BORÅS ART BIENNIAL · SWEDEN

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“Borås Art Biennial 2026 spins a web of tales and testimonies that trace the legacies of textile industry. Unfolding across the city centre and between the Art and Textile Museums in Borås, the biennial exhibition Warps & Waves in the Fabric of Time engages with the interwoven societal and ecological transformations accelerated by industrial modernity.”

Borås Art Biennial 2026

Consulting with artist Nanna Debois Buhl on "Computers Were Women” and “Shape Shifters“, commissioned for the Borås Art Biennial 2026, Sweden.

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Shape Shifters

Borås Art Biennial 2026© Hendrik Zeitler

Exhibition Design • Consulting

Work focused on the placement of the artworks, considering general distribution, spaces and scale.
The exhibition contains weaving installations and algorithm-based works.

Artist
Nanna Debois Buhl

Location
Borås Art Biennial 2026

Year
May 30 to September 27, 2026

Photo
© Hendrik Zeitler

© Nanna Debois Buhl, Shape Shifters, Generative algorithm, 2026

“Shape Shifters reimagines the moth as a textile motif, a bug in the system, and a messenger of environmental change. Inspired by Danish artist Ragna Braase’s luminous weaving Natsværmere [Moths], Buhl has woven glitched moth mutations on her wooden shaft loom using repurposed silk, conductive copper wire, and linen to tangibly connect the binary logic of computing with the ancient craft of weaving.”

Nanna Debois Buhl

Borås Art Biennial 2026 © Hendrik Zeitler

Nanna Debois Buhl
Shape Shifters
Installations

Generative algorithm, 4 erasure poems, infinite duration
Weavings, linen, paper yarn, copper thread, repurposed silk
Programming in collaboration with Anders Visti

Borås Art Biennial 2026 © Hendrik Zeitler

Borås Art Biennial 2026 © Hendrik Zeitler

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Computers Were Women

Borås Art Biennial 2026 © Hendrik Zeitler

Nanna Debois Buhl
Computers Were Women

Video, 13 minutes
Generative algorithm, infinite duration

3 weavings, nylon, metal, waxed linen

The algorithm is Buhl’s readaptation of Nick Montfort’s Taroko Gorge program. Spectroscopic recordings in collaboration with Mads Fredslund Andersen, Aarhus University.

Photo © David Stjernholm

Borås Art Biennial 2026 © Nanna Debois Buhl

PARTITUR · KW INSTITUTE FOR CONTEMPORARY ART · BERLIN

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“Partitur is the first international exhibition dedicated to Danish composer and sound artist Else Marie Pade (b. 1924, d. 2016, both DK), a path-maker of musique concrète and European electronic music. Over a career spanning multiple decades, Pade approached sound as a medium of electronically generated tunes, exploring intensities, multitudes, and dissonance. Her versatile oeuvre spans electronic works, chamber and orchestral music, children’s music, accompanying scores for TV and radio plays, and music drama, which carry listeners through fairy tales, cityscapes, and nightmares.”

KW Institute for Contemporary Art

"In the evening I could imagine that the stars and the moon and the sky uttered sounds and those turned into electronic music."

Else Marie Pade 

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Installation view of the exhibition Else Marie Pade – Partitur at KW Institute for Contemporary Art, Berlin 2026. Courtesy the artist. Photo: Frank Sperling.

Spatial consulting and custom seating design for Partitur, an exhibition dedicated to composer and sound artist Else Marie Pade.

Artist
Else Marie Pade
b. 1924, d. 2016, both DK

Exhibition
Partitur

Year
22 February • 10 May 2026

Location
KW Institute for Contemporary Art • Berlin

Curator
Sofie Krogh Christensen

Made possible by
New Carlsberg Foundation.


Photo credits
Installation view of the exhibition
Else Marie Pade – Partitur
at KW Institute for Contemporary Art, Berlin 2026.
Courtesy the artist. Photo: Frank Sperling.

Else Marie Pade, 1962; Photo: Unknown.

“Shaped by the structure of her scores, the exhibition forms an immersive listening space.”

KW Institute for Contemporary Art

Installation view of the exhibition Else Marie Pade – Partitur at KW Institute for Contemporary Art, Berlin 2026. Courtesy the artist. Photo: Frank Sperling.

The spatial design for Partitur draws its formal language from the dials, knobs, and circular interfaces of the electronic studio equipment that defined Else Marie Pade's compositional practice.

Round seating elements of varying sizes are distributed across the exhibition space, referencing the analog controls through which Pade shaped sound, tuning frequencies, adjusting intensities, navigating dissonance.

Some of the seats rotate on their own axis, inviting visitors to orient themselves freely within the sonic field. In a predominantly sound-based exhibition, this small gesture carries significant weight: as listeners turn, they become part of the composition themselves: their positions, movements, and proximities to one another forming an ever-shifting human score within the space.

