Viva Arte Viva: an act of resistance, of liberation and of generosity

This Biennale Arte is inspired by humanism by the kind of humanism that celebrates mankind’s ability to avoid, through art, being dominated by the powers that govern world affairs, which if left to their own devices, can greatly affect the human dimension for the worse. This is a humanism in which the artistic act is an act of resistance, of liberation and of generosity.

Another remarkable aspect of this edition are the 120 artists who have been invited to the curator's Exhibition, 103 of them for the first time. Some are discoveries, many others are rediscoveries. The courage to make choices is yet another concrete expression of our confidence in the world of art, and the direct encounter with the artist becomes a strategic event, with a programme unprecedented in size and courage.

86 National Participations concur to create the pluralism of voices that is the hallmark of La Biennale, with 23 Collateral Events and the Special project for the Pavilion of Applied Arts in collaboration with the Victoria and Albert Museum of London. Throughout, the Biennale Danza, Teatro, Cinema and Musica will be taking place, with their relative Biennale College workshops, and many of them will be held in the Exhibition venues at the Arsenale.

The Open Plain: Interviewing the creators of the light installation

Niche Chathong | Images courtesy from VOLNA

We have a chance to interview VOLNA - the creators behind The Open Plain - The large-scale site-specific light installation created on a indoor football field in the St.Petersburg downtown. Video projected on a lawn surface visually inspired by sport fields markings aesthetics. It was used to create an immersive “navigation system”, a guideline for an audience trying to find waymarks in a dark hangar.

Here are some records of our conversation with Nikita Golyshev of VOLNA media-artists group from Saint-Petersburg Russia.

Please tell us the meaning and pronunciation of «Чисто поле»

Nikita:«Чисто поле» is an idiom in Russian, meaning vast virgin field of any kind (natural or unsown). It was often used in folklore tales and songs. It is pronounced like "chisto pole". You can listen how it sounds (can't find any transcriptions so far) here.

F: Are there any conditions of the site that lead to some part in executions?

Nikita: It is a large indoor football field with 10m ceiling, so we decided to project the pitch to avoid being involved in complicated and expensive production process. So, we simply placed 2 beamers in the edges of the hangar and made a protective shell for them – football filed was open for its visitors (mainly football players) during the whole production process, and hardware safety was a priority for us :)

F: How was feedback from the audiences?

Nikita:I was very surprised that the audience joined the "game" with projection without any interactive component of installation – they were following the "marking lines", jumped from one virtual circle to other. It looked like a hopscotch sometimes.


F: Which is the part of the project that you like the most?

Nikita:As I mentioned earlier, I liked this unexpected interactivity most of all. As the project didn't include any interactive video, we didn't use Kinect or other trackers, we're very happy that our work became not just an object to look at.

F: How this project evolve your vision in design?

We worked on a conceptual part of the installation a lot, as it was a part of exhibition project – we had to prepare a lot of texts for catalog and present our conception far much earlier than we started to work on the formal part of the project (visuals, construction, e.t.c). We thought of many variants of the project (including kinetic and light solutions), but the initial idea remained unchanged.

F: What are the team plan to do next?

As always, we are finding ways and opportunities to implement our ideas and aesthetic visions to real life :)

The Open Plain is а place for introspection about borders and the rules of play. Its flat, uniform surface disorients us, thus rendering our choice of direction meaningless. The game takes over and marks up the field. Placed on a real football field, looking down deconstructed pitch lines formed from projected light beams, the viewer perceives them as the only possible reference point for space and direction. Order exists only within an isolated space, outside of which there is only a vague darkness. As soon as the lines and borders blur or get mixed up, the viewer is forced to seek out a new place for themselves on the field in accordance with the airtight paradigm of inevitable motion and collision.

The lines and borders of the field restrict our movements, giving form to an inevitable conflict between the players seeking victory and control over this space. Ephemeral lines that are constantly shifting and guided only by their own internal logic disrupt the viewer’s ability to perceive space, hindering their ability to navigate real obstacles that are placed on the field. Having come to doubt the veracity of the visible space, the borders and limitations that were dictated only by fleeting lights disappear and what was before a confined field of play with clearly outlined rules and purpose becomes something larger and more abstract: an open plain.


