Category: Artist

Designer/Artist: Usman Haque

Artworks/Designworks

  • Burble
  • Control.Burble.Remote
  • Primal Source
  • Reconfigurable House 2.0
  • Sky Ear
  • Urban Constellations

Papers

  • Notes on the Design of Participatory Systems – for the City or for the Planet, in Habitar [ PDF, English ] [ PDF, Spanish ] June 2010
    Cooperation is difficult. Even when everybody agrees on an end goal, and even when everybody agrees on what is needed to achieve that end goal, it does not mean that everyone (or even anyone) will be able to take the first step, which is the most important step. Yet, while individualistic behaviour within a group results in short term benefit for the individual, competition between groups (anecdotally) favours those that have more altruistic individuals. This paper discusses the paradoxical structures of collaboration and ways that the paradoxes can be harnessed, illustrated occasionally with concrete, though anecdotal, examples. It is based on no research other than direct experience in trying to build participatory systems (see www.haque.co.uk).
  • Portholes & plumbing: how AR erases boundaries between ‘physical’ & ‘virtual’, Position Paper for W3C Workshop: Augmented Reality on the Web, Christopher Burman & Usman Haque [ PDF ] June 2010
    In this paper we make the case that future ‘augmented reality’ standards should focus on facilitating communications between disparate realities rather than defining how, when or where they are experienced and that standards should be designed expressly to encourage lateral approaches in reality design. In this context, we provide a brief overview of Pachube.com, a web service for storing and sharing sensor, energy and environmental data and the augmented reality application Porthole that helps people make sense of that data.

Ritsuko Taho, 田甫　律子

Artist’s website

MIT Visual Arts Program

Tokyo university of the arts

Biography

Ritsuko Taho is an artist who works in the public arena ranging from
landscape sculpture and earthwork to urban sculptural installations.

Taho is interested in relationships to the Other –for instance,
between nature and people, people and people. She has dealt with
these issues in public art and explored the use of various natural
materials while she has incorporated community participation within
her installations since the early 1980s.

Tsubasa Kato 加藤　翼

http://www.mujin-to.com/artist_kato.htm

http://koganecho.net/koganecho-bazaar-2011/artist/tsubasa-kato.html

http://koganecho.net/koganecho-bazaar-2011/artist/tsubasa-kato.html

Profile_
1984 年埼玉県生まれ。2010年東京藝術大学 大学院美術研究科 修了。2007年、当時 住んでいた自分と友人の部屋の間取りを合体させた構造体を引き興す を発表。その後、上野恩賜公園（2008 年）、 フランス ナント（2009年）でのプロジェクトを経て、2010年、東京・森美術館での「六本木クロッシング2010展：芸術は可能か？」に参加。今年、大阪市中央公会堂前、大阪城公園、万博記念公園前でのイベントを行う。

Maya Lin

from Wikipedia

http://en.wikipedia.org/wiki/Maya_Lin

Lin, who now owns and operates Maya Lin Studio in New York City, went on to design other structures, including the Civil Rights Memorial in Montgomery, Alabama (1989) and the Wave Field at the University of Michigan (1995).[16]

In 1994, she was the subject of the Academy Award-winning documentary Maya Lin: A Strong Clear Vision. The title comes from an address she gave at Yale in which she spoke of the monument design process. Talking about the origin of her work, Lin says “My work originates from a simple desire to make people aware of their surroundings and this can include not just the physical but the psychological world that we live in”.[5]

According to Maya Lin, art should be an act of every individual willing to say something new and that which is not quite familiar.[5] When a project comes her way, she tries to “understand the definition (of the site) in a verbal before finding the form. To understand what a piece is conceptually and what its nature should be even before visiting the site”.[5]

