Короче, котятки, лайкайте посты.
И если хотите продолжать видеть редкие материалы, то, пожалуйста, лайкайте даже те посты, которые вам и не особо-то нравятся.
ВК медленно, но верно умирает. Охваты нишевых пабликов падают, аудитория без платной рекламы не растёт. В первые часы существования публикации её показывают только небольшому "ядру аудитории" (для нашего паблика это человек 500). Чем больше из них оставит лайков и комментов, тем более широкому кругу подписчиков тупая бессердечная умная лента покажет этот пост в дальнейшем. Короче, от вашей активности напрямую зависит то, сколько в результате людей увидят публикацию. И так можно будет надеяться, что очередной редкий материал (будь то литографии малоизвестного чешского кубиста начала прошлого века или запись новейшего перформанса в цифровой среде от анонимного коллектива из условной бразилии) доберётся до своей узкой аудитории.
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Статистика ВК сообщества "modernism / postmodernism"
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Лучшие посты
František Skála
environmental art / figurative sculpture
Серия голов, выполненных из морских водорослей рода Laminaria. Процесс создания каждой такой скульптуры требует упорного физического труда и занимает много дней, в течении которых эти водоросли растут и постепенно обретают искомую форму. Сам автор говорит об этом как о духовной деятельности, граничащей с магией пластической хирургии, в которой многочасовая концентрация вознаграждается глубоким переживанием оживления существа.
environmental art / figurative sculpture
Серия голов, выполненных из морских водорослей рода Laminaria. Процесс создания каждой такой скульптуры требует упорного физического труда и занимает много дней, в течении которых эти водоросли растут и постепенно обретают искомую форму. Сам автор говорит об этом как о духовной деятельности, граничащей с магией пластической хирургии, в которой многочасовая концентрация вознаграждается глубоким переживанием оживления существа.
Federico Díaz
contemporary art
Моделирование воздушного потока в пространстве галереи.
AIR (2009)
Air is a site-specific installation created for the actual space in the gallery of Jan Světlík’s collection. The object composed of carbon fibres is as in the case of most Díaz’s works, formally predetermined by general physical laws while its final form is a visualisation of one of many possible measurable circumstances of the given environment. In this case, it concerns the simulation of airflow in the given space. The work of art thus provokes questions about the autonomy of the artwork against its environment – instead of being an independent sculpture it becomes a materialised analysis of the space that completes, redintegrates and redefines its original effect.
contemporary art
Моделирование воздушного потока в пространстве галереи.
AIR (2009)
Air is a site-specific installation created for the actual space in the gallery of Jan Světlík’s collection. The object composed of carbon fibres is as in the case of most Díaz’s works, formally predetermined by general physical laws while its final form is a visualisation of one of many possible measurable circumstances of the given environment. In this case, it concerns the simulation of airflow in the given space. The work of art thus provokes questions about the autonomy of the artwork against its environment – instead of being an independent sculpture it becomes a materialised analysis of the space that completes, redintegrates and redefines its original effect.
Federico Díaz
contemporary art / cybernetic art
Интерактивные инсталляции, реагирующие на присутствие и шум человека, и возвращающие, в том или ином виде, звук обратно.
NOSTALGIA (1992)
Nostalgia is formed by three meters high white shell which invites the visitor to a closer contact through its atypical opening. The name refers to Andrei Tarkovsky movie. The National Gallery in Prague had purchased this work of art when Díaz studied at the Academy of Fine Arts and it is the work of art of the youngest artist in the collection. Although it is an early work it has premised several essential characteristics of Díaz’s work. It shows his interest in nature and its connection with human creativity on which the physical shape draws. The shape interconnects the nature and the ideal of golden section and Fibonacci sequence. However, the form is only a background of a large repertoire of significance. The shell is a model of dwelling or rather space which can a person use in the metaphorical sense. The visitor has an opportunity to merge with the shell so that a specific, virtually non-discernable, reproduced sound can be perceived. This intimate experience, which offers the full experience of the artwork only after the visitor directly participates, is the most fundamental principle of Díaz’s communication.
