasure of installing works in the same festival in Singapore! (More about that later). At Loudoun House, one of her laser harps invites viewers to engage physically with light, playing ghost strings that trigger resonant notes in the dark room. You can see more of her work here.

Valerie Fuchs is a new media artist based in Lexington, Kentucky. Her works cover a massive territory, including themes of natural disaster, time, environment, space, and more. For the Luminosity exhibition, she engaged viewership on a physical level, inviting audiences to observe her work in the palms of their open hands via miniature projections. While we didn't manage to see her finished work before sneaking off to Singapore, we were delighted to meet her in passing.

This was the context surrounding BELLWETHER at Loudoun House as part of Luminosity. Built from 700 hand-cut glass bottles, LEDs, vibration sensors, and electronics, BELLWETHER marries new and analog technologies, transforming simple motion into sound and light.

Viewers are invited to explore BELLWETHER, stepping into the darkness beneath overhanging bells, ringing them as they move and activating the bells, causing them to flicker like fireflies. As the viewer walks through the field of bells, they leave a luminous trail of tinkling light behind them.

Interactive by its very nature, a bell cannot ring without a catalyst, whether that force is a living being, the wind, or some other external activator. In this sense, a ringing bell is evidence of a nearby presence, tracing ghosts of movement through vibration and sound.

A "bellwether" is an omen, a predictor of the future. While whimsical and alluring, BELLWETHER's use of familiar materials gently indicates the complex relationship between humans and consumable goods - the ghosts of our presence in this world - and asks audiences to re-imagine common place discarded items and their potential to create experiences in the place of garbage.

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The Luminosity exhibition (viewable in Lexington from March - April 2014) featured ourselves four light artists/teams: Rune Guneriussen (Norway), Jen Lewin (Boulder, Colorado), Valerie Fuchs (Louisville, Kentucky), and ourselves. According to the LAL's website, "the site specific sculpture, installation, photography and media of Luminosity will support active engagement opportunities and collaborative community partnerships through its construction, installation...

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Anya Gallaccio (b. 1963, Scotland) attended Kingston Polytechnic and Goldsmiths'
College at the University of London. Gallaccio creates site-specific installations, often using organic materials as her medium. Past projects have included arranging a ton of oranges on a floor, placing a thirty-two ton block of ice in a boiler room, and painting a wall with chocolate. The nature of these materials results in natural processes of transformation and decay, often with unpredictable results. Gallaccio has stated, "I see my works as being a performance and collaboration . . . There is unpredictability in the materials and collaborations I get involved in. Making a piece of work becomes about chance - not just imposing will on something, but acknowledging its inherent qualities."

Anya Gallaccio's work is remarkable for its conflation of inclusiveness and rigour, for engaging light touch which belies its profundity. Through the use of a wide range of materials, often in large quantities, such as chocolate, whistling kettles, ice, sugar, candles, salt, Polaroid photographs and lead, she conveys her preoccupation with the nature of change through the passage of time, the balance in life struck between growth and decay.

Gallaccio has exhibited extensively, including solo exhibitions at the Tate Britain, London (2003) and at the Ikon Gallery in Birmingham, England (2003). Recent exhibitions include solo shows at Camden Art Centre, London (2008); The Eastshire Museum, Scotland (2010); Annet Gelink Gallery in Amsterdam, The Netherlands (2011). Gallaccio's work is featured in numerous public and private collections such as the Tate Gallery, London; the Victoria & Albert Museum, London; the Museum of Contemporary Art, Sydney; and South Gallery, London. Anya Gallaccio lives and works in San Diego.

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Anya Gallaccio: Red And Green - Jupiter Artland

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Anya Gallaccio (b. 1963, Scotland) attended Kingston Polytechnic and Goldsmiths' College at the University of London. Gallaccio creates site-specific installations, often using organic materials as her medium. Past projects have included arranging a ton of oranges on a floor, placing a thirty-two ton block of ice in a boiler room, and painting a wall with chocolate.

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Usa le luci per simulare la luce diurna, quindi usa le ombre per esprimere le differenze provocate dalle luci in luoghi diversi. Esprime la combinazione di "Feng Shui" e architettura moderna.

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Rockefeller Center, New York, NY Electroland designed a unique branded interactive light and sound installation for Target, located on the top-floor observation decks of Rockefeller Center. Visitors entering the space are sensed and tracked persistently by four 3-D stereo-vision cameras. Individual

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I dispositivi interattivi pubblici in città sono sparsi in tutta la città e forniscono la diffusione delle informazioni in tempo reale.

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spazio delle relazioni 关系空间
real time: continuità spaziale e ubiquità 实时：空间连​​续性和普遍性
Invisibilità, sensualità, suggestione 隐身、性感、暗示
casualità e indeterminatezza
随机性和不确定性
narrazioni e scoperta
叙述与发现
virtuale e reale
虚拟与真实
naturale e artificiale
天然的和人工的
peripheral awarness ed evocazione e sinestesia外周知觉、唤起和联觉

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Per consentire ai partecipanti di luoghi diversi di guardarsi l'un l'altro, inserire due telecamere in due schermi, quindi sfocare l'immagine in base alla distanza e sovrapporre le due persone insieme.

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This installation was created for the Grand Hotel Salone exhibition at the Milan Furniture fair in 2002. The exhibition was sponsored by Ceccotti and show cases a series of rooms designed by some of the worlds leading architects and designers. Our ob was to bring to life a commissioned room by Architect and designer Ron Arad. His futuristic vision of a hotel room was themed on Mexco City and centered around a circular bed which was surrounded by a 360 degree projection. We were commissioned to created the audio and visual content for this 360 degree immerse entertainment environment.