Yasushi Noguchi 野口靖, Sep 14th 2011 @ Shinjyuku Station, Berg

日本のコミュニティデザインの流れ

及部克人（武蔵野美術大学？）　およべ
http://news-sv.aij.or.jp/kodomo/interview/oyobe.html
http://llline.blog20.fc2.com/blog-entry-77.html


http://www.musabi.ac.jp/kenkyu/shi-de/index_2.shtml
及部克人（およべ・かつひと）
1938年東京都生まれ
東京芸術大学卒業
美大生と子ども・障害者・年長者など、多様な人びととのワークショップ“造形による対話”を、大学や美術館などの生涯学習施設や自主的な地域活動において展開。
「遊べ子どもたち―冒険遊び場づくり1978～1985」「ATFアジア民衆演劇会議：松延・及部地図づくりワークショップ1983」「アジアからの留学生との演劇WS［東京新世界1997］」「震災サバイバル・キャンプ・イン1999」「学ぶ住民から遊ぶ住民へ―せんだいメディアテーク職員研修2001」「江戸東京博物館・東京建築展ワークショップ2001」「小さな夏休み＋環境デザインA：大学から地域へ1990～2002」「菜の花里見発見展〈ユニバーシアード〉出前講義［あすみが丘二世代子どもの遊び地図作り］2002」。
本学共同研究「白牛会に集う朝鮮からの留学生たち―帝国美術学校のあゆみと東アジアの動向」メンバー、世田谷「雑居まつり」世話人。

演劇・造形ワークショップ
源流は東南アジアの演劇ワークショップ（フィリピン？）
ドキュメントがあまりのこらないようなやりかたをしているようだ。

アメリカの流れ。ローレンス　ハルプリン？

イギリスの流れ。。。これはあまり気にしなくてよいのでは？

建築のほうにも日本の流れがある。
野口さんの学校（工芸大）の建築の講座には原広司さんの流れの建築家がいて、まちづくり関係のプロジェクトをしているようだ。
彼の話によれば、オランダでのグループ展に参加して感じたことがあり、それは近年のヨーロッパでは、大きな規模都市計画ではなく、小規模でもよいからとにかく積み重ねて実現させる、というビジョンが主流だということ。

笹川さん？建築出身の現代美術家、野口さんらの新宿のプロジェクトの会場構成を担当、を紹介される。

＊

藤村さんへ

先日はお久しぶりでした。
及部さんはあまり文章書かない人なんですよ。及部さんの名前の著書ってないかもしれない。後でよく考えてみたら、及部さんは造形ワークショップを地域住民との恊働の中でおこなってきた人なんで、藤村さんの研究と関連はしてるけど、少し遠いかなあ。
でも、彼の活動はローレンス・ハルプリンやPETA（Philippine Educational Theater
Association＝フィリピン教育演劇協会）とも強い繋がりがあるので、大きい意味でとらえると重要かもしれないです。このPETAも1967年から活動してるっていうのはすごいよね。
http://www.geocities.co.jp/Hollywood-Kouen/9907/peta.htm
色々調べてみると、これらの源流はイギリスのようですが、それがヨーロッパやアメリカなどに普及していったようです。フィリピンもアメリカの植民地だったことを考えると、納得のいく話ですかね。

藤村さんの研究はローレンス・ハルプリンとの関連性の方が強いよね。彼の奥さんがダンサーだったっていうのもけっこうここいらへんの分野が繋がってる気はします。でも、メディアアート／インタラクティブアートとの関連性を語っている人は、さすがに現在進行形なんであまり理論化はされてないだろうねえ。そういった意味でも藤村さんの研究は意味があると思います。
コマーシャルの要素をどう考えるかは、僕はあまりそっちの方に興味が行っていないので何ともいえないですが。

また、藤村さんが戻ってきたときにゆっくり話せるといいですね。

今進行中なのはこんな感じの展示です。
11/19-12/3（レセプションは11/18）なので、もしその時日本にいたら見に来てください。
http://kabukicho-art.org/