SPIN (1994)
Spin, named after the unit of motion of elementary particles, develops Dehibernation I and II. The installation consists of an acoustic mirror echoing all the sounds resulting from the visitor’s passage and the sound then literally follows the visitor. The space of echoes is created as an acoustically ‟dead room” so as to create ideal conditions. Therefore, it is an acoustically neutral environment which absorbs all the surrounding undesirable sound interference. The installation follows the visitor’s movement and continuously reacts with holophonic, thus spatial sound system. The tiniest movement, not only in the space but also when holding a position – for example when the visitor turns his head – is reflected by the system which responds to the visitor directly. The installation is completed with a visual component in the form of projection called High Energy Collision. The same as in the case of the sound the projection is generated on the basis of input data acquired through observing the visitor. The visitor becomes the creator of the actual form of artwork. The artist’s contribution is evident in the creation and programming of input parameters but the actual formations are the result of visitor’s interaction with the work of art.
7 (1998-2002)
In the installation 7, Díaz develops the main themes of his work used in Dehibernation and Spin. The installation has a shape of a closed space equipped with speakers which create holophonic sound following the viewer’s movement. The numerical designation refers to the installation’s layering into seven individual sound fields. Gradual passage through all seven zones and their cognition then reflects one’s opportunity to reveal things that are otherwise hidden in his soul.
PHOTON I, II (1996-1997)
Photon I, II indicate the principle of physical materialisation of originally only simulated object and space that Díaz uses the most often. Díaz usually uses stereolithography for these purposes. The basic component of the installation is a five-metre carbon rod slowly rotating along its axis through the space. The rod is equipped with polarisation filters which allow seeing only a certain wavelength of light. The viewer gradually sees the filters from bellow and through the vision slit. The angle determined in such manner so as to observe the process enables to perceive gradual changes of transparency occurring on the surfaces of filters. The architectonic scope of the work, which serves, besides other things, to focusing the eyes on the on-going process, is the allusion of future complex thinking about social and perception role of the architecture in further Díaz’s work. High frequency sound, which is synchronised with the movement of light on the filters, forms an essential component of the artwork again.
contemporary art / cybernetic art
Интерактивные инсталляции, реагирующие на присутствие и шум человека, и возвращающие, в том или ином виде, звук обратно.
NOSTALGIA (1992)
Nostalgia is formed by three meters high white shell which invites the visitor to a closer contact through its atypical opening. The name refers to Andrei Tarkovsky movie. The National Gallery in Prague had purchased this work of art when Díaz studied at the Academy of Fine Arts and it is the work of art of the youngest artist in the collection. Although it is an early work it has premised several essential characteristics of Díaz’s work. It shows his interest in nature and its connection with human creativity on which the physical shape draws. The shape interconnects the nature and the ideal of golden section and Fibonacci sequence. However, the form is only a background of a large repertoire of significance. The shell is a model of dwelling or rather space which can a person use in the metaphorical sense. The visitor has an opportunity to merge with the shell so that a specific, virtually non-discernable, reproduced sound can be perceived. This intimate experience, which offers the full experience of the artwork only after the visitor directly participates, is the most fundamental principle of Díaz’s communication.
SPIN (1994)
Spin, named after the unit of motion of elementary particles, develops Dehibernation I and II. The installation consists of an acoustic mirror echoing all the sounds resulting from the visitor’s passage and the sound then literally follows the visitor. The space of echoes is created as an acoustically ‟dead room” so as to create ideal conditions. Therefore, it is an acoustically neutral environment which absorbs all the surrounding undesirable sound interference. The installation follows the visitor’s movement and continuously reacts with holophonic, thus spatial sound system. The tiniest movement, not only in the space but also when holding a position – for example when the visitor turns his head – is reflected by the system which responds to the visitor directly. The installation is completed with a visual component in the form of projection called High Energy Collision. The same as in the case of the sound the projection is generated on the basis of input data acquired through observing the visitor. The visitor becomes the creator of the actual form of artwork. The artist’s contribution is evident in the creation and programming of input parameters but the actual formations are the result of visitor’s interaction with the work of art.
