unleash

YAIR Launch Event & Exhibition

Sept 5 – 9
Ars Electronica

Mariendom Linz, Austria

 

 

YAIR launched their platform at Ars Electronica’s 40th anniversary in Linz, Austria from the 5th – 9th of September.

UNLEASH marked the release of their platform and mobile app with a great event and curated exhibition in Linz.  The YAIR App allows public access to all the exhibited works, and for collectors it offers access to tokenized participation rights in the artworks.

The program featured a curated exhibition at the prestigious Mariendom Cathedral, with participants able to engage with the artwork offerings via the YAIR app being launched exclusively for the occasion.

The first 6 artists on the YAIR platform exhibited a group show of curated media artworks including large scale installations.

artists
works
YAIR is presenting time based media works by Julius von Bismark, Robert Montgomery and Maria Marshall, and installations by Yan Lei and Wu Juehui x Feng Hao.

The Hudson
Maria Marshall
2018, Video

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Men in suits, ties and briefcase appear from the Hudson river and walk onto the beach and beyond the frame. Their clothes are wet. The same men appear with dry clothes and walks out of frame. The timing on each screen of the same footage will be different, giving the illusion that there are many men coming out of the Hudson. The soundtrack is of a Trump speech about putting up the wall, Trumps voice is speeded up like Mickey Mouse. The soundtrack : Three of the same soundtracks will be played at different intervals so that there will be a cacophony of sound, but audible where ever the viewer stands.

Calle 22
Julius von Bismarck
Video, 2015

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Calle 22 is a documentation of the street of the same name in Bogota, Colombia. With a high-speed camera and a spotlight he shoots over 2500 frames per second during a car ride at high speed along the southern side of Calle 22 at night, thus capturing the varied life on the road with a powerful light. As this leads from the prosperous parts of the city to the poor quarters, he presents the urban development in a very small space and reflects the political process of a city based on one road.

Von Bismarck questions the outside gaze on the social strata of another country by capturing images in slow motion, that seem to show an almost frozen scenery. Since the camera captures the street in one continuous tracking shot, there is no possibility for selection. Von Bismarck refers to Western photography in poorer countries, which lures to trigger a certain emotion or reaction of the viewer by selecting their motifs.

The spotlight produces an aggressive interference in the private life of the local people as it is often the case with Western reports of other cultures. Through the fast drive of the pickup and the conical light of the spotlight, individual scenes are focused and the people of Bogota portrayed as if by accident, because until they have realized the moment of the shot, the camera is already ahead.

Estuary Poem for Wyndham Lewis
Robert Montgomerty
Video, 2017

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A memorial fire poem to Wyndham Lewis at the point where the River Thames, after leaving London, meets the North Sea. This work is both a ceremonial elegy to Lewis (an important figure in British Modernism and the editor of the concrete poetry journal BLAST) and an updating of his phrase “Enemies of the Stars” for the age of ecological crisis. It seems we have all in the age of ecological crisis become enemies of the icebergs and the stars…

Rêverie Reset
Yan Lei
Installation, 2019

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Rêverie Reset is a system which takes Yan Lei’s practice of dissolving images into concepts to a new instance. A large scale installation which makes use of cutting edge computational systems and networking technologies in order to reaffirm the artist’s notion of the artificiality of representation and the irrelevance of the image. 80 digital displays are mounted onto a large scale rotating cylindrical structure. Each display is networked to a system programmed to constantly show images from a local database and submitted by the audience through their mobile phones.

When a user enters the space, he or she is asked to connect to a WiFi network, this allows him/her to connect directly to the sculpture. Every time an image is uploaded to the system, the software will process it by calculating its average pixel color while the local artificial neural network describes the image, textually, in human like terms. After a few seconds, the new image is simultaneously shown in all screens on a three-step narrative: the original image, the average flat color, and the text describing the image. This information is all saved on the local database and used in the future by the sculpture. When no user is connected and no new image uploaded to the system, the sculpture, on its rotating layers of screens, keeps showing random images from previous users.

Bit Tower
Wu Juehui x Feng Hao
Installation, 2019

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The work is inspired by UROBOROS, and all the elements (scaffolds matrix, circular staircase, lifting lights, projection and sounds) that make up the work have their own metaphors. The scaffold matrix provide a space with limited mass, which on behalf of the greedily expanding city constructions, because scaffolds are common in city. When we ripping out the epidermis of the city and exposes its inside organs, in a way that is realistic but also abstract.

The warm lights moving up and down, a image of the “sun”, which illuminate from the inside in order to project the shadow of the scaffolding and highly expand the border of the matrix. Another luminescent light, is the image of “noon”, from the projectors in the outside space shine those mottled steel pipes with digital images. The shifting between the former physical light and the latter digital images create a virtual world with day and night swiftly interchange. Different spiral staircases inside the matrix overlaps each other, just like the Uroboros, where it starts is also where it ends. When audience walk around the stairs, they can fully experience multiple changes of day and night under different parameters settled by artists. Accompanied by changes.

venue

YAIR is grateful to Ars Electronica for the opportunity to showcase its event at the spectacular Mariendom.

The neo-gothic architectural masterpiece, completed in 1924 is the biggest ecclesiastical space in Austria and can accommodate up to 20,000 people.