The design was developed in consultation with the curatorial team and realized by the workshop of KW Institute for Contemporary Art.

Else Marie Pade, 1962; Photo: Unknown.

Else Marie Pade; Photo: Unknown.

“Else Marie Pade (*1924–†2016) is regarded as Denmark’s most significant pioneer in electronic music and musique concrète. She began composing after the Second World War, during which she was imprisoned for her involvement in the women’s resistance. In 1952, she discovered musique concrète through radio broadcasts, which inspired her to establish an electronic music studio at Danish Radio in the early 1950s. She closely followed contemporary European trends in new music and her encounters with Pierre Schaeffer, Karlheinz Stockhausen, and György Ligeti were influential for her development. Her versatile oeuvre spans electronic works, chamber and orchestral music, children’s music, radio plays, and music drama.

Her work, although largely forgotten in Danish music history after the early 1980s, has received renewed attention since the 2000s, with numerous new recordings, remixes, and performances.”

KW Institute for Contemporary Art

“In addition to machines, physics, storytelling, and later, Christian spirituality, Pade’s musical understanding was also rooted in her experiences from World War II, during which she was imprisoned in the internment camp in Frøslev, Denmark, for her involvement in the women’s resistance.”

KW Institute for Contemporary Art

Installation view of the exhibition Else Marie Pade – Partitur at KW Institute for Contemporary Art, Berlin 2026. Courtesy the artist. Photo: Frank Sperling.

Exhibition Poster by KW Institute for Contemporary Art.

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Meanwhile at KW in Berlin…

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SHRINE · NEW YORK CITY

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The Shrine is an architectural installation by Japanese artist Mariko Mori. A light wooden structure supporting white silk panels, the Shrine was built in Japan using traditional joinery.

In collaboration with Mariko Mori Studio, Nakworks coordinated the installation and assembly logistics at Sean Kelly Gallery, New York City.

“In the main gallery, Mori has installed an environment that recreates the spiritual experience of entering shrines in Japan. Presented entirely in white, the installation evokes a space of purity and transcendence. A soft breeze gently moves through the silk veils wrapping the inner sanctum, infusing the work with an almost imperceptible sense of movement and breath.”

Sean Kelly Gallery

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Project Management
for the on-site installation of the Shrine

Artist
Mariko Mori

Location
Sean Kelly Gallery, New York

Exhibition
Radiance

Dates
October 31 -December 20, 2025


© 2025 Mariko Mori

Installation view of Mariko Mori: Radiance at Sean Kelly, New York, October 31 – December 20, 2025, Photography: Jason Wyche, Courtesy: Sean Kelly, New York

The Shrine's wooden structure is built using traditional Japanese joinery - assembled entirely without screws or nails. Each component is carefully shaped to interlock with the next, reflecting centuries of craftsmanship and a deep respect for simplicity.

The installation at Sean Kelly Gallery included the development of an assembly manual for future venues.

© 2025 Mariko Mori • Installation view of the Shrine assembly with stone work “Kamitate Stone I”

At the center of the Shrine stand two sculptural works - Kamitate Stone I and Oshito Stone III - whose rigging is coordinated with the assembly of the Shrine.

© 2025 Mariko Mori • Installation view of the Shrine assembly with stone work "Oshito Stone III"

Installation view of Mariko Mori: Radiance at Sean Kelly, New York, October 31 – December 20, 2025, Photography: Jason Wyche, Courtesy: Sean Kelly, New York

Rigging of the sculptural works

ATMOSPHERIC OMENS · COPENHAGEN CONTEMPORARY · DENMARK

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“Atmospheric Omens is an artistic reflection on weather and climate. Based on Nanna Debois Buhl’s residency at CERN in Geneva, the work draws on the CLOUD experiment, where scientists investigate how cosmic rays and atmospheric conditions affect cloud formation—and thus the Earth’s climate. It also connects to Mary Shelley’s Frankenstein, begun in Geneva during the eerie “Year Without a Summer” in 1816, when a volcanic eruption had caused extreme weather worldwide..“

Nanna Debois Buhl

Consulting with artist Nanna Debois Buhl on "Atmospheric Omens”, part of the exhibition “Soft Robots” at Copenhagen Contemporary, Denmark.

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Copenhagen Contemporary. Photo: David Stjernholm

Exhibition Design • Consulting

Work focused on the placement of the artworks, considering general distribution, spaces and scale.
The exhibition contains weaving installations and algorithm-based works.