7 (1998-2002)
In the installation 7, Díaz develops the main themes of his work used in Dehibernation and Spin. The installation has a shape of a closed space equipped with speakers which create holophonic sound following the viewer’s movement. The numerical designation refers to the installation’s layering into seven individual sound fields. Gradual passage through all seven zones and their cognition then reflects one’s opportunity to reveal things that are otherwise hidden in his soul.
PHOTON I, II (1996-1997)
Photon I, II indicate the principle of physical materialisation of originally only simulated object and space that Díaz uses the most often. Díaz usually uses stereolithography for these purposes. The basic component of the installation is a five-metre carbon rod slowly rotating along its axis through the space. The rod is equipped with polarisation filters which allow seeing only a certain wavelength of light. The viewer gradually sees the filters from bellow and through the vision slit. The angle determined in such manner so as to observe the process enables to perceive gradual changes of transparency occurring on the surfaces of filters. The architectonic scope of the work, which serves, besides other things, to focusing the eyes on the on-going process, is the allusion of future complex thinking about social and perception role of the architecture in further Díaz’s work. High frequency sound, which is synchronised with the movement of light on the filters, forms an essential component of the artwork again.
Federico Díaz
contemporary art / cybernetic art
OUTSIDE ITSELF (2011)
An installation created for 53-rd. La Biennale di Venezia 2011, particularly for the space of shipyard in Arsenal within the total idea concept Bice Curiger ILLUMInation. Alanna Heiss was the project curator. The installation is composed of thousands of black balls which form a massive cluster based on the transformation of surrounding world while many visitors come. Two particularly tuned robots create and assemble the balls. Each ball represents one photon. Optical sensors monitor the impact of light on the place and thus they create the flow of data and information. The intensity of surrounding world differs according to the time of day, number of visitors in the installation and trajectory of their movement or colour of their clothes. The resulting sculpture is literally ‟an ornament of mass”.
GEOMETRIC DEATH FREQUENCY-141 (2010)
It is a site-specific installation for MASS MoCA in the state of Massachusetts. The monitoring of space in front of the gallery entrance enabled the creation of a model of photon movement of sunshine. Individual photons which are represented by pixels in the simulation are substituted by spatial voxels for the possibility of dynamic simulation through the application Real Flow. Díaz composed animation sequences hinting at the successiveness of individual phases of light movement. Robots then executed the virtual model.
contemporary art / cybernetic art
OUTSIDE ITSELF (2011)
An installation created for 53-rd. La Biennale di Venezia 2011, particularly for the space of shipyard in Arsenal within the total idea concept Bice Curiger ILLUMInation. Alanna Heiss was the project curator. The installation is composed of thousands of black balls which form a massive cluster based on the transformation of surrounding world while many visitors come. Two particularly tuned robots create and assemble the balls. Each ball represents one photon. Optical sensors monitor the impact of light on the place and thus they create the flow of data and information. The intensity of surrounding world differs according to the time of day, number of visitors in the installation and trajectory of their movement or colour of their clothes. The resulting sculpture is literally ‟an ornament of mass”.
GEOMETRIC DEATH FREQUENCY-141 (2010)
It is a site-specific installation for MASS MoCA in the state of Massachusetts. The monitoring of space in front of the gallery entrance enabled the creation of a model of photon movement of sunshine. Individual photons which are represented by pixels in the simulation are substituted by spatial voxels for the possibility of dynamic simulation through the application Real Flow. Díaz composed animation sequences hinting at the successiveness of individual phases of light movement. Robots then executed the virtual model.
