"In the early twentieth century, Suprematism represented a leap into a totally non-representational, non-painterly, tarantella-like dynamic. Basic geometric shapes, isolated or in groups, were being energized, propelled into an optimistic ideal soaring from lower left to upper right, the vector alone suggesting time. The limits of perception and understanding are being questioned. An aura of simultaneous ecstatic concentration and idolatry of the will pervades these works.
Experienced 'in flesh,' these formidable abstractions look 'humanized': slight wavings in texture and color, the crackled paint of the Black Square on white, the subtlest of whites upon off-whites, transport the viewer into a higher, supremely charged, inspirational state of mind."
(Ileana Marcoulesco, Art Lies)
Fig.1 Kazimir Malevich (1915) "Black Circle", "Black Cross" and "Black Square"
"We first got the chance to ascend into Nosaj Thing's sonic dreamworld at our The Creators Project: New York 2011, where he performed alongside some fittingly fantastical installations like Zigelbaum + Coelho's Six-Forty by Four-Eighty and Team Dis-Kinect's motion-mimicking puppet. Engaged in a subtle dance with his MPD32, Nosaj wove together a pounding, wistful set before projected visuals. As surreal as that live experience was, its visual component is nothing compared to what technology artist Daito Manabe has accomplished for Nosaj Thing's 'Eclipse/Blue.'
With support from The Creators Project, and collaborating with Perfume choreographer MIKIKO, Manabe created a dynamic virtual environment to serve as the backdrop for two dancers whose movements across the stage are amplified by the graphics behind them, making each action feel larger and more emotive."
(The Creators Project)
"Famous Turkish sculptor İlhan Koman’s boat Hulda arrives in İstanbul, its final destination, after its long journey which began in Stockholm. Hulda was both Koman’s home and studio during his residence in Stockholm.
The exhibition consists of the photographs and videos from Hulda’s journey, 10 original sculptures such as Whirlpool and Dervish by İlhan Koman and a video -dedicated to İlhan Koman- by young artist Candaş Şişman. The photographs and videos are from the cities Hulda visited during its journey -Stockholm, Amsterdam, Bordeaux, Lisbon, Barcelona, Naples, Malta, Thessalonica and İstanbul. The exhibition in Plato Art Space is also the final leg of the activities of Hulda Festival (www.huldafestival.org).
The exhibition is also undertaking the mission of building a bridge between young generation artists and Koman by presenting Candaş Şişman’s work. Şişman’s video Flux is influenced by Koman’s sculptures (Pi, Moebius, Whirlpool and Ogre) and is dedicated to İlhan Koman’s inspiring art. The video has a sound design which is also inspired by the materials of Koman’s sculptures and is produced by Candaş Şişman.
The exhibition is curated by Yıldırım Arıcı and accompanied by a reader (published by Plato College of Higher Education) and it is featuring texts by Çetin Kanra, Aykut Köksal, Abidin Dino, Ferit Edgü, Burcu Beşlioğlu and a poem by Oktay Rıfat. "
(Plato Art Space, İstanbul contemporary art)
Fig.1 "Flux", Candaş Şişman, Hulda Festival 21 September 2010 - 23 November 2010 İstanbul, Turkey.
"Karlheinz Stockhausen (August 22, 1928 - December 5, 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his ground-breaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. ... Similar Artists: Iannis Xenakis, John Cage, Luciano Berio, Luigi Nono, Morton Feldman, Olivier Messiaen, Arnold Schönberg"
Fig.1 Omnibus (1981). "Tuning In: A Film About Karlheinz Stockhausen", television documentary, BBC1 [published on 13 May 2012 by Thiago Carvalho Fernandes, YouTube].
"Since the extra dimensions beyond spacetime that physicists talk about are all spatial dimensions (or 'space-like' as some prefer to say), thinking about how the simplest spatial dimensions relate one to another gives us tools for imagining the more complex ones. The key to remember with all this is that each additional spatial dimension is at 'right angles' to the one before: so each new dimension allows an observer to see 'around the corner' in a way that was unattainable from the previous dimension. This time, let's work through the dimensions with that idea in mind."
(Rob Bryanton, October 2009)
Rob Bryanton (2006). "Imagining the Tenth Dimension: A New Way of Thinking About Time and Space", Trafford Publishing.