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Modern design does not revolve exclusively around human matters; rather, it seeks to acknowledge the value of various beings. The RE:DESIGN path brings together the post-humanist view and unusual design materials.

Aki Inomata (JP) Why not Hand over a “Shelter” to Hermit Crabs?
The Japanese artist gave hermit crabs houses resembling famous sights and architectural works. Inomata used computer tomography to scan the natural shells used by crabs. Subsequently, she applied 3D modeling software to modify the shells by furnishing them with forms shaped like recognizable buildings from various corners of the world, e.g., Tokyo and Paris. Looking like small jewels, the shells were 3D-printed and then “handed over” to the crabs, which “use” them in their natural habitat. The work explores the ideas of identity, nationality, migration, residency, and the increasingly blurred border between the natural and the built environment.

Akira Wakita (JP) Furnished Fluid
Revealing new dimensions of 21st-century design in relation to 20th-century design icons, the installation is based on real-time visualizations of airflows which go unnoticed in our daily lives.
While combining art and science, the artist analyzes classics of 20th-century industrial design: Philippe Starck’s W. W. Stool (1990), Frank Lloyd Wright’s Robie House 1 (1908), and Ron Arad’s Big Easy (1991). Miniature models of chairs placed in front of big screens form the setting of the visualization. The purpose-developed software renders the motion of particles and colors along edges and corners, visualizing the airflow of objects and thereby shedding an entirely new light on product design.

Paweł Janicki (PL) Vibra v. 2 [Vv2]
An interactive object in the shape of a geodesic dome uses bone conduction to sonify real-time transmissions of data flow.
The geodesic dome is a form which can be made sense of in the context of other ideas put forward by Buckminster Fuller (who developed a mathematical formula to describe the conversion of the sphere into a characteristic structure composed of a network of equilateral triangles). Fuller thought of the Earth as a homeostat traversing the outer space, and believed that the humanity’s chance to survive and go on existing hinged on the inner balance of its elements and the capacity for mutual support of its constitutive elements.
The geodesic dome is a unique physical embodiment of code-based thinking. It is a sensual (sensorially accessible) program for the matter that reminds that digitality, which is etymologically derived from the Latin digitus (finger), is also about physicality and touch, scanning of the body parameters and self-knowledge.

Shuai Cheng Pu (TW) The Friend on the Rocking Chair-Visual Oblation
The vision is divided among a number of screens, specifically the chief monitor in the exhibition space and the screens of the visitors’ phones. Real-time videos can be watched from several perspectives, either by looking into the fake head from outside or by adopting the viewpoint from behind the robot’s head. The “friend” may also unexpectedly “explode the system” and blend in with the crowd.

Vincent Voillat (FR) Tapis Roulants (Rolling Carpets)
The project takes its inspiration form the streets of Cairo with their ubiquitous traffic and cacophonous noise. The installation consists of car tarpaulins the artist brought from Egypt and a soundtrack recorded in Cairo, in which the honking of car horns mingles with the singing of a muezzin, sounds coming from the marketplace, and the rustling of birds’ wings… The tarpaulins, like air-filled cars, rise and sink, bringing to mind the rhythm of breathing.

Susanne Prinz (DE) + Olga Lewicka (PL) Digesting History
Digesting History is an installation made of confectionery items shaped like the still existing, never erected, or war-destroyed buildings designed by the architect Hans Poelzig.
The unique structures are formed in gingerbread, marzipan, chocolate, sugar, etc. The project was developed in collaboration with the Wrocław-based Food Think Tank and the Dessau Institute of Architecture.

Karina Marusińska + Alicja Kielan, Food Think Tank (PL) Tablerror
Karina Marusińska arranges a banquet table, using tableware obtained from Kristoff Fine Porcelain. The items were deliberately selected based on their failure to meet the industrial standards due to a range of defects. Exploring the transitional stage between the production line and the junkyard, the artist captures and preserves the instances of errors. As the flawed products are transferred onto the tabletop, the users have an opportunity to experience the material realm that has slipped out of human control.

MONDAY
Aki Inomata (JP)
Why not hand over a »shelter« to hermit crabs?
documentation of the project and artist talk
8 June 2016
WRO Art Center
Eco Expanded City 2016

TUESDAY
Akira Wakita (JP)
Furnished Fluid
documentation of the project and artist talk
May 2016
WRO Art Center
Eco Expanded City 2016

WEDNESDAY
Paweł Janicki (PL)
Vibra v. 2 [Vv2]
documentation of the installation
Utopias exhibition
WRO Art Center
Eco Expanded City 2016

THURSDAY
Shuai Cheng Pu (TW)
The Friend on the Rocking Chair-Visual Oblation
documentation of the installation
Feel Like Self exhibition
former Ballestrem Palace basements
17.05 – 11.06.2017
17th Media Art Biennale WRO 2017 DRAFT SYSTEMS

FRIDAY
Vincent Voillat (FR)
Tapis Roulants (Rolling Carpets)
documentation of the installation
RenomaWRO exhibition
16th Media Art Biennale WRO 2015 Test Exposure
13 May – 30 June 2015

SATURDAY
Susanne Prinz (DE) + Olga Lewicka (PL)
Digesting History
making of the installation at Food Think Tank lab
within Goethe-Institut Pop Up Pavillon project
Nowy Targ Place in Wrocław
13-17 kwietnia 2016

SUNDAY
Karina Marusińska + Alicja Kielan, Food Think Tank (PL)
Tablerror
documentation of the performative installation
17.05.2019
Bakery
18th Media Art Biennale WRO 2019 CZYNNIK LUDZKI | HUMAN ASPECT