野口

Taizo Matsumura, 松村泰三

http://otonanokagaku.net/feature/vol9/index.html

http://www.exploratorium.edu/snacks/colored_shadows/

http://www.aomori-museum.jp/ja/blog/1175.html

ワークショップでの混色の使用は、以下のものに似ている

http://www.olafureliasson.net/exhibitions/your_chance_encounter_24.html

Slow-motion shadow in colour, 2009
Your chance encounter
21st Century Museum of Contemporary Art, Kanazawa, 2009-2010

Selected publications:
Olafur Eliasson: Your Chance Encounter. Exhibition catalogue. Baden: Lars Müller Publishers; Kanazawa: 21st Century Museum of Contemporary Art, 2010.

ACCESS, Marie Sester, 2003

http://en.wikipedia.org/wiki/Marie_Sester

from wikipedia

Work

After school, Sester’s interests shifted from designing physical structures to the study of ideological frameworks, specifically how culture and politics affect our sense of place. Her work focuses on notions of privacy and identity, particularly how we navigate through contemporary society’s systems of surveillance and security. Her work relies on interaction with the audience, creating encounters where it’s not clear if one is experiencing something playful or sinister.[4]

Shows and Recognition

Sester was a Creative Capital grantee in 2002.[5]

Her work has earned recognition in the art and technology worlds, including an Honorary Mention in Interactive Art from Ars Electronica (2003),[6] a Webby Award for Net Art (2004)[7] and a spot on the “50 Coolest Websites” list on Time Magazine Online (2004).[8]

Recently, her works have been included in the Seoul and Singapore Biennales (2008),[9] Glow Eindhoven (2009),[10] SFMOMA (2010–2011)[11] and EMPAC in Troy, New York (2010–2011).[12]

——————-

http://www.flickr.com/photos/ruiguerra/4400508887#/
Access_Sester_2002

ACCESS(2003)

http://www.accessproject.net/

http://www.sester.net/projects/access/access.html

ACCESS lets you track anonymous individuals in public places, by pursuing them with a robotic spotlight and acoustic beam system.

ACCESS presents control tools generated by surveillance technology combined with the advertising and Hollywood industries, and the internet. It refers to political propoganda and media manipluation.

WHERE DOES THE DUST ITSELF COLLECT?, Xu Bing, 2011

WHERE DOES THE DUST ITSELF COLLECT?, Xu Bing, 2011

at Museum of Chinese American, NY http://www.mocanyc.org/

and Lower Manhattan Cultural Council, NY http://www.lmcc.net/

http://insite.lmcc.net/projects-home/?id=15

The first American installation of a project by renowned Chinese artist Xu Bing, originally created in 2004 in Cardiff, Wales utilizing the dust that the artist collected from the streets of Lower Manhattan in the aftermath of 9/11. Recreating a field of dust across a floor surface, punctuated by the outline of a Zen Buddhist poem, the work explores the relationship between the material and the spiritual world, and the complicated circumstances created by different world perspectives.

Xu Bing (1955- ) was born in Chongqing, China but grew up in Beijing. He was sent to the countryside to perform farm labor as an “educated youth” during the final years of the Cultural Revolution and then entered The Central Academy of Fine Arts (CAFA) in 1977, where he studied and taught in the printmaking department, receiving both his bachelor’s and master’s degrees there. In 1990 Xu moved to the United States, eventually relocating to New York in 1992. His work has been the subject of numerous solo and group exhibitions at museums spanning the globe and he has been the recipient of awards and honors including a 1999 MacArthur Fellowship and an honorary Doctor of Humane Letters from Columbia University in 2010. He currently works out of his studios in Beijing and Brooklyn, and since January 2008 has served as vice president of CAFA, his alma mater.

This exhibit is made possible by support from the Ford Foundation.

The exhibition space in The Spinning Wheel Building has been donated by the
Greystone Management Corporation.

Image: Xu Bing, courtesy of the artist.