Artist
Nanna Debois Buhl

Generative algorithm, infinite duration
4 digital Jacquard weavings, 400×150 cm

Location
Copenhagen Contemporary • Denmark

Year
2025

Images
© 2025 David Stjernholm
© 2025 Nanna Debois Buhl

Produced in collaboration with VEVFT, Kvadrat/Innvik

CLOUD Collaboration, CERN

Copenhagen Contemporary. Photo: David Stjernholm

“The exhibition concept is inspired by Hans Christian Andersen’s The Nightingale (1843), written at the onset of the last great technological upheaval, the Industrial Revolution. In the fairytale, a natural nightingale that gives the emperor profound joy is replaced by a robot, a golden bird admired by everyone at court for its flawless song. Only when the mechanical bird breaks down does the real nightingale return and save the emperor’s life with its soulful singing. In the story, the machine’s song has no soul.”

Copenhagen Contemporary

Copenhagen Contemporary. Photo: David Stjernholm

“The installation combines large digital weavings based on CERN’s cloud chamber imagery with a generative algorithm which continuously creates new sequences, merging weather-related excerpts from Frankenstein with historical landscape images and the artist’s own photographs of Lake Geneva, where the novel was written. Atmospheric Omens is thus an invitation to travel across time and scale—from particles to clouds, from 19th-century climate anxieties to future weather scenarios.”

Copenhagen Contemporary. Photo: David Stjernholm

The thunder burst at once with frightful loudness from various quarters of the heavens.

Shelley, Mary. Frankenstein; or, The Modern Prometheus. 1831 edition.

Nanna Debois Buhl's experimental, interdisciplinary practice spans photography, weaving, algorithmic art, and installation, with several works developed in collaboration with astronomical and meteorological researchers.

© 2025 Nanna Debois Buhl

ANTECHAMBER · KW INSTITUTE FOR CONTEMPORARY ART · BERLIN

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The Antechamber sound installation by Jessica Ekomane occupies the attic of KW Institute, a space with large skylights and small windows. It is a quiet and secluded environment with diffuse indirect light and views of the sky.

A group of modular systems has been designed to allow users to sit, recline, rest, lounge, lean, or lie in ways that are flexible and accessible to people of any age, without imposing a single, formally determined arrangement.

“Concentrating on the sense of listening, particularly in contrast to primarily visual languages, has allowed me to investigate alternative forms of perception.”

Jessica Ekomane

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Installation view of the exhibition Jessica Ekomane – Antechamber at KW Institute for Contemporary Art, Berlin 2025, courtesy the artist; Photos © Frank Sperling

Spatial consulting and custom seating design for Antechamber, an installation of sound artist Jessica Ekomane.

Artist
Jessica Ekomane

Year
15 February – 4 May 2025

Location
KW Institute for Contemporary Art • Berlin

Curator
Emma Enderby

Assistant Curator
Nikolas Brummer

Supported by
Institut Français
Trampoline


Photo credits
Installation views of the exhibition Jessica Ekomane – Antechamber at KW Institute for Contemporary Art, Berlin 2025, courtesy the artist;
Photos © Frank Sperling

“The sound piece central to Antechamber, a live process computed through a programming software, recurs over the course of the day.

Ekomane employs rhythm as a tool for interpreting time, translating these rhythms—from the solar cycle to computation and musical notation—into sound.” 

KW Institute for Contemporary Art

Installation views of the exhibition Jessica Ekomane – Antechamber at KW Institute for Contemporary Art, Berlin 2025, courtesy the artist; Photos © Frank Sperling

KW: You seem to focus deeply on the physical qualities of sound—its shape and how our perception of it is influenced by space. In what way do you see these aspects as interrelated, and what sparked your interest in exploring this topic?

JE: Since the time when sound emerged as a “new material” in music and the arts, a material that could be manipulated by machines, there has been a tendency to focus solely on the physical properties of the medium. I’m interested in exploring these properties while also gaining an understanding of the context around and within a sonic event. We are not merely individuals with a sensory apparatus, we exist equally within a collective context that lends an additional layer of meaning to what we experience.

KW Curatorial Interview

Installation views of the exhibition Jessica Ekomane – Antechamber at KW Institute for Contemporary Art, Berlin 2025, courtesy the artist; Photos © Frank Sperling

Installation views of the exhibition Jessica Ekomane – Antechamber at KW Institute for Contemporary Art, Berlin 2025, courtesy the artist; Photos © Frank Sperling

KW: […] Following the invitation to create a sound work for KW’s attic, how did you approach space? What challenges did you face, and where did this process take you?

JE: […] The attic is very luminous, and what struck me first was the behavior and softness of the light. I thought of adapting to this and followed the light’s course throughout the day. The rhythm of sunlight is also one of the rhythms of the human body, the circadian rhythm. So, I let this characteristic guide the direction of the work and started to think about ways of using this behavior as material for the work.

