Sophie Clements

"Sophie Clements takes inspiration from ideas in science and experimental music, Clements manipulates time to create highly constructed objects that grow from their surroundings, producing collages that rely on chance interactions and discourse between the concrete ‘real’ and the constructed ‘unreal’. Her recent work explores the use of video as a form of sculpture, using devices including sculptural installation and video projection to deconstruct and re-assemble time and material to question the notion of physical reality in relation to time and memory." See more;

THERE, AFTER (1/3), 2011

Video triptych (part/2/3)

"There, After began as a series of concentrated discussions and research sessions with particle physicist Elisabetta Pallante and organic chemist Ryan Cheichi. The starting point for this work was ‘ Lines of Belonging’. What is it that keeps us, and our physical world together? How do we understand these connections, scientifically, personally?

From the fundamental forces that act on the physical world, to the strength of bonds between human beings, it is these invisible forces or bonds that hold us – as people, as families, as atoms and molecules – together, that this work seeks to explore. To understand and expose the strength of these bonds, ‘There, After’ shows them in their absence: The breaking of a bond and the moments that follow.

It is perhaps only in the absence of connection that we can truly grasp it’s significance. Perhaps the state of togetherness is something we can take for granted; this work explores and makes physical the consequence of that state being taken away." - Sophie Clements

Co-produced with Mo Stoebe. Sound by Sophie Clements and Dennis van Tilburg. Pyrotechnic assistance by Aoife Van Linden Tol. Additional Help by Paolo Catalano, Riccardo Puglisi.

THERE, AFTER (2/3), 2011

Video triptych (part/2/3)

OBJECT NO.2, 2010

0.57 loop  

Part of the series ‘Dimensions Variable.
Neon Light, Glass Tank, Water

EVENSONG, 2008

4:27

Lights filmed in-camera, on location in Argyll, Scotland.
Film by Sophie Clements. Sound by Sophie Clements, John Hendicott, Scanner.

Transmission: New Remote Earth Views

Transmission: New Remote Earth Views, 2012 by Dan Holdsworth_

"In Dan Holdsworth’s latest series Transmission: New Remote Earth Views, he appropriates topographical data to document the ideologically and politically loaded spaces of the American West in an entirely new way. In his images of the Grand Canyon, Yosemite, Mount Shasta, Mount St. Helens, Salt Lake City and Park City, we see stark, uninterrupted terrains where meaning is made through what it is absent, as much as what is seen. What at first appears to be a pure white snow-capped mountain is in fact a digitally rendered laser scan of the earth appropriated from United States Geological Survey data, a ‘terrain model’ used to measure climate and land change – to measure man’s effect on the earth.

Belying his empirical methodology is the fact that each of these terrains has a rich and conflicting cultural legacy. Beginning with the idealised aesthetic of the Romantic sublime via the deadpan industrial frames of the New Topographics photographers a century later, each has been subject to the gaze of artistic, political, and sociological categories claiming this territory as their own. Extending ideas of the frontier and seeing anew, Transmission captures the world as if from space, functioning not only as a map of the land but as a mapping of the discourses that these lands have come to represent." See more;

"Working outside of the wilderness myths that render the images from the photographic avant-garde the ‘after’ to nineteenth-century visions of Carlton Watkins’ ‘before’, Holdsworth opens up a working territory that is open to the ambiguous and ethereal, oscillating between realms of art and science, the familiar and the alien, the industrial and the natural. Without the signifiers of the natural there is no idealised wilderness or picturesque aesthetic, no invoking of the Romantic version of the sublime; and yet at the same time what is antithetical to these visual tropes - the man-made, the artificial, the vernacular of the New Topographics photographers – is also absent."

