Tate Modern: The EY Exhibition: Sonia Delaunay, 15 April – 9 August 2015.
Sonia Delaunay. Hélice, décoration pour le Palais de l’Air, Exposition Internationale des Arts et Techniques, Paris 1937. © Pracusa 2013057. © Skissernas Museum, Lund, Sweden/Emma Krantz.
Project de Tissu Simultané n°25, France, 1924, gouache, donated by Sonia Delaunay 5 June 1966, © Les Arts Décoratifs.
Sonia Delaunay (1885-1979). “Rythme couleur” (1964), oil on canvas, Paris, musée d’Art moderne.
"Imagine surfaces start to communicate with you. Your mobile gets goose skin when your lover texts you. Your WiFi controller changes the look and feel of it's surface according to different game situations. Your sofa gives you a short massage as a warm welcome when you return home from a hard day of work. Your laptop feels dried out when battery status is getting low.
.fluid is a concept study of an interacting, changing surface. While getting Input from the hands of its spectators, it's surface changes from liquid to solid, from plain to three–dimensional symmetric patterns. It provokes you to get in touch with it, to play with it's open interface and to collaborate with other people to find out how far you can push it.
This object was the result of the two week project »Talk to me–Form follows mood« supervised by Prof. Andreas Muxel at KISD (Köln International School of Design)."
(Hannes Kalk, 2013)
"A tree's year rings are analysed for their strength, thickness and rate of growth. This data serves as basis for a generative process that outputs piano music. It is mapped to a scale which is again defined by the overall appearance of the wood (ranging from dark to light and from strong texture to light texture). The foundation for the music is certainly found in the defined ruleset of programming and hardware setup, but the data acquired from every tree interprets this ruleset very differently."
A record player that plays slices of wood. Year ring data is translated into music, 2011. Modified turntable, computer, vvvv, camera, acrylic glass, veneer, approx. 90x50x50 cm. Thanks to Land Salzburg, Schmiede, Pro–ject Audio, Rohol Furniere, Karla Spiluttini, Ivo Francx, Christoph Freidhöfer, vvvv.
"Eduardo Paolozzi's work often, as in the Türkische Musik series, may be printed in different color schemes or on different papers. All these elements combine to suggest that the image is often discovered in the act of creating it; the artist's role is integrally balanced between active calculation and chance. No longer confined to a single plan, the artist–printmaker and his work signify an exciting new order of print– making, one in which technological expertise becomes a useful vehicle for personal expression."
(Georgette Lee, 1986)
Precision of Image: Technology in Printed Art : 20 April – 7 September, 1986, The Joe and Emily Lowe Art Gallery at Syracuse University in Syracuse.
"The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the 'artificial' and the 'organic'. It's an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns."
(Statements about Zimoun: Tim Beck http://www.zimoun.net/about.html)