KW Curatorial Interview

Installation views of the exhibition Jessica Ekomane – Antechamber at KW Institute for Contemporary Art, Berlin 2025, courtesy the artist; Photos © Frank Sperling

By the small windows overlooking the city and the inner courtyard, a low, cushioned seat is nestled into the architecture—quietly inviting pause. From here, the outside world appears distant, framed in soft light and muted sound.

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Meanwhile, in Berlin: sit, sip, nap, sleep - party.

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COME NOI · ITALY

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A journey into the contradictions of collective perception.

‘Come noi” (Like us) wants to challenge the stereotypical narratives that often surround the topic of violence against women, highlighting the contradictions in public perception and offering a look at social responsibility. The Palinodie Theatre Company has created a work that goes beyond the stage, designed to be performed not only in theatres but also in public spaces, libraries and municipal halls, making this message of awareness accessible to an even wider audience.

Translated from
Aosta Sera, 19 Novembre 2024

“Come noi” is a collaborative project born from a partnership between CELVA (Consortium of Local Authorities of Valle d'Aosta) and the Palinodie Theatre Company. The initiative addresses the issue of violence against women through the medium of the performing arts. The aim is not only to raise awareness, but also to promote education and prevention, using theatre as a platform for reflection and action.

The set design was developed to be installed in a short time and to be adaptable to the size of different stages.

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Theater set design

Year
2024

Location
Teatro Giacosa • Aosta, Italy

By
Verdiana Vono

Directed by
Stefania Tagliaferri

With
Silvia Pietta

Scenographic consulting
Nathalie Pozzi • Nakworks

Lighting design Andrea Sangiorgi
Music consulting Simone Riva
Photos © Federica Fornaro

Production
Palinodie Theater Company

With the support of
CELVA, Consortium of Local Authorities of the Aosta Valley

Thanks to
Bottega del Riuso San Martino - Fondazione Opere Caritas Aosta

A key element of the project is the design of the set, which has been developed to ensure flexibility and adaptability. The scenery can be installed quickly and efficiently, making it suitable for a wide range of venues, regardless of size. This adaptability allows the performance to reach a wider audience in different locations, ensuring that the play's message can resonate with a variety of communities.

Clothes were donated by the Bottega del Riuso San Martino - Fondazione Opere Caritas Aosta, where used clothing, second-hand furniture and household accessories are collected.

© Federica Fornaro

Material research, design and fabrication were carried out in collaboration with director Stefania Tagliaferri, with only a few weeks between initial conception and opening to the public.

© Federica Fornaro

Come noi
By Verdiana Vono

Characters
Gloria
L’avvocata di Gloria, Elena
La figlia di Gloria, Stella
La farmacista

La storia si svolge tra un cumulo di macerie, di cui le protagoniste sono circondate. Come noi.

PICTURE THE SKY · KUNSTHAL AARUS · DENMARK

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“This practice-based artistic research project […] explores depictions and investigations of space in the overlap of scientific, aesthetic, and speculative realms, in order to re-think well known histories of space travel, computation, art, and astronomy to nurture more complex historical and material textures.“

Nanna Debois Buhl

Consulting with artist Nanna Debois Buhl on "Picture the Sky: Cosmic Code, Images, and Imaginaries", a solo exhibition at Kunsthal Aarhus, Denmark.

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Exhibition Design • Consulting
Work focused on the placement of the artworks, considering general distribution, spaces and scale. The exhibition contains photographs, films, weavings, installations, and algorithm-based works.

Artist
Nanna Debois Buhl

Location
Kunsthal Aaruhs • Denmark

Year
February 2 – April 7, 2024

All images
© 2024 David Stjernholm

The project is developed at The Royal Danish Academy of Fine Arts and Copenhagen University, Denmark and Massachusetts Institute of Technology and involves collaborations with scientists from the Niels Bohr Institute and Aarhus University.

In “Picture the Sky” photos, computer algorithms, video, and weaving are used to explore the sky, our fascination with it, and how we use it scientifically and speculatively.

The exhibition spans the ground floor of Kunsthal Aarhus and features three new constellations of works: Helios, Particles and Planets and Lunar. In a cosmic narrative, the exhibition makes surprising connections between Earth and sky, cyborgs and historical figures, individual heroes and heroic collectives, bodies and machines, craft and technology, scientific data and alchemists’ investigations.

Kunsthal Aaruhs • Denmark

Driven by interstellar curiosity, and informed by Buhl’s ongoing conversations with astrophysicists, weavers, programmers, and printmakers, her works in this exhibition connect local and global layers, drawing on vastly different realms of knowledge. Her sites of production are equally diverse: for example, the algorithmic pieces were conceived during a residency at Massachusetts Institute of Technology in the US, while the meteoritic studies are based on images she generated in a nano-laboratory at University of Copenhagen.