The production was a mixture of motion graphics sequences and a live action shoot, which was filmed using a rotating four camera rig, developed in collaboration with designer Ben Wilson. The live action shoot formed an illustrated of a poem by Louden Wainwright.

Produced & Directed by Christopher Thomas Allen
Animation by Jude Greenaway & Maya Raviv
3D Animation & still renders by Ron Arad Associates
Production Assistant James Price
Sound Design by Scanone

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This installation was created for the Grand Hotel Salone exhibition at the Milan Furniture fair in 2002. The exhibition was sponsored by Ceccotti and show cases a series of rooms designed by some of the worlds leading architects and designers. Our ob was to bring to life a commissioned room by Architect and designer Ron Arad.

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The Listening Post by Ben Rubin and Mark Hanson is an installation composed of 231 electronic displays (11 by 21) set into a grid onto a curved wall. However, it is primarily a sonic piece. It is a real-time visualization of thousands of ongoing online conversations. The screens display random words picked from these conversation, and these words are being told by a text-to-speech program as they change, all overlapping and creating strange harmonies. With each changing word comes a clicking sound, adding to the piece's sonic landscape. A last layer of sampled sounds and dreamy musical compositions match the action of the screens.

Ben Rubin explains that he sees this piece as collaborative storytelling that people engage in without being aware of it:

"When I watch the piece, it tends to get my imagination going, because you see these fragments of text and they're positioned next to each other as if they were in conversation or telling a story but you don't really know what the context was that these were plopped out of" (Rubin & Hansen, 2013). One emotionally-affecting movement filters for phrases beginning "I am" or "I like" or "I love". Sample phrases might be "I am in Chicago" or "I am really tired of this election season." Rubin offered an example, "'I am stuck again here.' Someone says something like that, and you wonder, Who are they? And where are they stuck? And why are they stuck again? To me, it's about where my imagination goes in trying to construct what the context for some of these disembodied statements might be"

(http://modes.io/listening-post-ten-years-on/)

The piece then sends its audience cues of fragmented, separated stories, that people can wonder about, or try and make sense of, using their imagination. This piece is also about people trying to connect through artificial means, as sentences are pulled from chat rooms, online forums, newsgroups and bulletin boards. Or, as Rubin explains:

"There are an untold number of souls out there just dying to connect, and we want to convey that yearning. I hope people come away from this feeling the scale and immensity of human communication" (Mirapaul, 2001).

The piece is also about surveillance, privacy rights, and data malleability. It shows how our online activity is basically public, and available for virtually anyone to use for any purpose. This online life and activity, which is mechanically compiled into sets of data, in which individuality and personality both get lost in translation. The piece also points at the political implication of compiling and using these sets of data, as this data ultimately contains personal stories that were not always meant to be shared with the world as they were created, or written. Hansen and Rubin explain it this way:

"As we become more adept at observing, measuring, and recording both our physical and virtual movements, we can expect to see a proliferation of large, complex data sets. These new digital records of human activity often force us to consider difficult societal questions. From the current debate over privacy on the Internet to ethical concerns over the use of genetic information, we recognize that the now simple act of compiling data has serious political implications. To further complicate matters, the scale and structure of these data make them difficult to comprehend in the large, relegating activities like data analysis to a select few (Hansen & Rubin, 2000)".

The Listening Post has a strong relevance both within the new media art field and its practices, as well as our surveillance, data-driven society. It has offered an innovative way of including real-time data into art for the time at which it was conceived (2001) and has been greatly influential to the new-media art field dealing with data visualization and sonification. For their ground-breaking use of real-time data, Rubin and Hansen have been cited in many academic and artistic follow-on studies and projects. Wes Modes goes as far as saying that "this piece is hailed as a new media masterpiece" ( http://modes.io/listening-post-ten-years-on/). The installation also came out at a time in which gathering of online personal data and its political implications was a very hot topic. The piece is still - if not more - relevant in this aspect as time goes by because online privacy rights have been a growing subject of controversy since 2001. As Modes puts it, "this (online privacy rights) has become ever more politicized since September 11th 2001, the PATRIOT Acts I and II, domestic spying, blanket wiretaps, FISA court abuses, recent NSA revelations, and so many government and corporate privacy abuses the media seem to have grown weary of dragging out George Orwell." ( http://modes.io/listening-post-ten-years-on/). The Listening Post merely relays these raw words and leaves to the audience the opportunity to use it as a conceptual base from which each individual can ask themselves whatever question is sparked in their mind. Do I care about my online privacy? Do I like that the Internet is a somewhat supervised and public virtual place, or should no one be allowed to look into it? Who is watching me, and why? Can this impact my "real" life, and if so, how?

Another artist who dealt with the theme of surveillance in his work is Steve Mann. He coined the term "sousveillance", which can be understood as "under-surveillance". Unlike the Listening Post's omniscient surveillance system, it breaks away from the idea of being watched from above and proposes a surveillance that is brought down to human level, both physically by bringing the surveillance tools down onto people rather than onto buildings, satellites or drones, as well as hierarchically: everyday people are doing the watching rather than it being only done by authorities. People are not being watched by an omniscient entity, like Rubin and Hanson suggest, but rather here Mann offers surveillance as an organic process in which all members of society engage in. From this concept, Mann came up with the Invisibility/Aposematic Suit. The suit has two screens on the front and back of the person. It can become transparent by showing what is behind the user, or "reflective" and show people in front of it a reflection of themselves. It hints at the ways surveillance can be stealthy, or on the contrary made completely obvious in order to let people know they are being observed and deter them from any wrongdoing. Another difference from the Listening post is that it shifts the concept of surveillance from an automated program, or computer which works on a systematic algorithm, to a more human surveillance in which choices are made by individuals, coining in the idea of individuals' agency and subjectivity in surveillance.

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The Listening Post - 21st Century Digital Art