Pfadfinderei Design Collective : Moderat (Music Videos)

‘Pfadfinderei’ is an internationally renowned design collective. From the development of motion design productions to the conceptualization of events, Pfadfinderei offers a broad spectrum of solutions that crosses borders between required function and contemporary design, all through the lens of advanced visual art & multimedia. Finding and visualizing paths was the approach that led to the name Pfadfinderei (i.e. pathfinders). Starting off in 1999 as a Berlin-based vector orientateded design bureau, Pfadfinderei soon expanded to what might be characterized as a cluster of advanced media alchemists given their aggressive passion for Live music visualization. Back in the day, they VJ’d in clubs in Berlin and around the region… nowadays they are planning, creating, and performing full-scale visual installations, in and beyond the club scene, expanding far and wide onto the world’s cultural stage.

[Extract : Pfadfinderei Website]

MODERAT : MARCHES : HD VIDEO

MODERAT : RUSTY NAILS : HD VIDEO

MODERAT : OUT OF SIGHT : HD VIDEO

Stephanie Snider : Collage

Silver Portal
ink, gouache, watercolor, acrylic, spray paint, pencil and collage on paper
12″ x 15″
2008

Silver Portal II
ink, watercolor, gouache, spray paint, pencil and collage on paper
12″ x 15″
2008

Admiration & Contempt
Gouache und Collage auf Papier
30 x 38 cm /11,81 x 14,96 inches
2008

Untitled (blue)
collage
6 x 6 inches
2008

Untitled
collage
6 x 6 inches
2008

Interior with Wallpaper
collage
11-3/8 x 15 inches
2008

Stephanie Snider’s collages conjure a fictional landscape honed from memory, history and emotion, transporting the viewer into the mysterious caverns of association and introspection. In Snider’s work, gaps in imagery, grids, and architectural structures allow for the unraveling and unwinding of time, emotion and visual reality, providing a psychological theater reminiscent of de Chirico’s Pittura Metafisica. In an artist’s statement Snider refers to her work as ‘Fraught Fictions’, explaining:

“[The drawings] trace sites of personal and collective memories: they map anxiety, confusion, obsessive sorts of love, puzzles, nostalgia and the tricks our minds play on us. The use of narrative is present but not prescribed, yet tonalities of disengagement are articulated, underscoring a dark thread of sadness and melancholy”. [Stephanie Snider]

Stephanie Snider Website

Stephanie Snider : Schmidt & Handrup

Pierre Juillerat : Painting

C_46.804
Lacquer and acrylic dispersion on canvas
145 x 104 cm
2009

Q_46.56
Lacquer and acrylic dispersion on canvas
104 x 145 cm
2009

Q_46.803
Lacquer and acrylic dispersion on canvas
104 x 145 cm
2008

Q_46.37
Lacquer and acrylic dispersion on canvas
170 x 220 cm
2008

B_76.5213
Lacquer and acrylic dispersion on canvas
104 x 90 cm
2009

In most cases, Juillerat‘s paintings show stripe and line structures that are set on various image carriers with very high precision, always using his own and intuitively chosen specific set of colours. Due to the orientation to vanishing points lying far outside the image area, these structures often appear like detail views of larger, wider spatial contexts. Shifting these points may break geometric laws, and the perspective effect even increases the impression of vast space.

Pierre Juillerat, born 1967 in Bern, has completed a degree in architecture ETH Zurich, pursued by a long career as an airline pilot. In parallel, he independently developed his geometric painting style, which combines impetus from both fields. The opposite of the firmly structured, geometrically planned and bright dynamic clarity in his work is evident.

“The human perception of the automated movement, as in instrument flight, the hostile environment of high altitudes, which provides colours with their icy cold temperature and causes the alloy of the materials, shape Juillerats work. The aluminum sheets designed for speed are taken from a decontextualisation of aviation; they’re a contrast to the slowness of the act of painting. It’s a serial production technology, which faces the primitive and unique action of the painter. His paintings attempt to exist outside their own borders. Colours flowing over the edges are transitional areas. Non-Existing and emptiness are just as decisive as the visible portions of the work. Layed out before us is a unique and specific vision of the void and the tension that comes from an apparent calm.” Pierre Schwerzmann

[Extract : Minus Space]

Pierre Juillerat : Website

Pierre Juillerat : ISSU Publication

Whiskas Fx : Max Cooper (Series)

Stochastisch Serie
Label: Traum Schallplatten
Video By Whiskas Fx

Chaotisch Serie
Label: Traum Schallplatten
Video By Whiskas Fx

Whiskas Fx : Vimeo

Andreas Nicolas Fischer : Digital Installations

The first image (below) is a 3d rendering, which was created using only images as references from press releases of the Temporäre Kunsthalle Berlin. It accurately depicts an existing architectural space, but only from the view point of the virtual camera.

Temporäre Kunsthalle Berlin
Digital Image, C-print, 45 × 30cm
2009

Installation view
01 / 03
Digital Image, C-print, 45 × 30cm
2010

Installation view
02 / 03
Digital Image, C-print, 45 × 30cm
2010

Installation view
03 / 03
Digital Image, C-print, 45 × 30cm
2010

The images in this series are digital renderings, which were created using image references from gallery documentation and found textures. The 3d objects (neon bulbs, euro palettes, stackable plastic chairs, rectangles with car paint) were modeled or found online (digital readymades). The assets were placed in a generic white cube scene and randomly positioned and aligned with a script. The series is a documentation of an installation in an architectural space, neither of which physically existed.

[Extract : Andreas Nicolas Fischer : Website]

Andreas Nicolas Fischer : Website

Bernard Gigounon : Filmmaker

Starship
2002

Looking Down
2005

“Cinema, Cinema, Cinema. The three things that can make us see the world like we want to see it, the way it is and the way it can be”, Alfred Hitchcock once said. Precisely this perceptual ambiguity, the multiple layers of reality involved in the moving, time-based image, incited Bernard Gigounon to start using the video medium. Before that moment, after his studies at the Department of sculpture in Ensav-La Cambre (Brussels), he mostly made sculptures based on traditional materials like metal and wood. But even then his work was based on a fascination for the tiny, apparently trivial aspects of our everyday lives, from which he tries to draw magic and poetry.

It has been said that cinema is in essence a special effect. The video work of Gigounon reduces that notion to its minimal essence: cinema as an illusion, created by the manipulation of images in time. He does not create this effect with advanced, multi-dimensional digital technologies, but rather through simple, transparent magic, referring in several respects to the optic fantasies and the ‘persistence of vision’ techniques from the pre-cinematic age. But this is not about the simulation of reality through optical illusions, or the creation of immersive ‘scripted spaces’, but rather amazement itself, purposely allowing oneself to get carried away by the unreal, the surreal, the deviant. In an age when our outlook on the world is constantly mediatized and determined by all kinds of special effects, Gigounon carries us back to a proto-cinema: the experience of a train journey, the amazing effect of a cuckoo’s clock, the projection of a magic lantern. He uses video as an instrument to recreate everyday life, to tilt our perspective through a “suspension of belief” into an enchanted reality.

[Extract : Bernard Gigounon Website : Essay]

Bernard Gigounon : Website

Bernard Gigounon : Vimeo