Kunsthal Aaruhs • Denmark

“Via solar photographs, woven diagrams, and computer-generated poetry, Buhl ponders how art and science func­tion as categories and knowledge systems, letting her works and experiments loose in a space where the borders between art and science overlap in fuzzy ways.

One could think of the works in the exhibition as a kind of “strange realism,” following what Ur­sula K. Le Guin writes about the genre of science fiction: “It is a strange realism, but it is a strange reality.”

Kunsthal Aaruhs • Denmark

Nakworks consulted on size, anchoring, composition and placement of the Lunar weavings.

photo 2024 @ VEVFT

CLOUD BEHAVIOR · EMBASSY OF DENMARK · LONDON

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Consulting with artist Nanna Debois Buhl on the installation of "Cloud Behavior” photographic series for the Embassy of Denmark in London.

“How do clouds move? What do they signify? What can they predict? Cloud Behavior is a work about the behavioral patterns of clouds, about depicting them, and examining them in search of symbols and predictions about shifting weather and climate.”

Nanna Debois Buhl

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Layout and Installation Consulting

Artist
Nanna Debois Buhl

Artwork
Cloud Behavior
Series of C-print photographs
29.6×30.4 cm
(2018)

Location
Embassy of Denmark in London
a building by Danish architect Arne Jacobsen

Donated by
The New Carlsberg Foundation

Year
2023

Images
© 2023 Nanna Debois Buhl

© 2018 Nanna Debois Buhl

Work focused on the placement of a series of thirty-two photographic prints. Consultation covered the placement of works within the spaces, the overall scale, and the selection of the works based on the composition and color combinations.

The installation layout responds to the building's low and intimate ceiling height by arranging the photographs in a cloud-like composition.

Rather than a linear sequence, the composition highlights the rhythm of the existing walls and door and window openings.

“Over several months, Nanna Debois Buhl has photographed clouds on medium-format film and experimented with the images in the darkroom. The result is a series of cloud photographs that range from neutral registrations of the clouds to dramatic and color-saturated images.”

Nanna Debois Buhl

© 2018 Nanna Debois Buhl

A grid system was designed to harmonize the proportions of the existing ceiling height, doors, baseboards, and photographic prints.

Works were installed at varying heights not only to reflect the series's subject — a quiet nod to gazing at the sky — but also to ensure accessibility for all visitors

© 2018 Nanna Debois Buhl

© 2018 Nanna Debois Buhl

“In A Blue Book (1907–12), Strindberg envisions that cloud formations continually return in the same shapes and to the same place in the sky over Stockholm and speculates about what this means.”

Nanna Debois Buhl

Concept Layout

Thirty-two photographic works are grouped across several areas of the Embassy, creating a natural path through the installation.

© 2018 Nanna Debois Buhl

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Danish Embassy, Sloane Street, London • Photo by Stephen Richards

Designed by Arne Jacobsen and completed in 1977, the Danish Embassy in London reflects a distinctly Nordic sensibility - spare, functional, and curated with an ambitious collection of contemporary Danish art and design.

Danish architect Arne Jacobsen during his visit to Finland • 1968 • Photo: Anonymous, courtesy of Helsingin Sanomat / Public Domain

TOGETHER WE ARE · UNIVERSITY AT BUFFALO

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Together We Are is a public artwork by artist Brendan Fernandes, commissioned by The University at Buffalo, NY.

Nakworks's consulting focused on spatial perception at different distances and scales, considering the placement of the graphic elements, access and audience perspective.

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Consulting and project management for public artwork

Together We Are • 2022

Artist
Brendan Fernandes

Commissioned by
The University at Buffalo · NY

Graphic Design
Platform

Mural
Chuck Tingley

Copyright
© Brendan Fernandes

“Together We Are” is an open phrase. It can mean family, community, friends and chosen Queer community, as well as landscapes, plants and nature. The garden, here referenced through black-and-white photographic imagery of plants found in New York state, is an ecosystem that works together to support itself and thrive.

As do the words, the garden further suggests a space for compilation. In combining these elements with forms inspired by the body-based sculptures of the late Japanese artist Isamu Noguchi, it all comes together to form rhythms and movements, much like letters forming into words, or stories beginning to be told—even becoming the abstract bodies of the people that will come in and out of the One World Cafe. 

Brendan Fernandes

© Chuck Tingley

Nakworks's role included:

• Supporting the artist in selecting techniques and materials suitable for a permanent installation, and detailed planning throughout design development.

• Coordination and project management between the artist, the graphic design team, the mural artists team, and the resin panels fabricators. This included determining installation schedule and equipment, taking into account public accessibility to the cafeteria.

