Kinetica Art Fair: The Evolution Of Body, Brain, Mind And Consciousness
The fair brought together groups who focus on ‘kinetic art’: universal concepts and evolutionary processes though the convergence of kinetic, electronic, robotic, sound, light, time-based and multi-disciplinary new media art, science and technology.
Kinetica Art Fair is organised by the Kinetica Museum and is the first event of its kind in the UK. The fair brought together galleries, art organisations and curatorial groups from around the world who focus on ‘kinetic art’: universal concepts and evolutionary processes though the convergence of kinetic, electronic, robotic, sound, light, time-based and multi-disciplinary new media art, science and technology. The theme of this year’s show was the evolution of body, brain, mind and consciousness.
Created from neon tube, transformers and mirrored Perspex, Dianne Harris’s E=MConsciousness² explores the notion that Einstein’s E= MC² denotes a much more illuminated and comprehensive picture of the universe as an infinite etheric body if in fact Ether=Matter x Consciousness².’
Highlights included Justin Goodyer’s Adaptive Bloom, a matrix of servo-controlled mechanical flowers driven by a computer vision system. The patterns produced in the screen constantly evolve in an attempt to draw in observers and engage them. Once in close proximity the observer is able to trigger each flower individually using gestures.
Blooming mechanical flowers are used as pixels in a grid formation responding to movement. Once engaged, each flower moves in response to the viewer and the system does not create a signal performance but a space of possible dances for the viewer to explore.
Exclusive to Kinetica, seeper was showcasing a unique, new, generative interactive experience on the sphere – inspired by the notion that the world around us is filled with hidden data. East London arts and technology collective seeper, in collaboration with Pufferfish, has created the world’s first, large-scale multi-touch, multi-user, interactive spherical display.
Christiaan Zwanikken’s The Good, The Bad, The Ugly was another highlight. Zwanikken’s installations are new configurations of shrieking, clapping, ticking curiosities generated by machinery, as if in a futuristic zoo. His works are hybrid, techno-animalistic figures made of wire cable that comes to ‘life’, responding to the viewer and to each other. By playing nature against the artificial and also against the viewer, all authoritative roles are removed.
Skin Graph by Kingston Fashion MA graduate Laura Michaels questions the practice of tailoring and poses operative strategies that inscribe the personality of the individual directly into the garment. Skin Graph allows the individual to take control in creating their bespoke contour pattern, through articulation and expression of their desired body measurements. Like skin, the essence of time is recorded; a second skin is generated as a representation of oneself.
Davide Angheleddu takes his inspiration from skeletons: ‘My artworks draw inspiration from nature, particularly as sublimely described in the book Kunstformen der Natur (Art Forms of Nature) by the German philosopher and biologist Ernst Haeckel. This work, put together at the end of the 1800’s, contains over 100 prints and mainly focuses on the observation of marine micro-organisms and of the spread of the theory of evolution.’
Particule Elementaire Noire by Vincent Leroy is made from aluminium, iron and electric motors. Leroy’s work is a follow up to kinetic art and New Realism, but also moves under the influence of Japanese pop culture from its playful and colourful nature. Far from the technology that characterizes it, it is primarily poetry, and a certain magic, that define his work.We first saw Oshibe, the work Tomomi Sayuda at Tent London in September. Oshibe, meaning stamen in Japanese, is a playful interactive music and lighting sculpture. It represents optimistic elements of life, for instance plants, eggs, light and the moon. When you put a semi-transparent egg on one of five stamens, Oshibe plays different ambient sounds, depending upon the particular stamen. Audiences can create their own sounds, using the locations and numbers of eggs.
Sterlarc is an Austalian performace artist whose work focuses heavily on futurism and extending the capabilities of the human body. He has used medical instruments, prosthetics, robotics, virtual reality systems, the Internet and biotechnology to explore alternate, intimate and involuntary interfaces with the body. He has performed with a Third Hand, a Virtual Arm, a Stomach Sculpture and Exosceleton. For Stelarc’s performance at Kinetica, Prosthetic Head was presented to the audience with real time lip–syncing, speech synthesis and facial expressions and exposes notions of awareness, identity, agency and embodiment as inadequate. Stelarc’s website continues the strange body aesthetics, do take a look.And just as we were leaving, we saw the Exit-Wall by Cecile Colle and Ralf Nuhn.
Kinetic Art is art that has a life of its own. Pioneered by world famous artists including Mahony Nagy, Jean Tinguely, Marcel Dumchamp and Alexander Calder during the 1900s, modern contemporary kinetic and electronic artworks utilize and warp technology itself, to explore, nurture and comment on our evolutionary process and challenge scientific and universal exploration.
The fair provides an international platform for museums, collectors, curators and the public to view and buy artworks in a thriving and advancing field. Alongside the fair were screenings, tours, talks, workshops and performances.
Originally published on the ArtsThread blog. Republished with kind permission.