Krzysztof Wodiczko was born in 1943 in Warsaw, Poland, and lives and works in New York and Cambridge, Massachusetts. Since 1980, he has created more than seventy large-scale slide and video projections of politically charged images on architectural façades and monuments worldwide. By appropriating public buildings and monuments as backdrops for projections, Wodiczko focuses attention on ways in which architecture and monuments reflect collective memory and history. In 1996, he added sound and motion to the projections, and began to collaborate with communities around chosen projection sites—giving voice to the concerns of heretofore marginalized and silent citizens who live in the monuments’ shadows. Projecting images of community members’ hands, faces, or entire bodies onto architectural façades, and combining those images with voiced testimonies, Wodiczko disrupts our traditional understanding of the functions of public space and architecture. He challenges the silent, stark monumentality of buildings, activating them in an examination of notions of human rights, democracy, and truths about the violence, alienation, and inhumanity that underlie countless aspects of social interaction in present-day society....
Wolfgang Laib was born in 1950 in Metzingen, Germany. Inspired by the teachings of the ancient Taoist philosopher Laozi, by the modern artist Brancusi, and the legacy of formative life experiences with his family in Germany and India, Laib creates sculptures that seem to connect that past and present, the ephemeral and the eternal. Working with perishable organic materials (pollen, milk, wood, and rice) as well as durable ones that include granite, marble, and brass, he grounds his work by his choice of forms—squares, ziggurats, and ships, among others. His painstaking collection of pollen from the wildflowers and bushes that grow in the fields near his home is integral to the process of creating work in which pollen is his medium. This he has done each year over the course of three decades. Laib’s attention to human scale, duration of time, and his choice of materials give his work the power to transport us to expected realms of memory, sensory pleasure, and contemplation....
<p>turning the Machine Project gallery space into a woodland forest that will flourish for the entire month of April. Along with a team of volunteers, McCaffrey and Newey converted this boxy room into what truly looks like an enchanted wood.</p> <p>Though their work is pure whimsical beauty, it has a kind of Silent Running feel to it, as if all the forests of Earth have become nothing more than a tame artwork that people construct in a gallery. It's a bit sad to contemplate that forests in 100 years may be exactly like this: Remnants of great trees, stored indoors.</p>
<p>A small potted tree is augmented with video projection, creating volumetric light patterns using itʼs own leaves as voxels. This technique allows a tree to have a visceral conversation with human visitors, and to become a new type of aesthetic object.</p> <p>The tree that can display digital media’ is a provocation against a current asymptote of outdoor digital media that champions media facades, we instead suggest interventions in reaction to existing unscripted entities within the environment such as trees.</p> <p>The projection triggers photosynthesis effects which affect tree growth, suggesting the possibility of 3D printing a tree, and of visitors feeding the tree through interaction with it.</p> <p>Lit Tree uses structured light projection techniques developed by Kimchi and Chips which they have made available online for free.</p>
<p>Dérive is a mobile application that aids a user in exploring their surroundings through the use of randomly drawn ‘task-cards’. These cards are refreshed every 3min creating a sense of urgency in the exploration for new objects, things, colours, people etc to follow, find, experience. Influenced by the Drift Deck created by the Near Future Laboratory in 2008, Dérive allows a user to install the application to their phone and take the ‘cards’ with them wherever they are.</p>
How much life could you find in one cubic foot? That's a hunk of ecosystem small enough to fit in your lap. To answer the question, photographer David Liittschwager took a green metal frame, a 12-inch cube, to disparate environments—land and water, tropical and temperate. At each locale he set down the cube and started watching, counting, and photographing with the help of his assistant and many biologists. The goal: to represent the creatures that lived in or moved through that space. The team then sorted through their habitat cubes, coaxing out every inhabitant, down to a size of about a millimeter. Accomplishing that took an average of three weeks at each site. In all, more than a thousand individual organisms were photographed, their diversity represented in this gallery. "It was like finding little gems," Liittschwager says.