• With an awareness of the need for more sustainable practices, Nakworks strategized how to reduce material waste of the resin panels, using cut-outs to "extract" smaller and smaller pieces, rather than discarding them as waste material.

Materials

Acrylic paint (latex, flat) on drywall, with UV protective clear topcoat (water base, flat), resin panels and stainless steel hardware.

Brendan Fernandes is an interdisciplinary artist who examines issues of cultural displacement, migration, labor and queer subjectivity through installation, video, sculpture and dance.

Working at the intersection of dance and visual art, his pieces open up questions about hybridity of media and seek to problematize the notion of a fixed, essential or authentic identity.

EKPYROTIC STRING VI · NEW YORK CITY

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Ekpyrotic String is a fibreglass sculpture installed at NYU´s medical centre by Japanese artist Mariko Mori.It was modeled as a 3D form in Mariko Mori's New York studio, and then routed into fire-resistant polystyrene by Model Porex in northern Spain on a large scale six-axis router; it was surfaced, structured and cut into sections. In Factum Arte warehouses it was repeatedly sanded, filled and re-sanded until a perfect coherent form was achieved. It was then taken to a spray booth/oven where Airbus parts are normally painted and covered with layer after layer of a special holographic paint made by Lechler in Como, Italy.

[Excerpt from Factum Arte]

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Consulting and project management for the fabrication and installation of the artwork Ekpyrotic String VI, a permanent installation by Japanese artist Mariko Mori.

Artist
Mariko Mori

Venue
Science Building | NYU Langone Health · New York City

Engineering
Eckersley O’Callaghan

Fabricator
Factum Arte

Date
December  2017

Photography
Factum Arte

Copyright
All images (c) Mariko Mori

HIT BACK · NEW YORK CITY

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Steady Pulse is a project that transformed Recess into a club that plays host to a diverse range of happenings and interventions, including performances, movement workshops, conversations, and dance parties.

At the center of the club will be an architectural and sculptural dance floor, which will shift appearance and function as it acts as a platform for the varied events.

[Excerpt from Recess]

Hit Back is a sculptural and performance-based installation developed by artist Brendan Fernandes during Steady Pulse, a summer session residency at the NYC nonprofit Recess.

Nakworks's consulting focused on the development of a modular layout, to serve as dance floor.

The dance floor is not used exclusively horizontally, but also as wall or frame or stage, to accommodate dance performances, public talks, parties, as well as a stage-like view from the showing-window.

The choice of materials and colors, limited to grey felt, white coated metal and skin-toned plywood, heightens the focus on the dancing bodies.

As a result, the performances play with the blurry line between the dancers and the dance floor.

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Consulting and project management for a modular dance floor installation.

Artist
Brendan Fernandes

Gallery
Recess · New York City

Dates
13th July · 1st September  2017

Performed by:
John Alix, Khadija Griffith, Oisín Monaghan

Uniforms
The Rational Dress Society

Photography
Wendy Ploger

Copyright
(c) Brendan Fernandes

INTERVALS AND FORMS OF STONES OF STARS · DENMARK

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"Through a series of cameraless photographic registrations, Nanna Debois Buhl maps the biotope’s flora, fauna, and soil and draws connections between the characteristics of the site and its photographic representation.

Using historical photographic techniques to connect what is depicted in the images and how they are made, her photographs are inspired by the cameraless photographic works of William Henry Fox Talbot (1840s) and August Strindberg (1890s); images created in the moment of contact between the object and the photosensitive surface."

Site consulting with artist Nanna Debois Buhl on "intervals and forms of stones of stars", a large-scale installation on the facade of the Arken Museum of Modern Art, Denmark.

Consulting focused on the placement of 3 wall photographs, considering general distribution, location and scale.

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Site consulting for large-scale installation

Artist
Nanna Debois Buhl

Location
Arken Museum of Modern Art · Denmark

Year
2017

All images
© 2017 Nanna Debois Buhl

The project is realized on the occasion of the exhibition NATURE (RE)TURNS

REBIRTH · AUSTRALIA

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Responsibilities included coordinating the installation and logistics of a collection of photography, sculpture, and video works at the Art Gallery of Western Australia.

Mariko Mori: Rebirth, is the Australian premiere of the solo exhibition by contemporary artist Mariko Mori.