Exhibited at Brancolini Grimaldi during 23.March.2012 - 19.May.2012
Photo credit: Mike Bruce_

Salt Lake City

(set of 17)

Mount Shasta

(set of 27)

Mount St. Helens

(set of 22)

Grand Canyon

(set of 12)

Yosemite

(set of 12)

Installation_

via | Planetary Folklore

SAILOR by Norman Leto

Sailor is a film project made by Norman Leto in 2010. This is a great opportunity to watch the whole movie online, which is a 100 minute love story between a neurotic, high-school physics tutor and his girlfriend, Nel. The movie consists about the scientific approach from every day situations. It also shows really interesting parts such as his egocentricity and illustrated lectures on various sociological issues.
In the film you will find "Lifeshape" a sequence from Sailor which was published separately here while ago. The movie is based on the book titled the same "Sailor", written also by Norman Leto.  See the whole movie into the post!;

Sailor was created independently by the author, without any external production company. The budget was below $10.000. This movie will be only for a limited time on Youtube.

Norman Leto is currently working on a new project/movie called "Photon", which will have an international distribution on Bluray and DVD. More info about here.

Daniel Kukla

The Edge Effect, 2012 by Daniel Kukla_

"In March of 2012, I was awarded an artist's residency by the United States National Park Service in southern California’s Joshua Tree National Park. While staying in the Park, I spent much of my time visiting the borderlands of the park and the areas where the low Sonoran desert meets the high Mojave desert. While hiking and driving, I caught glimpses of the border space created by the meeting of distinct ecosystems in juxtaposition, referred to as the Edge Effect in the ecological sciences. To document this unique confluence of terrains, I hiked out a large mirror and painter’s easel into the wilderness and captured opposing elements within the environment. Using a single visual plane, this series of images unifies the play of temporal phenomena, contrasts of color and texture, and natural interactions of the environment itself." -  Daniel Kukla. See more;

There is a short interview about this project at guernica mag.

Captive Landscapes

"We, as humans, go to great lengths to satisfy our desire for a connection with the natural world, especially in our interactions with wild and exotic animals. Zoos are the primary site for this relationship, but they often obscure the conflicts inherent in maintaining and displaying captive wild animals. In this series, I photographed the interiors of animal enclosures at 12 different zoos across the U.S and Europe. These images invite the viewer to question the role of these constructed habitats, and explore the motivations behind collecting, preserving, and controlling the natural world." -  Daniel Kukla.

via | Kenmat

Volumes for Sound

Volumes for Sound combines immaterial, ephemeral and physical elements: sound, performance, sculpture and photography. These volumes can be encountered as objects that silently evoke the potential for sound, be played and reconfigured by performers using them for amplification, and appear in photographs of their various configurations.

Volumes for Sound was created in 2010 by Melissa Dubbin & Aaron S. Davidson. The project was exhibited few months ago at The Living Art Museum in Reykjavik. The next exhibitions will take place in Oslo, Norway (Nov 2012) and New York, NY (March/April 2013). See more;

Melissa Dubbin & Aaron S. Davidson explain;
"Throughout much of our practice we have sought to give shape and physicality to the immaterial. Many of the ideas surrounding these transformations are inspired by the processes used to record, playback and encounter sounds.

This project focusses on nested forms, sculptural works that elicit an architecture of sound. These Volumes for sound are concerned with materializing the funneling, folding and porting of sound.

These nested forms stem from objects that are manufactured independently, then drawn together as a result of relationships in domestic and architectural situations. For instance, the triangulation that occurs when a listener sits in a chair in front of a pair of stereo speakers. These forms are also inspired by historical sources such as the famous 1979 Maxell cassette tape ad campaign, the intricate interiors of modern loudspeakers, and artist Kurt Schwitters ‘Merzbau’ constructions.

We have collapsed the listener/loudspeaker triangulation into objects containing several variations for configuration. They can be encountered in spaces as forms that silently evoke the potential for sound, be played and reconfigured by performers using them for sound amplification, and appear in photographs of their various configurations, providing a record of these instances."

Check out the website dedicated only for this project at http://volumesforsound.org/