Concept, production and video: VOLNA


Camera: Alexey Kubasov

Special thanks: "Angar" indoor footbal field

Part of the programm "Abstracts of Soviet Noise" (curator Alexander Felch)

Project supported by Bundeskanzleramt Österreich

Milan Design Week 2016 Archives

The 55th year of Salone del Mobile is wide-ranging commercial, offering from a line-up of top specialist companies on the national and international market, searcing for a balance between tradition and innovation in the name of quality and culture.

Explore the list of our writing below:

Color Space Light : Chomatic light in motion

Color Space Light : Chomatic light in motion

Color Space Light is an object designed by a London-based designer and craftsman Louie Rigano. An ambient lighting object that integrates a digital color space within an physical, analogue form. Coloured light is created in a space through physical engagement with the object. The object composed by diffusion film, acrylic rod,  and LEDs.

Oxidation Aftermath: The aesthetic of Handmade Industrials

Oxidation Aftermath (2015) is a material-experimentation collection by duo dutch designers Rutger de Regt and Marlies van Putten of studio HandMade Industrials

Rutger de Regt and Marlies van Putten

Rutger de Regt and Marlies van Putten

Within set boundaries mutation is being facilitated, enabling the unexpected to take place. Neutral materials, which at first seem to be unchangeable, are being transformed during the process of oxidation.

The collection has developed from the graduation project of Marlies at the Royal academy of Art in The Hague. The research focussed on creating a dialog between two materials. To facilitate the process neutral materials like marble, wool and ceramics were combined with copper, a liquid accelerator is used to start the oxidation process, which colour the neutral materials. 

Material experimentation process.

Material experimentation process.

The Oxidation Aftermath collection contains:

Carrara Marble bench

Marble tiles connected with copper tube, the accelerator is poured into the copper tunnel and the copper oxidises. Holes in the copper tube connecting the marble creates a flow of blue liquid which runs trough the white marble turning blue. 

Carrara Marble bench. Oxidation Aftermath. Image courtesy by HandMade Industrials.

Carrara Marble bench. Oxidation Aftermath. Image courtesy by HandMade Industrials.

Carrara Marble bench.   Oxidation Aftermath. Image courtesy by HandMade Industrials.

Carrara Marble bench. Oxidation Aftermath. Image courtesy by HandMade Industrials.

Rug (Icelandic wool)

The mishaps of the tufted rug were wrapped with copper wire and hanged in accelerator liquid. Due to the capillary action the liquid flow pass the copper, which oxidises and create a unique colour pattern. 

Rug (Icelandic wool).    Oxidation Aftermath. Image courtesy by HandMade Industrials.

Rug (Icelandic wool). Oxidation Aftermath. Image courtesy by HandMade Industrials.

Surface detail.   Oxidation Aftermath.    Image courtesy by HandMade Industrials.

Surface detail. Oxidation Aftermath.  Image courtesy by HandMade Industrials.

Ceramic vessels

A special clay is used to extrude the vessels, during the stoke the fibers burn, facilitating the capillary action when placed into copper oxide liquid. When the vessels are glazed and finished a unique colour pallet emerge. 

Ceramic vessels. Oxidation Aftermath.

Ceramic vessels. Oxidation Aftermath.

Image courtesy by HandMade Industrials.

Image courtesy by HandMade Industrials.

Recently, Oxidation Aftermath was exhibited during Object Rotterdam in the ship the SS Rotterdam and also in Gallery Sis Josip. Now they both are expanding the Oxidation Aftermath collection with fabrics and tiles as well as working on the upcoming show in Milan during the Salone del Mobile 2016.

Materials: Carrara Marble, Wool, Ceramics, Oxidized Copper
Post-production: Anna Santera / Photo credits: Sidney Dobber