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Project Management for exhibition Rebirth

Artist
Mariko Mori

Location
Art Gallery of WA
Perth · Australia

Dates
8 Feb–29 Jun 2015

THE PAGE · TORONTO

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“The Page” is an immense public sculpture that aims to reflect on the history of the West Don Lands, while at the same time interpreting and making connections to the current transitional moment of development that the area is undergoing. Formed of white bent metal plates, the undulating form evokes a sense of lightness, where its movement becomes reminiscent of a scroll of paper.  A Morse code pattern is cut into the surface that is lyrically spread thoroughout the piece, making a collage of words that respond to the site. The Morse text runs from top to bottom, starting and stopping throughout the piece. This creates a directional motion that concludes with a footnote. Subtly placed on another part of the sculpture is the corresponding footnote symbol leading to a poem written by the artist that responds to the site and its changing state of progression. This tiny text is meant to be a surprise, a happy find, where the viewer can have a moment of intimate reflection concerning the work’s meaning in relation to the site and the current moment that they are sharing with this object. “The Page” aims to become a marker for the past, a participant in transforming the present, and a witness to a vibrant future.    

Brendan Fernandes

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Consulting for sculptural installation

Artist
Brendan Fernandes

Status
Selected Finalist for WATERFRONToronto Public Art

Location
Toronto · Canada

Year
2014

Engineering
Eckersley O’Callaghan

All images
© 2014 Brendan Fernandes

 Empty space
The Land
Supported by clay
Becomes
Stories
And then
Left fallow
Until
In this moment
Bodies move about
The Pages
And then
New life
Coming into
Transformation
The unknown
Stories
And then

Material
25 mm thick steel plates (Grade A36)

Finish
Off-white matte color

Three coat paint system (zinc rich primer, intermediate epoxy, polyurethane finish coat)

Width
3 meters - to meet technical feasibility of the steel rolling equipment

Length
7,5 meters

Length unraveled
approx. 18 meter

Weight
approx. 12,000 Kg

PAPER PIECES · NYC

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In PaperPieces, Wolcott uses dance theater, spectacle and papered structures to explore a world of awkward moments exposed, tender collisions, and mundane survival. The protagonist is a naïve in snow globe memories, a haute couture avatar doing battle and a woman balancing on the most delicate edge of love.

Wolcott sources the sensory and psychological connections we have with the material objects we touch, see, and engage with daily as a catalyst for composition and performance.

Together with her collaborator, sound designer Omar Zubair, they create a piece that operates like a series of cinematographic dissolves and quick cuts where density of narrative detail is delivered in complex blasts.

The visual, sonic and kinesthetic information ultimately compounds and subdivides, giving the audience a sense of being an intimate co-conspirator in the destruction and reformation of this paper world.

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Consulting for material and spatial design for choreographer Nicole Wolcott

Performance
Paper Pieces

Choreographer / Dancer
Nicole Wolcott

Set design
Nicole Wolcott

Sound designer
Omar Zubair

Location
Center for Performance Research (CPR), Brooklyn

Date
September 25-26, 2014

Photo
© 2014 Whitney Browne

THE PLANETS · QUEENS / NYC

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The Planets is a sculptural installation about our solar system, a source of wonder for both children and adults.

In the form of a planetary model, the sculpture hangs from the ceiling of a school lobby. The 8 planets and the sun are fabricated in colorful powder-coated metal.

The model is accompanied by planetary mnemonics, phrases used to remember the name and sequence of the planets.

The text for the mnemonics (inspired by dadaist poems) will be written by the students, and the phrases, made of powder-coated metal letters, will be mounted on the high wall in the lobby area.

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Development and production consulting for sculptural installation

Artist
Nanna Debois Buhl

Location
Public School PS163Q, Queens, New York

Year
2016

Commissioned by
NYC Department of Education,
NYC School Construction Authority,
NYC Department of Cultural Affairs Percent for Art Program

Engineering
Eckersley O’Callaghan

Fabricator
New Project

All images
© 2013 Nanna Debois Buhl

Photographer
Etienne Frossard

Mercury
Venus
Earth
Mars
Jupiter
Saturn
Uranus
Neptune

”My Very Educated Mother Just Served Us Nachos.”
Perhaps.(*)


(*) The International Astronomical Union reclassified Pluto as a dwarf planet in 2006

REBIRTH · ROYAL ACADEMY OF ARTS · LONDON

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The exhibition was a complex, multi-project exhibition, installed in the Royal Academy’s new space for art and architecture in Burlington Garden. As a landmark historical building, the installation process had to conform to rigorous preservation guidelines.

Many of the artworks involve the subtle use of high-end technologies, such as Tom Na H-iu, which relays an information feed from the Super-Kamiokande Neutrino Observatory in Tokyo to manipulate a series of LED lights.

Managing the installation involved coordinating the efforts of a team of hardware and software engineers, technicians and assembly specialists, as well as architects and designers.

