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The kinetic light installation “Nymphéas” is inspired by the lyrical images of ponds overgrown with water lilies by whose side poets and artists have spent countless hours in contemplation of clean, cold flowers.
Kykeon is an immersive virtual reality experience exploring shamanism as a way to reimagine our current society. Inspired by an ancestral knowledge and wisdom, it invites the audience to take a part in a new ritual.
concept, creation, creative direction | Mária Júdová
choregrapher | Taneli Törmä
dancers | Tanzmainz / Staatstheater Mainz, Amber Pansters, Bojana Mitrović, Finn Lakeberg, Milena Wiese, Zachary Chant
sound designer | Alexandra Timpau
VFX support | Florian Friedrich / Narranoid
HW support | Marko Júda
producer | Mara Nedelcu
co-producers | Motion Bank / Hochschule Mainz, Sensorium festival
project title, logo design | Constantine Nisidis
videographers | Andreas Etter, Erik Čermák, Ivona Lichá, Lucia Byšfyová
sound recordist | René Bošeľa / Môlča Records
gong performer | Stanislav Abrahám
script editor | Salwa dor Carmenaissa
credits Nils Weger (phlegma), Christine Mayerhofer (ravel), Jan Mayerhofer (Hoerfeld), Sebastian Hohberg (Hoerfeld)
view full show athttps://www.youtube.com/watch?v=Ckq2Sn75qtg
The light sculpture hangs above the heads of the spectators is 8 meters high. The animated light moves in complete symbiosis with the music, which combines electronic sounds with classical instruments.
In four acts, the audience in the Dreikönigskirche follows the change of society through the digitalization of our lives.
The digital lifestyle is illuminated artistically. The story begins with the early days of the computer, a mechanical calculating machine. It tells of machines becoming faster and faster and more and more high-resolution, until they are finally more powerful than their designers and users in many areas. The border between the digital and analogue world becomes blurred.
Among other things, human dimensions of change, our permanent interaction with machines and their algorithmic filter worlds, emotional highs and lows, and the speed of life in the digital age are addressed.
Where will this journey take us?
We produced this exhibit for Copyright Communication in 2019. The user can choose between 6 opponents, racing against a magnetic rail driven Porsche Taycan. Guess who always wins :) Our work included rendering the high definition image sequences and programming the visual and physical part of the exhibit.
commissioned by copyright communication
3D artist // Michel Magens
vvvv developer // Nils Nahrwold
production // Barbara Engler
The first solo exhibition by VOLNA, presenting a reconstruction of the art collective's major works from 2016 – present in a virtual space.
The exhibition spaces and installations were created using video game development tools (Unreal Engine) that simulate real-time scenes and lighting effects. Exhibition visitors are invited to immerse themselves in the surroundings of each installation and can move freely in the room and choose any observation point.
The exhibition’s initiators and creators are VOLNA, an art collective from St. Petersburg, Russia. Since its formation in 2016, the group has dedicated itself to creating light art that incorporates interdisciplinary artistic practices and new technologies. The artists are known for their unusual exhibition formats, monumental installations and scenographic creations for the electronic music scene. Throughout its four years of existence, VOLNA has maintained financial and aesthetic independence by creating 17 light installations and over 30 stage designs for festivals and performances.
The following works were reconstructed for the exhibition: the audiovisual installations NEUBAU (2016), Powerline (2017) and Rotor (2018), the light installation Octave (2018), the installation Vague (2019), and two kinetic light installations, Duel (2019) and Nymphéas (2020).
Despite the site-specific nature of the works, the overarching artistic principle behind all of them is the search for a universal language of pure forms. These forms, which correspond to the abstract subjects of the installations, are refined during an extensive detailing process, minimalistic in their expressiveness and often even have a functional nature.
The primary expressive element in VOLNA's work is light and its various characteristics, its interaction with space, as well as its movement, the rhythm of chiaroscuro and the way chiaroscuro scenarios unfold in relation to time. Some works include synchronized sound, created to interact closely with the light’s dramaturgy. The virtual exhibition space itself is heterotopic and at the same time proportional to the original exhibition locations. The model exhibits displayed inside it are as close as possible to their real prototypes and preserve the original structural details, including the nature of the lighting and scenarios behind each of the live installations. The original sound design and ambient sound environments are reproduced, and each work’s context and theme are discussed in an accompanying text.
This online exhibition represents the first time VOLNA’s enthusiasm for pragmatic production processes has been reflected in a simulated world. For this reason, only works that were realized in the material world were selected for display. The exhibition is characterized by the presence of real space, living according to its own laws in another (virtual) space, as well as the merging of virtual and real spaces, a synthesis of various methods for transmitting information and their hypertextuality. As media historian Norbert Bolz once put it, in media reality “thematically structured visual worlds are supposed to bring a surreal condensation of the experience: more real than reality.”
Accepting this challenge, the exhibition Keep Yourself Clean attempts to embrace all the real and virtual layers of information that make up each of the works, and then let the works themselves become the determinants of perception. With their help, each of the contexts will “re-sort” in the virtual world, rethink and obey the laws of perception, and each work, in turn, will become an experience of sensory contemplation. We hope this experience will be personal and genuine for each viewer.
Concept, production and video by VOLNA
Music by Benoît Pioulard
Nikita Golyshev, Snezhana Vinogradova, Yana Cheklina, Dmitri Gavkaliuk, Ekaterina Morzobitova, Alexey Beliakov
Special thanks to everyone who contributed to this project:
Pavel Golubev, Alexander Felch, Galina Polikarpova, Justina Fink, Martin Baumeister, Polina Korotaeva, Konstantin Stavrov, Olga Bulatova, Valentina Rusinova, Pavel Arsenev,
Konstantin Goriachev, Lev Goloviznin, Eugene Novikov
Special thanks to everyone who tested the game:
Polina Boikova, Agata Semenova, Ksenia Soldatova, Konstantin Tretiak, Ivan Fedorenko
Very special thanks to Kiberchaika for the
backend and technical support.
Very special thanks to William Cohen
for translation and editing.
And particular appreciation to Dr. Angelika Eder
and Justina Fink for their support.
© VOLNA (2020) © Benoît Pioulard (2010)
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