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On-site Project Management

Client
Mariko Mori Studio

Exhibition
Mariko Mori : Rebirth

Venue
Royal Academy of the Arts

Location
London · UK

Year
2012

Installation team
Angelino Artworks · Italy
Momart · UK

The exhibition takes the form of a journey that begins with an encounter with a gigantic jelly-bean of a monolith, a sort of cyber-age version of a Celtic standing stone. This is Tom Na H-iu II, named after an ancient mythical realm where the souls of the dead linger for a hundred years, awaiting their rebirth. To guide the returning souls back to Earth, the ancient Celts created special monuments as the sites for spiritual transmigration.

Mori creates a super-contemporary version of one of these. It looms amid the unsullied whiteness of its setting, glowing with vaporous pinks and otherworldly yellows, ghostly greens and pallid indigos — and every now and then a sharper blue flash. Shadows seem to gather and grow within it, then to curl and twist and wither again.

It’s hard not to sit on a bench and just stare. It’s mesmerising, like some outlandish lava lamp. But far more entrancing than the mere visual spectacle are the ideas behind it. The colours are constantly changing because the LED lights within the monolith are linked, via the internet, to a computer in the Kamioka Observatory in Japan, an underground cosmic ray research station that monitors the primal low-energy electronic particles known as neutrinos that are emitted in vast quantities during the explosive death of a star. The shifting patterns of Mori’s polished creation respond to their presence and hence link us directly to a cosmic moment. And, since these neutrinos are essential to life, coalescing once again to become a part of anything from new stars to our own bodies, our freshly heightened awareness of them is intended to heighten our awareness of the fact that we are part of the life cycle of the universe.

Rachel Campbell-Johnston (2012), Mariko Mori: Rebirth at the Royal Academy of Arts, The Times

LEGEND FOR BLINKING CITIES · BEIJING

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Nakworks and game designer Eric Zimmerman were asked to contribute a fictional map “legend” for Blinking Cities, a project of Instant Hutong.

Instant Hutong’s projects explore the Hutong districts in old downtown Beijing, threatened by development. Founded by Beijing-based Italian architects Marcella Campa and Stefano Avesani, Instant Hutong is a series of installations and events on the borders of art, social investigation and urban research. Their projects investigate the unique Hutong urban tissue, made of lanes and courtyard houses, as well as the community of people living within.

Blinking Cities is a project of Instant Hutong

Text written with game designer Eric Zimmerman

All images © Instant Hutong

ONENESS · BRAZIL

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Oneness was a major survey of the work of artist Mariko Mori, installed in Brasília, Rio de Janeiro, and São Paulo in 2011.

The artworks in the exhibition often combined complex, multi-layered technologies. The central artwork Wave UFO made use of a brainwave sensing system linked to real-time software projections, all housed within a large sculptural installation that completely enclosed visitors.

Managing the exhibition meant coordinating the efforts of a large team, including art handlers, carpenters, electricians, software engineers, architects and several other specialists.

Oneness was the world’s most-visited contemporary art exhibition in 2011.

Exhibition organized by
grupoag

Sponsored by
Centro Cultural Banco Do Brasil
CCBB Brasilia · CCBB Rio de Janeiro · CCBB São Paulo

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© Guevara Soliman

More information about Wave UFO
The art of the alien • Domus • 03 March 2003

On-site Project Management

Artist
Mariko Mori Studio

Exhibition
Oneness · Mariko Mori's solo exhibition

Location
Brasilia · Rio de Janeiro · São Paulo

Year
2011

Photo
© Guevara Soliman

100 BEGINNINGS · NYC

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Wolcott is working with Vanessa Walters, choreographer and performer for the music/art phenomenon Fischerspooner to create this multi-faceted new work. The two gather a cast of characters to use dance, spectacle and space to explore a world of awkward moments exposed, tender collisions, attempted fame, and survival in high heels.

Nicole marries her fascination with cinematography to her penchant for creating episodic pieces. The walls act as a shutter and lens for the audience’s eye. This structural component in motion reveals her attraction to fast cutting, intermittent work with sharp cuts between scenes, plays in perspective, sliding back and forth between scenes as they evolve, in and out of the imagination. The piece reflects her daily experience of life in the city: a steady hum of countless quick cuts panning in and out of focus.

Preliminary consulting for set design • materials, feasibility and fabrication

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[100 Beginnings is] Lots of fun in high heels.  An extreme performance getting an extreme reaction…..Two moving walls create rooms, corners, barriers, tunnels, hiding places and mazes, to make the whole thing feel very much like a dreamscape where things shift constantly and imperceptibly…Certainly, each of the performers give us something to watch and something to applaud.

Quinn Baston
OFFOFFOFF.COM
Dec. 16, 2010

Performance
100 Beginnings

Choreographer
Nicole Wolcott

Set design
Spilios Gianakopoulos

Location
Dance New Amsterdam

Year
2010

Photo
@ 2010 Matt Murphy